GENERAL JOHNSON & THE CHAIRMEN OF THE BOARD:
TIMELESS (SURFSIDE)
GENERAL JOHNSON & THE CHAIRMEN OF THE BOARD:
BEACH MUSIC ANTHOLOGY (SURFSIDE SHOWMEN:
IT WILL STAND (COLLECTABLES)
--by Gary Tate
General Johnson, the founder of The Chairmen Of The Board best known for their internationally successful Give Me Just A Little More, has a bio that’s as uplifting as Ray Charles’, except Johnson’s ascent to the highest strata of Rhythm ‘n’ Blues took 15 struggling years, with sufficient ups and downs to induce a serious case of motion sickness. Today, General Johnson rules as Emperor of Beach Music: the tantalizingly soulful sounds that inundate the Carolina playgrounds, resorts, and clubs, plus sundry locales north, south, and points inland from Myrtle Beach--the mecca of Beach Music. His “truth-is-stranger-than-fiction” story starts with the birth of Norman Johnson in Norfolk VA in 1943 and reaches its climax with the Virginia State legislature designating June 09 as General Johnson Day. Let’s fast reverse forty years ago, when scores of black teenagers were pitching their harmonies to label scouts in hopes of securing a recording contract. A precocious bundle of talent named Norman Johnson and four Norfolk buddies—deeming themselves The Humdingers---had enough talent to warrant a 1956 recording date with Jesse Stone of Atlantic Records, but the four titles in the Frankie Lymon mold went unreleased. Time was still on their side, and their first big break would come circa 1960. A demo sent by manager Noah Biggs attracted the attention of Joe Banashak—owner of Minit Records in New Orleans—who insisted on a name change. In May 1961, The Showmen recorded 8 tracks in the Crescent City, including It Will Stand: a stirring anthem to Rock ‘n’ Roll stamina. That quivering Johnson tenor imbued by such emphatic insistence was mesmerizing, and the song should have raced up the charts; instead it only reached #61 at the tail end of 1961. That was still enough to send The Showmen on the package tour circuit, where It Will Stand would carve out its mythical reputation. It’s been cited as ushering out Doo Wop in a blaze of glory, while setting the welcoming mat for Soul. It’s also a pure dose of Rock ‘n’ Roll, and anything spanning that many bridges merits everlasting longevity. Its importance in Beach Music is such that the first magazine (1979) devoted to the genre was called It Will Stand, and the Collectables label has an excellent Showmen compilation worth pursuing. After a series of southeastern regional hits (39-21-46 Shape, Country Fool) on the Imperial and Swan labels, Johnson left The Showmen, relocated to Detroit and created The Chairmen Of The Board in 1968--with Johnson as General along with lieutenants Danny Woods, Harrison Kennedy, and Eddie Curtis. Signed to the Invictus label--run by ex-Motown producers/songwriters Holland-Dozier-Holland--TCOTB catapulted to international fame with 1970’s Give Me Just A Little More Time: a #3 hit, and the subsequent Pay The Piper would reach #13 on Pop. Several other releases charted R&B (Finder’s Keeper, It’s Tuesday), but the group stopped recording in 1971 and even broke up in the following year—albeit temporarily. General Johnson’s songwriting successes in the 70’s were as notable as his chart triumphs. He wrote three hits for Honeycone, Freda Payne (Bad Boys Home) and then ran the table with Patches for Clarence Carter, garnering Johnson a 1975 Grammy. In the mid- 70’s Johnson signed with Arista as a solo, chalking up a few disco-oriented hits. He would justify his 1978 decision to permanently return to the Carolinas, as follows: “For the first time in eight years, I enjoyed performing music without the depression of the music business. I found an independent music industry that was still free of monopoly, politics, and categorization. I felt the energy of an industry propelled by its loyal supporters.” The wisdom of that choice is reflected by wonderful years in which The Chairmen Of The Board have devoted themselves completely to their regional fan base. Johnson also formed Surfside Records, yet another vital factor in revitalizing the Beach Music scene with new sounds. Since Norman “General” Johnson’s fateful decision to return to his roots, Beach Music has reached new heights of popularity. It’s no wonder everyone along the southeastern seaboard, from state legislators to motel workers, can’t stop praising General Johnson---and his enduring creations.
ORDERING DETAILS:
www.surfsiderecords.com
www.collectablesrecords.com
HARRISON KENNEDY: VOICE STORY (BLACK & TAN RECORDS)
--by Gary Tate
Just recently have I discovered Harrison "Sweet Taste" Kennedy, concurrently wondering how such a striking singer and complete musician could have evaded my (and so many others) antennae? On Voice Story-- issued on the prestigious Dutch-based Black & Tan label---Kennedy delivers a propulsive and totally believable mix of roots-based material, ranging from Funk, Blues, Soul, Folk, to Gospel. There's a chameleon-like quality to this fastidious purveyor of truth, whose talent shines like a beacon on 14 especially poignant tracks. The minimal instrumentation (guitar, bass, harmonica) ensures Kennedy's gloriously evocative vocals will hold one's rapt attention. Kennedy hails from Detroit, now resides in Hamilton, Ontario, and sang with the legendary Chairmen Of The Board. His soulful chops are a glory to behold, as witnessed on One Track Mind. Simply mind blowing! With the mid-tempo Bad Attitude, Kennedy dramatizes a deteriorating relationship from the vantage point of an abused woman; and pulls it off in utterly convincing fashion. Unforgettable! There've been plenty of Blues-inflected ballads, and Bill Withers was their master. But based on the evidence herein, Harrison is the heir apparent, be it on Recipe For Loving, or especially, There Ain't No Words: a brilliant reflection on the mystery of love. It's Hard changes the motif to the human debris often trapped within the bowels of the inner city. You can practically smell the desperation as Harrison whips up a crescendo of righteous fury. Tough times and women troubles are explored on such other Blues-drenched tracks like Bad Luck And Trouble, Going Down, and Too Far To Fall. The broken promises in the wake of slavery's end are chillingly exposed on 40 Acres And A Mule. Every bit as haunting is Humming The Blues, a majestic field holler that sounds as old as the ages, while Make A Difference is a powerful slice of Gospel to calm the troubled soul. Bob Lo Island is autobiographical: a series of vignettes remembered about an actual getaway place downriver from Detroit. Revelatory! Voice Story is so compelling that it indisputably establishes Harrison Kennedy as a consummate Bluesman: Someone who will dazzle your senses as few can.
