Junior Walker was born Autry DeWalt Jr. in Blytheville, Arkansas in 1942. Some accounts list his birth name as Oscar G. Mixon, and say his name was changed at some point during his early childhood. He grew up in South Bend, Indiana where he became a proficient saxophone player, studying the methods of some of the prominent sax players of the time. During his teens, DeWalt joined a group called the Jumping Jacks and began to perform in local clubs, calling himself Junior Walker.
He next joined a trio led by drummer Billy "Stix" Nicks, which also featured organist Fred Patton. They soon added backing vocalist and guitarist Willie Woods, and played around northern Indiana and southern Michigan. Walker took over the group after Nicks joined the Army and in the late '50s, relocated to Battle Creek, MI, and formed a band billed as Junior Walker & the All-Stars. Initially, they featured Patton, Woods, and drummer Tony Washington. Patton was later replaced by Victor Thomas, and Washington by Jack Douglas and, finally, James Graves. The All-Stars continued to play around the area, and took up a residency in Battle Creek's El Grotto club.
It was at the El Grotto that they were noticed by Johnny Bristol, who recommended them to Harvey Fuqua, who had sang with Harvey and the Moonglows. By this time, Fuqua was running his own fledgling record label called simply "Harvey". Fuqua liked what he heard and signed Junior Walker and the All Stars in 1962.
The Harvey label was soon bought out by Motown, and the group found itself recording with Soul Records. Soul was a subsidiary of Motown and all of the group's subsequent hits in the US were released on the Soul label, although they had some Tamla/Motown hits on the charts in the UK.
In early 1965, the band scored their first big hit with a dance tune that Walker had written called "Shotgun", which marked Junior's vocal debut. In fact, the only reason he sang the song was that the vocalist he'd hired didn't show up for the session, and he was somewhat flabbergasted by the label's decision to leave his vocal intact. Berry Gordy's instincts proved right, however, when "Shotgun" topped the R&B charts and hit number four on the Pop chart.
In 1966, Graves left and was replaced by old friend Billy "Stix" Nicks. Walker's hits continued with tunes like "I'm a Road Runner" (#20 Pop) and "Pucker Up Buttercup". (#3 Pop) Toward the end of the '60s, seeking to diversify their approach, the All-Stars began recording more ballad material, complete with string arrangements and Walker vocals. That approach resulted in the group's second Top Five pop hit, the R&B number one "What Does It Take (To Win Your Love)" which helped refuel Walker's career. He landed several more R&B Top Ten hits over the next few years, including a cover of The Guess Who's "These Eyes", which went to number 16 on the Pop chart. Musical tastes changed in the 70's and the final top forty hit for Junior Walker and the All Stars was "Do You See My Love (For You Growing)" in 1970.
Walker resurfaced as a solo artist during the disco era, working with producer Brian Holland beginning in 1976 with the single "Hot Shot". A pair of albums followed. In 1979, Walker joined up with another former Motown mainstay, signing with producer Norman Whitfield's Whitfield label, though without much success.
Walker returned to the spotlight in 1981 with a guest solo on Foreigner's Top Five hit "Urgent". Two years later, he re-signed with Motown and recorded "Blow the House Down". His melodic style was now being absorbed into a new generation of R&B-flavoured jazz instrumentalists.
Junior continued to perform in the 80's and 90's, often with his son Autry DeWalt III on drums. Sadly, Junior Walker developed cancer in 1993 and as his health deteriorated, he had difficulty walking. He died on November 23, 1995 in Battle Creek, Michigan at age 53.
In the wake of his death, Billy "Stix" Nicks continued to tour with a version of the All-Stars.
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Us
Junior Walker & The All Stars Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tell you about Black Man supremacy. Ises Rastafari!
Woi yoi Salassie I will tek I home.
Hotter fire, hotter fire. (Aye hay hay!)
These are the trumpets of the living man making the sound.
Chorus:
Hey, watch over us, Emperor Salassie I dem ya road rugged and steep,
Hey guide over us, Holy Emanuel I, Sizzla knees could a never get weak.
I know it is a must, for us to make it home, through dem yah nashing of teeth.
Unno sey it.
Verse 1:
There are those who constantly they have been been placing
The rocks on the tracks leaving devil snairs laying.
And them wish fi all who dem hate to be falling
Yet inna dem face they witness thy uprising.
Feeling Irie making it into my way
No apology, fire bun dem everyday-ay-ay-ay.
Conspiracy leads the game you play
Now they fall on their knees without my say
Chorus
Verse 2:
Dem fi know I climb mountain and the valleys, (ohhoe)
Jah tell mi so I run both river banks.
Within life you've got follies (yeah yeah!)
