MERRY CHRISTMAS TO JESSI FANS ... and CHATTING WITH THE GREAT KEN MANSFIELD

As the good cheer and unique joy of Christmas approaches, this is clearly an ideal time to wish everyone the safest, most blessed, and peaceful holiday season, along with a New Year filled with abundance and opportunity. It is also exciting to report that, in the past two weeks, I had a chance to speak at length with none other than Ken Mansfield --author, musician, producer, industry executive, and Christian lecturer extraordinaire. As many fans will recall, Ken produced Jessi's first four classic Capitol albums in the 1970s, including (of course) landmark tracks like "I'm Not Lisa", "What's Happened to Blue Eyes", "Storms Never Last" and other hits. During this period of fruitful collaboration, Ken rightfully garnered a multitude of rave reviews, awards, and award nominations for his efforts with Jessi (and with Waylon as co-producer of her tracks). Many fans will likewise remember that Ken produced Waylon's extraordinary 1976 classic Are You Ready for the Country? album. These successes, however, are only the tip of the proverbial iceberg in terms of Ken Mansfield's litany of accomplishments within the recording industry; his important association with a little band known as "The Beatles" deserves considerable mention, too.

Nevertheless, it is difficult to overemphasize Ken's contribution to the shaping of the mid-1970s outlaw-country "sound". One of the best ways to delve into that extraordinary history is to read the forthright and gripping accounts written by Ken himself! A superb trilogy of books gives testimony to the considerable artistic legacy of this man, along with a moving and potent narrative detailing Ken's Christian spiritual journey. The books can be purchased from a number of sources, but it is perhaps most convenient to peruse them and purchase them via Mr. Mansfield's official Amazon.com page. These days, Ken is a compelling and in-demand speaker, travelling nationally and internationally to witness to Christian groups about his conversion experience and how this grace-filled spiritual vision reflects back, in terms of perspective, upon his work as a star-maker in the often punishing entertainment industry.

Given the hustle and bustle of the holiday season, along with Ken's already hectic professional schedule, I was particularly thankful for his time when it came to talking about Jessi and her 1970s heyday. In an amiable hour of phone discussion, Ken had only the highest praise for Jessi and Waylon; his deep respect for these two, as both artists and individuals, is palpable. We covered a lot of territory, some of which was noted in his trilogy of books (another reason to buy those gems) and we explored a few more obscure aspects of the artistic process of working so closely alongside Colter and her posse. I am hoping to secure an in-depth interview with Ken some time after the New Year, if schedules permit, but suffice it to say that Ken graciously shed a great deal of light upon Jessi's rise to mid-1970s stardom. Among other things, Ken talked about the watershed moment when he first saw Jessi Colter performing on an episode of Hee Haw in the early 1970s. Indeed, Ken had tuned-into that particular episode because he wanted to watch the show's headlining star ...Waylon! Ken had already been a great admirer of Waylon's work, but he had never heard of Jessi, who he presumed to be the Hee Haw episode's featured "girl singer" du jour; he did not know that Jessi was associated with Waylon, at that time.

Mansfield was floored by his musical hero, Waylon Jennings, but equally intrigued by this beautiful and talented young lady at her piano. Being a man with no small measure of industry influence, Ken recounted how he made immediate inquiries into Jessi's identity, possible management status, etc. Upon learning that Jessi was, in fact, married to Old Hoss, he figured that Colter would already be well represented by some agent or production entity. As it turns out, she wasn't. To his delight, Ken received a phone call not long afterward and the pleasant voice on the other end of the line greeted him with the (perhaps prescient) words: "Hello, Ken. I'm Jessi Colter."

