THE REAL PERSON BEHIND THE “SOCKMAN”
--Gary Tate
With festival season winding down, attention is now being focused on the club scene, and the welcome re-emergence of Mory “The Sockman” Wardinger after an 18-month promotional hiatus. Summer 2005 wasn’t even underway when some ear-catching, rockin’ Soul vibes from the Mississippi Hippies re-ignited Sockman’s desire to get back into action. Less than two years ago, Sockman parlayed his debut foray, The 1st Annual 2004 Superbowl Rockin’ Blues Gala, into a hugely successful affair. Memories are still vivid, particularly 400 hundred party animals flocking to the Woodbine Banquet Hall and having a blast celebrating Superbowl weekend, and swinging to the glorious sounds of the “Sock It To You” All Star Band.
Sockman’s flamboyant demeanour is two parts razzle-dazzle, two parts affability and a generous portion of love! His enthusiasm is absolutely contagious, reflective of Sockman’s sense of style, humour, and panache. It’s a genuine reflection of the man’s true nature. His cheeriness and upbeat outlook precisely parallel the approach taken in his position as U.S. National Sales Director for Gertex (one of North America’s leading hosiery companies). Positive attitudes lead to the highest altitudes. The other key ingredient to Sockman’s success is an unwavering commitment to excellence, symbolized by his company’s name “First Class Promotions”. This means never cutting corners, never scrimping on costs, and always treating people in an exemplary manner. Put into practice, it’s earned him the wholehearted respect of family, peers, and associates, and for Sockman, that recipe has most noticeably won him the unwavering loyalty of MUSICIANS. Mory’s word is his bond.
His roots in Toronto run deep; he grew up in suburban Downsview in the 50’s and 60’s, listening to Elvis Presley, Jerry Lee Lewis, Fats Domino, Ricky Nelson, and other early rock ‘n’ rollers on the radio. Watching Dick Clark’s American Bandstand every day after school brought Motown, The Rolling Stones, The Beatles, and the British Invasion, and later psychedelic music. Sockman attended Downsview Collegiate, and graduated from the University of Toronto with a Bachelor of Science degree. He went on to earn an MBA from York University. By the 1990’s, Mory had achieved career success as a top-tier salesman, and in 1995, the “Sockman” moniker was born, as Mory sold his socks to Shoppers Drug Mart stores from coast to coast, and later to Pharmaplus, Loblaws, and Canadian Tire. The Sockman then turned his eyes to the huge supermarket chains south of the border in the USA. Business trips may have taken him to all corners of Northern America, but Sockman’s eyes would always search for venues where quality Blues was happening--be it Des Moines, Memphis, Boston, Tampa Bay, and San Francisco. He has developed friendships with fabulous artists like Eddie “The Chief” Clearwater, Magic Slim, Duke Robillard, and Kim Wilson, and many other international Blues luminaries, testament to Sockman’s facility for developing instant rapport with everyone: club patrons, serving staff, bar owners, but especially musicians. His effervescence, winning smile, and easygoing manner have opened up lots of doors. That emphatic voice and jaunty stride set him apart, and with that trademark “sock it to you” greeting, you simply can’t meet a more enthusiastic music lover.
Now Sockman is about to offer another fabulous evening of “Sock-It-To-You” entertainment--a Hallowe’en Trick Or Treat R&B Ball!!! featuring his fabulous Mississippi Hippies, augmented by a thrilling 4-piece soul-drenched horn section To go along with the addictive vocalizing of the “Hippies” John Dickie, Sockman has added Canadian Soul legends Jay Jackson and Roy Kenner. Did you know that hundreds of Blues-related photographs festoon Sockman’s office walls? One picture, however, has very special meaning: the one of the late Gordon James Brown taken in Clarksdale, Mississippi at the Ground Zero Blues Club. Gord was a one-of-a-kind Blues fan; he never missed a show; and his dedication was such that his favorite haunt The Silver Dollar Room set aside a special table for him and his partner Patty. His passing this winter shocked everyone, and Sockman will be making a donation to the Toronto Blues Society’s Blues In The Schools Program in Gord’s name.
THE MISSISSIPPI HIPPIES TAKE HEALEY’S BY STORM
--Gary Tate
The fascinating voyage of the Mississippi Hippies has endured some bumps along the road, yet this high-powered unit through talent, charisma, and determination has met all challenges presented. Weeks prior to their October 1 debut at Healey’s nightclub, the most recent setback was the passing of Long John Baldry, the legendary British Bluesman with whom they were going to tour. Now, with only a handful of appearances as a self-contained band, there’s been an unstoppable bandwagon of momentum forthcoming to these wonderful showmen. This was the backdrop to the gathering that started early at Healey’s and eventually expanded into a shoulder-to-shoulder congregation as the night progressed. It would turn into a magical one, blessed by championship caliber entertainment, embellished by extraordinary creativity. A new flock received initiation rites into the Hippies fold, spellbound by their unique outpouring of emotion: a highly gratifying mixture of sweat-drenched Soul, high voltage Rhythm ‘n’ Blues, maximal impact James Brown-influenced Funk, plus heaping spoonfuls of hot old-fashioned Rock ‘n’ Roll. Inundated by a compulsive stream of rhythmic vibrations, the dance space was barely able to accommodate the twisters, shakers, and jivers, all willing victims of those pulsating waves leaping off that swinging bandstand. Like a wizened Rock ‘n’ Roll conductor, manic soul preacher John Dickie took command like a higher authority: pleading, testifying, wailing, urging, and directing things toward the highest imaginable level. It was a powerful and dominating performance, and it left the assembled utterly drained, yet miraculously energized too. Such was the impact of four hours of awesome professionalism and jaw-dropping versatility from incomparable veterans of Toronto’s Blues, R&B, and Soul wars. Lance Anderson and Perry White were superb on Hammond B-3 and baritone sax respectively. And there is simply no better one-two punch on bass and lead guitars than Gord and Hugh Leggat. Those previously exposed to Hippies Fever, were provided added confirmation that whenever the Hippies take the stage, no two performances are the same. Among the notables in attendance was Brian Blain, whose prior night CD release party launched an impressive doubleheader for promoter Mory “The Sockman”. That positive glow on his face signaled the advent of the Mississippi Hippies as the leading players on the Toronto and Canadian Blues scenes. The energy and excitement even extended beyond the confines of Healey’s, as curiosity seekers milled about the pavement near the club entrance as the show ended, as if they were expressing unspoken regrets at not having descended the stairwell into this Queen and Bathurst Street institution.
