"Bill"
Peggy Scott-Adams
April 9, 2023:
Daddy, I want to thank you for this opportunity. I've followed your columns over the years and they've meant so much to me. You have my thanks and respect.
Peggy, I just want to say that you have my love and respect. You've been the top-rated female performer on my Top 100 Southern Soul Artists chart from the get-go. The chart covers the last twenty years. And on an even more personal level, you were a big part of my discovery of Southern Soul in the nineties--just driving through Mississippi and eastern Arkansas and eastern Louisiana. Hearing your gritty, powerful R&B vocals was a revelation.
Well, thank you so much, Daddy.
Before we catch up on what you're doing right now, Peggy, I was wondering if I could ask you a couple of questions about the past. You know-- some biographical stuff--for posterity.
Go ahead. If you ask me something I don't want to tell, I just won't tell it.
I was just going to say, "If you don't feel like answering, just 'clam up.' And you don't have to be self-conscious about your age. I think I have a couple of years on you now.
I'm 63. How old are you?
I'll be sixty-five in two months. I just got my Medicare card. What a milestone.
What a relief, huh Daddy?
Oh, don't you know it. And I'm old-school, Peggy. I'm not using a recorder, just scrawling with a pen as we go, so bear with me.
Old school is my school, sweetheart. I was at a gospel gathering last night, my church has a group, and I go out to show my support, and after all the others had sang their numbers--bless their hearts--this grandfather got up and blew them away. And I told him afterwards, "You can't top the old school."
I want to ask you some biographical questions, but I've just got to come out and ask you first: Was that run of great albums with Jimmy Lewis actually all done in California?
Yeah. It was in the Valley. We recorded Help Yourself, Undisputed Queen.
Live In Alabama?
Yeah. Portions of that were done in the studio there. The Alabama live parts--I wasn't even aware they were taping, and I wasn't exactly happy about it. I was extremely hoarse. They thought it was extraordinary, but I was dissatisfied.
It was extraordinary. So the studio was. . . where, exactly? L.A. somewhere?
Yeah, down in the Valley. Uhh, Van Nuys! Everything I did. "Bill" was recorded in the valley. Later on, Jimmy had a studio in his home.
12/1/21 DBN notes: The "Jimmy" we are talking is Jimmy Lewis, one of the great, seminal producers of contemporary southern soul music. He has his own Artist Guide and it is highly recommended.
It's just amazing to me that that music, which I imagined coming out of--I don't know where--I guess some 'hole in the wall' in New Orleans or some swamp in the bayous--actually came out of California.
That was Jimmy.
I mean, it's great. It just shows, the music can come from anywhere. Were you and Jimmy aware of how solid and lasting those songs would be?
No, sweetheart, that was Jimmy. He knew that Southern culture so well.
So I'm looking at the website and its says Peggy Stoutmeyer.
No, it's Stoutemire, Peggy Stoutemire. (She spells it.)
Okay, and it says "born in Alabama, according to unconfirmed reports. . . "
(Peggy laughs, joined in by Daddy B. Nice. . .)
So where exactly in Alabama. Where were you really born?
Opp. Opp, Alabama.
Opp?
Yeah, Opp, you know, like Oops? But Opp. I often joke that the sign outside town that says "you're entering," you know? The town's so small, the other side of it says, "You're leaving." When I was four years old, we moved to Pensacola, and I was raised there.
No kidding? Pensacola was the destination point for all those trips I made through Mississippi when I first heard the music. My daughter was down there at Whiting Field, training to be a pilot. Of course, there was no Southern Soul radio in Pensacola. And, of course, that was many years after you left for California. No one even used the word "Southern Soul" in those days.
That's so true. It was new to me. When we did Help Yourself I considered it to be 60's R&B. I didn't know Southern Soul even existed. And I never considered myself to be a blues artist. You know, like B. B. King, or Little Milton, or Z. Z. Hill. And when I finished my first CD, Daddy, I thought, "It's kind of dated." Because all I knew of that kind of music was what I heard in the 60's when we were growing up. Little did I know that there was a market for this music. And Jimmy deserves the credit for that.
The other day I heard a DJ interviewing Bobby "Blue" Bland and he asked Bobby who was his favorite singer and Bobby replied, "Nat King Cole," and there was just the slightest pause--very small--on the part of the deejay, taken aback by such an old-school, almost pre-old-school, performer. What do you think of how far R&B has come from Nat King Cole to today's Southern Soul, and who are some of your favorites, or influences?
