OTIS REDDING: DREAMS TO REMEMBER THE OTIS REDDING ANTHOLOGY (ELEKTRA)
OTIS REDDING: IN PERSON AT THE WHISKEY A GO GO (ELEKTRA)
---Gary Tate
Has there been a more exciting soul singer than Otis Redding, who helped shape the fantastic Stax/Volt sound? Tragically, like many contemporaries (Sam Cooke, Little Willie John, Jimi Hendrix), his skyrocketing career was prematurely aborted. His greatness is apparent on recordings, but the real extent of his charismatic "take-no-prisoners" style unfolds in his transfixing performances. Several Redding sides actually pre-dated Volt, and owed a huge debt to Little Richard. Both artists hailed from Macon, Georgia; certainly that budding 16-year old must have noticed that Richard Penniman's manic and propulsive showmanship was on the cutting edge. Otis even began billing himself as Rockhouse Redding. Another Macon resident was James Brown: Proof the water there had something causing surplus lung firepower.
After several local amateur appearances, Otis encountered Phil Walden (founder of Capricorn Records) whose managerial skills would prove invaluable. Johnny Jenkins of the Pinetoppers would also catch Redding's act at Macon's Douglass Theatre, thereupon inviting him to join the band. Redding first solo venture was 1960 in L.A., but the resulting formulaic single She's All Right's stiffed. An Athens Georgia session, however, presaged the future via the unleashing of the spine-tingling, dynamic power of Shout Bamalama. Ironically, it would be an instrumental, Love Twist by the Pinetoppers that would provide the proverbial door opener. A hot regional seller, it attracted Atlantic honcho Jerry Wexler's attention, who arranged a recording session for them at Stax.
Legend has it that upon his arrival, Otis was regarded as little more than a roadie for the group. The truth is he was the secret weapon that Walden and Atlantic rep Joe Galkin hoped would capture the ears of the Stax studio heavies. Al Jackson--the drummer for Booker T. & MGs--introduced Otis to Steve Cropper in the summer of 1962: Cropper became a true believer within seconds of hearing those awesome pipes. That first session yielded These Arms Of Mine. This classic became Redding's first R&B hit, and contained the indispensable elements behind his distinctive sound: sparse horn-based arrangements, cool balladry, impeccable Cropper guitar fills, groovy Booker T. Jones organ. But the everlasting impression is founded upon those pure, raw, and emotionally compelling vocals.
Redding's hard-edged and urgent gospel-inflected testifying was perfectly attuned to the tenor of the times. That's What My Heart Needs featured a typical Redding climactic finish: 30 seconds of intense and searing pleading and testifying. Pain In My Heart was his third straight hit, and Walden quickly booked Redding into the famous Apollo Theatre. Those incendiary stage shows would elevate his stature to the highest level. Here's a partial rundown of the remarkable catalogue that established Redding as the pre-eminent male soul singer of the sixties: Come To Me, Security, Mr. Pitiful, Try A Little Tenderness, That's How Strong My Love Is, Can't Turn You Loose, Chained And Bound, Hard To Handle, Fa-Fa-Fa-Fa (Sad Song), I've Been Loving You Too Long, I've Got Dreams To Remember, Tramp and Lovey Dovey (teaming with Volt stable-mate Carla Thomas), plus the indomitable Respect (covered in 1967 by Aretha Franklin).
A first-rank composer, the Redding heritage is equally shaped by his forceful readings of other artists' material: Rolling Stones (Satisfaction), Beatles (Day Tripper), Solomon Burke (Down In The Valley), William Bell (You Don't Miss Your Water), Temptations (My Girl), and especially, Sam Cooke (Shake, A Change Is Gonna Come), 5 Royales (Tell The Truth). By 1967, Otis Redding was an R&B Top 10 mainstay; while his releases made a consistent impression on the Pop charts.
His tumultuous appearance at the Monterey Festival in June 1967 captivated the wide-eyed, young, and mainly white audience, and foretold elevation to superstardom. But cruel fate intervened six months later on Dec 10th: His touring plane crashed, killing Otis and 4 members of his band, the Bar-Kays. He was only 26. A posthumous release, (Sittin' On) The Dock Of The Bay, hit #1 on the Pop charts in January 1968, and a musical epitaph, A Tribute To A King done by label-mate William Bell, poignantly expressed the heartbreak of millions of fans. In 1989, Otis Redding was inducted into The Rock & Roll Hall Of Fame, and his name is also inscribed within the Songwriters, and Rhythm & Blues Halls Of Fame.
CHRIS HART: SELF-TITLED
---Gary Tate
You simply have to check out the latest release by the immensely-talented Chris Hart, who hails from the agricultural town of Merlin, not too far from London, Ontario, Canada. Hopefully, his fascinating array of well-crafted songs will catapult this masterful singer/songwriter to the front ranks of genre-bending Country. If you're looking for a more convincing combination of traditional, modern, and outlaw strains of Country-inflected music, well you just won't find it.
