Bill Withers’ journey to musical stardom was far from typical. Before penning the iconic “Ain’t No Sunshine,” he was crafting toilet seats for airplanes in a Los Angeles factory during the early 1970s. Music was a passion pursued in his downtime, a creative outlet where television movies and his guitar sparked inspiration. It was this blend that unexpectedly propelled Withers, at the age of 32, into the professional music world with “Ain’t No Sunshine.” This song, with its raw emotion and unique style, resonated deeply, leading to countless covers and ensuring Withers would never return to factory work – perhaps except to sit on a golden toilet seat, a playful nod to his past.
From Factory Floors to Musical Breakthrough
The seed for “Ain’t No Sunshine” was planted by the 1962 film Days of Wine and Roses. This movie, starring Jack Lemmon and Lee Remick, portrays a couple’s descent into alcoholism. The drama had already inspired the famous Oscar-winning theme by Henry Mancini and Johnny Mercer, but Withers found further inspiration within its narrative of addiction and loss. While Withers remained somewhat cryptic about the direct link, stating, “It’s just something that crossed my mind from watching that movie, and probably something else that happened in my life that I’m not aware of,” the film’s themes clearly resonated and catalyzed his songwriting process.
“Ain’t No Sunshine” emerged as a deceptively simple, blues-infused ballad exploring the pain of addictive love and absence. Interestingly, the song was not fully complete when Withers’ demo landed him a record deal with Sussex Records. He was paired with producer Booker T. Jones, the renowned organist and leader of Booker T & the MG’s, to refine his raw talent.
The Accidental Genius of “I Know, I Know, I Know”
Withers, as he humorously recounts on a track from his 1971 debut album Just As I Am, felt somewhat overwhelmed in the studio, surrounded by seasoned session musicians like Stephen Stills, Jim Keltner, and members of Booker T’s band. Despite his self-professed unease, his relaxed vocal delivery betrayed no hint of nervousness. However, when recording “Ain’t No Sunshine,” his unfinished lyrics became apparent. To bridge the gap, Withers spontaneously repeated “I know, I know, I know” as placeholder lyrics.
Booker T, a production veteran from Stax Records, recognized the unique quality of this repetitive, almost mournful, phrase. Against Withers’ initial intentions to complete the lyrics, Booker T decided to keep the improvisational “I know, I know, I know” section. As Withers explained to Rolling Stone, “I was this factory worker… so when they said to leave it like that, I left it.” He omitted mentioning his earlier foray into the music industry with a 1967 release, a heavily reworked version of which became “Harlem,” initially intended as the A-side of his debut single.
However, radio DJs gravitated towards the B-side, “Ain’t No Sunshine.” This song, with its poignant “ain’t no sunshine when she’s gone” sentiment, became a resounding success. Billboard magazine ranked it among the top 25 best-selling songs of 1971. Withers’ relatable blue-collar persona and direct communication style perfectly aligned with the singer-songwriter movement of the early 70s. Yet, remaining grounded, he initially kept his factory job, even after Sussex Records playfully presented him with a gold toilet seat instead of a traditional gold record, a heavy-handed but effective encouragement to embrace his burgeoning music career.
A Song That Echoes Through Generations
Michael Jackson, at just 13 years old, delivered a poignant cover of “Ain’t No Sunshine,” contrasting with the mature gravitas of Withers’ original. Released as a single in the UK in 1972, it climbed to number eight on the charts. Lyn Collins, James Brown’s protégé, infused the song with her powerful, soulful wail in her 1972 rendition. Jazz interpretations emerged from saxophonist Grover Washington Jr. (1971) and flautist Bobbi Humphrey (1974), while Sivuca offered a Brazilian pop twist in 1973. Reggae versions also flourished in 1973, with Ken Boothe’s baroque and emotive take and Horace Andy’s raw, thunderous interpretation. Andy’s rhythm track even found its way into Dr. Alimantado’s dub track “Best Dressed Chicken in Town” (1975), showcasing the song’s surprising versatility.
The song’s appeal continued to transcend genres and generations. Artists like Paul McCartney, Tom Jones, Ladysmith Black Mambazo, and Lighthouse Family all embraced “Ain’t No Sunshine.” It even featured in a memorable scene in the 1999 film Notting Hill. In 2009, Withers’ original version finally cracked the UK top 40 after Shaun Smith’s performance on Britain’s Got Talent. “Ain’t No Sunshine,” with its simple yet profound “ain’t no sunshine when she’s gone lyrics,” could have sustained Bill Withers’ career on its own. However, despite the song’s monumental success and the long, impactful career it launched, Withers maintained a humble perspective, remarking, “My real life was when I was just a working guy.”
What are your memories of ‘Ain’t No Sunshine’? Share in the comments below.
‘The Life of a Song Volume 2: The fascinating stories behind 50 more of the world’s best-loved songs’, edited by David Cheal and Jan Dalley, is published by Brewer’s.
Music credits: Columbia/Legacy; UMC (Universal Music Catalogue); Universal Records; Universal-Island Records Ltd; CM Blue Note (A92); Welk Music Group — X5 Music Group; Trojan Records; Not Bad Records; Keyman Records
Picture credit: Fin Costello/Redferns
