ROSCOE GORDON: MEMPHIS TENNESSEE
--by Gary Tate
When Rosco Gordon's 'Memphis Tennessee' was released on Stony Plain Records, few suspected it would be his musical epitaph--- albeit a wonderfully rich one. An unabashed triumph, it's revelatory of his thrilling legacy, both to longtime admirers and newer acolytes. Released a couple years before to his passing in 2002, it's a remarkable document on the significant role that Rosco Gordon played 50 years ago in setting the foundation for the coming Rock 'n' Roll revolution. Hundreds of artists would enter Sam Phillips' Memphis Recording Studio, but only a handful had that magic glow that triggered Phillips' intuitive antennae. Phillips started recording Rosco Gordon in1952, and though not as obvious today, Rosco was doing things back then that set him apart from the crowd, such as that tantalizing shuffle piano beat that's now referred to as "Rosco's Rhythm". And his songs were crammed with carefree good-times, fun worshipping, and slightly-demented lyrics--not unlike much of what Little Richard would be doing four years later. Several of those early hits made on a variety of 50's label (Sun, Chess, Duke, etc) appear herein, such as "Cheese and Crackers", "Let's Get High", "No More Doggin", and "Just A Little Bit". They're classics, and are always guaranteed to put a lot of life into any party. In an interview at the end of 'Memphis Tennessee", Rosco accords the ultimate compliment to the backup crew (Duke Robillard (guitar), Doug James and "Sax" Gordon Beadle (saxophones), and Matt McCabe (keyboards). Those cats did it quickly and did it right, and no other bands ever impressed him as much. Those rollicking up-tempo Soul chargers predominate ("Sit Right Here" , "It Takes A Lot of Lovin", the title track) , but Rosco Gordon could lock into a simmering Blues groove with total authority, and gets to prove the point on "Bad Day", "Jelly Jelly" and "Tell Me I'm The One"
LITTLE WILLIE JOHN: FEVER-THE BEST OF…(RHINO RECORDS)
--by Gary Tate
Barely five feet in stature, Little Willie John's diminutive frame possessed a voice box that was both powerful and extremely moving, and at its edges hinted at a fragile, turbulent--and ultimately brief life. Born William Edgar John in Arkansas in 1937, he would move to Detroit at 14, and by his mid-teens would be touring with bandleader Paul "Hucklebuck" Williams. The kid had a wild streak, but that soaring voice attracted lots of Industry buzz. Johnny Otis was an early booster, and eventually Henry Glover--head of King Records--contracted him at the age of 17. "Around The World" was his debut and it registered immediately. The song had rather frivolous lyrics, but Little Willie John performed it with such soul and passion that a whole new dimension was added. Before attaining 18, he'd already earned three R&B top 10's, including two glorious ballads, "Need Your Love So Bad" and "Home At Last". To get a real handle on the importance of Little Willie John in Rhythm 'n' Blues annals, realize that James Brown and His Famous Flames opened for John in 1956 and 1957. And the Godfather of Soul (another King artist) didn't merely regard LWJ as his role model. He also conferred upon him the ultimate compliment: "Please do not forget the man I was opening for in 1956 and 1957." Little Willie John was doing Soul music well before anyone had even invented that label. Between 1956 and 1960, only Jackie Wilson, Sam Cooke, Brook Benton, and Ray Charles would achieve the same level of crossover appeal as Willie John. His unwarranted "obscurity" should not detract from his magnificent contributions to the evolution of Soul music. On March 1, 1956 Little Willie John cut "Fever", and the rest is history. After quickly hitting #1 on the R&B charts and attracting significant crossover airplay, "Fever" would become one of the most covered tunes of all time, but John's original is still the definitive version (sorry Peggy), and six months later, "Sufferin' With The Blues" was released, and it virtually defines the very essence of Soul. Suffering never sounded so wonderful! Backed by Bill Doggett's combo (including Billy Butler and Clifford Scott), this is a timeless lament, and its endearingly plaintive quality makes it as poignant as Judy Garland's "Over The Rainbow". The dawn of 1958 marked another watershed, with the release of the ghetto serenade: "Talk To Me, Talk To Me". Another indelible tune now etched in the public's consciousness, though sadly not that of its originator. Those dominating yet sensitive vocals were tailor-made for romantic ballads, and "You Hurt Me" and "Let Them Talk" are glorious examples. However, it would be the mid-tempo "Sleep-a thorough overhaul of an old song (1924) originally done by Fred Warring's Pennsylvanians-which would provide Little Willie with his most significant crossover hit (making #13 on the Pop Charts). Although often typecast as a dramatic balladeer, when opportunities to launch into Soul blasters were provided, readings of 10 often registered on the Musical Richter Scale. "Leave My Kitten Alone" and "Heartbreak" might have hit a reading of 8 or 9, but "Take My Love" and "I'm Shakin" caused continental shift. "I'm Shakin" is a tune that reflexively induces your joints to start a-twitching (20 years later, the Blasters would do a great cover). By the end of 1962, there were the releases that went nowhere, solely because inappropriate "middle-of-the-road" fodder was being foisted upon him, and there was also the problem of his creeping alcoholism. . After his departure from King in 1963, those few remaining years would not be kind ones. Willie would be convicted of manslaughter in 1965 and sentenced to 10-years imprisonment. He never left jail: the official reason being death by a heart attack in 1968. Who really knows? What is known is that everyone who has ever heard Little Willie John sing has some idea what the angels in heaven sound like.
