Born and raised in Ashland, Mississippi, Mitchell moved to Memphis when he was in high school. He attended Rust College. At the age of eight, he began to play the trumpet. While in high school, he was a featured player in popular local big bands. He later formed his own combo, which from time to time included musicians such as trumpeter Booker Little, saxophonists Charles Lloyd, and George Coleman, and pianist Phineas Newborn, Jr.
Mitchell landed a job with the Home of the Blues record label as a producer, then left to join Hi Records as both a recording artist and a producer.
Known at the recording studio as "Papa Willie", Mitchell earned his nickname by taking over the reins of Hi Records in 1970 and guiding it through its most successful period. Mitchell's productions have been much noted for featuring a hard-hitting kick drum sound (usually played by pioneering Memphis drummer Al Jackson, Jr. of Booker T. & the M.G.'s).
James Mitchell, Willie's younger brother, was a fantastic trumpet player and one of the members of the Memphis Horns.
Through the 1980s Mitchell ran his own independent record label, Waylo Records. Acts on the label included Billy Always and Lynn White.
In 1987 Joyce Cobb recorded several singles for Waylo, one of which made it to #3 on the British R & B charts: Another Lonely Night (without you).
He and Al Green revived their successful recording partnership in 2003 when Green recorded I Can't Stop, his first collaboration with Mitchell since 1985's He is the Light. Their 2005 follow-up project was Everything's OK.
Mitchell died in Memphis on January 5, 2010 from a cardiac arrest.
His final work was producing the final Solomon Burke studio album, Nothing's Impossibile, released in June 2010.
(2) Best known as the man who signed Al Green to Hi Records and as the producer of Green's most popular records, Willie Mitchell had a successful recording career of his own during the mid-'60s before meeting Green. Born on March 23, 1928, in Ashland, MS, Mitchell was raised in Memphis, TN, and began studying music and arranging at an early age, taking up the trumpet at the age of eight and learning from pianist Ozie Horn (as well as drawing from such influences as Roy Eldridge and Harry James). After he was discharged from the Army in 1954, Mitchell moved back to Memphis, where he soon became a popular, local trumpet-playing bandleader -- including Elvis Presley hiring the big band to play several private parties. By 1959, Mitchell had turned his attention to studio work and he signed on with Hi Records; he is often credited as being the creator of the oft-copied and instantly recognizable Hi sound (churning organ fills, sturdy horn arrangements, a steady 4/4 drumbeat, etc.).
Throughout the '60s, Mitchell became a popular concert attraction on U.S. college campuses and he scored several moderately successful soul/dance hit singles, issuing a steady stream of solo releases for the Hi label, including such titles as Sunrise Serenade, It's Dance Time, It's What's Happenin', Hit Sound of Willie Mitchell, Ooh Baby, You Turn Me On, Willie Mitchell Live at the Royal, Solid Soul, and On Top. When the founder of Hi Records, Joe Cuoghi, died in 1970, Mitchell suddenly found himself in charge of the label. What could have been a turbulent transition turned out to be a smooth one: a year before Cuoghi's passing, Mitchell had signed an up-and-coming soul singer named Al Green to the label. Under the guidance of Mitchell, Green's career would soon skyrocket and he became one of the '70s top soul artists with Mitchell co-producing and engineering all of Green's albums from 1970 through 1976 (the singer's most successful period), as well as such classic Top Ten hit singles as "Tired of Being Alone," "Call Me (Come Back Home)," "I'm Still in Love with You," "Here I Am (Come and Take Me)," "Let's Stay Together," "You Ought to Be with Me," "Look at What You Done for Me," "Let's Get Married," and others.
