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

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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)

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.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

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Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.
Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith.  Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold.  No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.

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