By Emma Silvers
By Gary Moskowitz
By Alee Karim
By Ian S. Port
By Ian S. Port
By Derek Opperman
By Emma Silvers
By Alee Karim
Shuggie Otis started banging around on the drums back in 1957 when he was 4 years old. His dad, blues legend and KPFA DJ Johnny Otis, bought him the small professional kit. Soon after, however, Otis began eyeing other instruments.
"My father's band would have rehearsals in the front room and I'd watch Jimmy Nolan play his big Gibson [guitar], and that would be very impressive to me," Otis recalls via phone from his North Bay home in Windsor. "There was something about seeing Johnny "Guitar' Watson come over and play his Stratocaster and Don & Dewey bring over their Stratocasters and Telecasters that they had gotten from Fender. ... It's really crazy that I was able to be around some of the people that started rock 'n' roll."
At age 6, the budding guitar virtuoso made his commercial recording debut playing bass on Pee Wee Crayton's 1959 self-titled album. In 1968 he supplied bass and guitar on his father's Cold Shot record, and contributed guitar to Frank Zappa's solo debut Hot Rats a year later. After signing a deal with Epic in 1969 -- the year he was legally able to drive -- Otis seemed assured of a career as comfortable and successful as his father's, which by then spanned a quarter-century.
But a steady foothold in the industry eluded him over the next three decades. Today his significance has been relegated to footnote status -- as author of the Brothers Johnson's 1977 platinum hit "Strawberry Letter 23." Currently Otis has no record contract, and his band, which toured the West Coast sporadically in the '80s and '90s, recently disintegrated.
All of this would be of little consequence -- just another casualty of the grim, hope-dashing entertainment machine -- if not for one album, Otis' 1974 masterwork Inspiration Information. Not that Otis' three previous outings were forgettable: 1969's Al Kooper Introduces Shuggie Otisand 1970's Here Comes Shuggie Otis were muscular West Coast blues LPs laced with white-hot guitar riffing, while 1971's Freedom Flightshowcased his formidable knack for songwriting, reaching beyond the blues tradition into pop, jazz, and psychedelic rock. But these records were explorations of territory that had been trod before -- Freedom Flight, as courageous as it was, stopped just short of outright revolution. It was as if Otis got to the edge of the wilderness and decided to wait to enter.
Inspiration Information marked his crucial stylistic breakthrough. Its nine songs still occupy their own dreamy headspace, fluttering between the earthy soul of Al Green's The Belle Album and the cosmic skywriting of Jimi Hendrix's Electric Ladyland while refusing to settle anywhere near either one. The warm, sparkly organ and lackadaisical optimism of the title track and "Happy House" predicted the smooth black pop hits of Morris Day and Prince in the '80s, and the dramatic, classically arranged string sections of "Island Letter" and "Aht Uh Mi Head" mirrored Barry White's early disco work. The last four songs are instrumentals that balance an avant-gardist's examination of guitar and organ with a percussive abstractness that's thoroughly modern. David Byrne, whose Luaka Bop label is releasing the album on compact disc for the first time (under the subtitle World Psychedelic Classics 2: California Soul), sums up the sound thusly in the liner notes: "His trippy R&B jams are equal to Marvin [Gaye's] and Curtis [Mayfield's], but somehow more contemporary sounding."
Inspiration Information is the sort of album that at the very least should have earned its author a spot in the pantheon of '70s greats name-dropped by thrift store funksters like Beck or DJ Shadow. And not just for the rare groove-alicious appeal of the music itself, but also for the pioneering ways in which it was constructed. In the early '70s Otis' father convinced Epic Records to build a 16-track studio behind their L.A. house, allowing Shuggie to record all the instrument parts himself (except the strings and horns, which were played by the music students of his future father-in-law, famous jazz bandleader Gerald Wilson). The one-man band concept hadn't been explored much yet; the only popular artists who had toyed with it were Sly Stone, Stevie Wonder, and Paul McCartney. Otis also was one of the first artists to use the drum machine on a commercial recording.
"I was doing some recording at Columbia's studios on Sunset Boulevard, and it was divided into four studios at the time," he explains. "It just so happened that Sly Stone was using the one next to mine. I would see him from time to time and I would also listen through the walls and hear this drum machine, a sound I had never heard before. It was cool, it was interesting, it was right on time."
Otis used the newly available Rhythm King drum machine to layer a metronomic beat under his drum parts and build a fabric of strikingly synthetic multiple tracks, an effect especially apparent on the album's last cut, "Not Available."
"I don't like to brag, but that's something that the original hip-hoppers must have heard," he says with a laugh. "I think that as quiet as it's been kept, Inspiration Information has been inspirational on many musical presentations. But people don't know that because it never [reached a broad audience]."