ORDERING DETAILS:
www.black-and-tan.com
ATLANTIC RHYTHM AND BLUES 1947-1974 VOL. 1 (ATLANTIC)
ATLANTIC RHYTHM AND BLUES 1947-1974 VOL. 2 (ATLANTIC)
ATLANTIC RHYTHM AND BLUES 1947-1974 VOL. 3 (ATLANTIC)
ATLANTIC RHYTHM AND BLUES 1947-1974 VOL. 4 (ATLANTIC)
--by Gary Tate
No label was as successful in exposing Black-based music, particularly Soul, to a mass audience than Atlantic Records founded in 1947 by Ahmet Ertegun and Herb Abramson. It's futile to fully list the artists that recorded for Atlantic, although it ranged from Ruth Brown to Ray Charles to Bobby Darin to Solomon Burke to Aretha Franklin. Always eclectic, those early Atlantic rosters were heavily into Jazz (Errol Garner, Dizzy Gillespe, Sarah Vaughan), but major revenue came from the R&B market, specifically the Clovers (Tippin' In, Lovey Dovey); Ruth Brown (So Long, Teardrops From My Eyes); and Joe Turner (TV Mama, Honey Hush). Stick McGee (Drinkin' Wine Spo-Dee-O-Dee) and Professor Longhair (Mardi Gras In New Orleans) also helped give the label instant credibility. Even Blues guitar legend T-Bone Walker would record for Atlantic in the late 50's. The Turkish-born Ahmet Ertegun had arrived in New York in 1934 at age 11, got the Jazz and Blues bug, and achieved his dream of owning a record label 1947 along with partner Herb Abramson whose role gradually diminished until he was eventually bought out in 1958. In 1953, Jerry Wexler checked in as a producer/A&R man, a crucial development given Wexler's impeccable taste and built-in radar for detecting changes blowing in the wind. Atlantic had an ethical royalties policy, which attracted both new and established artists. Also ensuring stability and future growth was a welter of behind-the-scenes talent, such as producer Tom Dowd, writers Jesse Stone and Rudy Toombs, and top tier players like Harry Van Walls, Joe Morris, Willis Jackson, and Tiny Grimes. Intrigued by the potential of a young Clyde McPhatter (Lover's Question, Lover Please), Ertegun lured him away from Billy Ward and the Dominoes, and built the Drifters around him. Jesse Stone wrote their 1951 R&B smash Money Honey, later covered by Elvis. Jackie Wilson and Ben E. King also would become lead vocalists for the Drifters. Several overhauls later, they would become dominating chart-toppers with classics like There Goes My Baby, Save The Last Dance For Me, and On Broadway-many penned by. Doc Pomus and Mort Shuman. The multi-talented Jesse Stone had also written Shake Rattle and Roll, a huge hit for Big Joe Turner, and that led to Bill Haley & The Comets' 1954 version that helped kick off the Rock 'n' Roll era. Other top-selling artists from the fifties included LaVern Baker (Tweedle Dee), Chuck Willis (What Am I Living For), and especially Bobby Darin (Splish Splash, Mack The Knife). The legendary Leiber & Stoller writing tandem entered the fold when Atco bought out L.A.'s Spark Records. Ensconced in New York's famed Brill Building, L&B churned out hit after hit for the Coasters (Youngblood, Yakety Yak). Ray Charles stay with Atlantic commenced in 1952; a few minor hits would ensue, but his true voice remained a work in progress. That changed forever when Jerry Wexler headed to Atlanta in 1954 to hear a new band Charles had formed. I Got A Woman was the genesis of the Ray Charles gospel-based style and the very birth of Soul music. Charles became so incredibly successful (and influential) that Atlantic lacked the resources to match the offer made Ray by ABC-Paramount. Circa 1962, the visionary Wexler was scouting the southern States, checking talent to sign and studios to select. These efforts heralded the emergence of a stable of Soul superstars: Wilson Pickett (Mustang Sally), Joe Tex (Skinny Legs And All), and Solomon Burke (Just Out Of Reach), and the "discovery" of recording meccas like Fame. Wexler also facilitated an ultimately contentious alliance between the Memphis-based Stax/Volt label and Atlantic's sophisticated distribution system, thereby ensuring exposure for emerging artists like Otis Redding, Sam & Dave, and Eddie Floyd. Wexler signed Aretha Franklin to Atlantic in 1967, and the initial recoding session at Rick Hall's Fame studio in Muscles Shoals yielded the magical I Never Loved A Man. The Queen Of Soul followed with masterpieces like Respect, Chain Of Fools, and A Natural Woman. Ahmet Ertegun and Jerry Wexler were inducted to the Rock 'n' Roll Hall Of Fame in 1987, followed in 1991 by Ahmet's brother Nesuhi. Named after an ocean, Atlantic Records is a model of that endless sea--except that the riches to be found are artistic.