ORDERING DETAILS:
www.amazon.com
DANNY & THE FAT BOYS: AMERICAN MUSIC (NRG RECORDS) REDNECK JAZZ EXPLOSION: SELF TITLED (NRG RECORDS)
REDNECK JAZZ EXPLOSION: LIVE (NRG RECORDS)
DANNY GATTON: UNFINISHED BUSINESS (NRG RECORDS)
DANNY GATTON: 88 ELMIRA ST. (ELEKTRA)
DANNY GATTON: CRUISIN' DEUCES (ELEKTRA)
VARIOUS ARTISTS: NEW YORK STORIES (BLUE NOTE)
DANNY GATTON & JOEY DE FRANCESCO: RELENTLESS (BIG MO)
--by Gary Tate
Born just outside of Washington DC in 1945, Danny Gatton culled such a cavalcade of ideas from those six-strings, that ten years after his death, his legacy grows stronger than ever. On Oct 4, 1994, Gatton entered the garage at his farm and shot himself, leaving kin and friends in shock. A down-to-earth type, devoted family man, and easy-going by nature, Gatton must have been tormented by inner demons that broke his spirit.
Before heading to Nashville for session work in the 60's, Gatton had already absorbed an array of stylistic influences ranging from Country, Rockabilly, R&B, Blues, Country, to Jazz. Returning to Washington in 1970, his under-publicized bands, such as Danny & The Fat Boys, would garner word-of-mouth credibility. Their 1975 album 'American Music' provided tempting glimpses of the breadth of Gatton's talents, but the full scope of DG's powers gets revealed on Redneck Jazz Explosion's albums from 1979. RJE (also featuring pedal steel wiz Buddy Emmons) was manna from above to guitar mavens. DG's many influences are to glory over: one part Jazz (Charlie Christian, Wes Montgomery, and Howard Roberts); one part Country (Merle Travis, Chet Atkins and Jimmy Bryant) and one part Sun-era Rockabilly: Scotty Moore, Duane Eddy, and Cliff Gallup-Gene Vincent's guitarist. Longtime guitar buddy Roy Buchanan had turned Gatton onto the telecaster in the 60's: He took to it like a bird to flight. Gatton backed up such top names as Barbara Mandrell, Sonny James, Bobby Charles, and Roger Miller through much of the 70's, but by the 80's Gatton was handling lead guitar chores for Rockabilly revivalist Robert Gordon--DG replacing Link Wray, another Washingtonian. A dream team: Gatton's patented adrenalin rushing forays perfectly complemented Gordon's throaty ravings. "The Humbler" was a posthumous release of a 1983 Gatton/Gordon show. Rock 'n' Roll Heaven!
Gatton's 1988 decision to pursue a solo career was soon followed by 'Unfinished Business' and it was everything to be hoped for--whether on Santo & Johnny's "Sleep Walk", Ray Charles' "Georgia on My Mind", or even Jackie Gleason's "Melancholy Serenade". Danny Gatton was simply an unstoppable force of nature. "Fingers On Fire" is hot as a pistol and faster than a speeding bullet. Those Blues also entered the picture: "Lappin' It Up" draws the listener in with its multi-toned brilliance; while the dark- edged "Notcho Blues" is pure tension and drama. But the two ultimate triumphs are "Nit Pickin"-a 5-minute sonic guitar textbook; and the soaring "Sky King"-a tribute to King Curtis & Billy Butler-and arguably the most highly melodic tune Gatton ever wrote. One for the ages! A major label deal (Elektra) yielded the majestic '88 Elmira St'. The way it advanced the boundaries of guitar playing by the single-minded purpose of one stylistic visionary is majestic. It'll feed every known craving of any "axe" junkie, yet its prevalent fun-filled aura is the glue that makes it so compelling. "Elmira St. Boogie" and "Funky Mama" throb with non-stop excitement. Blast off! "Red Label" evokes pure exotica. Ditto "Quiet Village". Brian Wilson's "In My Room gets a gorgeous re-interpretation. Two of the best pieces Gatton ever wrote appear: "Blues Newbourg" and "Pretty Blue". Blues lovers rejoice! "The Simpsons" and "Muthaship" are electrifying soundscapes. Rock-it! Elmira St.'s successor, 1992's 'Crusin Deuces' was equally adventurous, except vocals figured more in the equation, and 50's nostalgic items tend to predominate: Sam Phillips' boys get saluted on "Sun Medley" with Delbert McClinton vocalizing, Buddy Holly's "It Doesn't Matter Anymore" gets an interesting reading by Rodney Crowell, but the era really returns to life with an atomic-charged version of Bill Haley's "13 Women". H-bombs away! An instrumental of Thomas Wayne's "Tragedy" is beautifully explored, and Ray Price's classic "Satisfied Mind" (sung by Billy Windsor) is soulful to the max. "So Good" is super-charged mayhem, while "Funhouse" is as exciting as a double-looping roller coaster. No need to belong to a car club to be a Cruisin' Deuce!
