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

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.

One of the Most Incisive Reviews of Jessi's 2006 Masterpiece 'Out of the Ashes'

Jessi garnered a towering heap of fabulous reviews for her Don Was-produced 2006 slice-o-grace, Out of the Ashes. One of the most incisive is featured below -- written by Mark Desrosiers of PopMatters on February 28, 2006. Desrosiers gets a few things wrong in his review, e.g. that Jessi has "never been taken seriously by critics" (OH HELL YES SHE WAS, at least in the early-going), but his overall review is accurate and probative and witty, to boot. Read and enjoy, and buy the freaking incredible album ASAP, by clicking on this link. My own review of that great record will be forthcoming (and it will be more incisive than this one), but Colter fans must wait. I have stories to tell, friends, and all of it must begin with the comprehensive Jessi Colter "bio" I am close to completing for this blog. The bio will be the most extensive yet in Colter's regard (research is everything and sources will be scrupulously cited), and it will not be like any "write-up" you may ever have seen about Jessi Colter in the past.

After that, we (or I) will start diving deep deep deep into the music. ALL of the music will be proffered ... along with anecdotes and Jessi Colter stories that will make you want to pick wildflowers and sing soft, sad songs.Trust me. Meanwhile, enjoy Desrosiers review, keeping in mind that I am going to pick him APART for not giving enough credit to the incomparable Ken Mansfield and (of course) Waylon for their unique contributions to the Sparkling Jessi-Brilliance of the 1970s.

Jessi Colter: Out of the Ashes

It was probably true love, that day in 1969 when Miriam Eddy (recently divorced from Duane) married Waylon Jennings, the world’s luckiest man (having given up his plane seat to the Big Bopper on February 3, 1959). Certainly, it wasn’t for money or fame: Jennings was then a hepatitic has-been, thousands of dollars in debt, experiencing a career drought that no doubt springloaded his transformation from sideman to outlaw pioneer (along with Miriam’s transformation into a honky tonk heroine named Jessi Colter). Well anyway, to make a very very long story short, Jessi Colter spent three decades as Waylon Jennings’s wife, recorded some records along the way, and now she’s alone (Waylon having had the gall to peg out just before Valentine’s Day 2002). Out of the Ashes is her first adult record in 20 years, and as far as I can determine, the first ever concept album by a widowed former outlaw. As such, it’s a mix of tomfoolery and the sublime, with a little gunplay and squeaky bedsprings in there too.

Critics have never taken Jessi Colter seriously, and I’m guessing most outlaw fans did more fantasizing than theorizing about her recorded work. From “Suspicious Minds” through “I’m Not Lisa” and even up to the children’s records she put out in the 1990s, Colter really did seem like a shapely, beautiful, safe ‘n’ sane “outlaw”, more a raven-haired response to Olivia Newton-John than Patsy Montana reincarnated among us. So this record is a surprise: a handful of great songs, sparingly produced by Don Was, and Colter’s voice has never sounded more powerful and broad. I should point out that, whatever her motives, this is not a record cynically aimed at the alt-indie crowd, Loretta-Lynn style. In fact, Out of the Ashes more often seems a pious attempt to honor her late husband (and his maker), while confronting the reality of her own widowhood. The fact that this reality clearly includes vigorous sack time with god-knows-who (definitely not her memories) just makes the record that much more engaging.

Something’s been freed up inside Colter: I hear no more producers or spouses pulling strings and fogging lenses. She’ll listen hard to Jesus, sure, but now’s her chance to write and sing without fear or favor. That eager grappling at decades of pent-up wisdom (let’s not forget being something of a dutiful sex symbol) gushes forth in places like “You Took Me By Surprise” (wherein the sexagenarian widow growls “rock me gently” as if the sheets were still damp), and “You Can Pick ‘Em” (one whore after another). But the centerpiece of the record, the bit that takes your breath away even as someone’s watch alarm beeps Moldy-Peaches-style into the microphone at one point, is “So Many Things”. The piano drips down like a thawed stalagtite, a cello buzzes like a solemn bee, and Colter herself seems bewitched by the one thing the song is really about: memories of lovemaking. I think the cavernous rawness of this tune is what led Shooter Jennings to remark that the whole record is “dirty and messy like an early Rolling Stones record.” Well, a son’s love can exaggerate mom’s achievements, but this is certainly starker (and sexier) than anything she’s ever recorded. Even “I’m Not Lisa” (the smash hit with a co-respondent’s name in the title) seems cheery and baroque in comparison.

There are some bizarre moments, though. The exuberant cover of Bob Dylan’s “Rainy Day Women #12 & 35” makes me wonder if her physician has prescribed some kind bud for her glaucoma or something. “Starman”—about getting laid by stars—seems a tad late coming from a woman who launched her career by marrying Duane Eddy in 1966, yet its earnestness seems to suggest a song that’s been kept inside her for forty years. And the star-studded “Out of the Rain” (featuring Tony Joe White and a ghost named Waylon) is much too soggy for a desert record like this.

On the whole, though, these are great, simple tunes that haunt us with their lust, sadness, and freedom (for that can be a joy of widowhood). That’s the concept this widow’s putting across, and I dig it. Just pray that your own momma can turn over enough glowing coals to sing a line like this when she hits retirement age: “When that canyon’s getting narrow, seems there’s room for one, that’s all”.