JUNIOR PARKER :I'M SO SATISFIED
THE COMPLETE MERCURY& BLUE ROCK RECORDINGS
(POLYGRAM)
JUNIOR PARKER: JUNIOR'S BLUES:
THE DUKE RECORDINGS VOL. 1 (MCA)
JUNIOR PARKER: BACKTRACKIONG
THE DUKE RECORDINGS VOL. 2 (MCA)
--By Gary Tate
Junior Parker had a typical Mississippi upbringing -- 1949 even found this aspiring young performer singing in Howlin' Wolf's band --- but his career contrasted those norms typical of Blues heroes. Parker originally emulated Sonny Boy Williamson's singing and harmonica playing, yet, especially after signing to Duke Records, Parker gracefully adopted the more urbane approach of label mate Bobby "Blue" Bland. Even his harp work became less prominently featured as horn sections provided shading. Parker's 1971 death also violated the customary ending, namely some combination of drugs, booze, or violence. He actually lived a contented suburban life with wife and kids and peacefully checked out with a brain tumor. In 1952, Herman "Little Junior" Parker would make his first recordings for Modern, under the auspices of Ike Turner. A year later he had his first hit for Sun Records with Feelin' Good, followed by another self-penned composition the non-charting Mystery Train, which Presley covered and became closely identified with. In 1956, Junior signed with the Duke label, a move that eventually made him a star. Shortly thereafter, that Memphis-based label's shares would be signed over -- in somewhat murky circumstances --- from David Mattis to Don Robey of Houston-based Peacock Records. Parker always heard himself as a singer, not as a shouter, and his sweet vibrato would earn Duke its biggest hit of 1957 with Next Time You See Me. It set the emerging pattern: songs more melodic than typical Blues fare and usually covered by several artists. Junior's cover of Roosevelt Sykes' Driving Wheel was so thrilling that his remake is now considered the template for soul singers. While not particularly prolific, Parker had a knack for composing superior material, such as I Wanna Ramble, In The Dark, and Sometime Somewhere. His selections often proved as impeccable as his smooth vocals, including such dependables as Percy Mayfield's Strange Things Happening, Guitar Slim's The Things I Used To Do, and Harold Burrage's Cryin' For My Baby. No overview of his Duke period can overlook the unique horn arrangements of Joe Scott. Although somewhat primitive they could be depended upon to extract maximum inspiration form the players, and they invariably enveloped you with an intimacy that was singular. In 1966, however, Parker jumped ship to Mercury after a ten-year run with Duke. The reasons are unclear, especially given Robey's reluctance to release artists from -- despite what appeared on pape -- lifetime contracts. Parker's Mercury output was no less tasty, classy, and sophisticated, and those first productions were helmed by Bobby Robinson -- of Fire and Fury renown. In 1966, Memphis was the in-place for R&B, so for several years most sessions were scheduled either there or else at that other hot stopover, Rick Hall's Fame Studio in Muscle Shoals Alabama. The Mercury years further embellished Parker's reputation as one of the leading interpretative R&B/Soul voices of that, or any other era. Parker's special affinity for the works of Percy Mayfield continued unabated with Baby Please, I'm In Love With Someone Else, and What A Fool I Was. Parker's southern fans would have been delighted by nuggets like Country Girl and Just Like A Fish written by Pearl Woods who also wrote Something's Got A Hold On Me and Stop The Wedding for Etta James. In 1968, Parker moved to Mercury's Blue Rock subsidiary and recorded under several producers including Huey "The Crazy Cajun" Meaux; and an entire album Honey Drippin' Blues was compromised of those resulting singles. Legendary Texas troubadour Doug Sahm also wrote/arranged a couple of tunes for Junior: Your Bag Is Bringing Me Down and Lovin' Man On Your Hands. While Parker could adapt to a variety of styles, his forte was as a Blues balladeer who did proper justice to any material, but accomplished exceptionally wonderful things with great material like Lowell Fulson's Reconsider Baby and the Clovers' Easy Lovin'. Other highlights of Parker's Mercury period include I'm Satisfied, You're The One, and Brook Benton's Hurtin' Inside. Countless soulful Blues singers who lean toward a smoother style -- whether their name happens to be Robert Cray, W.C. Clark, Darrell Nulisch, Sugar Ray Norcia, Tad Robinson, or Kim Wilson -- remain forever indebted to Junior Parker's legacy.
ORDERING DETAILS:
www.amazon.com
THE BEST OF EXCELLO RECORDS (EXCELLO)
HEART OF SOUTHERN SOUL (EXCELLO)
HEART OF SOUTHERN SOUL vol 2 (EXCELLO)
--By Gary Tate
Swamp Blues is inextricably linked to Excello Records, a label most often associated with pioneering producer/engineer/writer Jay (J.D.) Miller who helped ensure that a plethora of Louisianan talent would be committed to wax-and properly. Miller had settled in Crowley Louisiana in 1937, sang and played guitar there with his band. Then the war intervened; after he returned to civilian life J.D. started the Fais Do label in 1946, utilizing a recording facility in Crowley. With exquisite foresight, Miller would serve posterity by recording such authentic Blues legends as Slim Harpo, Lightnin' Slim, Lazy Lester, Lonesome Sundown, Henry Gray, Silas Hogan, Carol Fran, Clarence Holliman, Guitar Gable, Jerry McCain, and countless others. Today the Sound Of The Swamp has been exported around the world. A Crowley production was typified by understated impeccability, endowed by a spontaneous live-off-the-floor ambience, and invariably featured sparse instrumentation-typically guitar/drums/bass/harmonica. A touch of echo completed the haunting impression. Fifty years later--producers still can't duplicate the inimitable sound that pervaded that tiny studio. No wonder Miller was regarded as the best engineer in the country! After Fais Do, Miller started Feature Records; resulting in 1947's Bad Luck by Lightnin' Slim-Slim's first release. Lack of distribution and radio airplay always hampered small regional labels. Both deficiencies were remedied when J.D. signed with Ernie Young's Nashville-based Excello Records in 1956: a partnership that would become one of the most meaningful in recording history. Young had tailored Excello in 1952 as a secular offspring to his gospel-based Nashboro imprimatur, tasting first success in 1954 with Arthur Gunther's Baby Let's Play House (Presley would cover it as his fourth Sun release). Young's stable of mid-50's Excello artists also included the teenage strains of groups like the Gladiolas featuring Maurice Williams of later Stay fame with Shoop Shoop and Little Darlin' and the Marigolds with Rollin' Stone. Not bad stuff--yet not worth mentioning in the same breath as the Crowley masterpieces. With