With Love Mitch Ryder

• 1 Lilli May 03:08
• 2 Pass It To The Right 04:07
• 3 Sanguine 03:39
• 4 One Monkey 03:47
• 5 Oh What A Night 04:58
• 6 Wrong Hands 04:37
• 7 Too Damned Slow 05:10
• 8 Fly 03:39
• 9 The Artist 03:09
• 10 Just The Way It Is 03:08
• Total Runtime 39:22

Info for With Love

When an artist of Mitch Ryder’s calibre looks back over their storied six-decade career and tells you their latest album is essential listening, you should take that statement seriously. Ryder, as anyone who has followed the roots and branches of American music will attest, is one of the faces carved onto rock ‘n’ roll’s Mount Rushmore, and the spiritual forefather to every blue-collar firebrand – from Bruce Springsteen to Ted Nugent – who ever turned up their amp and hollered their truth. He’s the rock ‘n’ roll pioneer who was there at the flashpoint in the late-’50s. He’s the hitmaker who tore up the charts in the mid-’60s with Detroit Wheels cuts like Jenny Take A Ride and his reworking of Devil With A Blue Dress On. Amongst his myriad claims to fame, Ryder was both the last man to play with Otis Redding (in 1967), and the first living white artist inducted into the R&B Hall Of Fame (in 2017).

For many musicians of Ryder’s vintage and status, age heralds a creative slowdown and reliance on the hits. But as he broaches his eighth decade, the Michigan-born singer-songwriter remains in constant motion, his backstory only rivalled by what is yet to come. It’s an attitude epitomised by the new Don Was (Bob Dylan, The Rolling Stones, Bonnie Raitt, Iggy Pop) -produced studio album With Love, released February 2025 on Ruf, and packed with tough, tender, personal songs that stand alongside anything in his catalogue.

“Out of the 21 studio albums that I have recorded, this one is in the top two,” considers Ryder, reflecting on a catalogue that began with 1966’s Take A Ride with The Detroit Wheels. “It is one of the most honest albums I’ve ever made. Not that the other ones were lies, but I was able to access previously hidden feelings.”

The stellar musicianship was certainly a catalyst, but no doubt the real driving force behind With Love are Ryder’s ten new originals: as smart, satirical, witty and wry a collection of songs as the veteran songwriter has ever gathered on an album. From the woozy Latin-rock grooves of Oh What A Night and Pass It To The Right (an ode to joint etiquette at a hedonistic party) to Sanguine’s playful soul and the Stonesy chop of Wrong Hands, there is still no second-guessing Ryder’s songcraft. “Everything on the album is autobiographical,” he explains of a tracklisting that plays out with The Artist’s ghostly self-analysis and the joyous-sounding but morbid R&B of Just The Way It Is, exploring the inevitability of life and death. “One Monkey is about my drug addiction and how I overcame it. Fly is about my career and being happy about it, the trajectory and body of work I was able to produce.”

Incredibly, more than a half-century since Mitch Ryder first lit up the rock ‘n’ roll radar, With Love proves this lifelong visionary still has creative gas in the tank. “Practice makes perfect,” he smiles of a growing discography that is plainly the work of a man still reaching for something greater. “I haven’t gotten there yet but I’m working on it…”

‘Sweating, sobbing and screaming, he wanders through the feverish swamps of his songs, biting into the words, sucking them in and expelling them again, every word a weapon. And his opponent is himself.’ (Berliner Zeitung)

Mitch Ryder, vocals, background vocals
Luis Resto, keyboards
Brian 'Roscoe' White, guitar
Laura Chavez, guitar
Dave McMurray, saxophone, flute
Jeff Canady, drums
Mahindi Masai,percussion
Chuck Bartels, bass
Don Was, bass (track 3)
Herschel Boone, background vocals
Terena Boone, background vocals

Mitch Ryder
William Levise Jr. was born February 26, 1945, in Hamtramck, Michigan, and spent his formative years frequenting the clubs on Woodward Avenue, watching many of Tamla/Motown's star attractions. He grew up in Detroit listening to black music and joined a group in high school called the Tempest. Levise later sang in a black quartet called "the Peps", but suffered so much harassment that he left the group. He went to Los Angeles for a time, then returned to Detroit in 1963, to form another group which he called Billy Lee and the Rivieras.

Levise himself was Billy Lee and sang lead vocals and was backed by bass player Earl Elliott, lead guitarist Jim McCarty (later of Buddy Miles Express and Cactus) and drummer John Badanjek. The group later brought in Joe Cubert, who had been with the Tempest, to play rhythm guitar.

By mid-summer of 1964, the group had attracted a fanatical local following that caught the ear of Motor City DJ Bob Prince. Prince began booking Lee & The Rivieras as an opening act at a club north of Detroit, but their live performances were so potent that the unrecorded group was soon headlining over major Motown artists. Prince then arranged for The Rivieras to record a tape in Badanjek's basement, and that demo brought 4 Seasons producer Bob Crewe to a Detroit performance where The Rivieras opened for The Dave Clark Five. They torched the hometown audience for 90 minutes, Crewe was hooked, and in February, 1965, the five Detroit teenagers relocated to New York City and bided their time for a few months playing Greenwich Village clubs for survival money.