Even though '88 Elmira St.' made the Billboard charts and was nominated for a Grammy, Gatton's unbridled eclectism, categorization-defying versatility, and creeping middle-age were at total variance with a Music Biz obsessed by youth and rigid niche marketing. And Gatton believed if music wasn't fun, it wasn't worth doing, and he didn't care much for the rigors of touring (he did just one national tour in 1993). The last two years of Danny Gatton's life were extremely creative ones, starting with 1993's, 'New York Stories', which featured Gatton in a modern Jazz setting, along with horn men Bobby Watson, Roy Hargrove, and Joshua Redman. Great solos abound, and Gatton's tunes are standouts: "Dolly's Ditty", the blues-drenched "Mike the Cat", plus the sublime "One For
Lenny" written in tribute to Lenny Breau. Six months prior to his passing, DG recorded 'Relentless with then 23-year old B-3 wiz Joey De Francesco. This was Acid Jazz at its apex, and the communication was so interesting that fate must have brought them together. Telepathic twins! 'Relentless' cooked with ideas and provided relentless fascination. Desert-isle listening!
At varying stages during his career, Gatton's has been labeled Jazz, Rockabilly, R&B Country, and even Bluegrass. Even Gatton disdained such labels, saying: "I have no direction and never will." Referred to as "The Humbler" by Amos Garrett, Gatton also was accorded these choice superlatives: "the pre-eminent guitarist of the post-World War II era"; "deserving of his own cult"; and "The World's Greatest Unknown Guitarist". Guitar Player Magazine also recognized him as one of the fifty most influential guitarists of all time. But his foremost mentor Les Paul probably described Gatton's genius best: "He's taken everything I ever dreamed about, everything I ever done, and incorporated it into his own thing". Amen.
ORDERING DETAILS:
www.dannygatton.com
BIG MAYBELLE: THE COMPLETE OKEH SESSIONS (EPIC/SONY)
BIG MAYBELLE: THE LAST OF BIG MAYBELLE (MUSE RECORDS)
BIG MAYBELLE: BLUES, CANDY, AND BIG MAYBELLE (SAVOY/JAZZ)
--by Gary Tate
When Big Maybelle growled “You’re Gonna Love Me”, it was as much a directive as an open invitation to seduction. Born Maybelle Smith in 1924, and blessed with a dominating voice that complemented her wide girth, she could also draw tears eyes with her poignant phrasings. With her incredible range and towering vocal style, few artists could dig as deep under your flesh. Had she ever locked musical horns with Howlin’ Wolf, it would have been the musical equivalent of the splitting of the atom. Big Maybelle passed away from the effects of a diabetic coma at only forty-eight. She enjoyed considerable popularity for most of the 50’s, but by the 60’s, her poor health made it impossible for her to perform on a regular basis.
Her earliest recordings go back to 1944 with Christine Chatman’s Orchestra, but she wouldn’t hit big until 1953’s “Gabbin’ Blues” on Okeh. Half spoken and half sung, Big Maybelle was at the receiving end of some real nasty putdowns on “Gabbin’ Blues”. It’s that rarest of novelty items, where humor is brilliantly juxtaposed with pathos. As different as it gets! Cash Box once voted her the number 3 female R&B singer--just behind Faye Adams and Dinah Washington. Maybelle quickly became a major attraction in Mid-west cities such as Detroit, St. Louis, and Cincinnati, while also playing the Newport Jazz Festival in 1958. Her career never hit the stratospheric heights her immense talents suggested, but there were some truly majestic releases on Okeh. That heavy-boned lady could belt out a soul blaster like nobody’s business, proof being such raucous sides as “So Good To My Baby” and “I’ve Got A Feeling“, but even they paled in comparison with the wildest “Jinny Mule”. Kicks like crazy! As for the real lowdown Blues, she ranks up there with Bessie Smith. “Stay Away From My Sam” and “Maybelle’s Blues” could raise those goose bumps like a bucket of ice water. Still, her masterpiece has to be “Rain Down Rain”, a spine-tingling performance that should have made her as big a name as Etta James.
1954 found Big Maybelle touring in package shows that gave resonance to an era. A Labor Day program at the Paramount in Brooklyn, for example, had her on a bill including Roy Hamilton, the Drifters, Faye Adams, LaVern Baker, Erskine Hawkins, and the Spaniels. It was held under the category of Rhythm ‘n’ Blues; by Thanksgiving the exploding R&B interest by white teenagers changed the heading to the color-neutral Rock ‘n’ Roll. That year would find her headlining New York’s Apollo Theatre, backed up by the Gene Ammons Band, while such vets as Jackie “Moms” Mabley and Larry Darnell got bumped to the undercard. By the start of 1955, her days with Okeh were nearing an end, but her last several releases were reflective of a shift--both in direction and material. Pop-oriented tunes (You’ll Never Know”, “Ain’t No Use” and “You’ll Be Sorry” and “Ain’t No Use”) were aimed at more mature audiences, but Big Maybelle’s rich inflections provided added artistic heft. This would predict future successful recordings of classic pop standards by such R&B divas as Etta James, Dinah Washington, and Aretha Franklin. 1956’s “Candy” on the Savoy label was a juiced-up version of Johnny Mercer’s gift to the WW2 troops, and became a crossover smash (it made #15 on the pop charts). Interestingly, her final releases on Okeh had firmly established her credentials as an out-and-out Rock ‘n’ Roller, starting with “Don’t Leave Poor Me”, “One Monkey Don’t Stop No Show”, and finally 1955’s barnstorming Rockin’ standard “Whole Lotta Shakin’ Goin’ On’”. Roll! Of note, that session was produced by Quincy Jones, and also featured the amazing Mickey Baker on guitar. Fried chicken ‘n’ hot biscuits! For reasons entirely inexplicable, it never generated significant commercial impact, but two years later a version by Jerry Lee Lewis would become a world-wide smash, establishing it as an all-time Rock ‘n’ Roll anthem. Many trivia experts errantly subscribe Big Maybelle’s version to Big Mama Thornton-who actually did the original version of “Hound Dog” in 1954.