GOOD NEWS SPREADS QUICKLY!!! The message is now getting out concerning the upcoming Hallowe’en Trick Or Treat R&B Ball at The Woodbine Banquet & Convention Hall, 30 Vice-Regent Blvd in Rexdale on Saturday night Oct 29th---an all-star revival anchored by the Mississippi Hippies, augmented by a scintillating horn section, and also featuring Canadian Soul legends Roy Kenner and Jay Jackson.
On a recent drive to a fundraiser barbeque held at Hippies’ drummer Mike Sloski’s lodge, Sockman and yours truly had the privilege of listening to a CD containing selections Roy Kenner was considering performing at the Ball. It was pure Soul nirvana: a gritty mixture of Ray Charles, Solomon Burke, Bobby Bland, Junior Parker, and Sam & Dave. If it’s any gauge of what’s in store, then a breathtaking evening of immaculate Soul authenticity is in the offing. The attendees at Sloski’s place included Roy Kenner, George Oliver, John Finley, Danny B, Johnny Wright, Whitey Glenn, Lance Anderson, Rob Gusevs, Michael Fonfara, and many other Canadian Blues greats. The Sockman was determined to spread the Hippies message, and backed his car into the driveway, while turning up its stereo playing the Hippies self-titled CD for all to hear. The raves from the cream of Canada’s Blues musicians were immediate, spontaneous, and highly flattering.
Another booster is Johnny Max--Sunday Night Soul radio deejay and hearty-throated Blues belter-who’s been spreading the word for the upcoming Ball, describing it as the “place-you-must-be”. A huge fan of John Dickie and the Mississippi Hippies, Johnny’s been playing every track on their definitely hypnotic CD, which can be ordered via www.mississippihippies.com. Thanks are also due to the dedicated people at the Toronto Blues Society for all their help, advice, and good deeds. Finally, it’s impossible to overstate the dedication, enthusiasm, and massive amount of work that Mory “The Sockman” has put into this effort. He’s assumed so many crucial roles: promoter, instigator, motivator, organizer, arbitrator, mover and shaker, idea man, talent scout, cheerleader, and ultimate “go-to-guy”. He understands that the success of this coming Rhythm and Blues extravaganza will have a long-term positive impact on the Blues scene. Here, there, and everywhere!
Call 416-241-2345 ext. 288 and ask for the Sockman if you require a corporate table or any further information.
--Gary Tate
***Please get back to me if you plan to go. That way I can organize a Xentel table near the stage. This will make it more enjoyable, since only wall seating will be available to individuals***
NAME: ___________________________
NAME OF FRIEND (IF APPLICABLE): _______________________
In order to reserve a corporate table, $20 is required in advance of October 29.
VARIOUS ARTISTS: CRESCENT CITY GOLD (HIGH STREET)
VARIOUS ARTISTS: REGAL RECORDS IN NEW ORLEANS (SPECIALTY)
VARIOUS ARTISTS: WE GOT A PARTY! BEST OF RON RECORDS (ROUNDER)
DR. JOHN: TRIPPIN’ LIVE (TRUE NORTH)
SNOOKS EAGLIN: SOUL’S EDGE (BLACK TOP)
--Gary Tate
New Orleans has produced such musical wealth that it would take libraries to even touch upon all the huge numbers of artists, and various cultural and social inflows that have yielded such a treasure trove of material. What it all boils down to is what you see on a map, and such points toward geography and history. Geographically, New Orleans is a relatively isolated place, off the beaten track, a challenging environment in which to live, and that isolation has resulted in less influence from outside commercial influences. That relative isolation allowed the rainbow of ethnicities to commingle far more freely than in other places, largely unimpeded by homogenizing forces at play elsewhere. This, in turn, led to something distinctive, sustainable, and immensely popular. Historically, New Orleans had been an entry point for Blacks and Latinos from the Caribbean and Africa, French émigrés from Acadia, and the simmering potpourri of European transplants. Let’s not forget the creative interaction with indigent native Indians (Creole). All such peoples shared a familiarity with hardship and tragedy, and an unvarnished love for the liberating qualities of highly rhythmic music. Out of this stew would emerge Jazz, Dixieland, Zydeco, and a style that later formed the basis of the Funk revolution of the 1960’s. It can all be summarized as “New Orleans”, and how many cities can you name that have a musical tradition so interweaved with their identities that any elaboration beyond that simple designation is needless. The Crescent City now seems cut off more than ever before by the upheavals of Hurricane Katarina, but images of Canal Street, Bourbon Street, Preservation Hall, Congo Square, the French Quarter, and, of course, the joyous rhythmic strains emanating from such landmarks will forever be etched into our imagination. And that’s thanks to the endless cornucopia of glorious music that has been bequeathed to the world.