Oh yes, well I guess as far as favorites. . . Shirley Caesar. The Mighty Clouds of Joy. Mavis Staples. Gladys Knight. I just like real singers. As far as what they're calling Southern Soul, Daddy, it's just the latest version of R&B, whatever you want to call it.
I agree.
I consider Southern Soul really rhythm and blues. That's my sentiment.
The same stuff that was on the radio in the fifties, sixties and early seventies. The same thing you were doing when you and Jo Jo Benson had your top-forty hits.
Yes. And I think that helped me to get air play for those Southern Soul albums. The fact that they could point to those hits with Jo Jo and say Peggy Scott-Adams had pedigree. I see Southern Soul as being distinct from the blues. I was never really into the blues. I was really into Gospel. You see, my mother was a gospel promoter, both in Alabama and Florida, so I got to see all the great acts--the Mighty Clouds of Joy, Sam Cooke and the Soul Stirrers. I think my days with Jo Jo--I think this type of music--is considered more of a pop music, having the hit records in the 60's. And I was disheartened by its passing. We're losing that culture. Even with the quote-unquote "blues." I'm an exception to the rule.
Your albums made such a powerful change in the perception of rhythm and blues, and of course the birth of contemporary Southern Soul.
Jimmy was an awesome writer, as you know. He wrote about everyday life. But this wasn't my story--like with "Bill." Especially, not "Bill." I mean, I can relate to deception, so I was able to sing about it convincingly. But people look at you and, you know, think it's YOUR story. It wasn't my story, but because I could relate, I was able to deliver.
"Sweaty Men." Uh! That was so powerful.
I didn't want to do "Sweaty Men." And it was just like with "Bill." I said, "I'm not singing it." It was offensive to some. It was about a certain people and their lifestyle that I didn't look forward to being associated with, you know? I thought about it for a couple of days and at last I said to myself, "They're not going to play it anyway, so I might as well go ahead."
(Daddy B. Nice laughs.)
I hate to say it, but I swear singers never know what their best work is, they always have to their arm twisted to record their classics, and the songs they like are often their worst.
(Peggy laughs.)
That's awful but true. Just about every song Jimmy and I recorded, I started out not liking. I'd be real recalcitrant. At best, end up thinking, "It won't do very well." And then it would go on to become popular. But no, sweetheart, I didn't like "Sweaty Men." My husband said, "You're going to upset a lot of women." It's been a fun trip, though, and I miss Jimmy tremendously.
"Mr. Right Or Mr. Wrong"?
I loved that one. It's one of my personal favorites. I also like "I'll Take Care Of You." The Help Yourself CD, there's not a song I didn't like on that CD.
"Burning"? I was listening to that last night and relishing your licks towards the end of that.
Oh, yeah. I loved that.
And speaking of Bobby "Blue" Bland, I love your version of Jimmy's "I Intend To Take Your Place," which with all respect to Bland is eclipsed by your scorching version.
Oh, thank you, sweetheart. At the time Jimmy released that song on the compilation album (16 Hits), he was doing the God Can And Will gospel album. And between you and me I was a little annoyed at the time because I didn't know it was going to be part of the deal.
So "I Intend To Take Your Place" had been "in the can"?
Exactly! We'd already recorded it. You see, that's when I was getting burnt out with Southern Soul and ready for a change. At that point, I didn't want to be labeled. I was getting stuck in the Southern Soul circuit. It limited me as to the exposure I could get. I knew that I wanted to get into gospel. I'm a devout believer. But I'm not overbearing about it. I don't hit you across the head. The motivation for the gospel CD--both of them, including the new one, Back To The Roots--was divinely orchestrated.
What do you mean, "divinely orchestrated"?
I mean God gave me a vision. I went to Jimmy and told him, "I just feel compelled to do this." And I told him, "And I will pay for it." And I sought out help in how to make a gospel CD. Vick Allen--
Vick Allen?
Yeah, Vick Allen.
Why, he's a tremendous talent. His last album, I just gave a five-star review.
Yeah, he was kind of a godsend to me. He was here with the Canton Spirituals. The Cantons came to California. The manager said, "Come back and meet them." So I met Harvey Watkins (the lead singer), and down the stairs comes Vick. And I say, "Hi, Vick," and he says, "Pleased to meet you." And he took some instruments or equipment outside to the van and he came back in and he came back up to me and he said, "Did you say your name was Peggy Scott-Adams"?
(Daddy B. Nice laughs.)
Because this was back in, what, 2004, and Vick wanted to get into R&B, and I wanted to get into Gospel.
(Daddy B. Nice laughs again.)
