If you missed Part 1, read it here.
Little Beaver’s debut performance at Overtown’s Knight Beat club had just ended. Frank Duboise, a local musician, was watching from nearby. After all, his band, The Chicken Scratchers, was the club’s house band at the time. Duboise approached Beaver afterwards and invited him to join his band on the spot.
Little Beaver’s entrée into Miami’s hip soul scene had officially begun.
We ended up in Coconut Grove at the Tiki Club. Bobby Marshall was the MC. We had B.B. King come there one night. We were the house band and B.B. was the star. And that’s when I first met Sam & Dave…
Beaver remembers playing to a packed house every weekend with the Chicken Scratchers. But they didn’t just play at the black clubs. Duboise had another gig, a “white evening lounge” off of NW 27th Avenue.
Frank liked to play Sinatra… ‘cause he worked for the judges downtown on 12th Street and so he would do little gigs for the judges and lawyers.
Beaver says that whenever Duboise would start with “that stuff” (Sinatra music), he’d ask Beaver to leave the stage.
He would let me go. Go have a drink or something…,
because I play too loud.
He only stuck it out for about a month.
Sure, the gigs were fine and the pay ($75 per night) was pretty good but Beaver says he started to miss Florida City.
I was getting lonesome. I didn’t have many friends in Miami. So I left the band and went back down to Florida City and I played where I always played; at the Lucy Street Bar somewhere back there on Krome Avenue.
One night he happened to cross paths with Frank Williams. Williams and his group The Rocketeers were the ‘it’ band of Miami’s soul scene at the time. They backed up just about every artist that rolled through Miami’s Overtown club scene. They had also cut some records of their own under William’s label, Saadia (named after one of his twin daughters) and were getting local airplay. In other words, their music could be heard day and night from Coconut Grove to Liberty City.
Williams asked Beaver to join his band as lead guitarist (former guitarist Joey Gilmore left the band in 1964 to enlist in the Army). Beaver accepted. It was time to move on from Florida City anyway. The real action was happening in Miami. So one day he had a friend drive him to The Island Club in Overtown where Williams was set to perform that evening.
I didn’t have no attire to wear on stage, you know. And so Frank got one of them porters there or whatever you call them who had a little white outfit and I used one of his little outfits that [first] night.
What a combo. A 19-year old bluesy virtuoso with Miami’s hottest R&B act.
They played behind the likes of Sam & Dave, Teddy Pendergrass, Johnny Taylor, Etta James, Betty Wright and on and on.
Then he pauses and says:
But, Frank exploited me, so to speak.
Whenever the word “exploit” comes up during any of these interviews with past Miami musicians, it makes me cringe a little. So I say, you mean in a good way, right?
Sure, it turned out to be in a good way but I didn’t know it at the time.
I didn’t want to be a vocalist. I was a musician at heart. Still am, you know. I didn’t consider myself no singer. All through my life coming up when I learned to play guitar there was always a vocalist in the group. That was the singer. And we all acknowledged that. I wasn’t no singer. I guess I was kind of like Nat King Cole.
Beaver then tells me a story about Cole, that he never wanted to sing but one day at a club one of those “gangster guys” came in and wanted to hear One For My Baby, One For My Rose. For some reason, which in hindsight seems like a legendary anecdote, the lead vocalist wasn’t there. So the club owner told Cole to either sing the song or find himself another job.
After that, it was history. Nat was a singer, whether he wanted to be or not.
Beaver says Williams wanted him to sing.
Me and Frank had a big discussion about it, brought tears to my eyes. I was so mad. He got mad too. I can get guitar players a dime a dozen, he said. I need someone who can sing and do a little more than just play the guitar.
He kind of twisted my arm ‘cause I was making pretty good money. I didn’t want to leave that job and go back down to [Florida City] ‘cause I figured I kind of wore out my welcome going back down there a second time…, so I was forced to stay and I started to sing.
After that, whenever the Rocketeers played at the Island Club, Beaver had to sing a few numbers too. He didn’t like it but he grew into his new role.
(He sits up in his chair a little.)
Eventually I became the favorite with the people. They enjoyed everybody but they especially came out to hear Little Beaver. Instead of Frank Williams and the Rocketeers on his poster boards he put up, it was Frank Williams and the Rocketeers featuring Little Beaver.
‘Cause Little Beaver was the drawing card.
Beaver acknowledges Frank William’s influence on him.
I give him credit. He got me started.
I had to start somewhere.
The Rocketeers were one of the hardest working bands in Miami at the time, drawing full houses week in and week out, and Little Beaver was a big part of it. From 1964 to around 1968, they were the featured act at the Knight Beat, then Mr. James Club, then Continental Club, then Double Decker Lounge, and finally back at the Knight Beat. They also got into the studio and cut some good sounding soul records including the hit You Got To Be A Man (Phil-LA-of Soul, 1966).
Things were good, for a good little while, he says. Until they weren’t.
Beaver says Frank Williams wanted to run some clubs, manage them like night club impresario Clyde Killens, who at the time ruled over the Overtown club scene.
Killens could get just about anybody to perform at his clubs.
