'Below the surface, though, Jimmy and Syl had more in common than they probably admitted. Though their styles diverged, both were individualistic creators. They also seemed to treat everyone with genuine warmth.' | aaroncohenwords
While Jimmy maintained a quiet, thoughtful demeanor, Syl was a tireless raconteur, and could take any casual conversation in myriad unexpected directions. About 12 years ago, when I introduced Syl to my parents at the Old Town School of Folk Music, a brief exchange of greetings turned into a monologue from Syl about the music industry; eventually he pivoted to the subject of his somewhat new teeth, and then engaged my dad in a discussion about the 1936 Olympics.
Not even the brothers themselves have been clear about the hows and whys of their change of professional surname to “Johnson,” and one claim that Syl used to make—that his biological father had been early blues musician Robert Johnson—isn’t backed by any documentation. Then again, as they built their lives in Chicago, a certain amount of reinvention was surely in order.
On these singles for Twilight/Twinight, Syl sings with a mature inflection atop upbeat rhythms geared toward a young audience—listeners who would’ve known the dance crazes he names on “Come On Sock It to Me.” He may have had an ownership stake in Twinight, as suggested by the liner notes to the Numero Group’s essential 2010 retrospective box set,. He also ran a smaller label of his own called Shama.
Meanwhile, Jimmy had begun recording and performing more on the blues circuit, as opportunities to play live pop and R&B declined in the mid-1970s; he worked as a sideman for the likes of Jimmy Dawkins and Otis Rush. His first American album as a leader was the 1979 Delmark release, where his distinctive high-pitched voice played off his personal way of bending strings in a minor key.
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