That's when Jimmy got cancer. The R&B side was a very arrogant side of Jimmy. I've always tried to remain humble. Even out of high school, I wasn't into being a celebrity. I didn't have any dreams of being a popular singer. So that, I think, has allowed me to remain humble, because all of these things just kind of happened to me. When I discovered music was my profession I remained grounded. I give my mom all the credit. I don't drink. I don't do drugs. I do smoke cigarettes. I've had people come up to me at the show and put drugs in my hand, but God has always been with me and I resisted. Anyway, Jimmy formed a relationship.
What do you mean, a "relationship"?
I mean he formed a relationship with God. He found spirituality. Going through the experience with cancer changed him. So to come around to "I Intend To Take Your Place," I didn't know about it. I was so into the gospel thing by that point, and I hadn't done anything secular for awhile, so it didn't occur to me that "I Intend To Take Your Place" was even in the equation. Geez, Daddy. This is stuff I haven't told anyone.
I apologize for not knowing more about gospel, Peggy. Once in awhile I hear a great arrangement that "transcends" the gospel label in my mind. One of your songs that I just love, by the way, and consider one of your classics--and it may surprise you--is "I'm Willing To Be A Friend." That's a kind of stripped-down Gospel. That might be a direction to explore. That was my #1-ranked song for Peggy Scott-Adams before I bowed to the public pressure for "Bill".
Listen to Peggy Scott-Adams singing "I'm Willing To Be A Friend" on YouTube.
That does surprise me. I'm glad you like that because that is one of my personal favorites. That was on the God Can And Will album.
Oh, really? I didn't realize that. I remember it, of course, from Undisputed Queen.
We even used that on a commercial for our mortuary business, me and my late husband.
No kidding.
I remember when Oprah previewed "Bill" on the Oprah Show. She picked up on the gospel right away. Regardless of the lyrics, she said, "It sounds like gospel." It has the same sound, the same passion. As I look back on it, after Jimmy passed, and my brother, who was my road manager--he died in February of 2005--and eight days later my husband followed.
That had to be hard.
Yes. It was during this time I decided to start my own record label. God spoke very profoundly to me to do gospel. God knows I ain't got any money, but I'm so happy about my new gospel CD, Back To The Roots.
But what about your secular fans, your Southern Soul fans?
I've hooked up with Pete Peterson--his roots go back to Motown--and this new gospel CD is the best thing I've ever done. But we've got an R&B album in our plans, and Southern Soul fans won't want to miss it. By the first of the year we should be starting on that, and looking around for material. So I don't have any hang-ups. I know that singing "Bill" won't send me to hell, and I know singing a gospel song won't send me to heaven.
Can you get more remuneration from gospel than from Southern Soul?
I don't know, really, but maybe I'll find out. I will say this, that gospel music is holding up the music business to a large extent in these hard economic times. Now with the Southern Soul circuit--I've done a couple of concerts the last year or two--they've got to put up five or six acts to really get the people to come in numbers.
It's kind of like the early days of rock and roll.
Yeah, exactly. They can't make it as a solo act and draw enough to make it worthwhile. So I get a lot of people coming to me and asking, "When are you coming back?" Because they want me to draw more people and I have an audience out there that'll draw in those numbers.
Sure.
Being in California, the promoters can't take the chance (on me alone), but about a year ago, in Vicksburg, and even before that, in Baton Rouge, they were glad I was back to draw a bigger audience.
Oh, yeah. I remember.
I was blessed to marry a mortician and politician. I came to California to take care of my sister originally, and then I meet my husband and. . . Are you out of your mind? Life gets you. My business is in Compton. It gives me options. You can't be totally dependent on the music business. I experienced that particular pain after me and Jo Jo weren't on the charts any more.
Well, you'll have to hook up with Vick Allen as you cast around for new material.
Oh yes, we've talked about that.
And his label mate, Omar Cunningham, is very good.
Yes, I've heard of him too.
Shirley Brown has come a long way.
Shirley is one of the better singers. You get some lyrics. I love singers, and Shirley is a singer.
And she's really found great material, especially on her last couple of albums.
Oh, really? I didn't know that. I'll have to check them out.
She does a lot of covers. She trolls around for the very best songs out there and redoes them in smashing fashion. And it makes you wonder why more people don't do that.
Well, I can't wait to get into secular music again, too. I really love both. I give myself four more years (here in California) and then back to Florida. I love the South. I'm tired of the rat race. All the crazy things. When I first came to California, I'm sitting there one day, and the couch starts to move. I get up and it moves again, and with my background, you know, I'm thinking "Ghosts!" So I go into my sister's bedroom and tell her the couch is jumping around, and she says, "Oh, it's just an earthquake." Anyway, that's my ultimate plan. To have a new rhythm and blues album in the works by early next year.
