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
