As a performer and as a songwriter, Oliver Sain applied an effect on the advancement of St. Louis soul and R&B that is matched uniquely by that of his dear companion and rare partner Ike Turner. Conceived March 1, 1932, in Dundee, MS, Sain was the grandson of Dan Sane, the guitarist in Frank Stokes’ unbelievable Memphis blues act the Beale Street Sheiks. (The spelling inconsistency was the consequence of a birth authentication blunder.) The result of a Delta sharecropping family, Sain was raised close to the homes of blues symbols Robert Johnson and Son House – he initially grabbed the cornet and after that the trumpet before choosing drums, and in 1949 he moved to Greenville, MS, to join his stepfather, piano player Willie Love, in a combo fronted by Sonny Boy Williamson. Before long, Sain joined up with Howlin’ Wolf, drumming behind the blues extraordinary now and again during the time to pursue; in 1950, he migrated to Greenwood to join the Claude Jones Band, and after a year was supporting Clarence Hines. In late 1951 Sain was drafted into the U.S. Armed force, serving his training camp spell at Oklahoma’s Fort Sill before he was sent to Korea. He came back to Greenville in 1952 to rejoin Love, presently backing artist Little Milton Campbell – now, impacted by his incredible profound respect for Charlie Parker, Sain embraced the saxophone, which would remain his instrument of decision for the remainder of his profession.
In 1955 Sain moved to Chicago, rejoining with Howlin’ Wolf, become a close acquaintence with Chess Records proprietors Phil and Leonard Chess, and later playing with the unbelievable Elmore James just as a dark Windy City performer referred to just as “Cool Breeze.” He stayed in Chicago until 1959, when Little Milton requested that he sit in at a gig at the East St. Louis nightspot Club Manhattan – he never left, turning into Campbell’s melodic chief and every so often sitting in with Ike Turner’s Kings of Rhythm. Sain before long displayed a remarkable skill for finding new ability, enlisting Fontella Bass as the band’s musician – just later did he discover she could sing, introducing her in the number one spot vocalist space on a night when Campbell neglected to appear on schedule. Whenever Sain and Campbell went separate ways, the previous took Bass with him, naming her lead vocalist in his recently framed Oliver Sain Soul Revue close by another disclosure, artist Bobby McClure. The gathering made its recorded presentation in 1964 with the Bobbin mark discharge “Substantial Sugar”; after a year, Sain composed and delivered Bass and McClure’s Top Ten R&B two part harmony “Don’t Mess Up a Good Thing,” recorded in Chicago at Chess Studios and issued on the Chess auxiliary Checker. Albeit Bass left the Soul Revue later in 1965, Sain composed a bunch of the melodies recorded for her introduction solo exertion, including “Soul of a Man,” the B-side to her blockbuster “Salvage Me”; her substitution in the gathering was Barbara Carr, who not long after likewise marked a performance manage Chess in spite of staying with Sain until 1972.
With income earned gratitude to the achievement of “Don’t Mess Up a Good Thing,” Sain established his very own chronicle studio, Archway, in 1965 – there he would create an incalculable number of acts in the years to pursue, running from soul amicability bunch the Montclairs to vanguard saxophonist Julius Hemphill to hopeful gospel vocalists who lived in the area. After some time he built up an unmistakably full, unique sound that would come to help characterize the St. Louis soul stylish, procuring the moniker “The Man With the Golden Horn” from his companions. Sain kept sharpening his methodology over the range of singles like “Tanya” and “On the Hill” (examined decades later on Puff Daddy’s “Young G’s”), issued through his own Vanessa mark – during the late ’60s, he additionally started permitting material to the Abet name, bringing about singles like “St. Louis Breakdown” and “Take care of me.” In 1972, Abet discharged his first since forever full-length exertion, Main Man; Bus Stop pursued two years after the fact, and when the title cut turned into a U.K. diagram crush, Sain mounted his first British visit. With 1975’s Blue Max, Sain at long last split the American outlines by means of the disco-enhanced “Goods Bumpin’,” which arrived at number 78 on Billboard’s R&B diagrams; the development, “Gathering Hearty,” was a much greater hit, ascending to the number 16 spot.