With the success of “Candy”, Savoy would release a slew of pop-oriented such as “All of Me”, “Baby Won’t You Please Come Home” and “Until The Real Thing Comes Along”, while keeping Maybelle’s other foot firmly ensconced in groove-heavy R&B--such solid movers as “Tell Me Who”, “Ring Ding Dilly” and “That’s A Pretty Good Love”. For the balance of the fifties, Big Maybelle toured the country in company of such luminaries as Bo Diddley, Fats Domino, Lowell Fulson, the Harptones, and Jimmy Beasley. Many of the shows were MC’d by famous deejays’s such as Chicago’s Al Benson and New York’s Jocko Henderson. A total performer and a complete artist, Big Maybelle effortlessly straddled the boundaries between Blues, Rhythm ‘n’ Blues, Pop, and Rock ‘n’ Roll with a startling grandiosity that will forever ensure her legacy.
(STONY PLAIN RECORDS 1299)
Acoustic album’ is Amos Garrett’s first acoustic recording in over twenty-five years. This is one unplugged effort well worth the wait: a quilt work of time-tested melodies brimming with wry, good-natured lyrics that are as welcoming as an oasis to a parched tongue. With a resume that could fill several pages (Maria Muldaur, Robert Gordon, Doug Sahm, etc), Garrett sounds like he’ returning to his first love though---some old-fashioned finger picking on the six strings. That voice is robust, clear, and playful--with a hint of slyness.
It’s warming that a couple of Hoagy Carmichael durables are featured, including “Small Fry” and “Hong Kong Blues”. Close your eyes and you could envision Hoagy--cigarette dangling from his lips, flagon of Southern Comfort resting nearby. There’s no posturing, just a spontaneous front-porch feel to it all, making it a very serene listen. A posse of collaborators (Chris Whiteley, Ken Whiteley, David Wilkie, et. al) afford a casual ambience to the recording that is quite beckoning, similar to what you’d experience at a levee. The only difference being the level of musicianship, which is strictly world-class, and if you’re into the exquisite joys of deftly managed guitar runs, there are a multitude of such moments to savour.
I was totally captured by “Michigan Water Blues”-a weird but fascinating Blues that Garrett transported note-by-note from Jelly Roll Morton’s piano chart, and adapted to guitar, mandolin, and string bass. Stay alive, and eventually you’ll hear everything! The very talented Whiteley Brothers wrote three of the originals. Ken’s semi-autobiographical “Always Got Your Hands On That Guitar” is especially absorbing, and any guitar fiend will find it to be as familiar as a look in the mirror. Another especially intriguing selection on this 12-track album is “I Hate Myself”--- a perfect anthem for self-loathing neurotics---on which an entire “choir” join in on the fun.
“Beverly Hill Requiem” is a poignant instrumental featuring the multi-talented Chris Whiteley on trumpet. Other titles practically invite you to come on over and sit down for a spell: “Grasshoppers In My Pillow”, “Some Musician Was To Blame”, and “Perfume and Tobacco”. So take up the invitation--why don’t you.
ORDERING DETAILS:
www.stonyplainrecords.com
DUKE ROBILLARD, JAY GEILS & GERRY BEAUDOIN:
NEW GUITAR SUMMIT (STONY PLAIN)
‘New Guitar Summit’ is a most exquisite listen; one fervently hopes won’t end. The Summit consists of Jay Geils, Duke Robillard, and Gerry Beaudoin: three master chefs quite familiar to six-string gourmets. All three players share far more than a common New England pedigree. These long-time friends have a common love and abiding respect for that swinging hybrid of Jazz and Blues. Over the last of couple decades, Jay, Duke, and Gerry often played in impromptu gatherings, and constantly mused about capturing their musical camaraderie for posterity. Better late than never!
These gentlemen trumpet an era when the electric guitar was developing into a lead instrument. The pattern was set by the legendary Charlie Christian (Benny Goodman’s guitarist), and would be mined by such luminaries as Tiny Grimes, Herb Ellis, Tal Farlow, Freddie Green, Irving Ashby, and Johnny Smith. By no mere coincidence, “Benny’s Bugle” and “Seven Comes Eleven” are bopping tributes to Christian and Goodman. Swing heaven! The Blues introduced “Ain’t Nobody’s Business” to the world, yet it’s the jazzier Billie Holiday version that’s given the royal treatment here, with Beaudoin handling most of the guitar duties (and also making a sterling debut as a vocalist). Simply unforgettable! Blues fans will quickly fall under the spell of Beaudoin’s unerring instinct for soul, swing, and style. Only two other tracks feature any vocals, and both feature the Duke of Robillard. “Never Say Never Again” is the epitome of elegance, with Duke affording it a very sophisticated reading, whereas “Back Door Blues” (originally by Eddy “Cleanhead” Vinson) is touched by Blues grit. It’s impossible to pick favorites but “Swing With Dr. Jake” must be mentioned, with its gorgeous melody and exquisite solos by Jay, Gerry, and Duke. Guaranteed to cure whatever ails you! Perdido-- the Latin Jazz standard--is another enticing by-product of this guitar triage extraordinaire. “Azzure Mineur”--another Gerry Beaudoin composition-has classical overtones, and its intricately patterned harmonies are poignant, beautiful, and unforgettable. Blissful auditory stimulation!