You know it's not easy. We get older, and it gets harder to scale those old peaks.
I won't do it, Daddy, unless I can exceed what I've done in the past. I refuse to go back. As far as the future, I don't want to get stuck. I want to have success in both genres.
Peggy, it has been so special.
Daddy, you have my number, call any time.
Likewise, Peggy. You take care, and thank you so much.
Thank you.
--Daddy B. Nice
You can practically hear the guitars clucking like barnyard hens on "I'm Willing To Be A Friend." . Listening to this backyard reverie of a record, you're not that far away from the primal banjo in the movie "Deliverance." Peggy Scott-Adams' vocal approach is pure gospel--oozing strength, energy and fortitude. Longtime collaborator and legendary composer Jimmy Lewis sings modest back up in almost a whisper.
--Daddy B. Nice
About Peggy Scott-Adams
Peggy Stoutemire was born in Opp, Alabama, on June 25, 1948. Peggy Scott gained a foothold in the music business while still a teenager, touring with Ben E. King ("Stand By Me"). In 1968 she had three Top 40 hits --"Lover's Holiday," "Pickin' Wild Mountain Berries," and "Soulshake"--as part of the duo Peggy Scott and Jo Jo Benson.
Then, Scott left the recording industry for the better part of a generation. She moved to California, married a Compton politician named Adams, and managed his mortuary business for years. In 1990 she re-entered the record industry as a studio back-up for Ray Charles, who was so impressed with her talent he subsequently produced two duets with her: "Back To Love" and "If You Give Me Your Heart."
Today's Southern Soul scene was forever changed when Jimmy Lewis, another California-based songwriter, producer and performer who also was working with Ray Charles, persuaded Peggy Scott-Adams to begin recording again. Lewis' let-it-all-hang-out writing style and eye for cultural detail meshed perfectly with Scott-Adams' tough-as-a-leather-strap vocal style, and the first great collaboration in contemporary Southern Soul was born.
Peggy Scott-Adam's first big success as an "adult" artist was "Bill," a husband-turned-gay story told by a long-suffering wife. Initially released in the early 90's to blues stations only, "Bill" crossed over into the mainstream (urban contemporary and even pop markets), where its soulful flavor immediately distinguished it from the "urban-smooth" competition.
"Bill" garnered widespread airplay, reaching #50 on the Billboard R & B singles chart and #87 on the Pop chart. It put Scott-Adams back "on the map," and the album it eventually spawned, Help Yourself, released in 1997, became a Top 10 R&B best-seller.
Contagious was released in 1997, Undisputed Queen came out in 1999, and Hot and Sassy, Busting Loose and Live in Alabama (all on the Miss Butch label) followed. It amounted to a catalog of music unequalled by any other Southern Soul songstress over the period.
Most if not all of the songs during the remarkable five-album stretch (see Recommended Tracks) were collaborations with Jimmy Lewis, Scott-Adam's songwriter and producer, who died on September 10, 2004. Since then, Scott-Adams' recording activity has cooled, but she continues to tour--most recently headlining the 44th Annual Medgar Evers / B.B. King Homecoming concert (2007) in Jackson, Mississippi. In recent years Scott-Adams has recorded gospel music exclusively.
The Peggy Scott-Adams Discography
1997 Help Yourself (Miss Butch)
1997 Contagious (Miss Butch)
1999 The Undisputed Queen (Miss Butch)
2000 Live in Alabama (Miss Butch)
2001 Hot and Sassy (Miss Butch)
2003 Busting Loose (Miss Butch)
2004 God Can...and He Will (Mardi Gras) (Gospel)
2004 16 Hits: The Best Of Peggy Scott-Adams (Miss Butch)
New Gospel album: Back To The Roots (Nora) (Gospel)
2012 Life After Bill (CD Baby)
2018 Too Far Gone (Hook One, CD Baby)
Song's Transcendent Moment
"Bill has been to my house a thousand times.
He and my man would go camping and fishing.
I tell you, it never crossed my mind.
Bill was a friend,
And he was god-uncle to my only son.
Now it looks like Uncle Bill
Wants to be his step-mom."
Tidbits
(The interview has been reproduced above. Scroll up this page.)
Listen to Peggy Scott-Adams singing "I'm In Love By Myself" on SoundCloud.
If You Liked. . . You'll Love
If you loved Latimore's "Let's Straighten It Out," you'll love Peggy Scott-Adams' "Bill."
Honorary "B" Side
"I'm Willing To Be A Friend"
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