Biography
Among Southern rock outfits that broke through nationally during the early 1970s, Wet Willie stood out, right after the Allman Brothers Band and Lynyrd Skynyrd, for their sheer intensity. Over a seven-year stretch from 1971 to 1978 they delivered a strong run of albums filled with upbeat tunes, high-octane blues-rock, and white Southern soul; despite that output they scored only a single Top Ten single, “Keep On Smilin’,” while earning plenty of loyal fans. Unlike the Allman Brothers Band, whose foundations lay in Cream and extended improvisations, Wet Willie drew more from the tight, groove-driven approach of Booker T. & the MG’s and the Mar-Keys of Stax/Volt renown, emphasizing sweaty, celebratory R&B over the Allmans’ blues-rock or the Marshall Tucker Band’s country-rock leanings. One can easily picture how Lynyrd Skynyrd might have sounded with only a single lead guitarist and a circuit of Southern clubs catering to Black audiences.
Originally named Fox, the group formed in Mobile, Alabama, in 1969 around the commanding vocals and signature saxophone of Jimmy Hall; his brother Jack handled bass and banjo, Ricky Hirsch took lead and slide guitars plus mandolin while contributing many of the songs, Lewis Ross played drums, and John Anthony, later replaced by Mike Duke, covered keyboards. Although they listed the Rolling Stones and the Animals as influences, their style echoed early Otis Redding and Little Richard more closely, which made their relocation to Macon, Georgia, in early 1970 feel logical. The city had once been Little Richard’s home and served as the base for Capricorn Records, the label founded by Redding’s former manager Phil Walden. Wet Willie auditioned for Capricorn that summer and began recording their first album by autumn.
Even though they shared the Capricorn roster with the Allmans and the Marshall Tucker Band, Wet Willie operated differently from both. Their jams rarely stretched beyond ten or twelve minutes, and they avoided any laid-back Southern persona; instead they delivered a hard-driving, vocal-centered strain of white Southern soul. In fact, they were likely the only white act one could envision tackling a number like “Papa Was a Rolling Stone” without sounding out of place. Among later groups, Southside Johnny & the Asbury Jukes came closest in spirit, though they lacked the same regional definition.
The band’s first two studio albums attracted little notice, while their third release, the live set Drippin’ Wet, barely registered on the lower rungs of the Top 200. The follow-up studio effort Keep On Smilin’ finally produced the hit title track and several other well-received songs. Adding the female backing singers known as the Williettes broadened the sound with stronger gospel and soul elements. Dixie Rock and Wetter the Better arrived soon afterward, yet neither matched the songwriting quality of Keep On Smilin’; album sales slipped steadily even after “Dixie Rock” became another single success. Their last Capricorn album appeared in 1977 and was quickly followed by Wet Willie’s Greatest Hits, issued as the label faced mounting financial strain.
Internal changes prompted a new configuration in 1978 and a fresh deal with Epic Records. Jimmy and Jack Hall remained, now joined by three more vocalists: keyboardist Mike Duke, guitarist Marshall Smith, and drummer Theophilus K. Lively, plus a second guitarist, Larry Berwald. The resulting Manorisms album showcased rich harmonies and revealed a pop-inflected side to their soul approach that occasionally edged toward Motown territory, though far hotter and more energetic than anything the Grass Roots had achieved. Despite solid concert attendance and steady bookings, the record failed to connect without a hit single to secure radio play. One more album, Which One’s Willie?, surfaced in 1979 and fared even worse commercially. The group disbanded in 1980 after roughly a decade of strong recordings and memorable live shows.
During the 1990s Wet Willie reunited around the core of keyboardist John Anthony, guitarist Ricky Hirsch, and Jimmy Hall, with additional players including Smith, Duke, and Lively rounding out the lineup. Recording has been sporadic, yet the members have stayed active on stage. In 1996 they entered the Georgia Music Hall of Fame, and in March 2001 they were inducted into the Alabama Music Hall of Fame. Two separate versions of the band continue to perform: billed as Wet Willie when Jimmy Hall participates, and as the Wet Willie Band, fronted by guitarist Ric Seymour, on dates and recordings where Hall is unavailable.