Hart has been plying his wares for about 15 years, and like many farm-raised lads, was weaned on the likes of Patsy Cline, Hank Williams Sr., and Merle Haggard. His earliest tendencies were in the service of Rock 'n' Roll defined by a Rockabilly spirit, before finally settling in with the Matadors: a renegade aggregation that were fervent disciples of Buck Owens, Johnny Cash, and Merle Haggard. This ruggedly handsome 35-year old has talent to spare, and that expressive and invitingly warm voice of his is just the beginning of the good news. He writes only top tier material, has a super band in tow, and believes firmly in pushing that proverbial envelope in many interesting directions, taking risks in a field where risk-takers are often frowned upon.
Stretching those boundaries also includes a willingness to tackle themes that go beyond the romantic self-absorption burdening Country ditties of today. Hart doesn't shirk from addressing controversial subjects, yet wisely fleshes out such issues out within the context of catchy melodies. On Mrs Mathieson, for example, Hart reflects upon the human toll of substance abuse as we listen in on a very private conversation, yet it never seems overwrought. Just Forget About Me truly deserves daily radio airplay. Take Me Back Angel is as inviting as an old Buddy Holly song wrapped up in a very warm arrangement. I Don't Believe In Love is very traditional, a heartbreaker rather reminiscent of Hank Williams Sr.. Wish I Was Home Again is touched by some exceptionally sensitive lyrics, and is bound to be a crowd pleaser at his performances. So Glad To See You is awash in glorious twang, underpinned by gorgeous organ from Dean Harrison, and Hart delivers a vocal performance that has a very Dylan-esque quality. It's my favorite---but I'm open to all rejoinders. The other four tracks are nothing to sneeze at either, reflective of the level of complete professionalism going down here.
Chris Hart represents the very antithesis of the "play it safe" mindset. He has a natural facility for making his artistry accessible, with a personal, honest, and direct approach, and that separates him from the Country music bunch. Actually, it's more accurate to place Hart in a niche occupied by such Canadian Roots institutions as Blue Rodeo or Prairie Oyster: bands grounded in Country, but also incorporating arrangements, ideas, and instrumentation borrowed from other genres. This guarantees his music will resonate with audiences that may have divided loyalties to the alternative, Rock, and Pop streams out there. The potential appeal of Chris Hart, therefore, seems huge. It's not an exaggeration to state that the sky's the limit. For those already confirmed Hart fans, you'll be tickled to know that the production is once again credited to the estimable Dan Brodbeck. His stature and reputation delivers a sound that'll delight the most discerning audiophile. By the way, of Hart's two other releases so far, only Behind The Blue Wall is listed as currently available. But that'll definitely change.
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JOHNNY "GUITAR" WATSON:
3 HOURS PAST MIDNIGHT (FLAIR/VIRGIN)
JOHNNY "GUITAR" WATSON:
GANGSTER OF LOVE (KING MASTERS)
---Gary Tate
As a youngster in Houston of the 40's, Johnny "Guitar" Watson had plenty of opportunities to gaze upon such memorable guitarists as T-Bone Walker, Gatemouth Brown, and Lightning Hopkins. Upon moving to L.A. in 1950, Johnny commenced impressing stalwarts like Amos Milburn, Chuck Higgins, and Big Joe McNeely with his stellar piano work. He would eventually gravitate to the six-strings, after hanging out with Guitar Slim in New Orleans. That experience would shape his axe wielding approach: typified as a very forceful enunciation of the 4 "R"s-- raunchy, raw, riveting, and reverb-drenched. Given his tremendous influence on that generation of guitarists which emerged during the 60's--especially Jimi Hendrix--you can also add a 5th "R", for revolutionary.
Seventeen-year old "Young John" Watson (dubbed so by Federal Records) was merely a vocalist/pianist on those initial 1953 sessions, composing time-tested durables as the blues-drenched Highway 60, the dreamy balladry of "Sad Fool", the seductive charms of I Got Eyes, the jive-talkin' What's Going On, and the boozy bravado of Thinking. JGW didn't get around to unbuckling his guitar case until session #3, resulting in that wild, frenetic string bending that added a whole new layer of excitement. Dazzling feedback and economical note selection embellished novelties like I'm Getting Drunk and Half Pint Of Whiskey with a slightly out-of-control dimension. Johnny's eccentric instrumental voice perfectly meshed with his boastful vocals. Upon launching into a full-blown guitar solo like You Can't Take It With You, he could make those wire strings cry like a child pleading for mercy. But the piece de resistance remains Space Guitar, an unbelievably excitable instrumental that explored the vast cosmos of hidden sounds that could be wrenched out of Stratocaster. Three minutes of demented inspiration that changed everything!