ORDERING DETAILS:
www.amazon.com
Crescent City Soul: Sound of New Orleans 47-74 (Capitol)
--Gary Tate
The devastation that has befallen New Orleans in the wake of Hurricane Katrina is horrific: The thousands of dreadful photos recount the dispiriting events far better than any words. As this is written, the authorities and emergency measures people are about to evacuate every single person remaining in that ravaged metropolis. It will take years, if not decades, to rebuild the Crescent City, and it may never again bask in its erstwhile glory. However, the fact that the French Quarter--where so much of the rich cultural life of the city thrived--was left miraculously unscathed, does provide perhaps a few rays of hope. Perhaps the glorious music that made New Orleans so beloved will once more cause revelry in the streets, and rekindle the mystical allure that beckoned tourists to flock. Everyone knows New Orleans was the birthplace of Jazz, with Louis Armstrong and Jelly Roll Morton blending ragtime, marching band celebrations, Blues, and Caribbean rhythms into a deliciously enchanting improvisational potpourri. In a few short years, such goings-on within a few parishes would forever alter the course of popular music. If New Orleans was the crucible of Jazz, its crucial role in the development of Funk is also well known, and as for being the leading progenitor of piano-based Rock ‘n’ Roll there is little doubt. The performers who either came from New Orleans and environs, or else availed themselves of the fertile club scene to advance their craft is a seemingly inexhaustible list. New Orleans represented the beacon, the promised destination to learn from the very best. Independent labels always sought out the services of the top studios there, especially the legendary Cosimo Mattassa. With a plethora of dazzling musicians to draw upon, artists looking for that missing ingredient would invariable cast their eyes toward those lowlands adjacent to Lake Pontchartrain. That the names of New Orleans and vicinity icons are essential to any sort of meaningful discussion concerning the origins of Rock ‘n’ Roll, as is evident from the following honor roll: Fats Domino, Dave Bartholomew, Alan Toussaint Clarence “Frogman” Henry, Earl King, Ernie K-Doe, Paul Gayten, Sugarboy Crawford, Dr. John, Neville Brothers, Meters, Chris Kenner, Earl Palmer, Grady Gaines, George Porter Jr., Johnny Adams, Louis Prima, Sam Butera, Lee Dorsey, Bobby Charles, Huey “Piano” Smith, Smiley Lewis, Eddy Bo, Bobby Marchan, Irma Thomas, Tommy Ridgely, Lee Allen, Alvin “Red” Tyler, Lloyd Price, Larry Williams, Professor Longhair, Frankie Ford, Shirley & Lee, Johnny Horton--it’s truly endless. There are more current generations of artists with strong links to Down Yonder: Larry Garner, Jon Cleary, Willie DeVille, Mem Shannon, Bryan Lee, Tab Benoit, Johnny Pennino, Dmitri Resnik, Walter “Wolfman” Washington; Randy Newman. Just check this small sampling of artists who, while not actually born in New Orleans, made seminal recordings there: Little Richard, Big Al Downing, Showmen, Guitar Slim, Roy Brown, Joe Turner, Ray Charles. Here are some top-of-the line Jazzers hailing from that fabled Mississippi port: Harry Connick Jr., Terence Blanchard, Pete Fountain, the Marsalis Family, Al Hirt. And I’ve missed hundreds of others. The adoration has even extended to numerous compositions celebrating that spicy gumbo of cultures and ancient traditions---from Cajun, Creole, African, Spanish, to native Indian. The following artists garnered top 20 Billboard hits with titles mentioning New Orleans: Fats Domino (Walkin’ To New Orleans); Arlo Guthrie (City Of New Orleans); Gary “U.S.” Bonds (New Orleans); Johnny Horton (Battle Of New Orleans); Freddy Cannon (Way Down Yonder In New Orleans). No other city has been so honoured. Beyond acting as an inspirational spring to water musicians’ imaginations, the entire American cultural fabric is indelibly imprinted by the influence of New Orleans. The idea that this heritage might become an artifact is simply inconceivable, not only from a human standpoint, but also owing to much of American and World culture having derived sustenance from this city endowed by a God-given mission to celebrate life and art to the fullest. Let’s pray that the re-construction gets underway--within minutes of recovery of the last body.
ORDERING DETAILS:
www.amazon.com
DOUG COX & SAM HURRIE--HUNGRY GHOSTS (NORTHERNBLUES)
--Gary Tate
This collaboration of two veteran acoustic Blues and folk guitarists is an unqualified success: it’s a wondrous meeting of tradition with a touch of modernity. The covers provide ample evidence: established nuggets like Kansas City, Valse Frontenac, and Son House’s Canned Heat Blues Little Martha. There’s more recent items like the tender-hearted Little Martha, a Duane Allman instrumental, and a subdued, but gleaming re-invention Jagger-Richard’s No Expectations that relies on gentle slide guitar and a mélange of acoustic instruments. The originals more than hold their own, especially Grinning In Your Faces, Bad News, and the good-natured Nap Time For Sam. Special guests like Ruthie Foster, Mary Murphy, Cyd Cassone, and RaeJean Laidlaw provide wonderfully delicate shading on 4 tracks. The delights of Hungry Ghosts can’t be summarized any better than the following submission from Spider Robinson, ace science fiction writer and singular booster of pre-eminent Canadian music: “Shut off the TV. Power down the laptop. Drop the Blackberry out the window. Switch off the phone. Leave your newspaper out there on the lawn, to frighten the ants. Place a beverage at hand. Then sit back in a comfortable chair, put you feet up, press Play…and get ready to have your Hungry Ghosts soothed by some incredibly tasty, uncommonly filling music.”
Incisive advice.
ORDERING DETAILS:
www.northernblues.com
BRIAN BLAIN:OVERQUALIFIED FOR THE BLUES (NORTHERNBLUES)
--Gary Tate
“Colorblind” Brian Blain is a singer/songwriter who always speaks precisely what’s on his mind, and he presents it through some highly affecting tunes, like the baker’s dozen delivered on his latest CD Overqualified For The Blues. His engaging stage personality reflects his wide-ranging interests. The unifying themes throughout much of OFTB are the small challenges posed by ordinary life. They are given wonderful life by wry, perceptive, and gentle observations on topics that run the gamut from the current state of Blues (Blues Is Hurting), to reminiscences of a summer spent long-ago in a house band in Quebec (Terrace Inn), and even the prevalence of boorish behavior by the music media (One More Weasel). There’s even a good-natured riff on the complexities of modern life (Hi-Tech Blues). No More Meetings is quite endearing with its revealing laundry list of meeting-related jargon, obviously dedicated to people who work behind the scenes in Blues Societies and other arts organizations (Brian’s an expert in these matters). It’ll leave you chuckling like a finely honed George Carlin routine. Saab Story is a poignant vignette about a boy, a girl, and a car. It’s been garnering lots of well-deserved airplay. On the occasions when Blain shifts emphasis away from the folksy, easy-going side of the Blues, the results are equally compelling. Sailing is a moving homage to a real life long-lost cousin who died shortly after Brian began communicating with her, followed within months by her husband’s passing too. Enfant Choisi and the universal message of Peace also explore serious themes with poignancy, passion, and sensitivity. There’s an army of collaborators too, most having played with Blain at one time or other over his lengthy career. The overriding impression remains that this is a winning combination: a warm, minimalist sound in unison with “Colorblind” Brian Blain’s low-key, innovative muse that affords everything an intimacy that will tug at those all-important heartstrings.