A powerful professional relationship was born at that juncture and the rest is history, for we all know how Jessi's "I'm Not Lisa" took the entire nation by storm in 1975, along with her debut album, I'm Jessi Colter (which went to No. 1 in Cashbox, No. 4 in Billboard), and her subsequent recording successes -- crossover chart appearances with hits like "What's Happened to Blue Eyes" and "You Ain't Never Been Loved" and monster-selling albums like Jessi and Diamond in the Rough. Ken was also quick to acknowledge the crucial reaction of Capitol Records VP (and fellow industry legend) Al Coury, who listened to the four-track demo Ken produced on Jessi and "nearly fell off his chair," agreeing to sign her on-the-spot. Mr. Mansfield also gave high praise to Jessi for her confidence and professionalism in the studio. Even before she became a star, she believed in her one-of-a-kind, original music and didn't want a lot of superfluous bells & whistles when it came to recording.

"Jessi was no-nonsense in the studio," said Ken during our conversation. "We brought in her little piano and she played and sang her heart out. She didn't want any overdubs or anything, which is why on her records you hear this amazing, very real voice."

Ken also spoke briefly with me about Jessi's seminal but underappreciated Mirriam album of 1977, as well as his wish that the label had released Jessi's incomparable original version of "Storms Never Last" as a single in 1975. "I absolutely believe it would have been another million-seller for her," he said. I wholeheartedly agreed with him on that one.

All in all, it was a pleasure and an honor to speak with this exemplary gentleman, and I do hope to flesh-out the experience with a formal interview transcript after the New Year, as mentioned. Ken was open to the idea of sending him some "Jessi Questions" within that context, so we will see what may be seen in the near future. Until then, if you want one of the most compelling "inside looks" at the making of the music you love, along with geat stories about so many other big-name artists and industry "powers", I would encourage you to purchase one or all of Ken's books. He apparently also has what sounded to me like his most extraordinary project ever in-the-works, too; we'll keep readers posted when Mr. Mansfield feels ready to reveal more. If anyone out there is interested in welcoming Ken as a powerful, uncompromisingly Christian speaker for your church, or as a speaker for your corporate organization/event, check out his www.AuBaycom.com multi-media site.

For now, let me wrap-up this entry by reemphasizing my gratefulness for Ken Mansfield's time, generosity, and enlighteningly positive words about our beloved Jessi (and Waylon). The next installment of Jessi's bio will show up on the blog after the New Year, and hopefully a transcripted interview with Ken shall follow in due course. Let me wish a Merry Christmas and Happy New Year to Jessi, her loved ones, her associates, and to all of Jessi's and Waylon's and Shooter's fans at home in the USA and elsewhere. Godspeed and God Bless! ~Ian

JESSI BUSY AS EVER: Promoting Upcoming Waylon Tribute (VOL. II) and Singing with Hank Jr. for the Country Music Hall of Fame

The next portion of my Jessi Bio (dealing primarily with Mirriam Johnson's life and work in the "Duane Eddy Years" and her first meeting with Ol' Waylon) will arrive as soon as I get my Christmas shopping done, which of course will be mere moments away. NOT. In any event, Jessi the Lady has been busy this December, still working on her own projects and contributing to great causes. Notably, she has been in Nashville with Shooter and a number of other artists, gearing-up for the eventual release of the second volume in the official Jessi-approved Waylon tribute album, and also helping old friend Hank Williams Jr. in a benefit to raise money for the Country Music Hall of Fame. One of Nashville's most beloved columnists, Hazel Smith, dishes wonderfully about a recent visit with Jessi, and fans can be privy to the details by following this link: http://www.cmt.com/news/hot-dish/1675728/hot-dish-jamey-johnson-gives-jessi-colter-a-20-bill-for-scratch-paper.jhtml

More to come, friends. As mentioned, 2012 is going to be a busy year for Jessi, Shooter, their fans, and Waylon's legions of fans. Stay tuned and enjoy safe and blessedly happy holidays!

JESSI's BIOGRAPHICAL ESSENTIALS, PART II

This is not a good day to peruse the Jessi-Bio. I spent over two hours composing the "Part II" of Mirriam Joan Johnson's early life, liveliness, and legacy, and my wicked, wicked, WICKED pc just flopped like a dead squirrel as I was finishing the piece.
I wrote some exceptional insights about Mirriam's early years, gleaning nuances about that powerful & peculiar "pentecostal style" in terms of her piano playing at Mama Helen's church. Yes ... I plumbed some depths, and am flummoxed. Blogspot used to "save" drafts. I guess they are pissing me off.