In 1955, he switched to the Modern/RPM label: the first session of which produced three epic releases, including the simmering Hot Little Mama. Check out those suggestive vocals and that scorching guitar work! I Love To Love Yo" was more brilliance unleashed, especially his singing which intuitively grasped all the phrasings necessary to extract every ounce of emotion, using such declamatory interjections as "I declare", "sho nuff", "let me tell you now", "hey-now-now". I'm Gonna Hit The Highway is a great slice of lowdown Blues, and let's not forget that hidden classic One More Kiss, while on Three Hours Past Midnight JGW sounds as convincing as B.B. King in his prime. Too Tired is a towering piece of guitar-driven Rock 'n' Roll. Should have earned him as high a profile in the white market as Chuck Berry! Blues lovers have probably heard She Moves Me numerous times (Kim Wilson did a version), but always remember that Watson did the knockout original. Ironically, Watson's most successful recording for Modern was his re-working of Earl King's New Orleans-flavoured Those Lonely Lonely Nights. Lush, lovely, and full of longing! Then there was Ain't Gonna Hush which is almost as wild and wooly as Space Guitar. Motorhead Baby (later covered by Jimmie Vaughan) is a souped-up version of the shuffle version recorded on Federal. Built strictly for speed!
Returning to King (the parent of Federal) in 1960), and often accompanied by Johnny Otis, would result in such notable releases as Cuttin' In (Watson's most successful R&B release), That's What You Do For Me (recently covered by J.W. Jones on 'My Kind of Evil'), and especially the swaggering Gangster of Love, which has become a standard in at least three different genres: Blues, Funk, and Rock. By 1965, Johnny would be touring the British Isles with Larry Williams, and together hey eventually recorded two albums on Decca and Okeh. Unfortunately for Blues fans, Johnny "Guitar" Watson later switched over to the more lucrative soul/disco field, parading as an outrageous funkster, and becoming a towering influence on Sly Stone, Rick James, George Clinton and Prince. Felled by a heart attack while touring Japan in 1996, Johnny "Guitar" Watson was rumoured to be considering a Blues comeback just prior to his death. I'll leave the final words to Etta James: "I got everything from Johnny. He was my main model. My whole ballad style comes from imitating his ballad style. He was the baddest and the best."
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THE HAWK PASSES THE TORCH AT MASSEY HALL
---Gary Tate
Massey Hall is Canada's most illustrious concert hall, and it's almost as much of an institution as Ronnie Hawkins. He may have looked his typically feisty self there on December 17, 2005, but the Hawk told the assembled that his battered body just couldn't bear the strain of any more shows after this one. The 70-year old Rockabilly icon, and nurturer of hundreds of Canadian rockers since 1959, stayed perched atop a wooden stool, while gently poking fun about his severe health problems. Those great doctors are still confounded as to how Ronnie survived a bout of localized pancreotitis.
Mr. Dynamo--another apt moniker for this grizzled legend--then proceeded to blast his way through one last cannonading tribute to old-time Rock 'n' Roll. And he had magnificent support behind him: a precocious unit that's been attracting lots of attention by the name of the Weber Brothers. The Hawk wanted to exit his stage career with a band exactly the same age as the one he'd brought into Canada way back then. Early CHUM deejay John Donabie hosted the evening's festivities, and The Hawk gave two thumbs up to Toronto's CHUM-radio. The station went against the conventional grain by adopting a 100 percent Rock 'n' Roll format. One of the first beneficiaries of that decision was Ronnie, who received crucial airplay.
Before the curtain would fall on this historic night, a couple thousand emotional fans--aged from 16 to 84-- would bear witness to the proverbial passing of the torch to a new generation. Amidst all the thanks and laugh-inducing recollections, the Hawk demonstrated that it was all about an abiding love for old-fashioned Rhythm 'n' Blues, with a real hot beat. Things got off to a rousing start with Chuck Berry's Let It Rock, followed up with another Berry rocker in Forty Days. Party time! Another Hawkins standby, Wild Little Willie kept the momentum in high gear, before Hawkins eased into the seductively grinding throb of Down In The Alley.
Mid-way through the show, the baton was temporarily passed over to the Webers, who commenced to let loose on Great Balls Of Fire, while showcasing the spirited piano work of Shai Peer. An awesome version of Santo and Johnny's Sleepwalk--courtesy of 6-string wunderkind Sam Weber--rekindled tons of fond reminiscences of yesteryear. Rockabilly godfather and Sun Records pioneer Carl Perkins was feted via splendid renditions of Honey Don't and Matchbox. Someone in the front row yelled out: "Play Blue Suede Shoes!" The Hawk explained they'd never rehearsed it, but those precocious band members piped in with let's do it anyhow. So it was "one for the money, two for the show, three to get ready, and go cat go!" It don't get better than that!
