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Containing the wholly infectious disco smash "I Need It" (even if the title is unfamiliar, you'll know it when you hear it) as well as backroom slow-burners like "Superman Lover" and the sexy, after-hours "Since I Met You," AIN'T THAT A BITCH is Johnny "Guitar" Watson at the top of his mid-1970s funk game. His trademark stinging guitar solos take pride of place in a set of stylish R&B workouts that blend technical expertise with raw blues power in a compelling soul stew.
Coming out of Houston's fertile blues scene with Albert Collins and Johnny Copeland, Johnny "Guitar" Watson trod the same route to fame that his peers did in the latter half of the '50s and for most of the '60s. Unlike Collins and Copeland, though, Watson found his biggest success as a funkster in the '70s. And lest one thinks of an aging blues legend embarrassing himself aping the innovations of George Clinton and Sly Stone, Watson found a singular groove by slicking up his already urbane blues style with lots of tasty horn arrangements, plenty of fat basslines, and wah-wah-issue guitar licks. The latter element, of course, was to be expected from a virtuoso such as Watson. And whether reeling off one of his subtle solos or blending in with the band, the reborn blues star was never less than compelling. Ain't That a Bitch, from 1976, heralded Watson's new funk era with plenty of guitar treats and one of the best batch of songs he ever cooked up. The variety here is stunning, ranging from the calypso-based blues swinger "I Need It" to the quiet storm soul ballad "Since I Met You Baby." In between, Watson goes widescreen with the comic book funk of "Superman Lover" and eases into an after-hours mood on the organ-driven jazz and blues gem "I Want to Ta-Ta You Baby." Besides the fine Watson roundups on the Rhino and Charly labels, Ain't That a Bitch works beautifully as a first-disc choice for newcomers, especially those who want to hear the '70s funk material. [The 2005 Shout reissue features the two previously unreleased bonus tracks "Funkula" and "Follow Me."] ~ Stephen Cook
Recorded at Paramount Recording Studios, Hollywood, California.
Personnel: Johnny "Guitar" Watson (vocals, guitar, keyboards); Johnny "Guitar" Watson (bass guitar); Peter Martin , Peter Martin (trumpet); Tommy Robertson (trombone); Tony Thomas, Emry Thomas (drums); Paul Dunmall (saxophone).
Audio Mixer: Clint Bennett.
Audio Remasterer: Keith Blake.
Liner Note Authors: Virginia "Ginny G" Watson; Johnny Whiteside.
Recording information: Paramount Recording Studios, Hollywood, CA.
Arranger: Johnny "Guitar" Watson.
Personnel: Johnny "Guitar" Wilson (vocals, guitar, keyboards, bass); Paul Dunmail (saxophone); Peter Martin (trumpet); Tommy Roberson (trombone); Emery Thomas (drums).
Mojo (Publisher) (8/03, p.110) - "...AIN"T THAT A BITCH is an essential funk-blues-soul-R&B-jazz album by one of the great under-sung and under-sold characters of US music." Ain't That A Bitch Music | Category | Rock/Pop Albums, Rock CDs, R&B, Blues, Soul/R&B, Funk | | Label | Shout! Factory | | Orig Year | 1976 | | All Time Sales Rank |  32322  | | CD Universe Part number | 6967647 | | Catalog number | 30532 | | Discs | 1 | | Release Date | Oct 11, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Johnny "Guitar" Watson; Jeff Palo; Johnny "Guitar" Watson | | Engineer | Kerry McNabb; Kerry McNabb | | Personnel | Johnny "Guitar" Watson - vocals, guitar, Hammond organ, synthesizer, bass
Peter Martin - trumpet
Paul Dunmall - saxophone
Emry Thomas - drums
Tommy Roberson - trombone
Tony Thomas
| | Additional Info | Bonus Tracks; Remastered |
Johnny "Guitar" Watson Ain't That A Bitch Songs Ain't That A Bitch Review
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This posthumous album (Frank Floyd died in 1984) stands as a tribute to the kind of talent that simply can't exist any more. Floyd came up on the now-defunct medicine show circuit, and that concept of holding and entertaining an audience shaped his music (and his patter, as is obvious from this), then recorded for Sun in 1954 -- the same year as Elvis. In spite of his name, he was more than a harmonica player; he was also a superb guitarist and a credible singer who possessed what might be called an individual way with the English language (listen to "Shoop-a-Boop-Adoodler" if you need proof). On this set, recorded live in Memphis schools and in the studio in 1979, there's a mix of plenty of originals and blues chestnuts like "Deep Elum Blues" and Howlin' Wolf's "Sittin' on Top of the World," along with very regional standards like "It Ain't Gonna Rain No Mo." The meat here is definitely in his own music, however, with songs like "The Great Medical Menagerist" and "Married Man's Blues" that seem to completely encapsulate his winning personality. Thankfully there's this and a couple of other mementos of him. ~ Chris Nickson
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