Besides racking up the hits with Green in the '70s, Mitchell continued to issue his own solo recordings, including such further releases as Soul Bag, Robbins' Nest, Hold It, Listen Dance, Many Moods of Willie Mitchell, and Willie Mitchell Live, in addition to producing albums for Ann Peebles and Syl Johnson. Mitchell also sporadically issued solo albums, but still continuously produced recordings for other artists, including Otis Clay, Jimmy King, Preston Shannon, and O.V. Wright, among others. The late '90s saw several Mitchell compilations crop up (1998's Hi Masters and 1999's Soul Serenade: The Best of Willie Mitchell), which continued into the early 21st century with a double-disc anthology, Poppa Willie: The Hi Years, 1962-1974, as well as a pair of two-for-one CD releases (It's What's Happenin'/The Hit Sound of Willie Mitchell and Soul Serenade/Willie Mitchell Live). In addition to his many musical accomplishments, Mitchell also owned and operates the Royal Recording Studio in Memphis, TN. He passed away in Memphis on January 5, 2010. ~ Greg Prato & Bruce Eder
Groovin'
Willie Mitchell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Really couldn't get away too soon
I can't imagine anything that's better
The world is ours whenever we're together
There ain't a place I'd like to be instead of
Groovin', down a crowded avenue
There's always lots of things that we can see
We can be anyone we want to be
And all those happy people we could meet just
Groovin', on a Sunday afternoon
Really couldn't get away too soon
Ah-ha-ha
Ah-ha-ha
Ah-ha-ha
We'll keep on spending sunny days this way
We're gonna talk and laugh our time away
I feel it comin' closer day by day
Life would be ecstasy, you and me endlessly
Groovin', on a Sunday afternoon
Really couldn't get away too soon
Ah-ha-ha
Ah-ha-ha
Ah-ha-ha
The song "Groovin'" by Willie Mitchell is a classic soul tune that celebrates the simple pleasures of life and love. The lyrics describe a couple who are spending a lazy Sunday afternoon together, enjoying each other's company and exploring the world around them. The singer of the song marvels at how content he feels when he is with his partner, and how the world seems brighter and more full of possibilities. He can't imagine anything better than spending time with the one he loves, and he feels like they could do anything and be anyone they want to be when they are together.
The chorus of the song repeats the phrase "groovin', on a Sunday afternoon" several times, emphasizing the laid-back, carefree mood of the piece. The use of the word "groovin'" is a nod to the funk and soul music of the 1960s and 70s, and it gives the song a sense of rhythm and movement. The verses of the song are more descriptive, painting a picture of the couple as they stroll down a busy street, taking in the sights and sounds around them. The final verse of the song hints at a deeper commitment between the couple, as the singer imagines spending countless sunny days with his partner, talking and laughing and experiencing the joys of life together.
Line by Line Meaning
Groovin', on a Sunday afternoon
Enjoying ourselves and relaxing on a Sunday afternoon
Really couldn't get away too soon
We didn't want to leave, we were having too much fun
I can't imagine anything that's better
This experience is so great, I can't think of anything that could top it
The world is ours whenever we're together
The world feels open and free when we're spending time together
There ain't a place I'd like to be instead of
I wouldn't rather be anywhere else
Groovin', down a crowded avenue
Walking down a bustling street, enjoying ourselves
Doin' anything we like to do
Having the freedom to do whatever we want
There's always lots of things that we can see
There are many interesting things to observe
We can be anyone we want to be
We can act as we please, without any judgment
And all those happy people we could meet just
We have the opportunity to meet many joyful individuals
We'll keep on spending sunny days this way
We plan to continue enjoying our time together
We're gonna talk and laugh our time away
We'll spend our time conversing and enjoying each other's company
I feel it comin' closer day by day
I sense that our bond is growing stronger with each passing day
Life would be ecstasy, you and me endlessly
If we continue to spend time together, it will be pure happiness forever
Ah-ha-ha
Expressing joy and laughter
Ah-ha-ha
Expressing joy and laughter
Ah-ha-ha
Expressing joy and laughter
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Royalty Network, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Edward Brigati, Felix Cavaliere
Lyrics Licensed & Provided by LyricFind
Wu9Tang 7Forever
One of my favorite samples of all time. Liquid Swords in my opinion is the best Hip Hop album of all time. It was such a blessing to meet The Genius and for him to let me spit on the mic was just unbelievable. Peace to the whole Clan and Peace to The Nation of Gods and Earths.
A F
Robbies Chamber Isn't the first part the sample of Protect Ya Neck 2 by OBD? I came because I knew that this was the sample of Liquid Swords by I noticed this shit too
jimmy the killer
Couldn't agree more best sample ever, on one of the all time greatest hip hop albums ever created.
Celestial Titan
Willie is my Uncle,my Great Great Grandmother's Brother. RIP Poppa, you will forever live on through your Family and Fans.
Aleksandar A
U got to be proud on your unkle!Hi was bad mo-fo
ChuckBattle
RIP Willie Mitchell, one of the greatest record producers ever!!! 1928-2010
Joe Coffin
Goes to show how deep the love of music goes for people like RZA. They listen to the opening of this and think "Oh snap, I could make this hot" 😂
KGDlord
Damn, RZA had the ear for samples back then. Let's all take a moment and give RZA credit for his marvelous contributions to hip hop during the golden era, the best era for hip hop.......
raymondpissed
It's amazing listening to this - made so long ago, yet that section sampled by RZA sounds pretty modern and fresh. Willie Mitchell, the original (sort of) hip hop producer.
dex1lsp
Such a soul classic. This has to be the best version of it. No wonder that distinctive rhythmic guitar line became a classic hip-hop beat. With a little help from "Mercy, Mercy, Mercy" of course. :-)