Throughout ‘NGS” you’ll be totally entranced by the elegant playing and the brilliant tone animating every glorious note, plus the impeccable taste that’s abundant. Sparkling solos leapfrog upon each other, and the impact is riveting as each individual’s contributions mesh to yield a totally satisfying unity. Everything came together so perfectly on that glorious night this trio gathered to play their hearts out at Duke’s Mood Room in Rhode Island. New Guitar Summit is the very pinnacle of tasty guitar, and qualifies as a grand addition to any Blues (and Jazz) connoisseur’s library.
ORDERING DETAILS:
www.stonyplainrecords.com
JANIVA MAGNESS:BURY HIM AT THE CROSSROADS (NORTHERNBLUES 022)
--by Gary Tate
Janiva Magness is a Blues treasure poised for widespread acclaim. Colin Linden brought her to the attention of Fred Litwin of NorthernBlues, which eventually led to ‘Bury Him At The Crossroads’, a voyage of sorts back to roots-oriented intimacy--putting it in contrast to Janiva’s earlier releases that tended to showcase her blues shouter persona. Great things have been predicted for her, but getting Linden as producer and lead guitar player was a move that guaranteed impeccable authenticity. Linden is virtually peerless in understanding roots history, and his credibility has been confirmed repeatedly on brilliant productions over the years.
Magness has a wonderfully elastic vocal instrument, so the sparse production and small ensemble were perfect in unveiling its many shades, emotions, and nuances. The covers, though not necessarily obscure, are enshrined in the ethers of the Soul, Blues, and R&B canons, such as the glorious “Soul Of A Man”, written by St. Louis legend Oliver Sain. Backed up by the little else than Richard Bell’s piano, it’s an emotionally charged love song, and Magness caresses it with tender mercy. Soulful majesty! J.B. Lenoir’s “The Whale Has Swallowed Me” is another wonderful discovery, and Magness sublimely captures the Gospel interior lying just below the Blues surface. Inspirational! The great Sam Cooke is honored on “Lost and Lookin”, a widely overlooked nugget from one of the founding fathers of Soul music. I wish I knew more about the origins of “That’s No Way To Get Along”, but it’s another humdinger of a tune, full of heart and soul, and another righteous vehicle for showcasing the phenomenal range of this beguiling chanteuse. There’s even a touch of Motown on “One More Heartache”, while Magic Sam’s classic “Everything Gonna Be Alright” is given a stripped-down treatment that glows in the dark like a candle. Eternal magic! Delbert McClinton’s “Ain’t Lost Nothing” is a throbbing slice of roadhouse Blues, featuring Janiva at her tantalizing best.
As for the originals, the title track packs an emotional wallop as it harkens back to Delta blues mythology. “Eat The Lunch You Brought”--written by bassist/rhythm guitarist Jeff Turmes--flips the coin back to fun-filled silliness. The nostalgic “I’m Leaving You” goes down as easy as a glass of iced tea on a hot summer’s day. Congratulations to everyone involved in this first-class effort. As for the final judgment on this Magness/Linden debut, I have but one word. Encore!
ORDERING DETAILS:
www.northernblues.com
SLIM HARPO: THE BEST OF SLIM HARPO (HIP-O-RECORDS)
--by Gary Tate
Born January 11, 1924 near Baton Rouge, Louisiana as James Moore, his stage handle would become Slim Harpo, and he would go on to become one of the most successful crossover acts in the history of the Blues. Thirty-four years after his untimely death in 1970, at least five of Harpo’s songs have become dependable vehicles for countless Blues, Rock ‘n’ Roll, Cajun, and even Country bands, to cut their teeth on. It was like the man had a magic potion for unlocking a secret recipe for enticing listeners from widely divergent backgrounds. Some of the performers and bands that have covered Slim’s classy repertoire include the Rolling Stones (“I Got Love If You Want It”, “I’m A King Bee”); Yardbirds, Dave Edmunds, and Marty Stuart (“Shake Your Hips); Hank Williams Jr. (“Rainin’ In My Heart”); Van Morrison & Them (“Don’t Start Crying Now”), and the Fabulous Thunderbirds (“Baby Scratch My Back”)-to mention but a few. Trivia enthusiasts should know that the Moody Blues took their name from a Slim Harpo instrumental by the same name. As for the derivation of his name, back in 1955 J.D. Miller--producer at Excello’s studio--dubbed his new artist with half of Lightnin’ Slim’s name and partnered it with the slang term for harmonica
Although his career assumed a far higher profile in wake of several British groups covering his songs, Slim Harpo had earlier established himself as Excello’s most commercially successful artist, starting with his magnetic 1957 single of “I Got Love If You Want It” b/w “I’m a King Bee”. Blues nectar! Warren Storm, a white Excello artist, did a Rockabilly cover of “I’m a King Bee”--a harbinger of an eventual pattern. The moving soul ballad ‘Rainin’ In My Heart” captured the fancy of the Young at Heart, and was Slim’s first successful crossover single (hitting the Top 40 on the pop charts in 1961). Flip it over, and you’ll hear “Don’t Start Cryin’ Now”, a more traditional Blues with a medium tempo shuffle. The Rolling Stones would later pay their respects, but most importantly they tuned their fans into to the innuendo and bravado that was part and parcel of Harpo’s earlier selections---especially “I’m A King Bee” with its stinging throb and pleasurable bite. 1965’s “Baby Scratch My Back” was the essence of intoxicating Funk and his best seller ever (reaching #16 on the Pop charts). It would also make Slim Harpo a front-line player in the Rock ‘n’ Roll world. 1966 through 1969 would also mark a period of high achievement, including “Shake Your Hips”--probably Harpo’s most covered song and one of the last traditional Rock ‘n’ Roll numbers in the Little Richard/Jerry Lee Lewis/Fats Domino vein. Boogie time! On “That Ain’t Your Business”-another up-tempo outing-Slim spits out those lyrics with Chuck Berry-like precision. Pedal to the metal! “Tip On In” was an interesting follow-up to “Baby Scratch My Back” and “Te-Ni-Nee-Ni-Nu” is a quality piece of New Orleans-flavored merriment.