Originally named Fox, the group formed in Mobile, Alabama, in 1969 around the commanding vocals and signature saxophone of Jimmy Hall; his brother Jack handled bass and banjo, Ricky Hirsch took lead and slide guitars plus mandolin while contributing many of the songs, Lewis Ross played drums, and John Anthony, later replaced by Mike Duke, covered keyboards. Although they listed the Rolling Stones and the Animals as influences, their style echoed early Otis Redding and Little Richard more closely, which made their relocation to Macon, Georgia, in early 1970 feel logical. The city had once been Little Richard’s home and served as the base for Capricorn Records, the label founded by Redding’s former manager Phil Walden. Wet Willie auditioned for Capricorn that summer and began recording their first album by autumn.
Even though they shared the Capricorn roster with the Allmans and the Marshall Tucker Band, Wet Willie operated differently from both. Their jams rarely stretched beyond ten or twelve minutes, and they avoided any laid-back Southern persona; instead they delivered a hard-driving, vocal-centered strain of white Southern soul. In fact, they were likely the only white act one could envision tackling a number like “Papa Was a Rolling Stone” without sounding out of place. Among later groups, Southside Johnny & the Asbury Jukes came closest in spirit, though they lacked the same regional definition.
The band’s first two studio albums attracted little notice, while their third release, the live set Drippin’ Wet, barely registered on the lower rungs of the Top 200. The follow-up studio effort Keep On Smilin’ finally produced the hit title track and several other well-received songs. Adding the female backing singers known as the Williettes broadened the sound with stronger gospel and soul elements. Dixie Rock and Wetter the Better arrived soon afterward, yet neither matched the songwriting quality of Keep On Smilin’; album sales slipped steadily even after “Dixie Rock” became another single success. Their last Capricorn album appeared in 1977 and was quickly followed by Wet Willie’s Greatest Hits, issued as the label faced mounting financial strain.
Internal changes prompted a new configuration in 1978 and a fresh deal with Epic Records. Jimmy and Jack Hall remained, now joined by three more vocalists: keyboardist Mike Duke, guitarist Marshall Smith, and drummer Theophilus K. Lively, plus a second guitarist, Larry Berwald. The resulting Manorisms album showcased rich harmonies and revealed a pop-inflected side to their soul approach that occasionally edged toward Motown territory, though far hotter and more energetic than anything the Grass Roots had achieved. Despite solid concert attendance and steady bookings, the record failed to connect without a hit single to secure radio play. One more album, Which One’s Willie?, surfaced in 1979 and fared even worse commercially. The group disbanded in 1980 after roughly a decade of strong recordings and memorable live shows.
During the 1990s Wet Willie reunited around the core of keyboardist John Anthony, guitarist Ricky Hirsch, and Jimmy Hall, with additional players including Smith, Duke, and Lively rounding out the lineup. Recording has been sporadic, yet the members have stayed active on stage. In 1996 they entered the Georgia Music Hall of Fame, and in March 2001 they were inducted into the Alabama Music Hall of Fame. Two separate versions of the band continue to perform: billed as Wet Willie when Jimmy Hall participates, and as the Wet Willie Band, fronted by guitarist Ric Seymour, on dates and recordings where Hall is unavailable.
Albums
Mind over Matter
2004
The Best Of Wet Willie 20th Century Masters The Millennium Collection
2003
The Best Of Wet Willie
1994
Which One's Willie?
1979
Manorisms
1978
Left Coast Live
1977
Wet Willie's Greatest Hits
1977
The Wetter The Better
1976
Dixie Rock
1975
Keep On Smilin'
1974
Drippin' Wet
1973
Wet Willie II
1972
Wet Willie
1971
Live
