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Nibble Man

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Album Review

Although Lee "Shot" Williams is nominally a modern blues singer, the smooth sounds of Nibble Man are mostly straight-up R&B of the '70s-style deep soul variety. The Chicago-style "Nothing But Party Blues" and "That's Really What the Blues Is All About" end the album on a suitably rootsy note, but up until then, Nibble Man lays out the slow jams one after another, with the proto-rap testimony "Ease on Down in the Bed" (also here in a cleaned-up "radio version") thrown in for variety. This is not a criticism; anyone but the most hidebound blues purist will recognize that this brand of smooth but never slick or lightweight soul is exactly right for Williams' bearish growl of a voice. The arrangements occasionally sound a bit cheap in their over-reliance on contemporary synths and drum machines, because tunes like "I Gotta Go Home So I Can Get My Freak On" really require the full Barry White treatment, with strings and horns alongside fat wah-wah guitars. Look past the disappointing arrangements, however, and Nibble Man is a good lascivious time for all.


Born: 21 May 1938 in Lexington, MS

Genre: R&B/Soul

Years Active: '60s, '70s, '80s, '90s, '00s

Vocalist Lee "Shot" Williams sang a style of Southern soul-blues in keeping with the tradition of vocalists like Bobby "Blue" Bland, Johnnie Taylor, and Albert King. He got the nickname "Shot" from his mother at a young age, owing to his fondness for wearing suits and dressing up as a "big shot." Williams grew up with guitar player Little Smokey Smothers and knew his older brother, Big Smokey Smothers. Williams' stepsister, Arlean Brown, was surrounded by a family of musicians, and the Brown brothers...
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Nibble Man, Lee Shot Williams
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