Even though Harpo’s style was immediately identifiable, Blues purists once cast aspersions because of his eclecticism: He recorded pop tunes, country-oriented shufflers, and the occasional straight-up soul number without any trace of his nasal trademark. It’s now apparent that Slim Harpo’s versatility was at least thirty years ahead of his time, and today he is rightly regarded as a Blues icon. Anyone who doubts Slim Harpo’s credibility as a dominant Bluesman, however, will soon be set straight. “Strange Love” (the B-side of “Buzz Me Babe”) locks into a trance-like vibe and rides it for everything it’s worth. Hypno Blues! Slim could be as dire, introspective, and affecting as John Lee Hooker at his bleakest, just check out “This Ain’t No Place For Me”-possibly the most forlorn Blues song ever recorded. “Wonderin’ & Worryin’” is another immensely powerful Blues, as a simple guitar lick, a crackling snare drum, and a potent harp solo create an atmosphere of emotional vertigo “One More Day” is Harpo at his moody best, and features an eerily effective guitar break dripping with reverb-drenched edginess. On “Blues Hang-Over”, Slim sounds totally tanked, as mindless garble tumbles from his slurred tongue. Deranged---but so much fun!
On the surface, Slim Harpo’s artistry was the essence of simplicity: slack-jawed vocals, sparse yet image-rich vocals, and elemental instrumentation-typically only guitar-bass-drums, plus some poignant harmonica. That it all came together so convincingly is testimony to both Slim Harpo’s writing genius and his appealingly idiosyncratic style. But one also can’t discount the famous swamp echo effect sculpted by producer J.D. Miller at Excello’s Crowley Louisiana studio, a place that could also draw upon a wealth of front-tier musicians too, such as Guitar Gable, Carol Fran, Leroy Washington, Fats Perrodin-and many, many others. Beyond his own formidable catalogue, another aspect of Slim Harpo’s enduring legacy is the vital role he has played in becoming the primary conduit for luring roots junkies into an exploration of the myriad delights of the Excello label--and the immensely talented group of Swamp Masters featured on the label, such as Lazy Lester, Lightnin’ Slim, Lonesome Sundown, and Silas Hogan. Enjoy!
ORDERING DETAILS:
www.amazon.com
MARIA AURIGEMA: TAKE ME (SILVACITY RECORDS)
--by Gary Tate
Maria Aurigema displays her considerable talents on her fine debut ‘Take Me’. If she packs half the energy emitted off this release as on her live performances, then she’s definitely going places-and quickly. Featuring a grab bag of styles, the emphasis is on guitar-driven R&B and Funk. Maria hails from Buffalo, but constantly performs in Southern Ontario (hamlets like Toronto, St. Catherines, Niagara Falls, and Hamilton). All backup mates are of the highest rank too such as Gary Kendall (bass) and Mike Fitzpatrick (drummer/producer). Gary and Mike are esteemed alumni of Downchild Blues Band--Canada’s premier Blues outfit. Also rounding out the DBC contingent are Pat Carey (sundry saxes) and Michael Fonfara (keyboards). All these guys own resumes as long as the US/Canada border.
Aurigema has a naturally boastful and vibrant voice: for various Blues belting purposes it’s quite expressive. Her guitar chops are top notch too, typified by cool riffs and astute note selection. Hold her own with a world-class Blues guitarist like Jeff Healey (as Maria does on three tracks, “Thinking About You”, “Feels Right”, “Love is Like”), means crucial lessons have been mastered. Aglow with tomboy flair as blonde tresses spill forth, a grinding Blues number like “Miracle Man” can turn a grown man into putty.
This glamorous belle can shift gears effortlessly too. “Thinking About You” is a rather jazzy-oriented piece also blessed by a terrific arrangement, while the breezy title track also qualifies for the highlight reel: a seductively catchy rumba that’ll rope in types who normally wouldn’t be caught dead listening to Blues.
“Mama, He Treats Your Daughter Mean” is the only cover (Ruth Brown circa 1957) and it burns with intensity. “Love Is Like” is like the Blues, only fully funkified and fortified by some especially notable axe solos by Maria and Jeff respectively. Bet this one’ll keep a dance floor packed! There’s no doubting the identity of the gent handling the second guitar solo on “Why, Oh Why?” It’s none other than Larry Goodhand (Shuffledogs, Livin’ Blues Band, etc): a grizzled bear of a man but quiet of manner--except when doing his thing on the old six-strings. He owns one of those patently identifiable styles: flashy, dirty, but always tasty. Larry and Mike Fitzpatrick do a longstanding weekend gig as part of the house band at Brantford’s Liquid Lounge. The word is out that whenever Maria does a guest spot there, the joint goes ballistic.