ORDERING DETAILS:
www.northernblues.com
BEACH ‘N’ BLUES LUV IN:
PURE SUMMER FUN VISITS DIOR LOUNGE
--Gary Tate
Mory “The Sockman” said he’d bring them in, and they would soon fall under that Cruisalatin’ spell of theirs---and he certainly knew what he was talking about. Those merchants of joyful vibes and the best partying Blues band in Canada, The Mississippi Hippies took Dior Lounge by storm on a hot August night, serving up a thundering and memorable performance that left that Etobicoke oasis in a state of elation. The first annual Beach ‘n’ Blues Luv In lived up to its billing, as a boisterous cavalcade of blues-drenched soul anthems had the crowd forgetting about the heat and humidity lurking outside. That muscular and striking voice of lead singer John Dickie grabbed everyone’s attention like a stroke of lightning, and let’s not omit. Hippie cohorts, those amazing guitar-playing brothers Leggat: Gordie and Hughie. And best of all, there will be plenty more love, fun, and partying action coming our way in the very near future. I hate to let that proverbial cat out of the bag, but Sockman has already cornered the market on Hallowee’n surprises by organizing a mammoth Trick Or Treat R&B Ball on October 29th at the Woodbine Centre, 30 Vice Regent Blvd, Rexdale-416-743-0003. It’ll be an extravaganza--a Rockin’ Rhythm & Blues Revival featuring an all-star cast of memorable Canadian soul legends like Jay Jackson, Roy Kenner, and others appearing on a huge stage anchored by the Mississippi Hippies. August 13th proved conclusively that this is an exceptionally versatile unit with a unique ability to re-shape a dazzling repertoire of classic songs into their very own image. Furthermore, the magic and potency of this band’s remarkable self-titled debut CD was given flesh-and-blood immediacy, and if the party started a little late, well who really cared? Because when it all ended some 3 incredible hours of boogaloo-ing ‘n’ bluesin’ later, everyone was gasping for air. One highly danceable tune followed another, and dozens of limb shaking bodies twitched to the infectious beat laid down by the Hippies. A chorus of cheers greeted their opening signature tune 96 Miles (it’s a classic!), and it announced a grand evening of non-stop, soul-saturated, rock ‘em sock-em vibes, jam-packed into a celebration of timeless music. With the strains of the soul blastin’ Rockalator it was an opportune time to swing out sister, and pretty soon Sci-Fi Baby was rocketing everyone toward Rockabilly Heaven, while Funky Lil’ Thang validated an indisputable fact. This is one of the tightest and most together bands ever assembled--anywhere! If you thought it’s an over-exaggeration to anoint Dickie as the white James Brown, well you should have heard his tumultuous covers of I Feel Good and Sex Machine--not to mention Junior Walker’s Shoot Your Shot. Down and dirty funk! Breathtaking saxophone from the legendary Pat Carey lent everything an extra-soulful dimension. Cool keyboard work as always from Norm Brown, plus a rhythm section of Hughie Leggat and Mike Sloski that’s flat-out brilliant. There’s no doubt that Gord Leggat is one kick-ass lead guitarist! What a wonderful tribute there was to Hank Ballard, as the guys launched into a hard-edged version of the Twist and Let’s Go Let’s Go, that quickly segued into the Beatles’ I Saw Her Standing There (the throng greeted it like a long lost friend!). These guys gauge their audience like the seasoned pros they are, and once they saw that the crowd was going bonkers, they immediately decided to maintain the flow by taking things in a slightly different direction. That tremendous sense of being totally tuned into their audience is something I’ve seldom encountered with most other bands. I wish I had the space to heap kudos on so many other many exceptional performances on songs done during those 2 sweat-drenched sets they did that remarkable night, a mere sampling being Crosscut Saw, Don’t Start Me Talkin’, Rockin’ My Life Away, and Midnight Special. All folks lucky enough to hop aboard the groove train known as the amazing Mississippi Hippies will soon be uttering those raves. This is really, however, just the beginning of an amazing journey and some early stopovers will be focused around the Southern Ontario vicinity, at gigs and venues like Port Credit’s Southside Shuffle, the Niagara Peninsula’s Grape & Wine Festival, and top tier Toronto haunts like The Hollywood On The Queensway, Woodbine Banquet & Convention Hall, and The Silver Dollar Room, and multitudes more. And next year about this time---believe it or not---it’ll be happening in Clarksdale, Mississippi (birthplace of the Blues). Stay tuned for more exciting details!
