Amidst the fervor of the soul revival, it is often overlooked that many pioneers of soul music continue to perform at the high standards established during the Black Power era.
The Bo-Keys, a contemporary ensemble with roots in the genre's history, features musicians who previously played in B.B. King’s orchestra, anchored the Hi Rhythm Section, delivered the iconic introduction to “Theme From Shaft,” and survived the tragic plane crash that took Otis Redding’s life.
This current lineup of the Bo-Keys is a dynamic mix of veterans from Stax Records and Hi Records, alongside younger musicians who have achieved accolades such as an Emmy award and a Grammy nomination. Together, they produce a fresh take on Memphis soul.
Howard Grimes, the group’s drummer, provides the rhythmic foundation on tracks like Rufus and Carla Thomas’ “Cause I Love You,” O.V. Wright’s “Nickel and a Nail,” Ann Peebles’ “I Can’t Stand the Rain,” and Syl Johnson’s “Take Me to the River.” Grimes, along with Al Jackson Jr., shared drumming duties on hits for Al Green, alternating between drums and congas. He began his musical journey at Manassas High School under the guidance of band director Emerson Able. Grimes turned professional early, laying down beats for Gene “Bowlegs” Miller, the renowned Memphis club band the Largos, and one of Sunbeam Mitchell’s traveling bands before being recruited in 1967 by guitarist Teenie Hodges to join the house band that producer Willie Mitchell was assembling at Hi Records. Mitchell, known for his relaxed studio atmosphere, nicknamed Grimes “Bulldog” for his steadfast grip on rhythm. Today, despite the passage of time and the accolades that followed, Grimes’ precision remains sharper than ever.
Similarly, organist Archie “Hubby” Turner gained recognition as part of the Hi Rhythm Section. Prior to his work at Hi, Turner contributed to collectible tracks, including the Martinis’ “Hung Over.” He also captivated audiences as a member of the house band at the iconic Memphis juke joint Wild Bill’s, maintaining a style that remains as vibrant and funky as it was on classic recordings with O.V. Wright, Ann Peebles, and Al Green.
Trumpeter Ben Cauley was among the original members of the Bar-Kays, a school-kid funk band whose hit “Soul Finger” led to an ill-fated tour supporting Otis Redding; Cauley was the sole survivor of the tragic plane crash on December 10, 1967, that claimed Redding and the group. Afterward, he continued with a new version of the Bar-Kays, which served as the Stax house band, similar to the role played by Booker T. & The MGs in the label's early days, and collaborated with Isaac Hayes on the seminal album Hot Buttered Soul. As a sought-after horn player, Cauley also penned the charts for the Staples Singers’ classic “I’ll Take You There.”
Floyd Newman, baritone saxophonist, had already experienced a vibrant musical life by the time he recorded the Mar-Keys’ hit “Last Night” in 1961. He played at Andrew “Sunbeam” Mitchell’s Beale Street club and toured the chitlin’ circuit with B.B. King’s big band formed in 1955. As one of the first session players at Stax Records from South Memphis, Newman paved the way for talents such as Booker T. Jones and Isaac Hayes. His career flourished, leading him to become a sought-after session musician, recording in Muscle Shoals, Alabama, and Miami for labels such as Atlantic and Fame.
The Bo-Keys’ horn section is completed by younger musicians Marc Franklin, Kirk Smothers, Derrick Williams, and Jim Spake.
Founding members Scott Bomar (bass) and Skip Pitts (guitar) contribute significantly to the band’s creative dynamic. Their camaraderie thrives in the studio; during a session for the album Got to Get Back, Bomar humorously noted to Pitts, who played the wah-wah intro on “Theme From Shaft,” that they needed a new guitarist for a funk track. Pitts brings his unmatched funk skills and gravelly vocals to the forefront of the Bo-Keys’ sound.
Bomar honed his craft under Willie Mitchell, engineering Al Green’s latest releases at Royal Studio. He also composed the soundtrack for the film Hustle and Flow, with the Bo-Keys performing the score. Additionally, Bomar produced three songs for the Soul Men soundtrack, including the Grammy-nominated “Soul Music,” and performed alongside stars Samuel L. Jackson and Bernie Mac. The Bo-Keys’ debut album, The Royal Sessions, received widespread acclaim and continues to feature in segments on National Public Radio.
While the Bo-Keys’ credentials are impressive, their latest CD, Got to Get Back, showcases that they are not relying solely on reputation.
From the opening track “Hi Roller,” the album’s twelve original songs evoke the classic Memphis sound, featuring powerful horns, tight rhythms, and soulful organ. Skip Pitts’ distinctive voice adds an edge, while notable lead vocals from Otis Clay, Percy Wiggins, and William Bell elevate several tracks. The record transcends nostalgia, as Bomar and the band infuse a fresh style into this timeless sound.
In an era characterized by revivalism, the Bo-Keys remain a steadfast representation of authentic soul music.