The name was the first to go (a conflict with The Rivieras who recorded "California Sun"), hence the legendary story of Lee/Levise flipping through the Manhattan phone directory and coming across the name Mitch Ryder, and took the name that he has used ever since. The Rivieras became The Detroit Wheels and album cover photos of the band on top of oil cans or surrounded by discarded tires punched the automotive image home.

What followed was a wild two-year ride that brought them fame but no fortune and tore the group apart in the process. The first Mitch Ryder & The Detroit Wheels single, "I Need Help", failed to make an impression, but in late 1965, their second attempt, "Jenny Take A Ride!" climbed to #10 as The Wheels welded Chuck Willis' "C.C. Rider" to Little Richard's "Jenny, Jenny".

"Little Latin Lupe Lu" cemented their commercial appeal when it reached #17 and set the general outline of the band's most popular sound- an R&B standard or two revved up, Wheels-style, with Mitch's peerless soul shouting ripping away over the top. That approach bordered on becoming a formula, particularly after "Break Out", the first attempt at a bigger, brassier sound, only made it to #62 and the ballad "Takin' All I Can Get" barely cracked the Top 100. Late in 1966, the medly, "Devil With A Blue Dress On" & "Good Golly Miss Molly", exploded over the airwaves and indelibly stamped the high energy Mitch Ryder & The Detroit Wheels sound on anyone within an earshot as they hit #4 on the charts.

Early in 1967,"Sock It To Me-Baby!" became Ryder's final Top 10 single, despite being banned on several stations for being too sexually suggestive. It was followed by "Too Many Fish In The Sea" & "Three Little Fishes", that reverted to the medley formula, but it was the final chart entry (at #24) for Mitch Ryder & The Detroit Wheels.

Encouraged by Bob Crewe's vision of Mitch Ryder as a solo artist, the Detroit Wheels were summarily fired in 1967, and after releasing, "Joy" with the hard-riffing "I'd Rather Go To Jail", Crewe packed Ryder off to Las Vegas with a big band in tow.

Crewe had big plans for Mitch Ryder, but the "What Now My Love" album, released in mid-1967, may be the worst piece of overblown dreck ever associated with a major artist. Removed from the powerdrive of The Detroit Wheels, swamped by strings and pompous pretense, the fact that Ryder somehow got the title track up to #30 might rank as the most amazing feat of his singing career. It was the final straw, and Ryder bailed out of his contract with Crewe, who promptly milked the last bit of mileage he could by slapping horn tracks over the R&B tunes The Wheels had covered and putting out the "Mitch Ryder Sings The Hits" album.

Instead of immediately returning to Detroit, Ryder took a down-home detour to Memphis to record The Detroit-Memphis Experiment album with Stax luminaries Booker T. & The MGs and The Memphis Horns. Liner notes containing phrases like "After being raped by the music machine that represents that heaven-on-earth" and "Mitch Ryder is the sole creation of William Levise, Jr.", left little doubt about his feelings over the Crewe experience.

It was the only time Ryder recorded with a bona-fide soul band, but fine music didn't spell commercial success, and Ryder returned home to a reunion with The Wheels drummer John Badanjek in the short-lived supergroup called simply, "Detroit", which lasted just long enough to record one heavy-duty rock 'n' roll album in 1971.

An embittered Ryder left the active performing scene, heading to Denver and working a day job for 5 years while honing his songwriting skills, with his wife Kimberley, after hours. When he returned to Detroit, he formed a new band and released the autobiographical "How I Spent My Vacation" and then "Naked, But Not Dead" on his own "Seeds and Stems" label. That helped trigger a resurgence of European interest in Ryder and he released several additional albums- "Live Talkies", "Got Change For A Million", and "Smart Ass", in the early '80s on the German "Line" label.

He came back to a major American label for the John Cougar Mellencamp produced "Never Kick A sleeping Dog" in 1983, highlighted by a gritty version of Prince's "When You Were Mine" that cut the original and all others to shreds. Single tracks, "Bow Wow Wow Wow", "For Was Not Was" and a satirical take on Oliver North called "Good Golly Ask Ollie" - are his only other domestic releases since then.

Mitch Ryder is currently enjoying another surge in European popularity and has released two more LPs for Line Records, "Red Blood, White Mink" and "In The China Shop". There's certainly nothing nostalgic about the charged music here, and no one, ever kicked out the rockin' R&B jams better than Mitch Ryder.

The tragedy of Mitch's story is that mis-management, and show biz machinations sidetracked a great band and the financial inequity aside, quite possibly prevented Mitch Ryder from tapping his full potential as a singer. But all these problems can't erase the indelible rush of The Detroit Wheels shifting into over-drive with that imitate-able, fiery voice flying over the top.

These days, Mitch Ryder is still a major concert attraction and he still puts on a great show, as witnessed by the "Backstage" staff in 1998. He has been working on two books about himself: one a biography being written by a journalist, the other an autobiography in his own words. Although neither book has been titled yet, Ryder says he'd like to call his autobiography, "From 'It' To Shit". He also has a new album ready to go once he finds an American record label. (Source: garycape.com)

Booklet for With Love