CHESS BLUES GUITAR: TWO DECADES OF KILLER FRETWORK (CHESS)
CHESS NEW ORLEANS VOLUMES 1&2 (CHESS)
BEST OF CHESS RHYTHM ‘N’ BLUES (CHESS)
--by Gary Tate
The most influential Blues label ever is Chess/Checker Records. It’s impossible to discuss Blues without mention of this timeless label founded 1947 by Leonard and Phil Chess. First generation immigrants, the Chess brothers owned several southside Chicago establishments and were eager to record the excitement generated by the performers, mainly 30’s and 40’s migrants from the Mississippi delta. The first they recorded was McKinley Morganfield-known professionally as Muddy Waters-on the Aristocrat label. Muddy’s Rollin’ Stone was a huge success and it started the ball rolling. In late 1949, the Chess family bought out Aristocrat, renamed it Chess, and for the next twenty years they gave the black public--and an enlarging white audience -- the music that the “major labels” were unwilling to provide. Muddy Waters would be focal point: his contributions to the evolution of electrified Blues can’t be exaggerated. He was also directly responsible for drawing a host of brilliant Mississippi bluesmen to Chicago, the likes of Little Walter, Howlin’ Wolf, Sonny Boy Williamson, Otis Spann, and countless others. They all recorded for Chess, as did such legendary post-War bluesmen as Jimmy Rogers, Lowell Fulson, Memphis Slim, and Willie Mabon, plus such essential next generation artists like Buddy Guy, Koko Taylor, and Little Milton. Hundreds of others recorded for Chess, many only on one or two sessions: John Lee Hooker, Otis Rush, J.B. Lenoir, Albert King, Elmore James, Hound Dog Taylor, Aretha Franklin in her Gospel persona Jimmy McCracklin -- and even Rockabilly legend Dale Hawkins. When a young Chuck Berry ventured to Chi-town in 1955, it was Muddy who set up the session where Maybellene happened: one of the watershed moments in Rock ‘n’ Roll history. Berry-an original inductee into the Rock ‘n’ Roll Hall Of Fame-was Chess’ most successful crossover artist and became a fixture on the Pop charts for years. An equally influential artist was Bo Diddley, whose mind-blowing Bo Diddley b/w I’m A Man from 1955 brought a new rhythmic template to the table. Bo was signed to a long-term contract, and the distinctive guitar styles of Bo and Chuck would pique the rapt attention of 6-stringers the world over. The Chess discography also includes a significant New Orleans component. They signed Crescent City bandleader Paul Gayten in 1956, and he recorded, among others, Bobby Charles, Eddy Bo, Sugar Boy Crawford, and especially Clarence “Frogman” Henry who topped the charts with Ain’t Got A Home, But I Do, and You Always Hurt The One You Love. In the Windy City, bassist Willie Dixon held fort at virtually all sessions, with his enduring compositional contributions to Howlin’ Wolf, Muddy Waters, Koko Taylor, Buddy Guy making him the acknowledged master of Blues song-writing. The Chess house bands were top-heavy with talent: Otis Spann, Louis Myers, Dave Myers, Louis Myers, Henry Gray, Jody Williams, Robert Jr. Lockwood, countless others. Chess went beyond a Blues label; it avidly recorded a wide array of other popular genres. Two of the greatest R&B groups from the 50’s: Moonglows (Sincerely) and Flamingos (I Only Have Eyes For You) were on their roster. The Argo subsidiary was heavily into Jazz. In 1959 Leonard Chess even hired Ralph Bass away from King to become A&R head for their fledgling R&B division. Ralph brought in Billy Davis who revived Etta James’ faltering career: Her 1960’s Chess sides would set the standards for female soul singers. Other artists in their R&B division included Sugar Pie De Santo, Billy Stewart, Mitty Collier, Jackie Ross, Little Milton, and Radiants. Fontella Bass would have a huge #1 hit with Rescue Me, while soul hitmakers the Dells experienced some of their most productive years with late 60’s Chess releases like Stay In My Corner and There Is. The late 60’s were banner years, but they would also signify the end of an era. The label was sold to General Recorded Tape in 1969, but Leonard Chess who was intended to run the operation died that same year. Things went disastrously downhill from that point forward. By 1975, Chess was reduced to issuing catalogue compilations intended for the collectables market. The number of artists in every genre, especially Blues, who continue to be influenced by the legendary Chess roster is limitless. Chess left a footprint that can never be eroded by posterity.
ORDERING DETAILS:
www.amazon.com
JOHNNIE JOHNSON:
JOHNNIE BE EIGHTY-AND STILL BAD! (COUSIN MOE)
--by Gary Tate
There is a bittersweet element to this release, knowing that this legend amongst legends will never again place his dazzling fingertips atop those keyboards, and enchant us. Johnnie Johnson, who was so essential in molding a generation’s listening habits in partnership with Chuck Berry, passed away but a few months after recording this final studio album in December 2004. Perhaps there were premonitions of that final curtain hovering in the air, or maybe this was just a fortuitous gathering of fellow musicians in celebration of the 80th birthday of a St. Louis treasure. Either way, we owe a debt of gratitude to Jeff Alexander, of Cousin Moe music, who not only served as producer and co-writer for this project, but most importantly, acted as the facilitator for assembling the right musicians for this historical occasion. However these were not superstars, such as admirers and/or past guests like Keith Richards, Buddy Guy, Koko Taylor, or Eric Clapton; only immaculate craftsmen like highly inventive guitarist Rich McDonough, or the perfect drummer for this project in Joe Pastor. As for Gus Thornton, he ranks as one of the greatest bassists breathing. Trust me, this unit was designed to interact with Johnnie’s music, and everyone’s instinctive impulses knew exactly where Johnnie would go, and could feel and accentuate Johnnie’s playing. Johnnie has sung on his last several outings, but on this occasion he opted to lead by simply regaling us on those the 88’s-just like in the old days. The music was cut live and the vocals were complete takes, and everyone in the room sensed where the master’s unique sense of time and melody would take a given song. This yielded a wonderful “club-within-a-studio” ambience. Only six tracks resulted, but they positively crackle with spontaneity, improvisation, and eloquent note dialogue. The leadoff Beach Weather announces that Johnson’s joyously bouncy playing is the glue that binds the parts: the rhythmic pulse that drives the engine. McDonough’s imaginative guitar is perfectly suited for the task at hand. Find Me A Woman keeps the optimistic mood alive, serving as the prelude for the searing intensity of The Blues Don’t Knock. Blues always walk right in, and never provide notice! This one is deep as it gets, and Johnson’s playing will move your soul to its core, McDonough’s guitar delivers the necessary drama and shading, while vocalist Larry Thurston’s all-knowing testimony will leave you gasping for air. Thurston was another remarkable asset for this venture, a Blues cat with a jazzy pitch who sounded, at times, reminiscent of a huskier vocal version of Sacramento legend Johnny Heartsman. Another wise choice! He takes proper care of business on the ebullient Lucky Four. Lucky us! The finale, A Good Day gets things into retro gear for one last time. It harkens back to those halcyon days (think Back In The USA) when the boundless imagery and insistent interplay of those Johnnie Johnson/Chuck Berry teenage symphonies helped ease our growing pains. This final chapter of Johnson’s life of accomplishments makes a suitable bookend to his 1992 solo debut Johnnie B. Bad. It also turns out to be a fitting artistic epitaph for the one-and-only Johnnie Johnson.
