Click here to play the podcastThis episode, we travel back to Chicago, 1965 and dive into Fontella Bass‘s iconic hit, “Rescue Me.” Let’s explore this timeless track, recorded at the legendary Chess Studios, and discover the musical elements, the stellar lineup of musicians, and the story of Fontella Bass– an artist who did things her way.
“Rescue Me” (Carl Smith and Raynard Miner) Copyright 1965 Chevis Publishing Corporation, USA
TRANSCRIPT:
Well, hello. It’s good to have you back. This is the “I’m In Love With That Song” podcast, and I’m your host, Brad Page, coming to you on the Pantheon Podcast Network with another one of my favorite songs that we’re going to explore together on our continuing quest to understand how great songs come together. You do not have to be a musician or a musical expert to enjoy this show. All we ask is a willingness to listen, and you’ll come away from this show with a new appreciation for how great songs work.
On this episode, we’re travelling back to Chicago 1965, the famed Chess studios, and Fontella Bass with a song called “Rescue Me”.
There are many genres of popular music, but there’s one trait or trend that’s common in all of them: the “one-hit wonder”. Doesn’t matter if you’re talking about rock & roll, country music, R&B, hip-hop, rap, Top 40, they all have a history that’s littered with so-called one-hit wonders. In many cases, you can walk up to people on the street and nine out of ten of them might have heard of the song, but they couldn’t tell you who did it. But behind most of these songs are artists who worked for years before that song was a hit– and in many cases, worked for years afterwards. And this is one of those stories.
Fontella ass was born in July 1940. Her mother was a well-respected gospel singer, but Fontella made her career in the less-wholesome world of rhythm and blues. She played piano for guitarist Little Milton’s band. Here’s a song by Little Milton called “Satisfied” with Fontella on piano.
One night, Little Milton was late to the show so Fontella sang a few songs, and she did so well that they started giving her a featured vocal every night. When Milton’s bandleader, Oliver Sain, left, Fontella went with him. She eventually signed with Bobbin Records and released her first single, “I Don’t Hurt Anymore” in 1962.
Then she ended up with Ike Turner and recorded a few singles for his label, including 1964’s “Poor Little Fool”, which features Tina Turner on backing vocals.
Around this time, she met the legendary jazz trumpet player Lester Bowie, and they eventually got married. In 1965, she signed to Checker Records, a subsidiary of the great Chess Records label. Her first couple of singles for Checker were duets with singer Bobby McClure, the most successful one being a song called “Don’t Mess Up A Good Thing”.
In August 1965, Fontella was bouncing ideas around with Raynard Miner and Carl Smith, two of the producers and songwriters at Chess. Arranger Phil Wright joined in, and by the time they were done, they had written “Rescue Me”.
You would be forgiven for thinking that “Rescue Me” was a Motown song. It has all the hallmarks of a Motown classic: the four-to-the-bar snare (that insistent drumbeat with the snare on every beat), the horn section hooks, the infectious chorus. I’m sure that was intentional. The Motown sound was the new sound. Chess Records was starting to sound dated, and I think they were desperate to capture some of that Motown magic with the “Rescue Me”. They did.
According to Fontella, she was assured that she would get a writing credit for “Rescue Me”. But when the single came out, it was credited to Miner and Smith. Her name was not included. The song would go on to sell a million copies; it was Chess’ biggest hit in a decade. But Fontella didn’t get any of those songwriting royalties.
The song was performed by Raynard Miner on piano, Sonny Thompson on organ, Pete Casey and Gerald Sims on guitars, Gene Barge on tenor sax. And check this out: Louis Satterfield on bass, Charles Stepney on vibes, and Maurice White on drums. Maurice White was the man behind Earth, Wind And Fire, and both Setterfield and Stepney would be a key part of Earth, Wind And Fire. And if that wasn’t enough, on backing vocals, you’ve got the great Minnie Ripperton. Now, that is quite the band.