Ronnie bathed in the nostalgic reflection of the dozens of friends who'd touched his life in countless ways, but perhaps Hawkins' most heartfelt words were reserved for Gordon Lightfoot--another Canadian cultural colossus. Ronnie recalled how Lightfoot gave the OK to do Home From The Forest, even before Lightfoot got around to recording it. This mid-sixties Country/Folk song had a real strong storyline, and Hawkins' career got a much needed boost when it became a major Canadian hit. On probably his final performance of it, the magic was still there. As the Hawk appeared to lower the curtain on his performing days with one last torrential version of Hey Bo Diddley, the dedicated fans stood, cheered and clapped, in a spontaneous display of love and respect.
Memories like these can never fade away!
BILLY VERA & THE BEATERS: BY REQUEST-THE BEST OF…. (RHINO)
BILLY VERA & THE BEATERS:AT THIS MOMENT-A RETROSPECTIVE (VARESE)
BILLY VERA & JUDY CLAY: STORYBOOK CHILDREN & GREATEST LOVE (SOUL CLASSICS)
---Gary Tate
Billy Vera & the Beaters are commonly associated with 1987's At This Moment, which hit #1 on the Billboard charts. Father Time--often a musician's worst enemy---has been Billy's friend, conferring well-deserved success upon his mid-life period. Born as William McCord in 1944 in Riverside CA., Vera was raised in New York, and went on to amass a significant discography starting in 1962; that decade also yielded two top 40 hits with Judy Clay--a Fayetteville NC black--making them the first white/black pairing in soul music history. Storybook Children from 1967 made a significant impression, and the 1968 follow-up Country Girl-City Man proved equally popular. Both songs were issued on the Atlantic label. The duo's Storybook Children album has been combined with Billy's Atlantic solo album With Pen In Hand and they are now available on the Collectables label.
During his forty-year career, Vera has recorded for such major labels as Capitol, Rhino, Epic, and Atlantic. That alone presents a formidable legacy, yet only hints at Vera's far-reaching versatility, with accomplishments as songwriter, arranger, and producer. His comprehensive and astute essays on Blues, Rock 'n' Roll, Doo-Wop, Rhythm 'n' Blues, Soul, and Jazz has contributed to our understanding of these genres, while making him a highly sought-out compiler of retrospectives on legendary artists, such as Junior Parker, Joe Turner, Ray Charles, Sam Cooke, Louis Jordan, Little Richard, the Clovers, and Floyd Dixon. On Rhino Records alone, Vera has assembled the material and written liner notes for retrospectives on Percy Mayfield and for the 3-CD Drifters Box Set. Billy's production and liner notes for Rhino's The R&B Box Set earned him a Grammy nomination in the Best Historical Package category in 1996, and he garnered similar recognition for the Ray Charles 50th Anniversary Box Set.
Vera's songwriting talents lean toward soulful offerings endowed with evocative lyrics that millions readily identify with. Here are a few highlights from Vera's song register. His first solo hit was With Pen In Hand in 1968; his first hit for another artist was Mean Old World for Rick Nelson in 1965; his first #1 was I Really Got The Feeling for Dolly Parton in 1979. His biggest seller for another artist is Papa Come Quick, on Bonnie Raitt's Luck Of The Draw album--that's sold over 5 million. Vera's solo career took a 1970's hiatus; it would take a West Coast relocation to write for Warner Brothers Music to rekindle the fever. Forming the Beaters---a 10-piece, 4 horns aggregation of L.A.'s top players---Vera & Company quickly became the in-attraction on the Hollywood and beach club scene. The resulting 1981 album was an instant classic, begetting the hit I Can Take Care Of Myself. Disappointingly, the follow-up single At This Moment, and the subsequent Billy Vera solo album produced by Atlantic cohort, the legendary Jerry Wexler, foundered when the financially plagued Alfa label could only provide perfunctory promotion. However, when the TV show Family Ties chose At This Moment to grace a 1986 episode that involved Michael J. Fox's character losing his girlfriend, the audience reaction was propulsive. Rhino Records opted to distribute the single, and it barreled up the charts.
The next several years were frenetic ones, including countless performances, and an appearance on American Bandstand. Hopeless Romantic was used as a theme song on the daytime soap opera Days Of Our Lives. There was a Top Ten Adult Contemporary hit with Between Like And Love from the Tom Dowd-produced Retro Nuevo album Billy did on Capitol. Two other songs from that album, Poor Boys and Ronnie's Song, were performed in an episode of television's Wise Guys that also featured Vera. He also has numerous movies scores and theme songs to his credit, many of which feature his singing: The Kings Of Queen (1998), Empty Nest (1988), The Haunted (2001) and Ride With The Wind (1994). There's too little space for Vera's myriad other accomplishments, including producing several Lou Rawls albums, plus having the honour of playing with legends like Merle Haggard, Henry Mancini, and Willie Nelson. A modern musical renaissance man with a degree in soul music, Billy Vera remains the prototype of the artist graced by the common touch, such that temporary considerations like trends and styles become utterly irrelevant.