Maria Augimera has Blues coursing throughout her DNA, no more evident than on “Heartache Blues”, a torrid offering of whiskey-tinged angst. Janis Joplin re-carnated!
‘Take Me’ is more than just the title of this CD, it’s also a very good suggestion. So take it up!
ORDERING DETAILS:
www.MariaAurigema.com
(TEENAGE RAMPAGE RECORDS)
The Farrell Brothers, Shawn and Gordie, have made their home in Selkirk, Manitoba since 1998, but according to a track off their current ‘Rumble @ The Opry’ release, they were playing the streets of Toronto long before then. There’s a track called “Curbstomp Boogie”, no doubt a reference to those early days as rebels-without-a-cause punk buskers. They’re still lone wolves, but they’ve definitely kept the faith by keeping that “psyschobilly” torch lit.
Starting out as a country duo in the “Everly Brothers meet The Sex Pistols” mode, they decided to adapt their traditional rockabilly to a more raw live sound by bringing in a rhythm section. References such as Link Wray, Eddie Cochran, and Gene Vincent are obvious ones, but the Brothers have also incorporated other musical elements into the mix, particularly Hank Williams and the Louvin Brothers. There’s an obvious payback to Johnny Cash too. “I Walk The Fiery Line” (an imaginative blending of lyrical elements of “I Walk The Line” and “Ring Of Fire”) recounts a harrowing spiral into obsessive despair. There’s an emphasis on a live fast/die young/no regrets attitude, steadfastly backed up by an atomic hillbilly beat. Titles such as “The Baddest One Around”, “Rockabilly Rebel”, and “Motopsycho Girl” effectively convey menace, ill intentions, and the wild fantasies of alienated teenagers (and possibly a few disturbed adults too).
It’s really about a return to the basics, pounding out a primitive groove by thumping on the stand-up bass to create a throbbing beat, something which Gordie lays on thick and furious. Rounding out the trio are brother Shawn on guitar and Mike Tetrault on drums. Once you hear the guys cranking it out, the imagination will transport you to wherever they happen to be playing, giving you an idea of the testerone-packed energy that will be burning up the stage--and frightening the nice folks.
ORDERING DETAILS:
www.thefarrellbros.com
DUKE ROBILLARD: BLUE MOOD (STONY PLAIN 1300)
---by Gary Tate
When you talk about Duke Robillard it’s impossible to not also mention T-Bone Walker. Robillard has finally completed a full-scale tribute to his mentor. ‘Blue Mood’ rings authentic and true, constantly delighting the listener with its elegance and passion.
Master of every nuance of T-Bone’s style, Duke has adapted twelve T-Bone chestnuts to a relatively modern setting, while staying faithful to the details of the past. His performance is akin to a dazzling high-wire act: one that must be heard to be fully appreciated. Tradition is honoured, as the impeccable Jazzy Blues arrangements of the original recordings are retained, thus lots of creative horns, cool keyboard work, plus the fascinating rhythmic progressions and leads that have captivated the imagination of guitar lovers. Yet Duke elaborates upon these timeless components by nudging the time-proven framework into subtle directions that provide new insights into the artistry of the classics.
There are plenty of Texas shufflers, starting with “T-Bone Shuffle”. Other Jazz-tinged delicacies suitable for partying include “T-Bone Boogie”, “Pony Tail”, and “Tell Me What’s The Reason”. Duke covers all bases seamlessly, reminding us how T-Bone managed to make the Blues swing unlike any other. For his more introspective songs, T-Bone caressed a lyric with sophistication and wit, also informing it with the melancholic intensity of the disillusioned playboy. Duke captures that spirit as well as any singer imaginable. There’s the enduring allure of “Love Is A Gamble”, or the deep reverie of the title track. But for sheer brilliance and impeccable Blues balladry, nothing matched the spell cast on “I’m Still In Love With You”. And the supporting players played their hearts out, special kudo to Sax Gordon who wrote the charts to all the horn arrangements and did a perfect job.
‘Blue Mood’ is a labour of love, the fruition of which has yielded a masterpiece. If T-Bone were still with us, he would be most proud!
ORDERING DETAILS:
www.stonyplainrecords.com
JIMMY MCCRACKLIN & THE BLUES BLASTERS THE MODERN RECORDINGS 1948-50 (ACE)
JIMMY MCCRACKLIN & THE BLUES BLASTERS THE MODERN RECORDINGS VOL. 2 (ACE)
JIMMY MCCRACKLIN: THE WALK-JIMMY MCCRACKLIN AT HIS BEST (RAZOR & TIE)
---by Gary Tate
The Golden Age of American Black Music (1945 until 1969) would radically alter the very conception of music, expanding its parameters and potentialities in limitless ways. Sit back and reflect upon the ferment of Electric Blues, Rhythm ‘n’ Blues, Rock ‘n’ Roll, Bebop, Doo-Wop, Soul, Funk, Rockabilly, Free Jazz, and other genres that would emerge from this intensely creative era. Selecting those Black artists who stood out among the triumphant parade is a daunting task, but certainly Jimmy McCracklin is one such artist, whose alluring contributions to that era’s definitive Songbook, cannot be denied.
