“…Ronnie Van Zant’s voice mesmerized me. When he’d go ‘Yeaaaaow,’ it just wiped me out. I couldn’t wait to work with him because I’d never worked with an artist that distinctive. He had that fingerprint sound man, and nobody sounded like him, nobody!”
Jimmy Johnson, original Muscle Shoals “Swamper.” (Source: Liner notes to Skynyrd’s First: The Complete Muscle Shoals Album, 1998)
Bear in mind that Johnson, as ace session guitarist and some-time producer and engineer, worked with practically everybody: Aretha Franklin, Wilson Pickett, Percy Sledge, Etta James, the Rolling Stones, Mavis Staples, Linda Ronstadt, Jimmy Cliff and so on and so forth–and had worked with most of them by the time he first heard Ronnie’s voice. I mention this only because I don’t think a lot of people put Ronnie Van Zant in that same class of vocalist and, frankly, they should.
Of course Van Zant, likely the last truly epic blues singer, white or black, who will ever find a mass audience, eventually repaid Johnson’s faith in him (and gave a rousing shout back) in the Swampers’ chapter of a little epic called “Sweet Home Alabama.” The Swampers’ chapter, for those who don’t recall, came right after the chapter where the shout-out to George Wallace went, “Boo, boo, boo!”
Which–since it emanated from a working class southern white boy whose habit of performing in front of a Confederate flag was not likely to be forgiven just because he confounded so many other stereotypes, up to and including making a record called “Sweet Home Alabama,” which was taken into the stratosphere as much by a chorus of black female background singers as by its famous stone cold riff or Van Zant’s own powerhouse lead vocal–was/is automatically stereo-typed by many as being pro-Wallace.
Oh well. We really did all do what we could do.