ORDERING DETAILS:
www.cousinmoemusic.com
Leiber & Stoller Present the Spark Records Story
(Ace Records-U.K.)
Smokey Joe's Cafe: The Songs Of Leiber And Stoller
1995 Original Broadway Cast (Atlantic Records)
--by Gary Tate
Famed tunesmiths Leiber & Stoller were as essential for putting the Rock into Roll as were such pioneers as Chuck Berry, Little Richard, and Fats Domino. In 1953, L&B wrote Hound Dog for Big Mama Thornton. This massive R&B hit would generate a flurry of covers, but more importantly, it broke down the boundaries between R&B and Rock ‘n’ Roll, especially with Elvis' 1956 cover. Backed with the equally tantalizing Don’t Be Cruel (penned by the great Otis Blackwell), it stayed at #1 for an historical 12 consecutive weeks. In 1958, another Leiber & Stoller song had similar commercial/creative impact, when Kansas City as performed by Wilbert Harrison became a huge success. That merely skims the surface however, as the tandem wrote hundreds of titles that form the crucible of classic 50’s and early 60’s Rock ‘n’ Roll. It’s rather difficult to find an artist/s they didn’t write for (or any that didn’t do a cover version). Here’s just a tiny handful of their most noteworthy songs, and the artist/s who performed them: Love Potion # 9 (Clovers, Searchers); The Chicken And The Hawk (Big Joe Turner); Jailhouse Rock, Love Me Tender, She’s Not You (Elvis Presley); I Smell A Rat (Big Mama Thornton, Young Jessie); One Bad Stud (Honey Bears, Blasters); Is That All There Is? (Peggy Lee); Lucky Lips (Ruth Brown, Cliff Richard). Virtually every song associated with the Coasters--the top group of the late 50’s--was authored by Leiber & Stoller, be it Yakety Yak, Charlie Brown, Searchin’, Poison Ivy, Along Came Jones, or Little Egypt. Take it as etched in stone: L&B were the tandem that defined an entire era’s music. Their collaboration started in 1950, with Jerry Leiber and Mike Stoller’s families having moved from their respective homes in Baltimore and New York to California. Born in 1933, while a Baltimore teenager Jerry had assimilated black culture, absorbing jive patter like a sponge; and that familiarity with ghetto lingo would delight those in the black (and later white) communities. With an abiding love of R&B, L&B started writing for several premier West Coast artists, such as Jimmy Witherspoon, Amos Milburn, and Floyd Dixon. Hard Times was their enduring contribution to the Charles Brown songbook. In 1953, they formed an alliance with artist/composer/promoter Johnny Otis, which led to Thornton’s recording of Hound Dog. Thereafter, they formed their own Spark label and their success continued apace, with hits for the Robins (who ultimately morphed into the Coasters), such as Riot On Cell Block #9, Smokey Joe’s Café, and Framed; they also wrote Fools Fall In Love for the original Drifters featuring Clyde McPhatter. Their songs were unique, recounting weird tales drenched in jive talk, wacky antics, street slang, and oddball characters. Leiber’s timeless lyrics had as many hooks as Stoller‘s action-packed music, and young and old thrilled to its incessant fun, energy, and wit. Jerry Wexler and Ahmet Ertegun of Atlantic Records signed them as independent producers, moving them to New York where hit after hit ensued for the Coasters (Yakety Yak, Charlie Brown, Little Egypt). Leiber & Stoller became omnipotent knights at the edifice known as the Brill Building, often interacting with the equally prolific Doc Pomus & Mort Shuman. Various combinations of these two collaborative entities were involved in tunes written for Ben E. King (I Who Have Nothing, Stand By Me, Spanish Harlem); Coasters (Youngblood), and many others. Besides co-producing all of the new Drifters songs, they also wrote for them There Goes My Baby, Up On The Roof, On Broadway. 1964-1966 saw them running their own Red Bird label (Shangri-Las, Dixie Cups, Bessie Banks), while spending more time on producing and less on writing. L&B were inducted into the Rock ‘n’ Roll Hall Of Fame in 1987, and every inductee into that institution is indebted to Leiber & Stoller--directly or indirectly. They set impeccable standards to inspire future generations, and if that enduring flame keeps on burning, it’s because Leiber and Stoller set it all within a spectacular vase of immortal wax.