In the 1940’s, McCracklin had begun fronting R&B musical combos in Los Angeles where he had permanently relocated to after WWII. Born in St. Louis, Jimmy’s earliest piano influences were Memphis Slim and Walter Davis. JM stayed on the West Coast after navy duty, and began recording in 1945, largely under the auspices of entrepreneur Bob Geddins who operated a series of small West Coast labels. McCracklin eventually settled in the Oakland area where Geddins was headquartered. McCracklin’s releases with his backup band the Blues Belters are well chronicled on an excellent two volume set entitled Jimmy McCracklin and the Blues Blasters, the Modern sides 1945-1955. The Blues Blasters also featured famed guitarist Lafayette Thomas.
McCracklin would finally break out with 1956’s “Get Back” (later covered in 1966 by Roy Head), a riff-heavy shaker that perfectly typified the onset of a new type of R&B, geared as it was to a younger generation. Perhaps no song was as much in sync with the spirit of those times as “The Walk”, which hit the Top Ten in 1958 on both the pop and R&B charts. “The Walk” was an instant sensation, capitalizing upon an insatiable appetite for cool moves. It gave McCracklin a national profile, and if the follow-up releases, “Georgia Slop” and “The Wobble” didn’t generate quite the same level of sales, but both were action-packed Soul blasters. “Georgia Slop” would wear very indeed, cloaked in tumultuous versions by Big Al Downing and Los Lobos. Shimmy ‘n’ shake!
Had McCracklin just faded into obscurity--as the vast majority of his contemporaries did-he would have ended up as a mere footnote in the annals of Rhythm ‘n’ Blues. But after forming his own Art-Tone label, JM astutely gauged the shifting musical winds, utilizing his versatile talents to position himself for future impact. McCracklin seemed one step ahead of the pack, even when he had been captivating the bobbysoxers in the fifties. He was never the shouting sort, and vocally he had more in common with Chuck Berry’s mature insinuations rather than Little Richard’s hormone-driven pleadings. McCracklin also wrote lyrics that crackled with suspense and drama.
1961 would augur McCracklin’s re-emergence into prominence, except a more sophisticated buying public, enthralled by the gospel-tinged and wittily observant grooves of “Just Got To Know”, was validating it all. JM was riding the high tide again, and the rest of that decade saw his creative output soar, marked by a string of poignantly soulful compositions that have stood the test of time. McCracklin knew exactly what he wanted, and always fought to maintain artistic control when in the studio. “Shame Shame Shame”, “Advice”, “The Bitter And The Sweet”, and “I’ll See It Through” explore classic themes, swept along by deft melodies and superior arrangements. Gems such as these place McCracklin’s songs in the same league as Percy Mayfield. 1965 was an especially productive year, with both “Think” and “My Answer” becoming huge R&B hits, both being recorded in Houston by Bobby Bland’s music director Joe Scott. “Think” is one of those instantaneously appealing numbers, swinging wonderfully while simultaneously weaving an intriguing tale of adultery/unfaithfulness. No wonder it’s been covered repeatedly by legions of admiring acolytes. Blues legends, Magic Slim and The Teardrops, have adapted it into an automatic crowd-pleaser at their raucous live shows.
Two other enduring McCracklin compositions are now commonly associated with other artists. "Every Night, Every Day" from 1963 was expanded into a West Side tour-de-force in the dynamic hands of Magic Sam. It's now become the virtual prototype for that soul-inflected, guitar-laden brand of Chicago Blues. "Tramp" from 1966 was written for fellow West Coast legend Lowell Fulson, but when Otis Redding and Carla Thomas forged it into a playfully suggestive duet, it went on to become one of the most unforgettable songs of the 60's. It's now become a standard, and a 1993 version by rap group Salt-N-Pepa re-introduced it to a new generation.
An essential compilation of McCracklin’s releases between 1956-1969 is ‘The Walk: Jimmy McCracklin At His Best’. In my opinion, this grand tour of McCracklin’s groundbreaking material belongs in the audio library of any serious Soul, R&B, or Blues aficionado. McCracklin attributes his longevity to the fact that he has always placed special emphasis on the quality of the words in his music. If listening is believing, then no more truthful words have never been spoken. And when people invariably ask him about how it feels to be making a comeback, he says: "I never went anywhere to come back from. I work all the time." McCracklin's career has been validated by his work, and his constant tenacity in meeting all the challenges presented to him by the vagaries of the Music biz. He's now achieved both survivor and living legend status, with a depth and reach to his music that approaches that of Ray Charles, and like Brother Ray, Jimmy McCracklin has set impeccable standards for other artists to follow.
Over a tenure spanning 7 decades, McCracklin’s sides have been released on many of the most prominent R&B labels, including Imperial, Mercury, Specialty, Chess, Checker, Modern, Stax, and most recently, Black Top. Other career highlights include being the first Black performer to appear on American Bandstand, receiving the Pioneer Award for Lifetime Achievement from the Rhythm ‘n’ Blues Foundation in 1991, and playing every major Blues and Jazz festival in the world, and exciting audiences with his spellbinding act. With over 30 albums and a hundred singles to his credit, Jimmy McCracklin has simply done it all, securing a prestigious place in the Pantheon of the Greats.
ORDERING DETAILS:
www.acerecords.com
www.jpc-music.com
www.amazon.com