In any case, I am devastated by the loss of all that I wrote about Mirriam Johnson's (Jessi Colter's) early fusion of influences. Namely, I went into detail about the tradition of Pentecostal muscianship, the socio-cultural background of Mesa, AZ, and the juicy amalgamation of church-y styles that 11-year old Mirriam must have incorporated into her "sound" by the time she reached the mere brink of her teens.

I went on (with references) about how she was duly sheltered as a young lady (from the skunky honky tonks) but was encouraged in reasonable directions as a young woman by her Mama.

Being totally pissed at the services of blogspot, I noted that Mirriam Joan Johnson gained a fabulous local reputation as a prodigy in Mesa, was guided under the watchful and worthy love-shroud of Mama & Papa Johnson, but still became intuitive and fabulous enough to merit a "smuggler" scenario. Mirriam's sister, Sharon, had married wheeler-dealer producer "Cowboy" Jack Clement, and Jack was "in thick" with twangy guitar superstar Duane Eddy. Though she had particpated-in and won a number of regional singing/songwriting contests, Mirriam was a bit interested in auditioning for Eddy.

Willie Nelson has made more than one semi-nasty remark about Jessi Colter, and we aim to take him to task for his comments (Yes, I am going to rake Willie up one side and down the other), but "lack of ambition" cannot be a slogan wrapped around Mirriam Joan Johnson circa 1960-61. Mirriam's brothers had to secrete her out of the house into a "bar" (Oh MY! That was CLEARLY off Mama Helen's radar), but Mirriam, who could sing like a bird, as we all know, caught Eddy's eye and ear, on that particular evening, and she also caught the very first wave of a tide that would bring her toward shores she had never dreamed of.

The rest of my previously stunning bio was related to Mirriam Johnson's  hypothetical conundrum, as a youngster:

"I suppose I am something of a prodigy. Mama's flock requires me to have a Gospel soul, and I have one, and this sort of pentecostal "soul" requires emphatic piano-playing. Plus, they like soft, roadhouse-y flourishes at-the-edges of hymns, when they break to speak in tongues. I can do that, which makes my piano-playing style rather funky and unique. But I also want to write my own songs, and I think I can take-on the world in that regard, if I want. Do I want it?"

I will revisit Mirriam's development as a very young singer, songwriter, and Evangelical Gospel chanteuse in the next installment. My two-hour "version" was obviously much better and more elaborate. Bear with us.

(Grrrrrrr.....)

Amazing News: Jessi's Autobiography is reportedly in-the-works ... New Album Rumored for 2012

The next installment of my Jessi Colter-bio will arrive as soon as I find time amidst all of my other projects, but until then Colter fans ought to be galvanized by the following news: Jessi has been hard at work on her autobiography -- crafting her life-story at home in Arizona and sometimes in the town of Normandy, near Nashville. The autobiography is confirmed by a recent article about the Jennings estate's indefatigable business-manager, Nikki Mitchell, in the Shelbyville Times Gazette. The article is entitled Ready for the Country? and can be read at http://www.t-g.com/story/1784482.html. As if this news was not exciting enough, a new Jessi Colter studio album is rumored for 2012. In interviews related to the promotion of the latest Jessi & Shooter-approved Waylon Jennings tribute album, Jessi notes that she has been working with Lenny Kaye and a slew of peers for the past three years. The disc is expected to be released by Scatter Records. No matter what the case may be, the idea of Jessi's memoirs reaching the public is particularly extraordinary. Her life has been as adventurous as that of her beloved husband, and with all due respect to the beloved and wonderful Waylon ... I expect Jessi remembers a lot more of the key moments. It would be the musical autobio of the decade, if well-written and candid, and we already know that Jessi is a straight-shootin' and admirably articulate woman. Stay tuned, Colterians!