Excello's backing, Miller and his stable of Crowley artists could spread their wings--and expand into new vistas. Young also owned Ernie's Record Mart--a highly influential retail and mail order outlet--plus a chain of jukeboxes. Yet, the biggest boost would come from Young's role as prime sponsor on WLAC--a 50,000 watt Nashville powerhouse that reached 30 states and featured such actual mythic deejays as Hoss Allen, Gene Nobles, and John R. Richbourg. Crowley now had national exposure, and Jay Miller's first production for Excello was 1956's rumba-saturated instrumental Congo Mambo by Guitar Gable who also garnered an R&B hit on the vocal This Should Go On Forever. Rod Bernard--another swamp legend-did a cover on Chess that hit big in the Pop charts--making top 30 in 1959. As well as being a wonderful producer J.D. Miller was a fine writer, and penned the country classic It Wasn't God Who Made Honky Tonk Angels immortalized by Kitty Wells. Slim Harpo's Got Love If You Want It b/w I'm A King Bee from 1957 remains a landmark release in Rock 'n' Roll history. A book could be devoted to its influence! Another major seller was Lightnin' Slim's rascally Rooster Blues; while other memorable titles included Lonesome Sundown's My Home Is A Prison, Leroy Washington's Wild Cherry, Carol Fran's One More Chance, Warren Storm's Prison Song, and Lazy Lester's Sugar Coated Love and I Hear You Knockin'. But far and away the most successful and dominant performer was Slim Harpo (Rainin' In My Heart, Scratch My Back, Shake Your Hips), an amazingly gifted artist with a presence that stood him apart. Slim Harpo would eventually afford Excello an international presence--thanks mainly to such British admirers as Yardbirds, Rolling Stones, Van Morrison & Them, and others who covered the panoply of Harpo's exceptional material. Ernie Young retired in 1966, soon thereafter Nashboro/Excello got sold to the Crescent Company; and while the Crowley operation continued issuing excellent swampy sides, Excello's Nashville headquarters began concentrating on Soul. Excello issued their final release in 1975; yet those final years were also exceptional--especially that wonderful treasure trove of authentic church-based soul.. Performers like Percy Wiggins, Kelly Brothers, Johnny Truitt, Kip Anderson, Stacy Lane, Lee Webber, Oliver Sain, Wallace Brothers, and many others went largely unheralded, but their enduring stature among Soul cultists is indisputable. The story of Excello could be summarized as a tale of two cities: Crowley and Nashville. For Blues fans, however, its real legacy is inscribed in unmistakably bold letters---thanks to the passion, dedication, and talents of the visionary-minded J.D. Miller.
ORDERING DETAILS:
www.amazon.com
TAD ROBINSON: DID YOU EVER WONDER?
--By Gary Tate
The golden-throated Tad Robinson is back and the time is ripe to concede the irrefutable.
Robinson is one of the world's premier soul singers-of any colour. Did You Ever Wonder is what's commonly referred to as a career release, and should herald Robinson's entry into full-blown Blues/Soul superstardom. From the opening note, DYEW is a soaring showcase of Soulful Blues at its most compelling. There are similarities to Robert Cray's breakthrough album Strong Persuader; the partnership with guitarist Alex Schultz is something to savor; and there are exquisite covers. Such as Jimmy McCracklin's The Bitter and The Sweet, given a brilliantly funky reading by Tad. Little Willie John's magnificence on Suffering With The Blues is reciprocated, as Robinson plunges into the despair of this classic with inspirational fervor. An impressive re-interpretation! Too Late To Turn Back Now-originally done by The Cornelius Brothers & Sister Rose-is handled adroitly, while Robert Ward's Your Love Is Amazing is well…amazing. Soul poet Dann Penn's They Say is performed with class and taste--with added sparks of magic. The originals--written by Robinson and Schultz abetted by lyricist John Bean--give added meaning to it all. The title track announces authoritatively that they've accomplished the mission of getting their soulful message across. Years of dues p aying, along with sharing Chicago stages with the likes of Muddy Waters, Steve Freund, John Lee Hooker, and Sam Moore have reaped sizable dividends, such as Robinson digging deep into the crevices of his soul on the stunning Woman Trouble: an instantaneous classic. Another killer Blues item is Dying From The Blues (no pun intended). My Love Is Real is an old-fashioned soul ballad, the kind that's been a staple of Bobby "Blue" Bland for going on half a century, and Robinson delivers the goods. Great horn charts are compulsory ingredients for delicious Soul cooking, and this part of the meal is a non-stop treat for those demanding aural salivary glands. Acquisition of a permanent parking space atop my CD stereo has been allocated to Did You Ever Wonder--and there's no tow truck that can take it away.
ORDERING DETAILS:
www.severnrecords.com
BRUCE KATZ BAND: A DEEPER BLUE (SEVERN RECORDS)
--By Gary Tate
Katz is another highly impressive catch for Severn Records. Whether with Ronnie Earl and the Broadcasters, or Joe Beard, Jimmy Witherspoon, Sam McClain, Barrence Whitfield, Albert Washington, Debbie Davies, or numerous others, Katz has been a constantly in-demand sideman as Hammond B-3 and piano player. Although Katz's actual solo career goes back to 1992, it took backburner status during his 5-year stay with Ronnie Earl and the Broadcasters: a period marked by a constant stream of award-winning releases. A Deeper Blue--his first release since Three Feet Off The Ground (2000)-is everything that could be wished for, including a mini-reunion with Ronnie Earl on two tracks: the explosive Yeah, Maybe and an intense version of Earl Hooker's Blues In D Natural. There's also a full-scale reunion with bassist Rod Carey who also played with Ronnie Earl and the Broadcasters. Katz is an intense and intellectual player who retains the common man's touch; his chunky tones and note selection are beyond reproach. For those in anxious pursuit of funky grooves, Acid Jazz, simmering Soul, and lots of other good things, their fondest cravings are herein realized. Guaranteed! There are so many memorable tracks ranging from the earthy moodiness of The Dark Room, to the special warmth of The Stroll with its Ernie Freeman-like vibes, and of course, there are the special joys of the Meters-influenced Go Home! Stovepipe Boogie and Jump'd are two limb-shaking delights. Call the chiropractor! For Cliff is an aural portrait draped in endless hues and shades, and featuring the always-fascinating interplay between Bruce and guitarist Michael Williams. A Deeper Blue is an absorbing listen, the real thing, and a most jubilant romp up and down the 88's. Hopefully it should earn Bruce Katz another bushelful of awards.
