The Legendary Music Producer You’ve Probably Never Heard of…But You Will Now
In the music producer’s hierarchy, there are recognizable names that will immediately come to mind such as Quincy Jones, Berry Gordy, Holland-Dozier-Holland, Gamble and Huff and Jimmy Jam and Terry Lewis. Then you have current producers like Pharrell, Timbaland, Diddy and Dr. Dre. Little does the public know that there are some brilliant producers who stay in the shadows, low-key and unsung. They quietly go about their business of producing for some of the most famous artists on the planet and allow me to introduce you to one of them; his name is John “Sly” Wilson.
BY: SYDNEY CHANDLER
Posted: September 16, 2016
John “Sly” Wilson is one of the founding members of the Cleveland born Rhythm and Blues band Sly, Slick & Wicked. Along with co-founder Charles “Slick” Still and newest member Leo “Wicked” Green, Sly, Slick & Wicked has been on the music scene since 1970. They released their first single “Stay My Love” in 1971 and caught the attention of Paramount music executives. Their follow-up single “It’s Not Easy” prompted none other than the Godfather Father of Soul, James Brown to offer them a chance to record for People Records, which was a subsidiary of Paramount run by Brown. They soon became members of the First Family of Soul. Under Brown’s tutelage and co-producer Eddie Purrell, Sly, Slick & Wicked’s next single “Sho’ Nuff” garnered national attention and landed them on the hippest trip in America, Soul Train. Eventually, recording industry powerhouse Motown came knocking; they signed on the dotted line and in 1976, released their full-length album “Sly, Slick & Wicked” and the rest as they say, is music history.
Sly, Slick & Wicked were awarded the Men of Motown Award from the Motown Museum in 2003, and inducted into the Motown Alumni Association Hall of Fame. In 2004, they were surprised with the news that the Rock & Roll Hall of Fame was adding Sly, Slick & Wicked as one of their permanent displays. Recently, Sly, Slick & Wicked were inducted into the R & B Hall of Fame and Wilson and Still won the BMI Pop Music Award for Justin Timberlake’s “Suit & Tie” off his album, the 20/20 Experience.
Wilson’s producer’s resume reads like a who’s who of music industry royalty with such artists as the maestro Barry White, Janet Jackson, The O’Jays, Miki Howard, LaToya Jackson and Iranian singing sensation Andy Madadian. Earlier this year, Wilson was instrumental in the production of Madadian’s hit single “Tehran” featuring LaToya Jackson, which went on to break several international records.
But Wilson’s impressive resume doesn’t stop there; beginning in 1980, he joined Joe Jackson Productions (father of the renowned Jackson 5) as an in-house producer, moved up the ranks and while with the company, cemented his reputation as one of a select few go-to producers in the industry as well as a respected executive. Of late, Wilson was elected Chairman of The Global Doo Wop Coalition/The Doo Wop Music Hall of Fame, a registered not-for-profit 501c3 organization dedicated to preserving the Doo Wop music genre and introducing Doo Wop to a new generation of kids out in the community. Wilson is credited as being the first western producer and artist to bring gospel to Japan and was so well-received that the concerts were sold-out across the country.
Wilson directed the World Peace One choir featuring celebrated national and international artists across all genres, spotlighting John Reznik of the Goo Goo Dolls, Sheila E, Al Jarreau, George Clinton, Al B Sure, the late great Patrick Swayze, Brian McKnight and Ray Charles Jr. Wilson has scored several films in the states and abroad and tried his hand as musical director for a play in Los Angeles. Wilson is also very devoted to his charitable endeavors and has supported The Jonathan Foundation for Autism and other organizations which help underprivileged children pursue the musical arts. But his most challenging roles are that of being one of the architects and lobbyists for Truth in Music and the Fair Play, Fair Pay Act of 2015.
Wilson serves on the Truth in Music Committee with Chairman Jon “Bowzer” Bauman of Sha Na Na, Beverly Lee of The Shirelles, Mary Wilson of the Supremes and a host of other famed artists. They succeeded in passing a law in 33 states that helps protect consumers from being fooled by imposter groups passing themselves off as the original groups in live performances. According to Wilson “the long-term ramifications with these imposter groups are that they severely cripple the profitability of the original groups, tarnishes their reputations and the public isn’t receiving the best performances because they’re unaware of the deception. Promoters hire the imposter groups because they can low-ball them for less money”.
Since the Truth in Music Committee started this national movement, they have estimated that the business of imposter groups has been curtailed by approximately 90%. This is a win for many of the iconic groups whose livelihoods depend upon performing, and it’s especially important to Wilson because Sly, Slick & Wicked were also victims of an imposter group. Wilson and the rest of the Truth in Music Committee are now attempting to get the law passed in the remaining states.
In 2015, Wilson along with a contingent of recording artists, converged upon Washington, DC and spoke before the House of Representatives regarding the Fair Play, Fair Pay Act of 2015. This act if passed, would require “terrestrial radio stations to join satellite and internet radio and in making payments to performers for their broadcast on radio. In addition, the act would also require all forms of radio to pay master recordings royalties on music made prior to 1972, and do away with any grandfathering under the Digital Millennium Copyright Act which allowed certain older digital services to pay discounted rates”. While in DC, Wilson was on hand for the Grammy's on the Hill with First Lady Michelle Obama and Alicia Keys. Wilson and other artists plan on returning to DC in 2017 and as he’s said repeatedly, “they will continue their fight and will not stop until the bill becomes a law”.
Because of Wilson’s involvement with both Truth in Music and The Fair Play, Fair Pay Act, I asked him what advice would he give to young artists just starting out in the music industry; “learn the business…it’s 10% show and 90% business and if you understand the business aspects such as contracts, publishing, royalties and such, then you will have a better chance at being successful”; sound advice from someone who has been in the trenches for decades and can attest to the darker side of the industry.
After speaking with John, yes we are on a first name basis now, I was left with the impression of man who still has quite a bit of music in him that needs to be heard and who is as full of enthusiasm now as he was decades ago, when he first began this momentous musical journey. But he is also a man on a mission to fight for artist’s rights and to make sure that what happened to the artists who paved the way for him, doesn’t continue to plague the young artists rising through the ranks after he’s stepped aside.
Before our time together ended, I asked John to give me one of his favorite quotes: “When a man’s word is no good, how good is the man. It’s not what goes into the mouth; it’s what comes out of it”. There you have it, John “Sly” Wilson, one of the music industry greats.
SYDNEY CHANDLER is a Los Angeles based freelance journalist, essayist, screenwriter and producer. Sydney has written and produced documentaries, features, shorts, TV dramas and comedies. She will have her essay “Dear Brother” published later this year and her novella “It’s Not Always Forever” will be published in 2017. Follow her on Twitter and Facebook to find out what’s going on in her ever-changing, globe-trotting world.
