The Bronx native began his career as an editor and reporter for the music-industry trade journal Wexler was a major force in the development of Soul music in the '60s, producing records by the likes of Wilson Pickett, Dusty Springfield, and Aretha Franklin, and discovering and developing such outposts as Stax in Memphis, Fame in Muscle Shoals, Alabama, and Criteria in Miami as out-of-town recording hubs.
He feels that they are simply misguided about selections to be voted on:“The Grammy tastemakers — they voted certain artists in, who happen to be black artists, who have nothing to do with Rhythm and Blues; I don’t want to mention any names, but there’s been some tragic miscarriages of justice. And in which there is very little to do with the music. There was an article in The New Republic with the headline ‘Eyes of Blue, Ears of Tin.’“Somehow there has been a body of alleged reviewing in which a lot of youngsters become intoxicated with the sound of their own prose. A look at the legendary Atlantic Records producer behind the sound of Aretha Franklin, Ray Charles, and others Our methods here which go back a dozen or 15 years, served us in good stead until the Stax thing came along, and showed us that we were sort of super-annuated. Remarkable Songs About Ordinary People: Remembering John Prine They’re led away from the nitty gritty, and they never do get tuned into the music.
Therefore I would like to know by what right these “eyes of blue, ears of tin” have the right to criticize or cannonize, or fault or praise anybody from Mike Bloomfield to Eric Clapton on to Albert King? But we got ‘I Got A Woman,’ ‘Come Back Baby’ and ‘Greenbacks’ on that first session.”Jerry’s current busy schedule is not so busy that he doesn’t have time to observe, comment on and sometimes bitch about various musicindustry sidelines. He died in his sleep at the age of 93. It was real old equipment; a radio engineer; and we had to stop every half hour or so while they gave the news because the control room was where they were broadcasting the news! He subsequently became a freelance producer, recording with such artists as Bob Dylan, Etta James, Santana and Willie Nelson. The last two years has brought on an explosion of Latin influence in mainstream pop music. Some of them admitted to me they can’t even hear the music. I have tried to utilize a lot of their techniques. Otis Redding was reportedly seeking to find a way via the Atlantic-Stax/Volt tie-in to have Jerry produce his next sessions at the time of his death last December.“Above all I dig the Stax operation. It was very instructive.” However, the real key to Ray’s success in Jerry’s eyes was “when he formulated his own permanent band.” When this happened, Ray called Atlantic one day from Atlanta, Ga., suggesting that they come down and record him.“The amazing thing was that we went into a radio studio to make the records; there were no recording studios in Atlanta then. His affability is augmented by his keen business sense and the invaluable, yet indescribable ability to “feel” when a record has that “certain something,” plus a fantastic sense of “timing” (the best example of which is Aretha Franklin’s success on Atlantic).Atlantic’s artists who are not produced by Jerry and who seek out his opinion on their recordings know that he will speak frankly.“I would always let them have it, exactly what I thought.” This even applies to some artists who are not signed to Atlantic for whom Jerry’s opinion is invaluable.

We had the good fortune to form the symbiotic relationship where we could feed on each other.

), that the Bill Gavin Poll of disc jockeys across the country have voted him “Record Man of The Year” for two consecutive years: 1967 and 1968. … I remember, it was three hours and we couldn’t get a balance.


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