ORDERING DETAILS:
www.severnrecords.com
DUKE ROBILLARD & RONNIE EARL: THE DUKE MEETS THE EARL
--By Gary Tate
This collaboration of two W.C. Handy multi-award-winning guitarists and Roomful of Blues alumni rekindles memories of their jamming days at the Cambridge Blues Club--a quarter century ago. For those lucky enough to have been there! Now Ronnie Earl and Duke Robillard recommence their spine-tingling swordsmanship with The Duke Meets The Earl, and countless bows are in order. Simply put, these guys are the best there is. The Duke Meets The Earl even exceeds one's fondest expectations: 72 minutes and 8 selections of pure passion and emotion, with constant unexpected twists and turns adding drama and tension to this captivating Blues mélange. From the opening strains of West Side Shuffle, you'll become a willing prisoner devoid of all power to escape from this vortex of delights. It's almost as if the karma in Duke's Mood Room (where it was recorded) was so intense, that the planets, the stars, and the galaxies must have been aligned like a Broadway chorus line. Four of the eight tracks do list vocalists (three by Duke, one by Sam McLain), but you can securely file this release as Instrumental Blues. Bravura performances abound from start to finish, flush with intensity, and guided by the hovering spirits of legendary six-stringers: from B.B. King, Albert King, and Albert Collins, to Lowell Fulson, Otis Rush, and Buddy Guy. Still, the main plot lines of this auditory voyage were sketched out 50 years ago by four blueblood pickers: T-Bone Walker, Magic Sam, Earl Hooker, and Eddie Taylor. Two Bones And A Pick is a case study in how two pairs of fingers plus two picks can channel the magical gifts of Aaron "Thibodeaux" Walker, while adapting them magnificently to the present. The shortest track--barely 4 minutes--is a version of Eddie Taylor's (Jimmy Reed's guitarist) What Have I Gone Wrong: a tete a tete that's the equivalent of a Heavyweight Championship-except the belt is divvied up to two champs. Echoes of Earl Hooker's Blue Guitar constantly ripple on Zeb's Thing, and Ronnie's slide guitar emanations are clouds of joy. The magic of Magic Sam is not illusory; it's the stuff of legend, and an instrumental version of What Have I Done Wrong dazzles and intrigues. So many weirdly shaped notes, so much unbridled passion--and so many goose bumps. Whew! As for the extended 13-minute version of A Soul That's Been Abused, it's a treat to hear Mighty Sam McLain reprising that instant classic he did nearly twenty years ago on a Hubert Sumlin tribute album featuring Ronnie Earl. It's a song for the ages, blessed by a vocal performance that's peerless, and it's all imbued with the most perfect guitar conversation that could be hoped for. Soulful bliss! The backup band is first-rate, including contributions from B-3 legend Jimmy McGriff, piano master Matt McCabe, and bassist supreme Rod Carey. I wish I could dwell at length on the other glorious things happening--especially a flat-out brilliant take on B.B. King's I Need You So Bad. Folks, no matter what you may have put on your 2005 New Year's Resolution list, it's essential to add The Duke Meets The Earl to it.
ORDERING DETAILS:
www.stonyplainrecords.com
FREDDY KING: THE VERY BEST OF FREDDY KING 1 (COLLECTABLES)
FREDDY KING: THE VERY BEST OF FREDDY KING 2 (COLLECTABLES)
--By Gary Tate
Freddy King is the third gleaming jewel inlaid within the majestic crown of The Royal Kings of the Blues. He completes that glowing pinnacle alongside B.B. and Albert. Freddy has influenced as many Blues, Blues Rock, Rock, and Funk guitar slingers as anybody, with Eric Clapton, Ronnie Earl, Keith Richard, Stevie Ray and Jimmie Vaughan, and Robert Cray being just a few who have assimilated Freddy King's ideas into their entire guitar approach. One can't even begin to count the number of times that Freddy's immortal instrumentals (San-Ho-Zay, The Stumble, Side Tracked, Hide Away, Sen-Say-Shun, plus many others) have been played. Nobody could take a simple guitar shuffle, stretch it and play around it with like Freddy. He refused to repeat himself, and like the best Jazz players, he'd use a theme as take-off point from which to explore countless ideas, culled from a plethora of genres such as Latin Jazz, New Orleans, fatback Soul, sinuous back-country boogies, and mid-60's proto-Punk. All were appropriated and melded into a glorious whole. Blues chroniclers attribute his Federal sides from 1960 to 1966 as having the crucial historical importance of completing the final authoritative chapter in the Book of Post-WW11 Electrical Blues. Freddy's genius on the guitar was only matched by his brilliant vocals, creamy, soulfully rich, but with a gritty edge, and always etched into one's memory by powerfully arresting phrasing. Each song became a convincing personal statement. And what wonderful compositions they were too: Have You Ever Loved A Woman, I'm Tore Down, You've Got To Love Her With A Feeling, Someday After A While, The Welfare Turns (Its Back On You), and many others. They will survive as long as the Blues itself. Most were written in partnership with Sonny Thompson--Federal's talent scout/producer/pianist. In 1950 at age 16, Freddy had migrated to Chicago from Texas. Well grounded in the Texas school of T-Bone Walker, he would quickly absorb the styles of Southside sensations like Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, before switching his allegiance to the more astringent sounds of Magic Sam, Otis Rush, and Buddy Guy. But his career kicked into high gear with his 1960 signing to Federal (a subsidiary of King Records), recording 77 titles there via singles and albums over a six-year stay. His first single I Love This Woman b/w Hideaway (the all-time most popular Blues instrumental, hit paydirt, reaching #5 R&B and #29 Pop). 1961 saw the release of San-Ho-Zay, I'm Tore Down, and The Stumble-all Top 10 R&Bers, and each one a Blues classic, soon covered by Magic Sam, Peter Green, Dave Edmunds, Eric Clapton, and Stevie Ray Vaughan, and others. The Federal/King label, also recorded James Brown, and by the mid-sixties that "bag" was the primary object of the label's attention. Owner Syd Nathan even re-packaged 1964's Let's Hideaway instrumental album into Freddy King Goes Surfin', figuring Freddy's material wasn't too far removed from the then-popular white surf bands. Freddy King was open to all sounds-traditional and modern--but tended to favor a classy, albeit hard-edged Rhythm 'n' Blues approach. He could deliver funky grooves like nobody's business. For definitive evidence of Freddy's R&B genius, seek out the Video/DVD: "Freddie King-The Beat!!!!", which showcases Freddy's mind-blowing performance chops on a short-lived 1966 Houston TV show. Backed up by a horn-heavy band that also featured Clarence "Gatemouth" Brown, these 14 memorable performances will leave you gasping for air. By the late 60's, Freddy was concentrating primarily on white audiences based on his enormous influence with Blues and Rock guitarists. He later recorded for Atlantic/Cotillion, then moved to Leon Russell's Shelter Records in 1970, and in 1974-75 did a couple of albums on RSO: Burglar (produced and recorded with Clapton) and Larger Than Life. He spent 1975 touring America, Europe, and Australia, but throughout 1976 his health started to decline, and he died of a heart attack on Dec 29, 1976. He was only 42. Inducted into the Blues Hall Of Fame in 1982, Freddy King's greatest accomplishment is his position as posthumous mentor to countless musicians by setting the highest standards of excellence. He will always be missed.