JESSI COLTER: The Biographical Essentials (PART ONE)

The woman who would become known to the world of pop, country, rock, and American roots music as "Jessi Colter" entered the world on May 25, 1947 (or 1943, according to sources we dismiss due to Jessi's seemingly eternal youth and sexiness) as Mirriam Johnson, the sixth child of seven children born to Helen Johnson of the Mesa, Arizona "neck of the world". Mama Helen (a formidable, hard-working woman of European ancestry) was not only a full-time homemaker for her delightful brood, but an ordained evangelical/Pentecostal minister and feisty preacher with her own church and congregation. Papa Johnson was a one-time racing-car builder, inventor, and entrepreneur who, with his lovely wife, owned copper and turquoise mines sequestered near a lodge-style family camp near the Gila River, deep in the Arizona desert. Remember these things as we outline our story of Jessi Colter's unique beginnings: faith; family; fast cars; and the kinds of wide-open, mystically lonesome Western desert spaces that can often be the domain of genuinely maverick American "outlaw" personalities.

That inimitable, pioneering Western lifestyle formed the foundation of a loving family guided by the strong hand of Mother Helen's unshakable faith. These were key factors in the development of Jessi Colter's character. Throughout her adult life, Jessi has been known as a woman of class, sass, grace, independence, and a sizzling sense of humor as wry and dry as the desert sands from which she seemingly sprung. She is a woman of the American "West" and, though fame has enabled her to travel the world and light-up everything from concert stadiums and record company offices to glitzy Nashville, New York, and LA soirees, her identity will always be authentically linked to the gorgeous-but-arid land of her birth, and to the faith that permeated her stark and very "deep in the West" Arizona upbringing. It has always amazed me that some folks think that the only people who dwell in "the country" are to be found in the South. Sorry, honey -- that is Establishment Nashville smoke & mirrors, along with a lot of other twisted territorial foolishness. Authentic rural music is defined by whatever off-the-beaten path, outside-the-big city, hardscrabble outskirt and otherwise backwater American region can be found. Nashville is about as "country" as Times Square. Yet it has been the mecca for giddy artists who craved acceptance and who were subsequently eaten-up and spit-out. This, good friends, is why the term "outlaw" was even applied to country & western music to begin-with. Listen and learn from the likes of Waylon Jennings and his posse. Even so, every outlaw worth his or her salt tends to take a circuitous route on the journey to "find themselves" and gorgeous Jessi Colter was no exception.

There can be little doubt that children in large families often find wonderfully strategic ways to make themselves heard and to demonstrate their usefulness. Kids are resilient in this regard and the creative child can employ particularly effective methods in order to secure the attention and love that all normal children need and desire. Little Mirriam Johnson proved herself quite useful indeed; Mama Helen's church congregation needed a piano player and, when Mirriam demonstrated a swift talent for tickling the ivories soon after lessons commenced at age seven, a prodigy was just around the proverbial corner. Within four years, the scene must have looked portentous, like something out of a rollicking (but evangelistic) rock & roll bio-flick: Helen preaching God's love and the holy words of Scripture to her tongue-speaking flock, churning them into a crescendo of hallelujahs and prophetic exaltation, while, at the nearby upright piano, 11 year-old Mirriam was just beginning to strike the first, authoritative notes of a Gospel nugget like His Eye is On the Sparrow. The kid could play, and, with the help of God and the spirit-filled orchestration of Mama Helen, that church swooned and swayed with the searing brand of intense "soul" that has been the bedrock and constant wellspring of some of the greatest American musical artists of our time. Mirriam Johnson had soul -- and she came by it the real way ... hard work, innate talent, and instilled inspiration. No one had to "attach it to her" years later in some industry boardroom at the Capitol Records Tower in Hollywood.

An eleven year-old girl striking the keys and filling a room, filling hearts with the wonderfully aching chords and melodies of soul-stunning Gospel music -- Gospel music up at the sharp end. That was only the beginning, folks, but what a beginning it was!

