Wilson Pickett (1943-2006)

Do you remember where you were the first time you heard Wilson Pickett's "In the Midnight Hour"?

I didn't think you did.

I do because that soul anthem was the soundtrack for a night of dubious firsts for me: My first college fraternity party. The first time I dirty danced with a girl. The first time I met a person who would become a lifelong friend. (No, not the dirty dancer.) The first time I got so drunk (on a vile grain alcohol and grape ade punch) that I didn't remember walking home, only the unforgettable hangover the next day.

Anyhow, back to "Midnight Hour."

It was a huge "crossover" hit at the time, which meant it was being played on all sorts of radio stations, but that night it was played -- appropriately enough at the stroke of midnight -- by a black band decked out in identical gold lame suits with white piping in the very crowded basement of the frat house. We white boys and girls went nuts, and the band jammed on for what seemed like forever. (You're right on if you're conjuring up a similar scene from the movie "Animal House.") Those were the days, embarrasing as they might seem nearly 40 years later.

So I knew something was up when I connected to the webcast from my favorite FM station last night. "Midnight Hour" was wrapping up, followed by Pickett's other two huge hits, "Mustang Sally" and "Land of 1,000 Dances." It was either his birthday or he had run out of them.

Pickett, one of 11 children, escaped hardscabble roots in Alabama for Detroit, where he formed a gospel band in his teens. He segued into rhythm and blues and soul, but I also remember him for his exquisite taste in sidemen, including guitarists Steve Cropper (who co-wrote "Midnight Hour") and the great Duane Allman.

He was known in the business as "Wicked Pickett" for both his forceful delivery and his offstage behavior, and memorably "starred" in a movie in which he never appeared.

That would be the marvelous 1991 Alan Parker film "The Commitments," in which a group of scruffy young Irish musicians tries but fails to meet and perform with their hero, Pickett. (I heartily recommend the movie; the first of the two "The Commitments" CDs also is incredible.)

Legendary producer Jerry Wexler recorded many of Pickett's hit singles and albums. Remembering the man and his remarkable pipes, he said

There was something about those records and Wilson's voice — those were some of the funkiest, deepest-grooving, in-the-pocket recordings I ever heard. The thing about Wilson was he was just a great screamer, but he did it with control. James Brown would scream and it was a scream, but Wilson could scream notes. His voice was powerful, like a buzz saw, but it wasn't ever out of his control, it was always melodic.

And finally, herewith the lyrics of "In the Midnight Hour":

I'm gonna wait 'til the midnight hour
That's when my love comes tumbling down
I'm gonna wait 'til the midnight hour
When there's no one else around
I'm gonna take you girl and hold you
Do all things I told you
In the midnight hour
Yes I am, whoa, yes I am

I’m gonna wait 'til the stars come out
See them twinkle in your eyes
I'm gonna wait 'til the midnight hour
That's when my love begins to shine
You're the only girl I know
Really love you so
In the midnight hour

I'm gonna wait 'til the midnight hour
That's when my love comes tumbling down
I'm gonna wait 'til the midnight hour
That's when my love begins to shine
Just you and I, oh baby, just you and I