NORA JEAN BRUSO: GOING BACK TO MISSISSIPPI
(SEVERN RECORDS)
--By Gary Tate
After touring and doing some recording with Jimmy Dawkins in the 80's and early 90's, Nora Jean Bruso took a hiatus to raise a family. Now she's back, and taking a backseat to nobody, while raising eyebrows with her fierce determination to take her place alongside the best of the full-throated Blues mamas like Big Maybelle, Big Mama Thornton, Bessie Smith, and especially Koko Taylor. Garnering raves with her thunderous performances on the Blues festival circuit, while having her "comeback" CD, Nora Jean Bruso Sings The Blues, make numerous "best-of" lists, she's leapfrogged to the top rung of female Blues vocalists. Her latest release, Going Back To Mississippi, should ensure that continued forward momentum. As expected, several tracks fit into the hard-edged, old school tradition, nurtured in countless Mississippi juke joints and Chicago clubs. The fierce, gritty vocals of this determined lady are sticks of dynamite, and Bruso's debt to Howlin' Wolf is always apparent. It's a dominating approach with the assertiveness of a town crier, just simple grooving 'n' grinding Blues that kick like an ostrich. The finest rave-up is the autobiographical What I Been Through, while Miss Mae's Juke Joint takes a very close second. But Nora Jean obviously recognizes that to endlessly plough those same musical cotton fields would restrict her own emergence from those shadows of the past. She proves she can broaden her reach by drawing upon her generous Gospel, R&B, and Soul upbringings, and it's intriguing how those introspective more subtler sides bring to mind the names of such legends as Mahalia Jackson, Betty Wright, Tina Turner, Denise LaSalle, and Etta James. Broken Heart and Don't You Remember are two prime examples, both drenched as much in Southern soul as deep Delta Blues--although the latter tips more toward a down-home direction than an uptown one. Remarkable displays of heartfelt hurting and simmering intensity! There are many special guests as well, including masterful guitarist Carl Weathersby--featured on no less than 9 of the 12 tracks--plus often sought-out Marty Binder and Harlan Terson on drums and bass respectively. Two supreme items feature the expert guitar virtuosity of Dave Specter; and, maybe it's a coincidence, but his presence has a noticeable impact by inspiring her to reveal those mystical forces lurking behind the majesty of the Blues. I've Got Two Men is a real standout--a hypnotizing rumba-powered shaker. Tearful Blues with its Jazzy-Blues vibe showcases the realized potential of a talent reveling in total control of her destiny. Classy stuff! Going To Mississippi is a definite portent of future great releases. And that will happen with the certainty of the vision of Nora Jean Bruso coming into pure focus.
ORDERING DETAILS:
www.severnrecords.com
MISSISSIPPI HIPPIES: SELF-TITLED
(BIG SMOKE RECORDS)
--by Gary Tate
Who cares about such minor details as to why they call themselves the Mississippi Hippies, especially when you're soaring to the heights and getting an adrenalin rush from their explosive carnival of "rock-em/sock-em" revivalism? These Canadians have souls that are firmly rooted in the rich Delta soil that cultivated the likes of Muddy Waters, Sonny Boy Williamson, Howlin' Wolf, B.B. King, and Bo Diddley. These Hippies honed their collective chops in the scintillating 60's, when Rock 'n' Roll culture ruled, and Toronto's Yonge Street strip served as its temple. That locale was an R&B hotspot where blistering notes would waft across sidewalks and lure unsuspecting patrons to the mystical allure of the Blues. This updated version of "hippiedom"--the brothers Leggat: bassist Huey and lead guitarist Gordie, along with manic high priest John Dickie--has been several decades in the making. They've finally gotten around to making a record that is totally true to their origins, and so I've become a drug-free Hippie junkie myself. With over 50 listens to my credit I qualify as an addictive personality. And it would've been twice that number if I wasn't committed to other projects (profiles, features, reviews, 9-5 stuff). What a truly wonderful present for a New Year! This augurs other gifts, by setting the pole so high that it establishes a new measuring stick for Canadian Bluesers to study--and hopefully learn. This upsets the whole "apple cart", since the Hippies have taken the Blues kicking and screaming from whatever museum it's been hiding out in, while simultaneously breathing new life into it. This whole endeavor crackles with spontaneous creativity married up to rockin' firepower. Yet amazingly no two tracks sound alike! Chalk it up to some of the most engaging songwriting that this reviewer has heard in decades. The magic begins on the opening notes of Rockalator, a revelatory rocker that catapults you into a swirling ride of reverb-drenched guitar, churning horns, and raw smokin' vocals. Biker heaven! Sci-Fi Baby and Dangerous Curves maintain that Little-Richard/Chuck Berry-indebted momentum, before things cool down a tad on the groove-alicious Funky L'il Thang. Dickie is the closest thing to a white incarnation of James Brown--further validated on the staggering Cruisalatin' Time. Funk rules! Matters shift to the wilder side of life on Don't Touch My Hair, as Dickie blows some mean harp while pleading like the most persuasive street preacher ever to grace a stage. Cool organ (Rob Gusevs, Norm Brown) and hip horns (Gord Myers, Chris Mitchell) abound, surrounded by righteous testifying on the soulful I Ain't Got The Blues. As always, Dickie is a phrasing master, blessed by an inordinate ability to sense what precise note to latch onto in order to extract the maximum emotional impact to conclusively clinch the deal. Three more thunderous tracks (Luv Pad; 9.96 Miles, Rayleen) cook with natural gas--with no unnecessary additives. The guitar riffs work of Gordie Leggat are right on the money, totally restrained and adding the precise shading for maximum satisfaction. It's in total co-ordination with the non-intrusive production qualities (thanks to engineer Tom Atom) that always keeps the mind's eye envisioning nightclub confines rather than a faceless studio. The rhythm section of Huey (bass) and Mike Sloski is beyond reproach, keeping it tight and true I can't stress how thrilling these Mississippi Hippies are. So I'll only make this one final point. This is the most satisfying piece of electrical Blues to come to my attention since the heyday of King Biscuit Boy and the Fabulous Thunderbirds. Crash this pad!