(STAY TUNED FOR PART TWO)

Before We Go Any Further: KEN MANSFIELD IS GETTIN' HIS DUE!

The Jessi Colter biography that I am crafting is going to be the sort of bio that she herself would hopefully deem worthy. There are so many awful and ill-researched, cobbled-together treatments of her life and career out there (Wikipedia's being the worst) that the time has come for a more extensive and accurate account. In any event, my stab at it will be far better than it would be if there were still three dozen record-company potentates hovering around her. Imagine the days when swarthy, cigarette-puffing, executive industry trolls were gathered in a dreary conference room, trying to figure-out Jessi's music:

"Is she pop? Is she country? She sure looks good. How should we market her?"

At least they knew she was good enough to make them buckets of money. That being said, I am convinced to this day that Capitol did not have a clue in terms of properly marketing the amazing Jessi for the longterm, and they made a lot of mistakes, but we'll explore that issue later, and in considerable detail.

You all may wish to hear that Waylon was the stalwart and "dedicated producer" from the proverbial get-go when Jessi hit it very, very, very big in 1975, but that may be just a little bit inaccurate. Waylon was a fabulous artist of (ahem!) some ambition and verve, on his own, but there are indications that he was not necessarily as overjoyed as one might think when wifey's songs exhibited a potential chance to upstage him. After all, "Jessi" had been a faithful wife, companion, and struggling artist for years. Artists, by nature, can often be competitive. It should not surprise us that Jessi's capacity to gain fame, hit songs, and albums of her own presented Waylon with a challenging new dynamic; it would be an interesting mountain-to-climb for any couple.

The scenario was not one of unabashed jealousy, in any event. There were "issues", indeed, but at the end of the day, Waylon wanted Jessi to fly, and Jessi lived her life to make sure that Waylon "flew". Suffice it to say that, when Waylon heard four of Jessi's original songs all gussied-up for the Capitol bosses, he knew his gal was going to be a star and had to take a big gulp for various and understandable reasons.

Amid all of this, Ken Mansfield was the one who secured those four initial demos for his Hometown unit, and he worked the boards and ruled the studio roost. Namely, he produced.

Ken is as much a gift to humanity these days, in terms of spiritual strength and direction, as he was to making a classic Jessi Colter album (or three) back in the mid-1970s -- albums that would survive the test of time. Ken Mansfield remains a legend, in our purview ... and we will be exploring all of the reasons WHY.

For purposes of temporary summation, however, Ken was (and remains) a charming and gifted man who managed the Beatles and possessed a talent for making "surrounding talent" erupt. Ken had Nashville by the cojones in the mid 1970s, and one of his greatest achievements was producing Jessi, and her 1975 I'm Jessi Colter album, which probably no one expected to do anywhere near as well as it did, but which ended-up spending about a year on charts around the world, and made even sardonic Waylon sit up and take notes. How could that album have been so good? Moreover, how could the 1976 follow-up (Jessi) have been even better?

There are many questions that Ken may answer, and we might get to that point, hopefully, but for the time being we honor Ken, his brilliance, and the superb, well-written books he has written about his incomparable journey thus far. Trust me: many stars "of yore" want to spill their memories and do have not a clue when it comes to delineating their life histories within the context of their own brains. Ken, however, is a strikingly talented writer and his books stand out as exquisite documents. He is currently a beloved and successful pastor (and we love our pastors) but he has tantalizing insights regarding some of the most crucial aspects of Jessi's career history, more than anyone now living, I think, and we revere him de facto for his excellence. Believe me -- every song he produced for Jessi will be parsed and analyzed on this blog.

Buy Ken's books here and here and here ...

If it sounds like I may indeed be angling for a Jessi-specific interview with Ken, I am. His history with Colter will hopefully be lavished upon readers as if delivered via flying red carpet, but the crucial thing is that observers understand that all three of Ken's books are better than they perhaps deserve to be; I cannot overemphasize the fact that Mr. Mansfiled is a compelling writer. The superior quality of his accounts should not surprise us, given that Ken is a man who has always apparently made it a point to work with the best.

