Entertainment

Single Session Launched Percy Sledge, No. 1 Hit, and a Sound

Published

11 years ago

April 15, 2015

In this Oct. 28, 2008 file photo, Percy Sledge kneels as he performs “When a Man Loves a Woman” along with the Muscle Shoals Rhythm Section at the Musicians Hall of Fame awards show in Nashville, Tenn. Sledge, who recorded the classic 1966 soul ballad “When a Man Loves a Woman,” died, Tuesday April 14, 2015. He was 74. (AP Photo/Mark Humphrey, File)

JAY REEVES, Associated Press
REBECCA SANTANA, Associated Press

MUSCLE SHOALS, Ala. (AP) — Sound engineer Jimmy Johnson knew he had captured something special on tape as Percy Sledge finished singing “When a Man Loves a Woman” in a recording studio in 1965.

Sledge, who died Tuesday, grew up singing in nearby cotton fields of northwest Alabama and never had been in a studio before that day. He didn’t even know how to work a microphone during that first session, Johnson said.

Johnson had to twirl the volume dials on the recording machine just to keep Sledge’s untrained voice at the correct levels during the session, but it worked. The track would become a No. 1 hit in 1966 and establish Sledge as a rhythm-and-blues singer of the first order.

“It gave us chills,” Johnson said.

Afterward, Sledge became a star and helped his native northwest Alabama establish itself as a recording Mecca that drew Aretha Franklin, the Rolling Stones, Bob Dylan, the Allman Brothers, Bob Seger and other top-shelf stars of the 1960s and ’70s in search of the “Muscle Shoals Sound.”

Johnson, now 72, said it all began when Sledge sang “When a Man Loves a Woman,” with its haunting lyrics and his mournful, blue-eyed style.

“Everything lined up for this,” said Johnson, who played rhythm guitar for the great Muscle Shoals studio group called “The Swampers.”

“I mean, the song was one of the best songs I’ve ever heard even to this day. The lyrics were incredible. The melody was wonderful. Percy’s voice and the job he did,” Johnson said in his home overlooking the Tennessee River. “I mean, hey, it still holds up today.”

Johnson’s business partner, 71-year-old bass player David Hood, another of the legendary studio musicians from Muscle Shoals, said he owed his career to Sledge and described him as the “nicest person you’d ever want to meet.”

Hood — the father of Drive-By Truckers front man Patterson Hood — played with Sledge for years and last saw him in the fall, when friends threw a benefit show for Sledge after learning he had been diagnosed with liver disease.

“He was very sick, very weak, but he did come up on stage and sing “When a Man Loves a Woman,” Hood said.

Sledge, who soared from part-time singer and hospital orderly to lasting fame with his aching, forlorn performance on the classic song, was 74 when he died in Baton Rouge, Louisiana.

His family said in a statement released through his manager, Mark Lyman, that Sledge died at his home after a yearlong struggle with cancer. The cause of death was liver failure, Lyman said.

Despite having other hits Sledge became known for “When a Man Loves a Woman.” It was the first No. 1 hit from Muscle Shoals, and the first gold record for Atlantic Records.

Atlantic Records executive Jerry Wexler later called the song “a transcendent moment” and “a holy love hymn.” Sledge’s hit became a standard that sustained his long touring career in the United States, Europe and South Africa and led to his induction into the Rock and Roll Hall of Fame in 2005. It was a favorite at weddings — Sledge himself did the honors at a ceremony for musician and actor Steve Van Zandt — and often turned up in movies, including “The Big Chill,” ”The Crying Game” and a 1994 Meg Ryan drama named for the song’s title.

Recognizable by his wide, gap-toothed smile, Sledge had a handful of other hits between 1966 and 1968, including “Warm and Tender Love,” ”It Tears Me Up,” ”Out of Left Field” and “Take Time to Know Her.” He returned to the charts in 1974 with “I’ll Be Your Everything.”

Before he became famous, Sledge worked in the cotton fields around his hometown of Leighton in northwest Alabama and took a job in a hospital in nearby Sheffield. He also spent weekends playing with a rhythm-and-blues band called the Esquires. A hospital patient heard him singing while working and recommended him to record producer Quin Ivy.

In the 2013 documentary “Muscle Shoals,” Sledge recalled recording the song: “When I came into the studio, I was shaking like a leaf. I was scared.” He added that it was the “same melody that I sang when I was out in the fields.”

“I just wailed out in the woods and let the echo come back to me.”

Sledge said the song was inspired by a girlfriend who left him for a modeling career after he was laid off from a construction job in 1965. But in a decision that likely cost him a fortune, he gave the songwriting credits to two Esquires bandmates, bassist Calvin Lewis and organist Andrew Wright, who helped him with it.

While identified with Muscle Shoals, Sledge lived for most of his career in Baton Rouge. He was inducted into the Alabama Music Hall of Fame in 1993 and the Louisiana Music Hall of Fame in 2007.