ORDERING DETAILS:
www.mississippihippies.com
IAN TYSON: SONGS FROM THE GRAVEL ROAD
(STONY PLAIN RECORDS)
--by Gary Tate
In his first release in six years, Ian Tyson returns with another superb collection, steeped in reminiscences of prairie, native, and rodeo life, delivered with such total honesty and faultless phrasing that his enduring iconic status within the folk and roots communities remains as secure as those sturdy cowboy boots on his well-traveled feet. With Songs From The Gravel Road, such superb craftsmen as guitarist Kevin Breit and horn players Guido Basso, Steve McDade, and Phil Dwyer lend their support. Although, these gents are often involved with Jazz-influenced productions, this move was a very wise one as it opened each song up to certain sensibilities not necessarily available with the standard pedal steel/mandolin/fiddle treatment, although traditionalists should rest assured that Messrs. Burke Carroll (pedal steel), Don Reed and Tony Michaels (fiddle), along with the amazing virtuoso, Kevin Breit, provide total fidelity to distant-times authenticity. Tyson sought a sound somewhat removed from the gravel road, a "gamble" that has paid handsome dividends. Tyson will still represent total coolness within the world of "country music", yet at the same time he has significantly raised his stock within the jazz community. I can't conceive of a better Canadian musical ambassador to the world at large other than Ian Tyson, with the spirit of the frontier past so deeply imbedded into his consciousness. Tyson's lyrics are so full of imagery, that it's easy to overlook his exceptional melodic gifts, as revealed in the reveries of Love Without End, and especially So No More with its accompanying drifting soprano sax, courtesy Phil Dwyer. Chanteuse Cindy Church does such a lovely guest spot on Range Delivery, that it's easy to imagine it's Ian & Sylvia re-united for one more kick at the can. Tyson, by his own admission, is not a prolific songwriter, sometimes despairing if he'll write another song. Walks along that gravel road leading from his cottage retreat to the world of birds, open skies, and deer are occasions for thinking and renewal of his inspirational muse. Some songs appear immediately, others involve lengthy struggles such as The Ambler Saddle, a saga of a Hamley Bucking Saddle. It recounts the many adventures encountered by the drifters, bronco riders, cowboys, and even animals that came into contact with it on the endless trail. Several poignant rural meditations are revealed on This Is My Sky. As for Land Of Shining Mountains, here's hoping that it's nominated for the official anthem of the western Canadian province of Alberta. Always Saying Goodbye is another beautiful contribution. Songs From The Gravel Road makes for a wide-ranging vista as invigorating to the hearing sense as the wonderful prairie portrait on the cover is to the visual one. It makes for a natural addition to the wonderful Ian Tyson catalogue. Check it out.
ORDERING DETAILS:
www.stonyplainrecords.com
www.iantyson.com
LINK "MR. GUITAR" WRAY: THE SWAN SINGLES COLLECTION (ROLLERCOASTER)
LINK "MR. GUITAR" WRAY: THE EPIC SESSSIONS 1958-1961 (SUNDAZED)
--by Gary Tate
Link Wray is a revolutionary: meaning the fleetest fingered string wiz on down to your typical three-chord punker is indebted to him in countless ways. Nobody ever culled as tough and dirty a sound out of a guitar. As that instrument snowballed into R&R dominance, so too did Link Wray's influence. He's regarded as a demi-god within Punk, Rockabilly and Psychobilly circles. Bluesophiles honor "Mr. Guitar" as an exemplar of the successful combination of primordial rawness with soulful firepower. Rockers like Gene Vincent, Billy Lee Riley, and Eddie Cochran captured the rebelliousness of that burgeoning 50's teen market, yet it would take a full-blooded Cherokee--born Frederick Lincoln Wray, Jr. in 1929 in North Carolina--to up the danger and excitement level exponentially. Any serious power player has devoted serious time exploring Rumble, Raw-Hide, Jack The Ripper, Deuces Wild, and so many other greasy sides, thrilling to the electric guitar's breathtaking facility at creating primitive sounds bristling with tension and evil intent. It starts in 1955, as a dark-skinned serviceman heads home to join brothers Vernon (vocals) and Doug (drums), plus Shorty Horton (bass), to play the Portsmouth/Norfolk area clubs. In late 1955 they relocated to Washington and started getting serious attention. In early 1956, however, Link suffered a recurrence of the TB caught overseas, incapacitating him most of that year. Upon release, the meds told Link to pamper his pipes (in retrospect--fortuitous advice!). Meanwhile, warbler brother Vernon had been experiencing modest success as a teenage heartthrob for Philadelphia's upstart Cameo label. Thus the gods of fate would launch the trio of Link, Doug, and Shorty: an instrumental institution soon known as Link Wray and the Raymen. Working the local sock hops and the wilder side of the street, they pummeled out that big beat with the best of them. Rumble, their '58 debut release on Cadence hit #16 nationally, eventually selling four million and a half copies. How Link got that distorted dirty sound is emblematic of his fierce determination to do whatever was required to get that unalloyed rough edge. He butchered his amps, and then jabbed holes in the speakers with a pen. Whenever Link sensed an absence of primal authenticity, he'd say: "It Ain't Got Guts." The power Rumble generated via those amp volume knobs was so overwhelming, that Rumble's menace prompted several radio stations to delete it from their playlists: the first instrumental ever banned. In 1962, the Epic label tried softening his sound, prompting Wray to suggest they do physically impossible things with their anatomy. His greatest recording period was ushered in with his 1962 signing to the Swan label. They gave Link full rein to "wreak havoc", yielding a body of work that's become a veritable spring source from which future generations of guitarists have quenched their thirst. There were dozens of remarkably gritty sides, and they reveal remarkable breadth. The titles themselves wonderfully convey their sense of delinquency, toughness, and adventure: Black Widow, Branded, Rumble, Law Of The Jungle, The Fuzz, Turnpike U.S.A, Ace Of Spades, Steel Trap, The Swag, Scatter, Run Chicken Run. His swaggering take on Hidden Charms-the Howlin' Wolf standby-features deranged snap 'n' yowl vocals backed up by a jackhammer riff. Decadent! Link Wray's versatility is part of his enduring appeal. A huge fan of Presley, Link did a boffo instrumental of Hound Dog--the Leiber & Stoller classic. Sweet insanity! Theme From Batman is a total hoot, while the ominous The Shadow Knows is spooky, demented, and full of dark humor. From 1977-1978, Link Wray toured with Rockabilly revivalist Robert Gordon. Essential recordings from that span include Red Hot and Flyin' Saucers Rock 'n' Roll-the Billy Lee Riley classics. An inductee of the Rockabilly Halls of Fame, Link Wray continues to pack venues worldwide, as three generations of fans marvel how this dynamic icon generates such fire, gusto, and passion--while draining the energy of bucks 50 years his junior. A typical show is like witnessing the eighth wonder of the world, and you'll also get a chance to tell your grandchildren that you saw the great Link Wray outbox another set of amps.