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VARIOUS ARTISTS: THE NUMBER 1 BLUES ALBUM
(VERVE RECORDS)
When Steve Gash, host of one of Toronto’s longest running specialty music programs “Blues de Jour”, decided to compile a CD of essential blues recordings, the Verve Record people obviously knew they’d commissioned a highly respected musicologist --- and an insightful student of blues history. Blues junkies in Southern Ontario (and parts of western New York State) faithfully tune into 91.1 CKLN-FM on Wednesday evenings at 8:00pm to get their weekly fix. Steve has played thousands of great tracks over the years, and he’s also imparted his concise observations to give listeners a feel for the social and historical backdrop behind the great sounds emanating from his turntable On ‘The Number 1 Blues Album’ Steve keeps the faith. Several pages of highly entertaining and informative liner notes delve into intriguing details surrounding the 17 blues treasures, which he--along with co-producer Scotty Morin--chose. Sure, we all know why we love them. But Steve puts our feelings into words. There’s no surprise that seven of the 17 tracks are culled from the extensive Chess library, with Chicago giants such as Muddy Waters (“Mannish Boy”), Howlin’ Wolf (“Back Door Man”), Buddy Guy (“My Time After Awhile”), and Otis Spann (“T’Ain’t Nobody’s Business If I Do”) being represented. Did you know that John Lee Hooker also found time to record his classic “One Scotch, One Bourbon, One Beer” on the Chess label back in 1960? Elmore James also did some work for Chess, including this stunning version of “Stormy Monday”. While it may be argued that B.B’s “The Thrill Is Gone” is not the greatest blues recording ever, it can’t be disputed that back in 1969 it put the blues into the public consciousness like no other release had probably ever done before. Another King-Albert to be exact--had to wait a bit longer for success to come his way. He was well into his mid-forties when his revolutionary upside-down stringing, combined with furious single note leads, created a sound so intense and chilling that it became the template for a new generation of young white guitar players. “Born Under A Bad Sign” is a fine selection that combines identifiable lyrics, superb vocals, and unforgettable guitar work. Southern-fried Blues has never sounded better than with the Allman Brothers, featured here on a magnificent version of Sonny Boy Williamson’s “One Way Out”. Duane Allman and Eric Clapton also teamed up way back when to pay homage to Freddie King on “Have You Ever Loved A Woman?” Gash understands the close linkage between blues and hard-edged soul, and he couldn’t have selected any better representatives than Little Milton’s “Grits Ain’t Groceries”, Bobby “Blue” Bland’s “Touch of the Blues”, and Ike and Tina Turner’s take on Otis Redding’s “I’ve Been Lovin’ You Too Long”. Another soulful bluesman, and the most contemporary one featured in this collection, is Robert Cray: The man who gave the blues a suburban slant is showcased on “You Need Me”, ably assisted by his mentor, the inimitable Albert Collins. Any doubts whether the Godfather of Soul belongs on a blues album are left in the dust after hearing the propulsive groove laid down by James Brown on “Kansas City”. Luther Allison does a remarkable job on Magic Sam’s “Easy Baby”, but for my money, the piece de resistance has to be Etta James--another Chess legend--who snarls, purrs, growls, and seduces her way through an x-rated live version of Jimmy Reed’s “Baby What You Want Me To Do”. It still gives me goose bumps--about forty years later. Any modest collector should already have at least 75 per cent of these selections, but for those just beginning to discover the delights of the blues this is a fine place to begin, especially for those interested in basic navigation into the endless waterways of electric blues.
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VERY BEST OF KING-FEDERAL DELUXE1 (COLLECTABLES)
THE BEST OF KING, FEDERAL & DELUXE DOO-WOP VOL1 (COLLECTABLES)
THE BEST OF KING, FEDERAL & DELUXE DOO-WOP VOL2 (COLLECTABLES)
DOO-WOPPIN WITH KING FEDERAL & DELUXE VOCAL GROUPS (WESTSIDE)
MARK LAMARR’S ROCK-KING UP A STORM (WESTSIDE)
SEXY WAYS:THE BEST OF HANK BALLARD & THE MIDNITERS (RHINO)
--by Gary Tate
Syd Nathan’s King-Federal imprint had an ostentatious slogan: “The King Of Them All.” It wasn’t just hyperbole, however, as several thousands releases were issued between 1945-1968. Based in Cincinnati, these labels exerted huge influence on R&B’s evolution; played significant roles in Rock ‘n’ Roll’s emergence; and helped usher in the Soul/Funk revolutions with Little Willie John and James Brown. Here’s just a few other King-Federal artists: Johnny “Guitar” Watson, Bill Doggett, Wynonie Harris, Earl Bostic, Hank Ballard, Roy Brown, Jimmy Witherspoon, and Freddy King. James Brown and Hank Ballard spent virtually their entire 50/60’s recording careers with King-Federal. Nathan was born 1904 in Cincinnati. A portly, cigar-chomping, penny-pinching operator, Syd suffered from poor vision, except when it came to spotting trends. And his shrewdness would alter the ways independents did business. Nathan started King in 1943--primarily to capitalize on the hillbilly market-quickly became frustrated over the poor quality of his supplier’s pressings. So Syd built his own pressing plant for quality control. Before long he created a self-sufficient, organization: printing, pressing, recording studios, and distribution. By 1945, Nathan detected an R&B market ripe for the plucking, and assembled a crew of top shelf artists, many culled from the big bands (Earl Bostic, Tiny Bradshaw, Eddie “Cleanhead” Vinson, Oran “Hot Lips” Page). Sonny Thompson, Lucky Millender, Ralph Bass, and Henry Glover also played significant roles, in capacities like A&R men, writers, arrangers, talent scouts, or studio heavies. This talent and creativity was harnessed in service of a more urban-based R&B sound; many labels then were still concentrating on down-home Blues. King’s earliest successful releases were by names like Bull Moose Jackson, Earl Bostic, and Wynonie “Good Rockin’ Tonight” Harris. Syd never specifically courted the crossover market, but he never missed an opportunity to derive maximum return on his copyrights. If a record hit big in the hillbilly market, Nathan adapted it to R&B-or vice versa. Examples: Bull Moose Jackson’s 1949 King hit “Why Don’t You Haul Off And Love Me” and Wynonie Harris’ Bloodshoot Eyes were originally King country records. After issuing 1951’s best selling R&B record, the Dominoes’ Sixty Minute Man, King rode the ribald bandwagon with entries like Big Ten Inch Record, Rocket 69, Bow-Legged Woman. Fats Domino’s writer/producer Dave Bartholomew’s had a version of the leering My Ding-A-Ling that went nowhere commercially, but 20 years later Chuck Berry’s version went #1. King introduced Leiber & Stoller’s Kansas City in 1953 via Willie Littlefield’s K.C. Lovin’; Wilbur Harrison’s version was a smash hit in 1958 on Fury. Nathan made one serious misstep in letting the Platters slip through his grasp; going over to Mercury they became one of history’s top selling groups. Many R&B groups recorded for King-Federal, including Charms (Hearts Of Stone, Two Hearts) and Five Royales (Right Around The Corner, Think), but the label’s backbone during much of the 50’s was Hank Ballard & The Midnighters, who catapulted to #1 with 1954’s trend-setting Work With Me Annie-a shaking piece of salacious fervor. Nathan had the guys milk the formula with Annie’s Aunt Fannie, Annie Had A Baby, and Sexy Ways. In 1959, Ballard wrote and recorded The Twist, but his version got upstaged when Chubby Checker did a copycat version on American Bandstand. The rest is history. The period 1956-60 was embellished by the gloriously soulful vocals of Little Willie John, and a constant run of hits (Fever, Talk To Me, Sleep), many crossing to the pop charts. After the payola scandals burned the independents, Nathan wisely started placing more emphasis on album product. One significant beneficiary was Freddy King, whose 1960-1965 sides are now considered essential by Blues aficionados. Nathan stood by James Brown through thick and thin, eventually reaped huge dividends when’s 1963’s Live At The Apollo album became a massive international seller. Syd Nathan died in 1968, ending a truly remarkable era since King was sold to Starday the same year. Obviously, dealing with the eccentric Nathan was never a walk on the beach, but Brown offered a kinder epitaph: “He was gruff on the outside, but soft on the inside and, underneath it all, he believed in me.” Today, the King-Federal masters are worth a king’s fortune.