The song begins with the groove laid down by Louis Satterfield on bass and Maurice White on drums. Next in are the piano and a chucking guitar part. A quick drum fill by Maurice White brings in the rest of the band, including the horns. And then we’re off.
Now, that little part right there, you’ve probably heard parts like that many times, but I love that part. And it’s interesting to me because here’s why. First off, it’s descending in pitch. I mean, that’s obvious, but it is also kind of stretching in time.
Now, I know I always say we don’t get technical here, we don’t get into music theory, so don’t worry, I’m going to keep this simple. But I do want to at least scratch the surface of what’s going on here, so stick with me.
The first two notes of this section are 8th notes, hitting on the first beat of the measure. So, if you were counting it, as in “one and two and three and four and”, those first two notes would be the “one and” of this measure. But the next three notes fall in between those beats. There’s a pause or a “rest” in musical terms. So again, if you’re counting it, those notes hit on the and two and three and four. And so that leaves you with the rhythmical sensation of things slowing down. They don’t actually slow down– you can tap your foot to the beat and it stays in time. But those pauses and that shift in rhythm give the feeling of things slowing just a bit. Combine that with the notes descending in pitch, and you’ve got a very simple but very effective manipulation of your senses.
So let’s go back and hear all of that again in context.
“Rescue Me” just a great vocal performance by Fontella through the whole song. Let’s go back and focus on her vocal here.
And that brings us to the first chorus, with Fontella supported by the great Minnie Ripperton on backing vocals. It’s just an all-time classic chorus, augmented by those horns. And notice how high the horns are in the mix.
And that leads directly into the second verse. So let’s let that play through.
Now let’s go back and listen to that verse without the vocals, so we can just hear the band grooving. Couple of things to note. The bass is doing most of the heavy lifting here, but the piano is providing most of the flourishes. The rest of the instruments are playing it pretty straight. There’s a decent amount of reverb on the track, but it’s not overdone. And then, of course, there’s the ever-present tambourine, the secret weapon on many Motown tracks. So, of course, they gotta add one here, too. You can also hear some percussion on this track, probably conga drums.
Okay, here’s the second chorus.
And here comes a breakdown. Essentially the same as the intro, with everything dropping out except the bass and the drums, and then building back up. I like that descending piano part right before the vocals come back in. Let’s hear this last verse.
I like what the piano is doing here. Bring up the vocals again.
And here at the end, they break it down again, bringing it down to just the drums and percussion, bass and vocals.
And we ride out with just the bass, congas, and vocals.
“Rescue Me” by Fontella Bass.
Fontella never did get the songwriting credit she deserved. She said they kept promising her that they’d take care of it, but it never happened. When she got her first royalty check from Chess, it was so small, she tore it up and threw it back at them.
She got sick of the pop music business and did some work with her husband, Lester Bowie, performing on a couple of jazz albums with him. She released one more solo album in 1972, but then largely retired from the music business. She would release a few gospel albums down the road, but that was about it. But the one album she released for Chess in 1966 following the success of “Rescue Me”, it’s a pretty solid record. I like that album.
Around 1990, she was watching TV when she heard a voice singing “Rescue Me” in an American Express commercial. No one had asked her permission. She challenged American Express and in 1993 they settled with her for over $50,000.
Later in life, she suffered some health issues; breast cancer, a few strokes, and she had a leg amputated. She died from complications from a heart attack on December 26, the day after Christmas, 2012. She was 72 years old.
“Rescue Me” may have been her only big hit, but Fontella Bass did things her way, with integrity. She didn’t spend the rest of her life trying to find the next “Rescue Me”. I think there’s a lesson in there for other one-hit wonders.
Thank you for joining me for this search and rescue mission. We’ll be back again in about two weeks with another new episode of the “I’m In Love With That Song” podcast, right here on the Pantheon Podcast Network.
If you’d like to catch up on any of our previous episodes, you’ll find them all on our website, lovethatsongpodcast.com, or of course, you can find us in pretty much every podcast app and player that’s out there.
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I’ll see you again in about 15 days. Thanks for listening to this episode on “Rescue Me” by Fontella Bass.