So sad to hear of the death of Bill Withers, life guide and fine songwriter. Here’s a reprint of a couple of Five Things about Bill.
The things you learn…
Sent on a small Bill Withers journey by The Immortal Jukebox, I came across the interesting tale of his first album on the mix site, written by Barbara Schultz. There’s the fascinating story of Wally Heider’s studio in the piece, which is basically an interview with the great engineer Bill Halverson. And how many articles about recording studios feature the word “soffit”? “Withers was eventually signed to Sussex Records, and the great Booker T. Jones was enlisted to produce the new artist’s debut album, Just as I Am in 1971. Also on the session were two members of the MGs – drummer Al Jackson and bass player Donald “Duck” Dunn – plus singer/songwriter Stephen Stills on guitar. The recordings were made in Wally Heider’s Studio 3, then situated in L.A. at the corner of Cahuenga and Selma. The engineer was Bill Halverson, whose credits at that point included such essential records as Crosby Stills and Nash’s massive self-titled debut, Cream’s Badge, Tom Jones Sings She’s a Lady and CSNY’s Déjà Vu.
“It was Stephen Stills’ studio time that we were using,” Halverson recalls by phone from his home in Nashville. “I was working with Stephen on his first solo record, and he came to me a couple nights before this and said, ‘I’ve got this guy who needs a night of studio time.’ Stephen was hanging with Rita Coolidge, and Booker was marrying [Rita Coolidge’s sister] Priscilla Coolidge, and somehow Booker asked Stephen for some studio time. We just spent the one night.” On Withers’ session, Halverson placed Jackson’s kit near the control room glass, under an overhanging soffit – an emulation of United Western 3 [a fabled room in LA Studio lore — ed] – that held the studio playback speakers. “If you tucked the drums as close as you could under that overhang of the big speakers, you were out in the room but you had really good isolation,” Halverson says.
“When Bill Withers showed up,” Halverson says, “he comes walking in with his guitar and a straight-back chair, like a dining room chair, and asks, ‘Where do I set up?’ I showed him right in the middle of the room, and then he left and he came back in with this platform, a kind of wooden box that didn’t have a bottom. It was about four inches tall, and was maybe 3 foot by 4 foot; it was a fairly large platform, and he set it down in the middle of the room. Then he put his chair on it and got his guitar out, and he’s sitting on top of this box. So I miked him and I miked his guitar, and then I was doing other things – getting sounds together. But then he calls me over and he points down to the box and says, ‘You gotta mike the box.’ Well, the way I was trained, you serve the artist, whatever the artist needs. So I got a couple other mics and I miked the box, the place down near the floor, next to this platform.
“And now, when you listen to “Ain’t No Sunshine,” you know that all that tapping that goes on [while Withers sings] ‘I know I know I know’ all through it, actually, that’s him tapping his feet on the box, which is actually more intricate than the guitar on that track. He had evidently rehearsed that in his living room, maybe for years.”
I found the great documentary, Still Bill, directed by Damani Baker and Alex Vlack, complete on YouTube. I wrote a little about it in 2012:
It’s Bill Withers’ World: we just live in it… the Wonderful Still Bill
Everyone is hereby urged to see this fine, fine piece of work, less a music documentary than a meditation on how to live a life. Best human moment: Bill’s visit to an educational project helping kids who stutter (Withers did until the age of 28). Best musical moment: a toss-up between Raul Midón and Bill on the telephone, and at a tribute concert, Bill watching Cornell Dupree glide ’n’ slide through Grandma’s Hands, talent undimmed by illness (even though he has an oxygen tube on). Bill steps onto the stage and sings a verse, but then, as Barney Hoskyns’ wrote: “as if concerned not to upstage the ailing but grinning Dupree—one of soul music’s greatest guitar players—he almost immediately sat down beside him, continuing to sing but deferring to Dupree.” And with his hand resting on Cornell’s knee.
If you haven’t seen it, rectify that omission soon. The Cornell Dupree version of “Grandma’s Hands” is at 1 hr 6 minutes.
Five Things I Saw & Heard This Week 