Introduction:
Known for his smooth, romantic voice, Johnny Mathis once surprised his producer by suggesting something completely different: a song by the Godfather of Soul. Decades later, he would laugh about the recordings he hoped nobody would ever find.
Imagine Johnny Mathis singing a James Brown song. It is not exactly the first musical combination that comes to mind. Mathis became one of America’s most recognizable romantic vocalists, celebrated for timeless hits such as “Chances Are,” “Misty,” and “Wonderful! Wonderful!” His smooth delivery and gentle phrasing made him a favorite among generations of listeners. Yet behind that familiar image was an artist with a much wider musical curiosity than many people might have expected.
In the early years of his recording career, Mathis was still discovering what kind of singer he wanted to become. His musical interests were never limited to romantic ballads. He had grown up listening to jazz and admired a wide range of performers, including singers whose styles were far removed from his own. Before finding the signature sound that would define his career, he explored different musical directions and experimented with the possibilities of his voice.
That adventurous spirit led to an especially amusing moment involving James Brown.
During a 2011 interview with the Chicago Sun-Times, Mathis recalled how, when he was young and recording regularly, he would sometimes bring songs to his producer and suggest trying something unexpected. On one occasion, he presented a James Brown song. The response was polite but decisive: the producer acknowledged the idea before encouraging him to try something else.
Mathis remembered the exchange with characteristic humor. He explained that he had enjoyed considerable success early in his career, which gave him a little influence when discussing recording material. He was also making albums at an extraordinary pace, releasing four albums in each of 1958 and 1959. With so much music to record, it was natural for him to look beyond the familiar repertoire and explore new possibilities.
But the story did not end with a rejected suggestion. When the interviewer asked whether recordings of those experiments might still exist somewhere in the record company’s archives, Mathis delivered the answer that made the anecdote unforgettable.
“Unfortunately, yes,” he admitted, before joking that he hoped the recordings would remain buried.
It was a revealing glimpse of the lighter side of a legendary performer. Mathis could laugh at his younger self, acknowledge that not every experiment was successful, and recognize that some musical ideas were probably better left in the vault. Yet his willingness to try something different says a great deal about his approach to music.
His early career itself had involved a journey through different styles. He initially recorded with jazz musicians after signing with Columbia Records, before producer Mitch Miller helped guide him toward the accessible popular songs that became his trademark. Mathis later reflected on how that distinctive style took shape, even though he had once imagined a more adventurous sound for himself.
Perhaps that is what makes the James Brown story so charming. It reminds us that even artists with an unmistakable identity do not necessarily begin with a fixed musical destination. Behind the voice that millions came to associate with romance was a young singer willing to take chances, test his limits, and occasionally surprise even himself.
Johnny Mathis may never have become the next James Brown. But his willingness to try is another reason his story remains so fascinating.