ORDERING DETAILS:
http://www.sundazed.com/
JOHNNIE JOHNSON: JOHNNIE B. BAD (NONESUCH RECORDS)
JOHNNIE JOHNSON: JOHNNIE BE BACK (MUSIC MASTERS JAZZ)
JOHNNIE JOHNSON: BLUE HAND JOHNNIE (EVIDENCE)
--by Gary Tate
Whenever the issue of the greatest artist on a particular instrument is opened up for discussion, it's kind of controversial. Except when that designation happens to be Rock 'n' Roll and piano player! Immediately the name of Johnnie Johnson rises to the top--just like cream. Chuck Berry's piano man from 1955 until 1973: Chuck and Johnnie went together like Chinese takeout, Coca and Cola, or cheese and crackers. They unleashed a seamless thrill-a-second rhythmic cascade that addicted teenagers worldwide. Johnson's recognition arrived belatedly when millions finally got to pay homage when witnessing Johnnie pumping those ivories on the 1988 Chuck Berry tribute documentary Hail Hail Rock and Roll. Finally: a name and a face to fill an important knowledge gap that had puzzled so many for so long. Johnson, in his typically self-effacing manner said: "I am very pleased with all of it. I wish that maybe I had gotten this break sooner, because I'm 66 and not getting any younger, but I am very pleased." Johnson's shy manner had always been an impediment to establishing a solo career, but he was emotionally tuned to the role of quintessential sideman, preferring to concentrate on accomplishing whatever that was needed to make the guitarist, lead vocalist, or band, sound exceptionally good. By 1951, Johnson had recorded in St. Louis with Albert King (Don't Throw Your Love On Me So Strong). Johnson remembers back then, when his Johnnie Johnson Trio lost its saxophone player, so as a replacement he hired a budding guitar player who did a hillbilly kind of thing, booking him for an East St. Louis gig on 1953's eve. Johnson realized the country stuff Berry was laying down that night was getting a real strong reaction. So he smiled in Berry's direction; no trace of envy. He willingly switched to "second fiddle", but truth be told, he was intensely focusing on creating a unified guitar/piano riff without any pause in it, while maintaining the same melodic pattern. Berry was overjoyed at Johnson's willingness to extend utmost effort in creating a sense of interplay, one that invariably brought a standing ovation. By 1955, a label named Chess from Chicago came a-calling. And the rest is Rock 'n' Roll History. Johnson wasn't just some guy who did time in a studio: He was absolutely essential in helping Berry put it all together music-wise. Maybelline, Johnny B. Goode (named for Johnson), Sweet Little Sixteen, Reelin' and Rockin', Rock and Roll Music, Nadine, and countless others, formed the essentials of R&R. In 1973, Johnson got tired of the traveling grind and began freelancing around St. Louis as a bandleader with the Sounds of the City and The Magnificent Five. Over the years, Johnson has also worked with the likes of Ike Turner, Oliver Sain, and Little Milton. Too shy to sing, it was only a result of Keith Richards' and Eric Clapton's convincing that he finally did a 1991 solo album Johnnie B. Bad. Johnson's wry, laconic vocals were finally being heard. But this wasn't some memory lane rehash, it was a great Rock 'n' Roll/Blues album in its own right, chocked with rockin' originals (Can You Stand It, Tanqueray), towering instrumentals (Fault Line Tremor, Johnnie B. Bad), a dollop of humor (Stepped In What?), and some classic Blues chestnuts (Hush Oh Hush, Baby What's Wrong). Listening to Johnnie wonderfully playing off Clapton, Richards, and NRBQ's Steve Ferguson, was like having the clock turned back 30 years. Johnson was now a convincing soloist, who'd taken just a little longer to bloom. Johnnie has continued to record (Blue Hand Johnnie, Johnnie Be Back, Johnnie B. Live), and performs regularly on the club and festival circuit. Keith Richards--familiar with of Johnnie Johnson since 1962 when he flipped over the piano on Chuck Berry records--leaves no doubt about Johnnie's immense influence: "What gasses me about Johnnie's playing is that flow man, and that mastery of whatever is going on, whether it's complementing Chuck's guitar, or the band. I realize how his influence subtly affected Chuck." Johnnie Johnson was inducted into the Rock 'n' Roll Hall of Fame & Rhythm and Blues Foundation in 2000.
ORDERING DETAILS:
www.amazon.com