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KING CURTIS: PLAYS GREAT MEMPHIS HITS/KING SIZE SOUL (KOCH)
KING CURTIS: THE BEST OF KING CURTIS (COLLECTABLES)
KING CURTIS: LIVE AT FILLMORE WEST (KOCH RECORDS)
---Gary Tate
Curtis "King Curtis" Ousley was already a well-respected Jazz tenor saxophonist in 1952 when he moved to New York, to concentrate on doing session work for the growing Pop and R&B markets. Over the next decade, saxophone became the pre-eminent lead instrument within the worlds of R&B/Rock 'n' Roll and Curtis became its leading exponent, spicing up massive numbers of hits with ear catching solos, sealing his reputation as one of the leading instrumentalists of that era. Perhaps he'll be most remembered as blowing that slightly crazed solo on the Coasters' 1958 smash Yakety Yak. Even now, when most people imagine that number, the sax intro is the first thing that comes to mind. Here's a tiny portion of other wonderful releases he was involved in: Shirelles (Boys); Clyde McPhatter (Lover's Question); Buddy Holly (Reminiscing); Chuck Willis (What Am I Living For). A complete list of the artists he backed up would take up the next 18 lines, so here's about one line of them: Nat King Cole, Nina Simone, Isley Brothers, LaVern Baker, Brook Benton, Beatles, Duane Allman.
When the Soul Train began rolling in the 60's, Curtis got on board as a conductor. As part of Atlantic Records' stable, he played on sessions featuring Aretha Franklin, Wilson Pickett, Solomon Burke, Don Covay, Bobby Darin, and on and on. He could change generic hats with dazzling efficacy, effortlessly accommodating changing styles. Originally part of the late 40's honking Texas tenor sax brigade, Curtis counted Arnett Cobb, Earl Bostic, and Illinois Jacquet as influences. He played in the bands of Lionel Hampton and Horace Silver.
Upon moving to New York from Forth Worth (his 1934 birthplace), he was already well grounded in Jazz, R&B, and Pop. Curtis could play any style on a moment's notice and his contributions always took the song to a higher level. This talent made him the most sought-out saxophonist of his generation. In later years, he would also be heavily involved as a producer-often alongside Jerry Wexler of Atlantic--with credits including Sam Moore (of Sam& Dave fame), Freddy King, Delaney and Bonnie, Roberta Flack, Donny Hathaway, and many others.
When King Curtis departed this world in 1971, the victim of a brutal stabbing outside his apartment, he wasn't yet 40 but was at the apex of his career. Curtis had also pursued a highly successful solo career, primarily concentrating on contemporary R&B sounds that kept people addicted to general partying and dancing. But he also took opportunities to stretch out with the best jazzmen, with about half of his Prestige output circa 1961-62 seeing him surrounded by top line players like Jack McDuff, Billy Butler, Billy Gale, Ray Lucas, and Willie Rodriguez, while reprising many tunes from the previous two decades like So Rare, Tippin' In, Harlem Nocturne, Freight Train, Tuxedo Junction, Fever, You Came A Long Way From St. Louis, to name but a few. Recording with Capitol, Epic, and Atlantic he garnered instrumental hits like 1962's Soul Twist (#1R&B/#17Pop) and 1967's Memphis Soul Stew (#6R&B/#33Pop). That same year he did a successful cover of Ode To Billie Joe.
He made as big an impression in the late sixties, hooking up with artists like Eric Clapton who performed on King Curtis's Teasin' album in 1970. The Allman Brothers paid him the ultimate tribute when they incorporated Soul Serenade-perhaps his most enduring hit-into their You Don't Love Me during a 1971 New York performance shortly after his death. Duane Allman revered him; Robbie Robertson of the Band has cited him as a major influence, and King Curtis was adored by his Atlantic studio sidemen. He topped the R&B charts in 1971, handling the sax on Aretha Franklin's version of Bridge Over Troubled Waters, and he also appeared on several tracks of John Lennon's Imagine album that same year. In 2000, he was inducted into the Rock 'n' Roll Hall of Fame, with Leiber & Stoller-the writers of Yakety Yak--being the presenters. King Curtis was the total package: a gifted virtuoso, a superb sideman, a creative writer, and a compelling performer. The words "Rock 'n' Roll", "Rhythm & Blues", and "Soul" can scarcely be uttered without mention of his name.
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GENE CHANDLER-LIVE AT THE REGAL (COLLECTABLES)
THE BEST OF GENE CHANDLER: THE DUKE OF EARL (COLLECTABLES)
---Gary Tate
The name Gene Chandler is destined to always be primarily associated with Duke Of Earl: the indestructible 1962 harmony classic that soared to the top of the charts. In retrospect, given the mesmerizing qualities of this undeniably legendary performance, that evaluation seems quite fitting. Its enduring popularity can be chalked up to a contradiction, the fascination of simultaneously hearing something quite different yet somewhat familiar. I believe this dichotomy accounts for its allure to this very day. That insistent introduction featuring James Lowe’s throbbing bass intoning “Duke-Duke-Duke-Duke Of Earl”, followed by Chandler’s soaring falsetto stirred with bravado and intensity was a mind-altering brew.