Dick Cooper, curator of the Alabama Music Hall of Fame, said Sledge’s biggest hit laid the foundation for decades of music.

“‘When a Man Loves a Woman’ is one of the greatest and most compelling of the soul ballads that have ever been recorded,” he said. “It set a trend that was followed throughout the ’60s and ’70s by a number of artists.”

___

Santana reported from New Orleans. Associated Press writers Kevin McGill in New Orleans, Brian Slodysko in Baton Rouge, and Mesfin Fekadu and Hillel Italie in New York contributed to this report.

Oakland Post

Posts by Oakland Post

Up Next

Single Session Launched Percy Sledge, No. 1 Hit, and a Sound

Don't Miss

‘Person of Interest’ Has VIP Guest: Henson

Oakland Post

Click to comment

Arts and Culture

IN MEMORIAM: Oakland Dance Legend Reginald Ray-Savage, 67

Savage lived his life as tribute to the teachers who had shared their wisdom on art and life with him. With a palpably genuine enthusiasm and desire to bring out the best in people, and pass the torch to the next generation, he poured into his students, as his teachers and mentors had into him. His infectious energy, love of life, and generosity of spirit inspired countless souls, both inside and outside the dance studio.

Published

1 week ago

June 24, 2026

Oakland Post

Reginald Ray-Savage brought the old-school teaching techniques he learned in the Katherine Dunham Dance Company to the youth at the Oakland School for the Arts in 2003. Courtesy photo.

Special to The Post

Reginald Ray-Savage – dancer, choreographer, and beloved teacher, mentor, and inspiration to many – passed away on May 17. The Oakland School for the Arts dance instructor was 67.

Born Reginald Ray, Jr. in St. Louis, Missouri, on Sept. 5, 1958, he formally adopted the name ‘Savage,’ to honor the great Archie Savage, his mentor at Katherine Dunham’s Performing Arts Training Center where his dance training journey began in East St. Louis, Illinois.

He soon started dancing professionally with Katherine Dunham Dance Company, making dance a way of life. His grit, tenacity, and notorious work ethic brought him scholarships to train at multiple prestigious dance institutions, including The Ailey School (NYC) and Ruth Page School of Dance (Chicago), under the direction of acclaimed ballet instructor Larry Long and Dolores Lipinski-Long.

He danced with several companies including Joel Hall Dance Company, Ruth Page Ballet Chicago, Lyric Opera, Chicago City Ballet, American Festival Ballet, and touring productions of “Music Man” and “A Chorus Line”.

In 1989, Savage moved to Oakland where he started teaching seven days a week, amassing a devoted following that was attracted to his no-nonsense, impassioned, and effective old-school teaching style.

In 1992, at the insistence of his committed core of students, he founded Savage Jazz Dance Company (SJDC). Over a span of 30 years, Savage produced more than 100 original works, and tour SJDC nationally and internationally, performing at Casa del Jazz in Rome to a packed house and rave reviews—the first dance company to receive such an invitation.

Savage built SJDC into one of the Bay Area’s most respected dance companies, creating a signature style known for its combination of disciplined training, blended with rich artistic musical expression, and raw energy.

In 2003, Savage joined the Oakland School for the Arts as chair of the School of Dance. Over the next two decades, he created, built, and maintained a strong dance program, recognized, and respected by other dance institutions for forging well-trained and resilient dancers and human beings.

The depth of Savage’s tough love and care, and the skill of his teaching and mentoring are reflected in the careers of his students who have gone on to dance with the San Francisco Ballet, Martha Graham Dance Company, Mark Morris Dance Group, Janet Jackson, Ariana Grande, and companies across the globe.

Mark Kitaoka, a photographer hired by Savage in 2016, posted a living eulogy on the dance instructor.

“When I see the self-pride he builds in his students I am constantly impressed that people like Savage still exist in our ‘meme’ society,” Kitaoka wrote. “The kids he mentors are fiercely loyal to one another and I’m certain his methods teach each of those kids to put aside social status, race and gender and is replaced by solid loyalty for other souls.

“What Savage contributes to our world cannot be completely summed up in a few meager paragraphs but can be seen in the countless lives of those he has touched. Because of him, our world, and the world of the future is both a richer and better place.

Reginald Ray-Savage will forever be missed, remembered, and lovingly quoted. He is survived by his beloved wife, Alison Hurley, his sister, Sonia, and his brothers, Pierre, and Andre. May his inextinguishable spirit and impact live on in all the lives he touched.

Oakland Post

Posts by Oakland Post

Activism

Oakland Post: Week of June 17 – 23, 2026

The printed Weekly Edition of the Oakland Post: Week of June 17 – 23, 2026

Published

1 week ago

June 20, 2026

Oakland Post

To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

Oakland Post

Posts by Oakland Post

Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

Published

2 weeks ago

June 17, 2026

bpusa-syndication

By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.