Welcome to episode forty-eight of A History of Rock Music in Five Hundred Songs. This one looks at "Love is Strange" by Mickey and Sylvia, and how a reluctant bluesman who wrote books on jazz guitar, and a failed child star who would later become the mother of hip-hop, made a classic. Click the full post to read liner notes, links to more information, and a transcript of the episode.

Patreon backers also have a bonus episode available. This one's on "Ain't Nobody's Business" by Jimmy Witherspoon, and is about blues shouting and the ambition to have a polyester suit.



Resources

As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.

The information here was pulled together from bits of pieces all over the place, as neither Mickey Baker nor Sylvia Robinson have ever had a biography published. As well as their obituaries on various news sites, my principal sources were Bo Diddley: Living Legend by George R. White, which tells Diddley's side of how the song came about, Honkers and Shouters by Arnold Shaw, which has a six-page interview with Bob Rolontz , and The Big Payback: The History of the Business of Hip-Hop by Dan Charnan.

This double-CD set contains all of Mickey and Sylvia's releases as a duo, plus several Little Sylvia singles.

And Mississippi Delta Dues is an album that all blues lovers should have.

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Transcript

We've talked before, of course, about the great Bo Diddley, and his main contributions to rock and roll, but today we're going to talk about a song he co-wrote which ended up, in a roundabout way, contributing to many other genres, in ways that we won't properly see until we reach the 1970s. A song that, for all that it is a classic that almost everyone knows, is still rarely treated as an important song in music history.

Yet this is a song that's a nexus of all sorts of music, which connects the birth of hip-hop to the compositions of Iannis Xenakis, by way of Doc Pomus, Bo Diddley, and Ike and Tina Turner.

The story of this song starts with Billy Stewart. These days, Billy Stewart is a largely unknown figure -- a minor blues man on Chess who was too close to soul music for the Chess Chicago blues fans to take him to heart.

Stewart, like many of the musicians we're looking at at the moment, started out in the gospel field, but moved over to vocal group R&B. In his case, he did so by occasionally filling in for a group called the Rainbows, which featured Don Covay, who would later go on to become a very well-known soul singer.

There are no recordings of Stewart with the Rainbows, but this recording of the group a few years later should give you some sort of idea what they sounded like:

[Excerpt: The Rainbows, "If You See Mary Lee"]

Through his work with the group, Stewart got to know Bo Diddley, whose band he joined as a piano player. Stewart also signed with Chess, and his first record, "Billy's Blues", featured both Diddley and Diddley's guitarist Jody Williams on guitar:

[Billy Stewart, "Billy's Blues"]

Williams came up with that guitar part, and that would lead to a lot of trouble in the future.

And that trouble would come because of Mickey Baker.

Mickey Baker's birth name was McHouston Baker. Baker had a rough, impoverished, upbringing. He didn't know the identity of his father, and his mother was in and out of prison. He started out as a serious jazz musician, playing bebop, up until the point he saw the great blues musician Pee Wee Crayton:

[Excerpt: Pee Wee Crayton: "Blues After Hours"]

Or, more precisely, when he saw Crayton's Cadillac. Baker was playing difficult, complex, music that required a great amount of skill and precision. What Crayton was doing was technically far, far, easier than anything Baker was doing, and he was making far more money. So, as Baker put it, "I started bending strings. I was starving to death, and the blu