Beaver thinks the two of them partnered up on some things and Williams got in over his head with debts. He eventually stopped paying the band.
Clyde would come in and take all the money.
Everything that came through the door. Every penny.
The Rocketeers were finished. First the horn players left, and later, one by one: bassist Edmund Collins, drummer Robert Ferguson, pianist Louie Howard, and Little Beaver.
We just couldn’t do it no more. I was like four or five months behind in my rent.
Meanwhile, just outside the club’s doors, the Civil Rights Movement was in full swing. Beaver recalls the social changes underway in the late 60s.
Black people were taking their money to [Miami Beach]…, places like the Castaways or the Eden Roc.
They weren’t going to the black clubs.
We had our own clubs, …prestigious black clubs. But we lost clientele.
He goes on.
A lot of people enjoyed the freedom. They wanted to go to the white clubs just to say We Made It. It’s like we needed to find our identity. But we already had an identity.
We talk about this for a few more minutes, about those that have and those that have not and how the haves always want more.
But let’s get back to music history.
During one of Little Beaver’s night club performances, he came to know Willie Clarke, songwriter/producer with TK Studios and former co-founder of Miami’s Deep City Records. Clarke invited Beaver to come out to TK’s Hialeah studios, which at the time was gaining momentum as a player in the national soul music scene.
I went out there and they wanted to hear some of my material. I played one song for them – Joey.
The song is a ripe blend of soul and blues about a man under duress ’cause his baby is calling out another man’s name.
Released under TK’s R&B label (Cat), the record wasn’t a hit right away. But Beaver didn’t just sit around. He formed his own group and started playing “the same little joints as before.”
Then Dave Prater (formerly of Sam & Dave) called.
Prater had just split from Sam Moore and was coming back to Miami. He wanted Beaver and his group to back him up on his solo U.S. tour. After a few dates, the tour turned out to be a disaster.
We were starving…, every place we’d go was canceled because he was booking himself as “Sam & Dave” and he didn’t have Sam. I mean, I sounded good singing with him but I wasn’t Sam. That was crooked. When people got [to the show], they canceled.
He says one day he called from the road over to TK studios. Willie Clarke got on the phone.
He said, Hey man, when you coming home? You got a hit!
With a little help from some friends, mainly local DJs like Butterball from WMBM, Joey (Cat, 1972) broke out and onto the Billboard R&B charts, reaching #48 on the list.
At this point in the interview, Little Beaver pauses to look out the front window. It’s not so much a look but rather a departure from this moment.
In 1974, Beaver blew the doors open on his music career with his biggest hit record.
There was a guy. He was a white fellow, jail bird, I didn’t know it at the time. He had a long rap sheet. But anyway I used to go over his apartment and smoke a little weed and listen to records. And he played this song by a white group and I heard the chord changes and the chord changes stuck. I couldn’t get rid of it. So I started to go home and play those chords changes. And I kept playing them.
And then there was a commercial on TV, one of those island commercials, like Jamaica, Tahiti, you know, with the girl all dressed in a little suit with her hair hanging and it was like ting-tun-ting-tuun… ting-ku-ku-kun ting-tun… just over and over and I said man, that’s soothing.
So I started to put that together with those chord changes. And I came up with Party Down.
Party Down (Cat, 1974) debuted on Billboard’s R&B Charts on September 21, 1974 and raced up to #2. Little Beaver was a household name.
He was even invited to perform the hit song on Soul Train.
Yeah, that was my Ed Sullivan show.
Beaver says the record was so commercial, it’s still selling with each generation that discovers it.
I get more money from royalties now than I did back then when it first came out.
He tells me about the day he learned that Jay Z had used one of his songs from the Party Down album.
I went on WikiPedia one day. You know…, I look at myself once in a while, see what they saying about me.
And I see Jay Z just sampled one of [my] songs. I said, what? I didn’t even know who Jay Z was. There’s so many of them, Jay Z, Smooth E Z, L Cool, Cool Cool, there’s a million of them. I didn’t have a clue who Jay Z was.
Jay Z used Beaver’s song, Get Into The Party Life, for the 2007 film American Gangster starring Denzel Washington and Russell Crowe.
I got paid pretty good.
Little Beaver’s recording career after 1974 lost some steam. He had a couple mild hits but the R&B audience had changed as they gravitated more towards disco music. Beaver’s last recording was I Feel Like Crying (Cat, 1978). In 1980, TK, which produced some of the biggest disco hits in the world, folded, as did the Cat record label. Little Beaver put away the guitar and got himself a job.
He worked as a cleaner with Miami-Dade Transit for 30 years until he retired in 2012. Hardly any of his colleagues knew he was Little Beaver. They all knew him as Willie [Hale].
Beaver says he just never had the desire to continue with the music career.
I didn’t want that fame and fortune and Hollywood thing. I wasn’t after that.
He says when he reminisces, it makes him laugh.
I have never tried to do anything but people seek me out. I’m not trying to be famous. But my name keeps poppin’ up. I had a DJ email me from San Diego, California, wants to interview me. He’s into my music. I hate to say I’m not interested so I just pretend I didn’t hear…
He pauses again and looks towards the window.
I don’t want all of that fuss, man.
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