Amos Milburn represents something of an anomaly in Motown’s distinguished history. Milburn arrived at Motown as an elder statesman, a rare commodity in a label full of young talent seeking a break. Milburn had already carved out a hugely successful R&B career in the 50s but had found himself without a label in the early 60s- an opportunity that was too good for Berry Gordy to pass up. It was not a long or particularly successful partnership, with Milburn releasing just one LP, Return of the Blues Boss.
Born in Houston, Texas, in 1927, as one of thirteen children, Milburn learned to play the piano from the age of five. Aged fifteen, he enlisted in the US Navy, serving during the Second World War, earning thirteen battle stars in the Philippines. However, the war hadn’t dulled his passion for music. Upon his return, Milburn organised a sixteen-piece band, playing in clubs across Houston, gaining a strong local reputation. During a performance in 1946, Milburn attracted the attention of an employee of the newly founded Aladdin Records.
Milburn moved to Los Angeles shortly after to record for Aladdin, the beginning of a prolific period with the label, recording 75 tracks in an eight-year period. Milburn first cracked the charts in 1948 with ‘Chicken Shack Boogie’, his first of four number-one hits on the R&B charts, as he became a regular visitor to the top ten in the early fifties. Milburn became a pioneer of the louder jump blues style, emphasising rhythm and the quality of his voice over sophisticated instrumental arrangements. Jump blues served as a precursor to rock and roll music, with the legendary Fats Domino citing Milburn as a key influence on his music.
As well as being a prolific recorder, Milburn was a popular touring artist and a cornerstone of L.A.’s thriving central avenue music scene. Milburn’s songwriting largely consisted of upbeat romps about booze and partying, achieving great success with songs like ‘One Scotch, One Bourbon, One Beer’ and Maxwell Davis’ ‘Bad, Bad Whiskey’. Milburn and Davis forged one of blues music’s most effective partnerships, Davis’s saxophone complimenting Milburn’s soulful tones and barrelling piano playing.
But the hits started to dry up for Milburn in the mid-50s, and he left Aladdin in 1957, with the record experiencing financial problems. Milburn tried to recapture some commercial success with a brief spell at Ace records, but with the popular music scene moving on, Milburn struggled to break into the charts. Motown handed Milburn a lifeline in 1962, in a move that seemed beneficiary for both parties; Motown, a label still in its infancy, got a proven performer in Milburn, who in turn got an opportunity to revive his career.
Assigned to producer Clarence Charles, Milburn was quickly in the studio recording an album, The Return of the Boss Blues, which was eventually released in July 1963. Two singles preceded the album, ‘My Baby Gave Me Another Chance’ and ‘My Daily Prayer’, neither of which made a chart impression. The Return of the Boss Blues was a mix of rejuvenated Milburn classics and Motown originals. Milburn’s bluesy sound contrasted with the more modern R&B compositions starting to garner Motown great success. Nevertheless, the album features some slick instrumental work from the Funk Brothers, who got an opportunity to stretch their creative legs more. Milburn’s voice may have been on the wane, but he still showed he could carry a tune.
‘I’ll Make It Up To You Somehow’ provides a reasonable start. Co-writer Lamont Dozier brings some nice rhythm on the drums and there’s some excellent twangy guitar work from Robert White. It’s a classic downtempo ballad, not suited to Milburn’s voice, although his slow drawl is oddly captivating, while the usually excellent Andantes provide some rather shrill backing vocals. ‘Darling How Long’ has some nice bluesy guitar work and a lovely languid rhythm, but the high-pitched piercing strings somewhat ruin it. ‘Baby You Thrill Me’ is unusually long for an early Motown sound but is an early highlight. The backing vocals compliment the song’s swaying rhythm, while the punchy horns punctuate Milburn’s vocals nicely.
‘In The Middle Of The Night’ features a strong performance from Milburn, bringing some real emotion. It’s a nice upgrade on his original 1949 effort, with the backing vocals a welcome addition. ‘Don’t Be No Fool’ is a bit lead-footed, despite some nice scatty piano work, but ‘My Daily Prayer’ is much better. It’s a smoky late-night blues number, with some jazzy noodling on the piano and vibrant horns, while Milburn’s voice carries it brilliantly, with some lovely key changes. The only shame is the weird show-tune finish. ‘Bad Whisky’ ratchets up the original’s tempo, hampering its rhythm in the process. However, there are some groovy guitar licks and sharp drum work, and Milburn cuts loose vocally: “Bay-d Bay-d Whisky”.
Milburn’s reduced to a passenger on the instrumental cover of Motown’s first major hit, ‘Money’. On the surface, it seems a strange decision, but the Funk Brothers do a lovely job with it, giving it a slightly bluesy edge with some particularly lovely saxophone work. ‘My Baby Gave Me Another Chance’ is another bluesy effort featuring some excellent ringing guitar work, but the song doesn’t have a discernable hook, making it an odd choice for a single. ‘One Scotch, One Bourbon, One Beer’ is another update, and the horns that punctuate the chorus are a nice touch, but sadly Milburn doesn’t give it the bite of the original.
‘Hold My Baby’ is a semi-attempt at rock and roll, Milburn doing his best to channel his inner Little Richard, and you can’t fault his enthusiasm. Thankfully, the Funk Brothers give a rollicking performance, with White’s guitar work again standing out alongside some buccaneering piano lines. It’s probably the best update of Milburn’s blues catalogue on the record and a real testament to the abilities of the Funk Brothers. They’re in equally fine form on the slower ‘It’s A Long Long Time’, the piano driving the song’s languid rhythm while there’s some wonderful work on the baritone sax. Considering his age, Milburn performs well, but the band somewhat overshadows him at times.
Return of the Blues Boss is a refreshing listen, providing something different from other early Motown-era records. Milburn may not be at the peak of his powers, but his voice still has this captivating gravitas, even when working with songs that don’t suit his palette. However, Milburn didn’t fit Motown’s musical mould, and the album would be his only release on the label. He continued recording sporadically afterwards, working with Johnny Otis, but complications to his health curtailed his career in the early seventies. Sadly, Milburn died following a stroke in 1980, leaving behind a considerable musical legacy.