Oliver Sain – Bus Stop from the Abet 45

Good midweek to all the FMF family. Let me welcome a real head aboard this week, the Soul Man himself, Phil Most Chill He’s started a new blog over at That Real Schitt . For those who don’t know (or have yet to find out), the Soul Man was killing it with his “World of Beats” series of mixtapes, recreating well known beats, and spreading some drum love to New York, Kakalack and Compton. This man knows his stuff, and we’re glad he’s back in the blog game repping the City of Brotherly Love. Check him out, and if you’re not careful, you might learn something. This time we’re gonna travel to St. Louis, MO, by way of Mississippi and Chicago, IL. We’re even gonna travel there by bus, but first we have to wait at the “Bus Stop”, courtesy of one Oliver Sain and Abet Records.

Sain was born in Dundee, MS. Now being from Mississippi, you know this man’s background was deeply rooted in the Delta Blues. He grew up not too far from Blues legends Robert Johnson and Son House’s abodes. Sain tried a variety of instruments, before settling on the saxophone after his return from serving with Uncle Sam in Korea. Before his settling, however he did drum behind bands fronted by legends Sonny Boy Williamson and Howlin’ Wolf. Upon his return from military service, Sain jumped right back into the music scene (this time in Chicago), playing with such notables as Little Milton (rumor has it he started his career), Howlin’ Wolf (again), and the iconic Bluesman Elmore James. He even sat in (although not as often as he probably would have liked to, with this man’s disposition), with Ike Turner and the Kings of Rhythm), as he relocated once again to his what would be his final home, St. Louis, MO. Little Milton is an important figure, as it was him who asked him to be a part of his band at the Club Manhattan in East St. Louis, a place that Sain would call home up until his death in 2003 from cancer. Along the way Sain would found his own record label (Vanessa), his own recording studio (Archway), discover singers (Fontella Bass and Bobby McClure), and remain a staple in the St. Louis and national music scene, performing up until the night before he passed. Some sampling from Diddy was a half assed attempt on the part of the artist formerly known as Puff Daddy to keep his legacy going, or was it just an attempt to exploit another artist so he could make more money? IMHO, there is great sampling (see any Pete Rock or Preemo project), and bad sampling, which I would attribute to Puffy. That’s for another post, as I’d like to keep this on topic. This song, “Bus Stop”, licensed to Abet in 1974 is a definite keeper. To me, the beat and rhythm remind me of an instrumental version of Aretha Franklin’s “Rock Steady”. Sain’s saxophone starts hot and heavy and does not let up through the whole track. James Brown may have been the hardest working man in showbiz, but Oliver Sain was the hardest working saxophone in St. Louis. Throw in a whistle, and sho’ nuff funky bass line and get out on the dance floor. This tune was the first in line of a couple of funk dance floor stompers, and Sain knew how to churn out them out. After this tune he released another dance floor killer: “Booty Bumpin” from the same full length. Whether Oliver Sain was indirectly competing with Ike Turner, releasing jazz fusion records, discovering Soul singers, playing with great Bluesmen, or releasing dance floor killers such as “Bus Stop”, he did it all with style. His style can and will go on to be discovered by the diggers after me; in the dusty flea markets and yard sales, Oliver Sain and his saxophone will still be hip for years to come. Keep Diggin’!