Curtis Ousley was adopted, with his sister, Josephine Ousley Allen. They were raised together in Fort Worth, Texas. Ousley attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman.
Ousley started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band. During his time with Hampton, he was able to write and arrange music and learn guitar. In 1952 Curtis decided to move to New York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly, Buddy Holly, Waylon Jennings and Andy Williams.
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons. Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.
King Curtis enjoyed playing jazz and rhythm & blues but decided he would make more money as a rhythm & blues musician, stating in a 1971 interview with Charlie Gillet that "I love the authentic rhythm & blues more than anything, and I also like to live well." From the 1950s until the mid-1960s, he worked as a session player, recording under his own name and with others such as The Coasters, with whom he recorded "Yakety Yak". Buddy Holly hired him for session work, during which they recorded "Reminiscing". Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session. His best-known singles from this period are "Soul Twist" and "Soul Serenade". He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice".
In 1965, he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). He worked with The Coasters, led Aretha Franklin's backing band The Kingpins. The Kingpins opened for The Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.
In March 1971 he appeared with Aretha Franklin and The Kingpins at the Fillmore West, which resulted in two live albums: "Aretha Live at Fillmore West", and Curtis' own "Live at Fillmore West". In July 1971, Curtis recorded saxophone solos on "It's So Hard" and "I Don't Wanna Be a Soldier" from John Lennon's Imagine. Along with The Rimshots, he recorded the original theme song for the 1971 hit television show, Soul Train, titled "Hot Potatoes".
Curtis was killed on August 13, 1971 when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montanez refused to move from the entrance. A fight ensued and Montanez stabbed Curtis. Curtis later died at Roosevelt Hospital. In March 1972, Montanez was sentenced to seven years for second-degree manslaughter, but was released in late 1977 for good behavior.
On the day of Curtis' funeral Atlantic Records closed their offices. Jesse Jackson administered the service and as the mourners filed in, Curtis' band 'The Kingpins' played "Soul Serenade". Among those attending were Ousley's immediate family, including sister Josephine Ousley Allen, other family members, Aretha Franklin, Cissy Houston, Brook Benton and Duane Allman. Franklin sang the closing spiritual "Never Grow Old" and Stevie Wonder performed "Abraham, Martin and John and now King Curtis".
Curtis was subsequently buried in a red granite-fronted wall crypt in the 'West Gallery of Forsythia Court' mausoleum at Pinelawn Memorial Park in Farmingdale, New York, the same cemetery that holds jazz greats Count Basie and John Coltrane.
In 1970, a year before his death, Curtis won the Best R&B Instrumental Performance Grammy for "Games People Play".
Curtis was posthumously inducted into the Rock and Roll Hall of Fame on March 6, 2000.
Watermelon Man
King Curtis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Down the path along side the lake
A tender hearted woman saw a poor half frozen snake
His pretty colored skin had been all frosted with the dew
"Poor thing," she cried, "I'll take you in and I'll take care of you"
"Take me in tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
She wrapped him up all cozy in a comforter of silk
And laid him by her fireside with some honey and some milk
She hurried home from work that night and soon as she arrived
She found that pretty snake she'd taken to had been revived
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
She clutched him to her bosom, "You're so beautiful," she cried
"But if I hadn't brought you in by now you might have died"
She stroked his pretty skin again and kissed and held him tight
Instead of saying thanks, the snake gave her a vicious bite
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
"I saved you," cried the woman
"And you've bitten me, but why?
You know your bite is poisonous and now I'm going to die"
"Oh shut up, silly woman," said the reptile with a grin
"You knew damn well I was a snake before you took me in
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
The lyrics of King Curtis's "Watermelon Man" tell a story of a tender-hearted woman who encounters a half-frozen snake along the lake on her way to work one morning. Moved by the poor creature's suffering, she takes him in, wraps him up in silk, feeds him honey and milk, and nurses him back to health. However, her kindness is met with betrayal when the snake viciously bites her, leaving her to die. In her last moments, she confronts the snake for his treachery, to which he simply responds with a cruel reminder that he was a snake - a predator by nature - and she knew it from the start.
