Born in Jackson, Mississippi, United States, Spann became known for his distinct piano style.
Born to Frank Houston Spann and Josephine Erby. One of five children - three boys and two girls. His father played piano, non professionally, while his mother had played guitar with Memphis Minnie.[citation needed] Spann began playing piano by age of eight, influenced by his local ivories stalwart, Friday Ford. At the age of 14, he was playing in bands around Jackson, finding more inspiration in the 78s of Big Maceo Merriweather, who took the young pianist under his wing once Spann migrated to Chicago in 1946. Other sources say that he moved to Chicago when his mother died in 1947 playing the Chicago club circuit and working as a plasterer. Spann gigged on his own, and with guitarist Morris Pejoe, working a regular spot at the Tic Toc Lounge before hooking up with Muddy Waters in 1952.
Although he recorded periodically as a solo artist, Spann was a full-time member of the Muddy Waters band from 1952 to 1968. In that period he also did session work with other Chess artists like Howlin' Wolf and Bo Diddley.
Spann's own Chess Records output was limited to a 1954 single, "It Must Have Been the Devil" / "Five Spot", which featured B.B. King and Jody Williams on guitars. He recorded a session with the guitarist Robert Lockwood, Jr. and vocalist St. Louis Jimmy in New York on August 23, 1960, which was issued on Otis Spann Is The Blues and Walking The Blues. A largely solo outing for Storyville Records in 1963 was recorded in Copenhagen. A set for UK Decca Records the following year found him in the company of Muddy Waters and Eric Clapton, and a 1964 album for Prestige followed where Spann shared vocal duties with bandmate James Cotton.
The Blues is Where It's At, Spann's 1966 album for ABC-Bluesway, sounded like a live recording. It was a recording studio date, enlivened by enthusiastic onlookers that applauded every song (Muddy Waters, guitarist Sammy Lawhorn, and George "Harmonica" Smith were among the support crew). A Bluesway encore, The Bottom of the Blues followed in 1967 and featured Spann's wife, Lucille Jenkins Spann (June 23, 1938 – August 2, 1994[5]), helping out on vocals.
In the late 1960s, he appeared on albums with Buddy Guy, Big Mama Thornton, Peter Green and Fleetwood Mac.
Several films of his playing are available on DVD, including the Newport Folk Festival (1960), while his singing is also featured on the American Folk Blues Festival (1963) and The Blues Masters (1966).
Following his death from liver cancer in Chicago in 1970, at the age of 40, he was interred in the Burr Oak Cemetery, Alsip, Illinois. Spann's grave laid unmarked for almost thirty years, until Steve Salter (president of the Killer Blues Headstone Project) wrote a letter to Blues Revue magazine to say "This piano great is lying in an unmarked grave. Let's do something about this deplorable situation". This lit a spark in the blues community on a world wide level. Blues enthusiasts from Alaska to Venezuela, from Surrey to England, and Singapore sent donations to purchase Spann a headstone. On June 6, 1999 the marker was unveiled during a private ceremony. The stone reads "Otis played the deepest blues we ever heard - He'll play forever in our hearts".
He was posthumously elected to the Blues Hall of Fame in 1980.
Ain't Nobody's Business
Otis Spann Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lord, Lord, Lord, Lord, Lord
Ain′t nobody's business if I do
Me and my baby fuss and fight
Just the next moment, child now we′s all right
Ain't nobody's business if we do
Just the next day, ain′t nothin′ shakin'
It ain′t nobody's business if I do
(I tell you what I′m a do. Everybody say they wanna hear the blues, I'm a try to play the blues for ya...)
Let me tell you about me and my buddy now...
Weeped in church all day Sunday
Quiet and collaborate, don′t whisper, all day Monday
Ain't nobody's business if we do
The lyrics to Otis Spann's song "Ain't Nobody's Business" are an expression of freedom and defiance against societal expectations and norms. The repetition of "Lord, Lord, Lord" at the beginning of each verse suggests that the singer is pleading with a higher power for acceptance and understanding, while simultaneously affirming their right to live their life without interference or judgement from others.
The opening line "Ain't nobody's business if I do" sets the tone for the song, emphasizing that the singer is going to live their life the way they see fit, regardless of what others may think or say. The following verses give examples of the singer's personal life, from arguments with their partner to their dietary choices, in an effort to underscore the point that these are individual decisions that don't concern anyone else. The final verse about weeping in church on Sunday and keeping quiet on Monday could be interpreted as a commentary on the hypocrisy and judgement of organized religion.
Overall, the lyrics of "Ain't Nobody's Business" suggest a desire for personal autonomy and the right to live a life free from scrutiny and criticism. It's a powerful message that still resonates today.
Line by Line Meaning
Lord, Lord, Lord, Lord, Lord
Beginning the song with a plea for spiritual strength and guidance.
Lord, Lord, Lord, Lord, Lord
Continuing the plea for spiritual strength and guidance.
Ain't nobody's business if I do
Not caring if others know about one's actions or decisions.
Me and my baby fuss and fight
Having arguments with one's significant other.
Just the next moment, child now we's all right
Resolving the argument and being on good terms again shortly after.
Ain't nobody's business if we do
Not wanting others to know about the argument or relationship issues.
One day, I have ham and bacon
Having one type of food on a certain day.
Just the next day, ain't nothin' shakin'
Having a different type of food the next day.
It ain't nobody's business if I do
Asserting one's right to eat whatever they want without concern for others' opinions.
(I tell you what I'm a do. Everybody say they wanna hear the blues, I'm a try to play the blues for ya...)
Introducing the intention to play the blues for the audience as a transition in the song.
Let me tell you about me and my buddy now...
Transitioning to a different subject in the song.
Weeped in church all day Sunday
Crying during a religious service.
Quiet and collaborate, don't whisper, all day Monday
Being pensive and keeping to oneself the next day.
Ain't nobody's business if we do
Asserting that one's religious practices and how they deal with their emotions is a private matter.
Writer(s): Porter Grainger, Everett Robbins
Contributed by Bella K. Suggest a correction in the comments below.
@cyrillo9
Otis gave me a free 8 hour piano lesson when I was 19 yrs. old. Nicest person you'd ever want to meet. His wife was a character and great singer too. In my opinion, his piano colorations are unsurpassed.
@doranoton5542
I agree, he was the best. Tragic that he died so young. Lucky, lucky you to have known him and had him teach you.
@iaingibney8960
Wow that as a memory :)
@mattschmierer2394
You are very lucky!
@eggedon6112
He was a genius. How fortunate for you to get a lesson from a true master of the craft!
@hallucinatinghawk3917
Wow really that’s so cool!
@davesnyder7028
I'm 41. My dad used to play Otis Spann daily. He was the reason I have played piano for 32 years. This is it. Good stuff!
@hallucinatinghawk3917
🙂
@hirohikonishikawa4851
I am a japanese businessman 58 years old . I like this kind of music very much, but in the past my father destroyed my plates I had many originals, he only allowed japanese music and not from the black man. But now I can listen to what I want!!
@doveskylark
Hirohiko Nishikawa Freedom is a good thing. Take it anyway you can get it.