Here is the rasta yout whilst giving thanks
Hey Jah Jah, give I-man health and strength
Working for you makes no sense
You Could Never put a dime in my pocket
King Salassie- I-run the frontline so watch this.
Chorus
Verse 3:
Dem high statistics and Economics have dem going-so Kinky
Mi draw fi mi rastamon song mi, binghi drum, mi calabash chalice
Babylon sey mi crazy!
Giving praises, Niyabinghi Ises, our business
Mi nuh join dem slavery
Jah Jah dem burn dem bridge spiting mi big.
When yuh dun (done) know I swim across through my victory.
Chorus
The Junior Walker & The All Stars's song "Us" starts off with an introduction reminiscent of Rastafarianism, which speaks of Black Man supremacy and Emperor Salassie I. The chorus emphasizes the need for guidance and protection to make it through life's challenges, often portrayed as a rugged and steep road with much gnashing of teeth. The verses talk about the difficulties of life, with the powers that be wishing for our downfall but witnessing our rise. The lyrics speak of being Irie, which means feeling good and at peace, despite the conspiracies against us. The second verse talks about the trials and tribulations faced by the singer and their reliance on Jah Jah, or God, to give them strength. The chorus is repeated twice more, emphasizing the need for divine guidance and protection to make it through the challenges of life.
Line by Line Meaning
Tell you about Black Man supremacy. Ises Rastafari!
Introducing the topic of black man supremacy with a reference to Rastafarianism and Emperor Salassie I.
Woi yoi Salassie I will tek I home.
Expressing belief in Emperor Salassie I as a guide to take one home.
Hotter fire, hotter fire. (Aye hay hay!)
Exclaiming with enthusiasm and energy.
These are the trumpets of the living man making the sound.
Attributing the sound to the living man's trumpets.
Hey, watch over us, Emperor Salassie I dem ya road rugged and steep,
Asking Emperor Salassie I to watch over and guide them on their difficult journey.
I know it is a must, for us to make it home, even through dem yah nashing of teeth,
Acknowledging the difficulties they may face but affirming their determination to make it home.
Hey guide over us, Holy Emanuel I, Sizzla knees could a never get weak.
Seeking guidance and strength from Holy Emanuel I.
There are those who constantly they have been been placing
Referring to people who are always trying to hold them back.
The rocks on the tracks leaving devil snairs laying.
Using a metaphor to describe the obstacles put in their way by those who wish them harm.
And them wish fi all who dem hate to be falling
Wishing for the downfall of those who hate them.
Yet inna dem face they witness thy uprising.
Defying their oppressors and standing up for themselves.
Feeling Irie making it into my way
Feeling happy and content on their journey.
No apology, fire bun dem everyday-ay-ay-ay.
Not apologizing for standing up to their oppressors and criticizing them.
Conspiracy leads the game you play
Referring to the conspiracies and plots of their oppressors to hold them back.
Now they fall on their knees without my say
Their oppressors are now at their mercy and have to submit.
Dem fi know I climb mountain and the valleys, (ohhoe)
Asserting their capability and perseverance.
Jah tell mi so I run both river banks.
Claiming divine guidance and support on their journey.
Within life you've got follies (yeah yeah!)
Acknowledging mistakes and imperfections in life.
Here is the rasta yout whilst giving thanks
Expressing gratitude while presenting oneself as a follower of Rastafarianism.
Hey Jah Jah, give I-man health and strength
Asking for divine support and strength.
Working for you makes no sense
Preferring freedom and independence over working for others.
You Could Never put a dime in my pocket
Refusing to be swayed by material possessions.
King Salassie- I-run the frontline so watch this.
Referring to Emperor Salassie I as a leader and indicating confidence in him.
Dem high statistics and Economics have dem going-so Kinky
Critiquing traditional economic and statistical analysis.
Mi draw fi mi rastamon song mi, binghi drum, mi calabash chalice
Expressing cultural identity through music and symbolism.
Babylon sey mi crazy!
Referring to people who do not understand or accept their way of life.
Giving praises, Niyabinghi Ises, our business
Praising Niyabinghi Ises, a Rastafarian belief and practice.
Mi nuh join dem slavery
Rejecting conformity and subservience to mainstream society.
Jah Jah dem burn dem bridge spiting mi big.
Believing that those who oppose and mistreat them will ultimately face consequences.
When yuh dun (done) know I swim across through my victory.
Celebrating their success in overcoming obstacles.
Lyrics © THE ROYALTY NETWORK INC., Royalty Network
Written by: CLEMENT DODD, MIGUEL COLLINS, MIGEL COLLINS, SYLVESTER WEISE
Lyrics Licensed & Provided by LyricFind