The lyrics can be interpreted in different ways, but the story of the snake and the woman is often seen as a cautionary tale about the dangers of ignoring one's instincts and taking in those who may harm you. The metaphorical snake can represent any person, situation, or addiction that seems appealing on the surface but can ultimately lead to harm and betrayal. The woman's act of kindness can be seen as a lesson of empathy, but also as a reminder of the need to protect oneself and be aware of potential harm.
"Watermelon Man" is a well-known jazz standard that has been covered by various artists, including Herbie Hancock and Mongo Santamaria. The song was originally composed by Cuban-born pianist and composer, Ernesto Lecuona, as a Cuban rumba, and was later adapted by Herbie Hancock in his jazz-funk fusion style. The King Curtis version of the song features a prominent saxophone solo and is known for its energetic rhythm and catchy melody.
Line by Line Meaning
On her way to work one morning
One morning while she was on her way to work
Down the path along side the lake
She walked down a path next to a lake
A tender hearted woman saw a poor half frozen snake
She saw a poor half frozen snake and felt sympathy for it
His pretty colored skin had been all frosted with the dew
The snake's colorful skin was frosted with dew
"Poor thing," she cried, "I'll take you in and I'll take care of you"
She felt compassion for the snake and decided to take it in and take care of it
"Take me in tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
The snake begged the woman to take it in and care for it
She wrapped him up all cozy in a comforter of silk
And laid him by her fireside with some honey and some milk
She wrapped the snake in a silk comforter and placed it by the fire with some honey and milk
She hurried home from work that night and soon as she arrived
She found that pretty snake she'd taken to had been revived
When she returned home from work that night, she found that the snake had been revived
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
The snake begged her again to take it in and care for it
She clutched him to her bosom, "You're so beautiful," she cried
"But if I hadn't brought you in by now you might have died"
She hugged the snake and admired it, but also realized that if she hadn't taken it in, it would have died
She stroked his pretty skin again and kissed and held him tight
Instead of saying thanks, the snake gave her a vicious bite
She affectionately touched the snake and held it, but the snake bit her instead of showing gratitude
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
The snake continued to beg her to take it in and care for it
"I saved you," cried the woman
"And you've bitten me, but why?
You know your bite is poisonous and now I'm going to die"
The woman was hurt and confused as to why the snake would bite her after she had saved it, knowing its bite was deadly
"Oh shut up, silly woman," said the reptile with a grin
"You knew damn well I was a snake before you took me in
The snake replied callously, saying she should have known it was a snake and not to trust it, despite her attempts to help it
"Take me in, tender woman
Take me in, for heaven's sake
Take me in, tender woman," sighed the snake
The snake continued to beg for her mercy and care, despite its betrayal
Lyrics © Universal Music Publishing Group
Written by: MILAN PILAR
Lyrics Licensed & Provided by LyricFind
Robert Tupek
omg, such great sensitivity on sax.... speechless... RIP Curtis !
wyndhl eodumegwu
An actual well-constructed solo is taken by King Curtis on the saxello soprano saxophone after the melody; he ends with a brief tenor improv. WORK.
K.D SISSOKO
King Curtis a genius for ever,!
Vic
Great song for my hearing pleasure!
wyndhl eodumegwu
With the given radio time in mind, King Curtis hastens a 1-2-3 King-size knockout punch orchestrating via woodwind and brasswind: tenor saxophone upfront with melodic and harmonic lead, as well as fading end improv.; he takes a beautifully well-constructived solo after the melody on the saxello soprano saxophone. The guitarist does his 1960s thing compatably.
wyndhl eodumegwu
... well-constructed solo ...
Chris Nova
im enjoying this very much! thank you!
CoverHeaven
Nice version!
nanlisa
I love Mongo Santamaria's version of this song.
pipewatcher
awesome. even more cooool than the Hancock version