Still, the real Gene Chandler story is based on far more than Duke Of Earl, as a run of impeccable releases would cement his status as a top tier Soul singer throughout much of the 60’s. He even branched into the disco and dance-oriented field in the late 70’s, giving him one last fling of recognition. Before DOE would propel Chandler to international prominence, he was Eugene Dixon. Born 1937 in the Windy City, his first foray into music had been in the early 50’s with the Gaytones, and in 1957 he became lead singer of the Dukays, a group that ultimately included Earl Edwards, Shirley Jones, James Lowe, and Ben Broyles. That same year Uncle Sam beckoned, so the real story of the Dukays was delayed until 1960 when they attracted the attention of Nat Records. The Girl Is A Devil was one of their first issues, but the pattern for subsequent releases would be accentated by the Don Covay-written Nite Owl, an up-tempo delight that perfectly conveyed that trademark high warble that typified Chandler’s distinctive style. By 1960-61, the Dukays were attracting feelers from more-established labels, one being Vee-Jay (Spaniels, Jimmy Reed). When they bought the Dukay masters from Nat Record that spelled oblivion for the Dukays, as Vee-Jay was adamantly determined to promote strictly a solo act, perhaps due to the obvious contemporary commercial appeal of Sam Cooke, Jerry Butler, and Jackie Wilson. In short order, Eugene Dixon was re-christened with the more glamorous-sounding Gene Chandler. Other masters included Festival Of Love and The Big Lie--both originally released on Nat in 1960---but there was one special track that stood apart. Duke Of Earl would bestow a wonderful career upon Gene Chandler, and it sold one million copies within a month of its 1962 release. Duke Of Earl had actually originated as a warm-up vocal exercise for the Dukays (doo-doo-doo-doo-doo). When “doo” was altered to “duke” and “earl’ later added (based on the first name of Dukay singer Earl Edwards) the basis of this legendary song would emerge.
Subsequent Vee-Jay releases were less successful, but Gene Chandler ran off a nice string of hits starting in 1964 on the Constellation label, especially benefiting from some great material provided by fellow Chicagoan, the legendary Curtis Mayfield, such as Just Be True, Nothing Can Stop Me, What Now, Think Nothing About It, Man’s Temptation, plus others. Mention also must be made of the following satisfying listens: I Fooled You This Time, It’s No Good For Me, Baby It’s Love, and Song Called Soul. Chandler’s dressed the part too, cutting a dashing figure bedecked in dark cape, top hat, monocles, and cane. The song that really solidified his comeback was Rainbow, and the magnetic quality of a typical Chandler performance can be gleaned from hearing the live recording of Rainbow done 1965 at Chicago’s Regal Theatre. It actually delivers an even greater punch than the studio release from 1962, and when you hear the spontaneous swooning from that female-packed audience, it’ll remind you of the adulation that Sam Cooke had experienced before his untimely death. The Regal show was a truly electrifying one, fortunately recorded for posterity purposes, and making Gene Chandler-Live At The Regal a definite must-have for any soul aficionado.
Sporadic successes on subsequent labels like Checker, Brunswick, and Mercury convinced Chandler to direct more attention toward the front office, which paid off when his Bamboo label garnered a huge hit in 1969 with Backfield In Motion, featuring cousins Mel & Tim. In subsequent years, Chandler also became an executive with Chi-Sound Records, but he still kept on recording, and had a huge pop & R&B smash with Groovy Situation in 1970. Late 70’s offerings like Get Down, and Does She Have A Friend kept his name on the lips of dance and disco floor patrons, but they form an insignificant part of his legacy.
By filling the gaps, hopefully this profile will acquaint those possessing only a cursory familiarity of the man’s career with the dazzling scope of Chandler’s artistry, especially his magnificent 60’s recordings. Gene Chandler possessed an exquisite voice: an instrument both distinctive and dramatic, and those attributes were fleshed out by some of the classiest and most compelling songs of the Soul era. First class arrangements enhanced the magic even more. So whenever the Duke Of Earl invites you into his enchanted castle, make a point of visiting all the rooms.
