Music history has a funny way of burying its most electric moments under the dust of "folk" labels. If you mention Odetta Holmes, most people—if they recognize the name at all—think of the Civil Rights icon. They think of the woman Martin Luther King Jr. called the Queen of American Folk. They think of the powerful, booming voice that echoed across the March on Washington.
But there’s this one song. Odetta Hit or Miss.
It’s not a protest spiritual. It isn't a traditional chain-gang song. Honestly, it’s one of the most unexpected pivots in 20th-century music. Released in 1970 on her album Odetta Sings, "Hit or Miss" is a gritty, funky, stomping piece of soul-rock that sounds more like a modern breakbeat than a 1950s folk revival track. It’s the sound of an artist refusing to be a museum piece.
The Sound of a Legend Breaking the Rules
By 1970, the folk boom was basically over. The acoustic purity of the early sixties had given way to psychedelic rock and heavy soul. Odetta, ever the student of the human voice, decided to head to Hollywood. She recorded at Larabee Sound with a legendary crew of session players—we're talking Carole King on piano and Russ Kunkel on drums.
The result was Odetta Sings. Most of the album is made up of covers of the "rock elite" of the time, like Elton John and Paul McCartney. But the standout, the one everyone still talks about, is "Hit or Miss."
It’s one of only two songs on the record Odetta wrote herself.
Maybe that’s why it feels so authentic. It starts with this driving, aggressive acoustic guitar riff that feels like it’s trying to kick down a door. Then the drums hit. It’s a groove so deep that hip-hop producers would eventually spend decades trying to replicate it. When Odetta sings, "I'm gonna be me / I'm gonna be free," she isn't just reciting lyrics. She's laying out a manifesto.
Why Does This Song Keep Coming Back?
You've probably heard this song without even realizing it. Because "Hit or Miss" has such a distinct, raw energy, it’s become a favorite for filmmakers and advertisers who want to signal "cool, vintage, and fiercely independent."
- Sampling Gold: The Chemical Brothers famously sampled the track for "Electrobank." De La Soul pulled from it for "Buddy." There’s a specific grit in the recording that digital synths just can’t touch.
- The Commercial Resurgence: In the early 2010s, the song found a whole new life in a Southern Comfort commercial. You remember it—the guy walking down the beach with a drink, completely unbothered by the world. The song fit perfectly because it exudes a "take me as I am" vibe.
- The Tom Jones Connection: Even Sir Tom Jones covered it on his 2012 album Spirit in the Room. He recognized what Odetta knew back in 1970: this isn't just a song; it's an attitude.
It’s a "hit or miss" world, as the lyrics suggest. You try, you fail, you keep moving. That universal sentiment is why a track from over fifty years ago still feels relevant to someone scrolling through TikTok today.
Odetta vs. the "Hit or Miss" Trap
There is a common point of confusion today that’s worth clearing up. If you search for "Odetta Hit or Miss," you might stumble upon Odetta Hartman.
Hartman is a modern artist, a "future-folk" pioneer who uses banjos and found sounds. She’s incredible. But she isn't the one who wrote the 1970 classic. While they share a name and a certain rebellious spirit regarding genre boundaries, the original "Hit or Miss" belongs solely to Odetta Holmes.
Hartman often speaks about being an "audiophile" and finding inspiration in the "creases" of music—the imperfections. In a way, she’s the spiritual successor to the original Odetta. They both understand that music is better when it’s a little bit messy and a lot bit soulful.
The Lyrics: A Lesson in Radical Self-Acceptance
When you really listen to the words of Odetta’s "Hit or Miss," it’s surprisingly modern. She talks about standing up to bullies and being unique.
"I've gotta be me / I've gotta be free / And I'm gonna do my thing."
In 1970, for a Black woman who had spent her career carrying the weight of the Civil Rights Movement on her shoulders, these lyrics were a radical act of self-care. She was stepping out of the role of "The Voice of the Movement" and into the role of a woman who just wanted to rock.
Critics at the time didn't really get it. The album didn't sell well. It was seen as a "faux soul" experiment. But history has been much kinder to Odetta Sings than her contemporaries were. We can now see it for what it was: a masterclass in genre-bending.
How to Experience Odetta’s Legacy Today
If you’re new to the world of Odetta, "Hit or Miss" is the perfect gateway drug. It shatters the image of her as a "stuffy" folk singer. But don't stop there.
To really get the full picture, you have to look at the extremes.
- The Activist: Listen to "Take This Hammer." It’s raw, it’s heavy, and it explains why Rosa Parks was her biggest fan.
- The Soul Queen: Stick with the Odetta Sings (1970) album. Check out her cover of "Take Me to the Pilot." It’s a total reimagining.
- The Late Career: Odetta performed until the very end. Even in her 70s, she was touring in a wheelchair, her voice still a force of nature.
Actionable Steps for Music Lovers
To truly appreciate the depth of "Odetta Hit or Miss," don't just stream it on a tinny phone speaker.
Listen for the "Break": Put on a pair of good headphones and wait for the bridge. Notice how the drums and the acoustic guitar lock together. This is the "breakbeat" that changed how people thought about acoustic music.
Compare the Versions: Find the Bo Diddley cover from 1974. It’s wild to hear how a rock-and-roll pioneer interpreted Odetta’s original composition. It proves that she wasn't just following trends; she was setting them.
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Explore the Genre-Benders: If you like the vibe of this track, look into other "folk" artists who went electric or soul in the early 70s. Richie Havens and Terry Callier are great starting points.
Odetta Holmes proved that you don't have to stay in the box people build for you. Whether you’re a "hit" or a "miss" in the eyes of the public doesn't matter nearly as much as whether you’re being true to yourself. That’s the real legacy of the song. It’s a reminder that being "free" is a choice you make every time you pick up your instrument—or your life—and decide to do your thing.