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DOWN IN THE ALLEY-THE BEST OF THE CLOVERS
(ATLANTIC RECORDS)
--by Gary Tate
Without doubt, the most overlooked performers by Rock and Roll historians are The Clovers. Bill Lucas and friends (vocalists John “Buddy” Bailey, Matthew McQuater, Harold Winley, plus guitarist Bill Harris) would alter the entire R&B landscape, even laying the groundwork for the coming Soul explosion, a decade in advance. They, along with Ruth Brown, proved crucial in keeping the fledgling Atlantic Records afloat. Influentially, their style anticipated profound changes in Rhythm and Blues, and innumerable vocal groups are in their debt. Circa 1948, the Clovers were the hottest Washington DC act, given the highest recommendation by Atlantic scout/music personality “Waxie Maxie” Silverman. So, Ahmet Ertegun signed the Clovers in 1951, and decided to give them a blues-based sound, more in tune with what the label was trying to accomplish. The Clovers meshed perfectly with this makeover and catapulted from the starting gate; their debut Don’t You Know I Love You (written by A. Nugetre aka Ahmet Ertegun) became a huge seller. It established the seductive pattern: medium tempo rocker backed by insistent guitar-bass-piano figure, and those rich, deep-bodied Clover vocals. The use of sax breaks was also considered a radical departure, as Frank Culley’s inventive blowing became part of their signature. Their maiden voyage moved an unheard of 300,000 units, but the follow-up Fool Fool Fool surpassed it, selling an astonishing 600,000 copies. A four-year run of hits ensued, including the following classics: Down In The Alley, Your Cash Ain’t Nothing But Trash, Lovey Dovey, One Mint Julep (later an Atlantic instrumental hit for Ray Charles), Middle Of The Night, Miss Fannie, Crawlin’, Wonder Where My Baby’s Gone, Ting-A-Ling, to mention a few. Often both sides tracked top 3 on the R&B charts, and that type of exposure dictated a non-stop touring schedule, headlining with Rosco Gordon, Little Richard, Fats Domino, Ruth Brown, many others. At their 1954 peak, the Clovers were recognized as a top ten moneymaker by Billboard magazine and the Juke Box Operator’s Association-despite never crossing over into the pop market. It also didn’t hurt the cause that manager Lou Krefetz was given a national sales position with Atlantic. Sly lyrics, inventive harmonies, access to fantastic tunesmiths like Rudy Toombs, Jesse Stone, and Ahmet Ertegun, plus brilliant instrumentation from luminaries like pianist Harry Van Walls and guitarist Bill Harris provided insurance this group would maintain momentum. Featured at Alan Freed’s Moondog Coronation Ball held May 1, 1954 (which drew a sell out crowd of 10,000), the Clovers were included on a bill that attracted an audience with 20 percent white composition. Radio personalities, music business types, and promoters took note; meaning nothing would ever be the same again. By 1956, the Clovers’ hit-making days were winding down, but several gems were about to unfold, such as Devil Or Angel--a jewel of a ballad that hit #3 R&B in Jan ’56 (teen idol Bobby Vee did a latter version for the bobbysox market). Another Bobby- by name of Vinton-did another gorgeous ballad done in 1954 by the Clovers, riding Blue Velvet to number 1 in 1962. The Clovers first taste of the true pop market was with Love Love Love, which broke into the top 40. By 1958, Atlantic began focusing their R&B division into a demonstrably pop direction, emphasizing the “new” Drifters and Bobby Darin, while relegating the Clovers to second fiddle status. That unique Clovers sound: sweet as a dream of seduction, nasty as an evil back-street breeze was regarded as slightly salacious by censors seeking to sanitize Rock and Roll for the masses. Still, the Clovers experienced their biggest success when Leiber & Stoller’s Love Potion #9, released on the United Artists label, exploded into the top 20 pop charts in 1959, and got covered by the Searchers, providing one of the first major hits of the 1964 British invasion. The very first artistic mention on the Embers’ tribute song I Love Beach Music is accorded the Clovers. It stands to reason: the songs of the Clovers, with their wonderful arrangements, enticing lyrics, and blues-based harmonies, are synonymous with sun, surf, romantic interludes, and swaying in the ocean breeze to the exotic rhythms of the shag.
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