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TEARS OF SADNESS AND JOY AT BALDRY TRIBUTE AT HUGH’S ROOM
---Gary Tate
It was such a wonderful tribute at Hugh’s Room on behalf of the dearly missed Long John Baldry that I couldn’t help but noticing the appropriateness of the date, Saturday November 12---just one day after Remembrance Day in honour of our fallen war heroes. About twenty musicians---many of whom had toured with this transplanted Englishman and acknowledged Father of British Blues over several decades---would stir the packed club with set after set that veritably teemed with the pure essence of a typical Baldry show: a steaming mixture of electrified Blues, shaking Rock ‘n’ Roll, Boogie Woogie, and some deeply affecting Folk songs for good measure. Well-known publicist and roots musicologist Richard Flohil acted as the evening’s master of ceremonies, and he regaled the audience with heartfelt anecdotes about this eccentric but very kind person, someone who fell into a panic when coping with modern means of transport (cars, planes, trains) yet never let his phobias and peculiarities detract from his deep humanity. Baldry’s lead guitarist Papa John King was unable to hold back the tears as he spoke of Baldry’s expressions of concern and offers of help upon hearing that King’s wife was seriously ill. First up, Gospel superstar Danny Brooks managed to eerily capture the raw intensity of Baldry at his most compelling, especially with a gripping version of It Ain’t Easy. It was a highlight of a very magical evening that elicited feelings of poignancy and sadness that went into total remission as soon as the spirited renditions of this towering giant’s music got underway. He will forever be missed! Baldry’s Toronto fans were also treated to a warm and charming acoustic set performed by Mr. Rick and the Biscuits that rang authoritative and true. The stage was then yielded to an all-star band anchored by Canada’s legendary Greg Godovitz, and British keyboard great Roy Young whose boundless talent and energy has abetted the likes of the Beatles, Rolling Stones, and of course, Long John Baldry. Stunning versions of Great Balls Of Fire, Blue Monday, Jambalaya, and Lucille would shake the club to its very rafters. Between songs, fond reminiscences of how Baldry had touched so many individuals--both on a personal and artistic basis--made a profound impression. Any Baldry tribute must incorporate lots of Boogie Woogie and Roy Young demonstrated why he’s considered the master of that genre. Of course, the Blues canon was fully respected as well, as gut-wrenching versions of Got My Mojo Boogie, Spoonful, and Love In Vain touched everyone to the core. Only one other group could put the icing on the cake for such a gala, and so Toronto’s Mississippi Hippies proceeded to demonstrate why Baldry had chosen them to be his touring band just prior to the onset of his fatal illness. The Hippies did a 10-minute tour de force rendition of Good Night Irene, digging deep into the tragic underpinnings of this folk waltz written by Leadbelly who was one of Baldry’s abiding inspirational sources. Squeezing every ounce of emotion from it, John Dickie and Rick Zolkower left the audience drained, and then surprised by abruptly switching to an overdrive tempo that left everyone raising their hands skyward. This intermingling of sadness and joy perfectly coincided with the mood of an unforgettable and moving evening.
The best way to honour the memory of Long John Baldry is to make a gift that will be divided equally between the Intensive Care Unit and the Depression Research Foundation of Vancouver General Hospital, the place where John spent his last days in general comfort. The cheque or money order should be made payable to the VGH and UBC Hospital Foundation, and please also indicate that the gift is IN MEMORY OF JOHN BALDRY. It should be mailed to: Tributes Program/VGH & UBC Hospital Foundation, 855 West 12th Avenue, Vancouver BC V5Z 1M9. For further information, please log on to: www.livinblues.com and click on the E-Blues News section.
SOCKMAN’S TRICK ‘R’ TREAT SOUL REVUE WAS A HALLOWE’EN BLAST
--Gary Tate
When Mory “The Sockman” spread the word that the first annual Hallowe’en Trick Or Treat Ball would be an extravaganza they’d be talking about for years, he wasn’t indulging in hype and hyperbole. It was with the quiet confidence of a poker player holding a royal flush, secure that the long-anticipated gathering of Canadian Soul veterans Jay Jackson (Shawn and Jay Jackson and the Majestics) and Roy Kenner (Bush, Mandela) would generate countless jolts of excitement. Adding to the drama, the South Hall stage of the elegant Woodbine Banquet Hall would further be graced by the most versatile soul-inflected band in the land: the irresistible Mississippi Hippies. They, in turn, would be replenished by an exceptional horn section (Gord Myers, Pat Carey) and dueling keyboardists in Norm Brown and Lance Anderson). It was a sure bet that a golden night of unforgettable entertainment would unfold. So, here’s how it all went down:
The opening thrilling set featured the Hippies running through their repertoire in a 8-piece configuration that eventually switched into a full-scale Rhythm and Blues Revival spectacle, one that would reach a state of souled-out bliss. Like an unfolding fairy tale, an evening of dreams, memories, and delight would occur. It was a festive gathering of costumed partygoers and bizarrely attired fun seekers: witches, hobgoblins, toga-festooned gladiators, Egyptian princesses, swash-buckling pirates, devils, and ghouls. They quickly filled up the dance floor like a stampeding mob out of some Star Wars fantasy, and not only to showcase their odd outfits. They were propelled there by those first tempting strains of 96 Miles--the Hippies signature tune. Their gifted John Dickie never ceases to entrance via his total command of the classic soul lexicon-especially that chapter devoted to James Brown. When that Mardi Gras rave Iko Iko/Jambalaya kicked in, “trick or treat” revelry filled the room, and everyone settled in for a truly wondrous gala. The Hippies proceeded to blast through such body-shaking Soul grabbers like Rock-alator, Cruisalatin’ Time, I Ain’t Got The Blues, Rockin’ The Night Away, and The Twist, before charging into Funk-drenched standards like Get On Up (I’m A Sex Machine), and Shoot Your Shot, as well as their own super contagious Funky Lil’ Thang. You didn’t need a special mask to see that this audience was falling under their spell.