We shall delve further into the unique contribution of Ken Mansfield regarding Jessi Colter's musical legacy, and he has indeed documented some very intriguing things -- including what Waylon did and did not want for his wife's career trajectory, at least at the outset. Stay tuned, good friends, and once again: buy Ken's outstanding trilogy of books by clicking on the links above. You will be astonished by the scope of this man's incredible journey as a professional and as an individual seeking answers on the vast horizon of life.

JESSI COLTER BIO (UNAUTHORIZED, UNOFFICIAL & THE BEST ONE YOU'LL READ TIL SHE WRITES ONE HERSELF)

Jessi Colter.

Depending upon the year in which you were born, what type of music you like (or the type of music your parents like/liked ... God Rest Their Souls, if they are in the "liked" category), or your basic knowledge of the history of various late 20th-century "alternative pop" musical movements, the name of Jessi Colter might be familiar to you. If it is not, it ought to be, and that is just one of the purposes of this forthcoming biography.

Jessi Colter was a truly major American recording artist for perhaps a six year span, at best, beginning in 1975. She attained a brief but unquestionable "superstar" status that is both enigmatic and tantalizing specifically because of an almost detectable decision, on her part, to walk away from a glaring limelight that she did not enjoy, a stardom she did not desire, and an industry that -- amost appallingly -- did not fight to understand and nurture her exceptional artistry ... even as she was making millions of dollars for that industry.

In her 45-year career thus far, Jessi Colter has released only nine solo studio albums*. Never the less and quite significantly, four or maybe five of those nine albums can be legitimately described as "classic" American recordings of superior caliber (I'm Jessi Colter, Jessi, Mirriam, Out of the Ashes, and a bit less likely ... Diamond in the Rough). Time-capsule worthy material. Most artists are lucky if they can produce just one 4-to-5-star original effort! Jessi, as mentioned, has at least four or five in the bag -- six, when you count the "Outlaws" album", and she isn't finished by any means. Keep in mind that her 2006 release 'Out of the Ashes' generated critical raves to rival the best of her 70's heyday.

Jessi Colter was indeed a crucial presence on that collaborative album that made undeniable history as a landmark boot-squashing statement of artistic independence. On the Wanted: The Outlaws album, Jessi Colter helped her fellow mavericks explode and then redefine the parameters of a claustrophobic, insular, often hypocritical musical genre ... a genre that claimed to include all of the wide-open, far-flung musical "contributions" of the American continent, but which was ironically tied, bound, and gagged to one city and to its interests: Nashville. As both a groundbreaking "crossover" and "outlaw" artist, Jessi Colter paved a big way for artists creating "sounds" outside the status quo, and American country music has since flourished when it has ventured into this territory (while remaining original). Colter paved the way for a veritable red-carpet of successful artists, precisely because Jessi Colter was so big doing the thing she was doing. There is documentation behind this, as if it were not evident enough to the Good Soul that looks back and wonders what made those great days of American Music actually tick.

Jessi Colter helped change the face of a genre, for the better. And her music remains true -- resurgent, revitalized, beguilingly ahead-of-its-time, perhaps more relevant than ever. Moreover, she is still creating, supposedly.

Jessi Colter is, of course, today best-known as the faithful wife and singing sidekick of uber-character/troubador Waylon Jennings. Though this is indeed an accurate appraisal of her career "status", it is also very much incomplete in terms of portraiture. Jessi Colter was, in fact, the bigger seller, more prolific songwriter, and brighter national/international "star" than her towering husband for a little while.

The great thing about Jessi Colter's career was that she burst bright and brilliantly, sometimes almost in spite of her glorious husband's "issues" and then she retreated from the very industry that sought to pigeon-hole them both ... in order to dedicate herself to her beloved husband (and, indeed, to the elaborate solving of his issues). But there is much more to be told than that.

We are indeed about to tell the Jessi Colter Story. Stay tuned.

*Jessi's 1990s kids' album will be discussed separately