Pledge Week: “Rescue Me” by Fontella Bass

Hello, this episode is part of Pledge Week 2022.

Every day this week, I'll be posting old Patreon bonus episodes of the podcast, which will have this short intro.

These are short, 10-20 minute bonus podcasts, which get posted to Patreon for my paying backers every time I post a new main episode.

There are well over a hundred of these in the archive now.

If you like the sound of these episodes, then go to patreon.com slash Andrew Hickey and subscribe for as little as a dollar a month or $10 a year to get access to all those bonus episodes plus new ones as they appear.

Today, we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode, though some of this information will show up in other contexts in future episodes.

So we're going to have a Patreon bonus episode on one of the great soul pop records of the mid-1960s, Rescue Me by Fantella Bass.

Rescue me, or take me in your arms, rescue me.

I want your tender drum, but I'm alone.

And I'm blue,

I need you and your love too.

Come on, and rescue me.

Come on, baby, and rescue me.

Fantella Bass was actually a second-generation singer.

Her mother, Martha Bass, was a great gospel singer, who had been trained by William A.

Ford Smith, who was often considered the greatest female gospel singer of the 20th century, but who chose only to perform live and on the radio, rather than make records.

Martha Bass had sung for a short time with the Clara Ward singers, one of the most important and influential of gospel groups.

Wasn't it a pity how they punished my Lord?

And he never said a mummy word.

Suffered bread and died on the bed and died to redeem the sinful world and to sin and die.

And he never, no,

he never said a mummy word.

Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to.

She spent much of the early 60s working as a piano player and singer in the band of Little Milton, the blues singer.

I don't know exactly which records of his she's on, but she was likely on his top 20 RB hit, So Mean to Me.

You said you never love me,

you admit you're doing me wrong.

You say you're using me, baby.

Do the real thing comes along.

I've mercy, baby.

Please have mercy on me.

Yeah, something's bad gonna happen to you, like

cause you so mean to me.

One night, Little Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived.

Milton's bandleader Oliver Sane was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, the Oliver Sane Soul Review, featuring Fantella and Bobby McClure.

She signed to Bobbin Records, where she cut I Don't Hurt Anymore, a cover of an old Hank Snow Country song, in 1962.

I don't hurt anymore.

All my tear drops are dry.

No more walking the floor

with bed burning inside.

Just to think it could be

time has over.

After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels.

She released a single backed by the Ikeette, My Good Loving.

But did you notice pretty baby

scream?

You said goodbye and then you slammed the door.

I heard you when you said you would be back no more.

But I love you, and I love

you gonna miss my little love.

Could you love me?

Oh, yes, you win.

And a duet with Tina Turner, poor little fool.

will remember me.

It's too late.

I'm too close, I'm too close to turn around.

Oh, yes, I am.

It's just perfect time.

I know I'll make it mine.

At the same time, she was still working with Sane and McClure, and Sane's Soul Review got signed to Checker Records, the chess subsidiary which was now starting to make soul records, usually produced by Roquelle Davis, Berry Gordy's former collaborator, and written or co written by Carl Smith.

These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler, and the rest.

So this was a thriving scene not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits.

Bass and McClure recorded a couple of duo singles with Cheka, starting with Don't Mess Up a Good Thing.

don't you be no fool?

You're gonna keep on a fooling around our baby.

You're gonna mess up a good thing,

you're gonna mess up a good thing.

That made the top 40 on the pop charts and number five on the RB charts.

But the follow-up only made the RB top 40 and didn't make the pop charts at all.

But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time solo classics.

A Motown sound-alike that was very obviously patterned after the songs that Holland, Dojio and Holland were writing, and which captured their style perfectly.

There's some dispute as to who actually wrote Rescue Me.

The credited songwriters are Carl Smith and Reynard Minor, but Bass has repeatedly claimed that she wrote most of the song herself, and that Raquel Davis had assured her that she would be fairly compensated, but she never was.

According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk.

Her follow-up to Rescue Me, Recovery, didn't do so well, making the lower reaches of the pop top 40.

Though you misuse me and false accuse me, I've got the lover's stuff.

You treated me like a heart double shoe, but I've got to love

you.

My heart is free.

It's my

lovely.

I'm feeling good.

I'm feeling good.

Several more singles were released off Bass's only album on chess, but she very quickly became disgusted with the whole mainstream music industry.

By this point, she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago.

The music she recorded with the group is excellent, but if anyone bought the Art Ensemble of Chicago with Fantella Bass, the first of the two albums she recorded with the group, expecting something like Rescue Me, they were probably at the very least bemused by what they got.

Two 20-minute long tracks that sound like this.

In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success, she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records.

In the 1990s, she made a few gospel records with her mother and her younger brother, the RB singer David Peeston, and toured a little both on the nostalgia circuit and performing gospel.

But she never returned to being a full-time musician.

Both she and her brother died in 2012, Peeston from complications of diabetes, Bass from a heart attack after a series of illnesses.

Rescue Me was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music.

But Fontella Bass still had a far more interesting and fulfilling career than many other artists who continue trying to chase the ghost of their one hit.

She made music on her own terms and nobody else's, right up until the end.