BiO
Emry Thomas, who is also known professionally as Emilio Thomas and E.T., is an award winning American Blues, Funk and Jazz drummer, producer, singer, and songwriter. As a young drummer E.T. was influenced by Jazz greats including Max Roach, Art Blake, Billy Higgin, Stix Hooper, Roy McCurdy, and Jack DeJohnette. While Jazz was an important part of his development, he was also inspired by the work of James Brown and the hard driving, funk beats of John Starks, aka Jabo, and Clyde Stubblefield, whose drum patterns on Brown’s recordings are considered Funk standards.
E.T. was born on the island of Galveston, Texas and grew up during the 1950’s in the segregated Jim Crow south. Living next door to a machine shop he remembers lying on the ground listening to the irregular beats of the air compressor. At age eight, he was already playing the hand cymbals in his school marching band, displaying the great sense of time that would impact his ability to play the drum kit. While attending a James Brown concert in 1965 and seeing John Starks and Clyde Stubblefield, E.T. made the decision to become a show drummer. His dream at that time was to work with James Brown. Although he never got the chance, he did work and record with the late Johnny ”Guitar” Watson. This association led to landmark Gold albums of the 1970’s, including Ain’t That a Bitch and The Real Mother for Ya.
ROXY, Sunset Blvd. HOLLYWOOD, CA. 1976. Photo by: E.J. Lockett
WE COULD HAVE BEEN CONTENDERS
Working with the late Johnny “Guitar” Watson was one of the high lights of my career. I still find myself after all these years flashing back to what could have been. Working with Watson and being involved with Dick James Music was like a dream come true. A record company based in London, England, which gave me access to Europe, who could ask for anything more.
I was in denial for many years, but the facts are. My brother Johnny “Guitar” Watson sabotaged everything he and I had produced for his company Vir-Jon. It has been 25 years since Watson’s death. And I still have not come to grips with the fact, that we had a genuine chance to make a different in the record business. Johnny Watson and I had great musical chemistry, it was Watson’s music, but it was our sound. That sound resulted in hits like “Ain’t that a Bitch”, “Real Mother For Ya”, “Superman Lover”, “Ta Ta Ya”. That sound had a lot to do with Watson getting his deal with A&M records.
I put years into Vir-Jon, my loyalty was unquestioned. I was so set on and sure of our success, that I did not even try to work with any other artists. In retrospect I should not have allowed myself to be so committed, so loyal to one person. I saw us winning and I believed at the time , Watson was as committed to winning as I was. Maybe in the beginning, but with success, drugs, and his ego, Watson lost all perspective. It was Watson’s inability to reproduce that quality sound that he and I had produced that got him dropped by A&M records.
There is no doubt that Johnny Watson crossed me by going to A&M records without me. He also crossed himself and our chance to make Vir-Jon a reality. I needed Watson as much as he needed me, I would admit that, Watson never would. We both had worked all those years to get to that point, granted Watson much longer. Watson was given the chance of a life time and he blew it.
When we as an organization had gotten two gold albums, I was sure we were on our way. We had recruited two great singers in Randy Redman and Johnaton Wilson. Also, we had Watson’s nephew an up and coming rapper. We had all of the components to be successful. I have to except that the late Johnny “Guitar” Watson was not ready to be the CEO of a record label. He chose to go it alone and screwed it up, and blew a million dollar deal. Watson did not produce not one track that A&M records would use. In his disappointment that A&M had rejected everything that he had submitted, Watson supposedly walked on Herb Alpert desk to show his disgust. Instead of being the exc., writer, arranger, producer person, Watson still had stars in his eyes. I understand now that after all those years in the business. Watson’s ego was not going to allow him to put me or any other artist ahead of himself. Instead of being the CEO of Vir-Jon, a writer, an arranger, a producer, and our boss. Johnny Watson being so paranoia he saw us as competition and not his company’s assets. When Watson removed me from his musical equation he lost the Snap, Crackle and the Pop.
E.T.’s drums have been sampled by rappers like Redman, who based his “Sooperman Luva” on Watson’s “Superman Lover.” “Superman Lover,”featured on the soundtrack of the the video game Grand Theft Auto V, one of E.T.’s signature beats, is among one of the most sampled recording in the Rap world, Ice Cube, Eazy-E, Snoop Dog, Dr. Dre, Jay Z, Mary J. Blige, Kanye West, and even Kendric Lamar have also sampled E.T.’s grooves. From the mid 1970’s to the early 1980’s, Emry Thomas created the grooves on all of Johnny ”Guitar” Watson’s biggest hits.
Looking back on the road that he has traveled to achieve his goals, E.T. credits his attendance at North Texas State University as a major influence. Going to North Texas State University was the best thing that could have happened to him; it opened his eyes to what real drumming was.
RAW “N” REAL
The late Johnny “Guitar” Watson’s career spanned a period of over forty years. I was fortunate to have worked with Watson at what I would consider the pinnacle of his career. Also, being Watson’s drummer, production assistant / Co-Producer, I was in charge of production. I was always first at the studio to prep the drums. I had total control over everything we did musically in the studio and on tour. Because of that fact, I have in my possession recordings of my band the Institute featuring the dynamic “Guitar” Watson. Watson was an incredible showman. He was the type of artist that had to be seen to truly appreciate his artistry.
Being aware of this aspect of his stage persona, Watson always wanted to do a live album. Right before his death in 1996, Watson was promoting the idea of doing a live recording. For all of the many fans that did not have the opportunity to witness the genius of “Guitar” Watson in person. I have great news.
The recordings in this live tribute set are Classic “Guitar” at his peak. From his iconic Gangster of Love to Ain’t that a Bitch, Watson is brilliant. These recordings document the period when I left the group Maxayn and began working with Watson full time.
Having worked with Johnny “Guitar” Watson” at what I consider the height of his career. I can look back on the whole of Watson’s work. In putting together these recordings of the late Johnny “Guitar” Watson, my appreciation of this brother and his true brilliants has grown even more. To have been allowed to be such an intricate part of this legendary artist’s legacy is a blessing I will cherish. Guitar and I had a distinct tight sound, it was his music, but it was our sound, “The way we sounded together” no one sounded like Johnny “Guitar”.