This immensely satisfying appetizer would superbly set the table for the grand slam main course that ensued. Roy Kenner and Jay Jackson hadn’t shared a stage for going on 20 years, so this was an historical and emotional reunion for two Canadian Soul pioneers. The sands of time have proved very kind to both these golden-throated gentlemen, as demonstrated by the masterful way they ripped through a steaming cavalcade of all-time classics like I Can Hear You Calling, Too Hard To Handle, Can I Get A Witness, Stand By Me, If You Don’t Know Me By Now, Summertime, Mustang Sally, 634-5789, and, especially that Canadian soul anthem, Love-Itis. Mercy me! Pitch-perfect, four-part harmonies abounded as Hippie cohorts John Dickie and Hughie Leggat lent their supple vocals to create a gospel-like ambience. Needless to say, those astute enough to shell out the $20 admission were entertained by a very special show that might be equaled--but never surpassed. I can’t recall a better one! Closing the curtains on this marvelous celebration, were a couple of swinging golden oldies from the 60’s, Havin’ A Party and Locomotion, and they elevated matters to a final fever pitch.
There was a sense that something inspirational had happened, and there was an overriding impression by one and all that a show of epic proportions had been witnessed. Let’s do it again (and hopefully very soon) is a sentiment in the forefront of everyone’s mind. As always, whenever The Sockman is involved, every detail is always handled with utmost care, testament to how this good-natured bundle of energy, positivity, and enthusiasm, firmly subscribes to first class excellence. That superb attitude ensured that nothing could distract from the musical fireworks emerging from the best possible musicians, whether it was such details as the extensive parking, the state-of-the-art sound system, the tasteful and attractive decorations, the ticket draws, or even the quality prizes awarded for best costumes by emcee Sockman. The top non-musical highlight was the moving ceremony involving the presentation of a cheque to Brian Blain of the Toronto Blues Society in memory of Patty’s recently departed partner and a very exceptional Blues booster, Gordon James Brown. This donation will be forwarded to the Blues In The School Program to foster the appreciation of Blues by a new generation.
In conclusion, an unbeatable combination of fastidious planning and mesmerizing musicianship, helped make this a spectacularly successful affair. You can see the Mississippi Hippies at Toronto’s top Blues Club, The Silver Dollar, on Friday, November 25/ 05. The Rockin’ Rhythm and Blues Revival will also be appearing soon. Stay tuned for details.
DANNY BROOKS: ROCK THIS HOUSE (HIS HOUSE RECORDS)
--by Gary Tate
On the second installment of his Soulsville Trilogy, Danny Brooks and the Rockin’ Revelators (Amoy Levy, John Mays, Hiram Joseph, Stephen Ambrose) get down to the business of paying joyous tribute to the artists crucial in establishing their path, such as Joe Tex, Solomon Burke, Otis Redding, Blind Boys of Alabama, Hank Williams, John Lee Hooker, to mention a few. One part fire-and-brimstone Gospel, one part country Blues, one part hard-edged Soul, each track on Rock This House is steeped in raw emotional truth and hard-hitting lyrics that reflect the eternal struggle between good and evil. Geographically, this stream of consciousness is situated halfway between Muscle Shoals and Memphis, and it’s another case of an outsider from Canada synthesizing great Southern roots music, and reacquainting American audiences with their country’s most enduring contributions. It’s also illustrative of why Danny’s road shows have been thrilling audiences in Midwestern and Southern states, but especially on the Carolina Beach Music scene. That’s where the contagious hook-laden Hold On--a nostalgic “turn-back-the-hands-of-time” Soul blaster saluting Sam Cooke, Gladys Knight, Joe Tex, Otis Redding, Bobby Bland, Blind Boys-has been garnering serious airtime on deejays’ turntables. There’s a palpable sense of savage urgency in Brooks’ vocals, fortified by hard grit eerily evocative of that trinity of Caucasian preachers: Wayne Cochran, Levon Helm, and Eddie Hinton. Such as with the spine-tingling title track which not only rocks the house: it’s also a wild trance-like mixture of religious passion married up to good times Rock ‘n’ Roll, in the manner of Jerry Lee Lewis matching hallelujahs with the Blind Boy Of Alabama. Testifying fury! Other full throttle items include Can’t Keep A Good Man Down, Stand Up, and Take A Little Time. A huge amount of credit belongs to producer and legendary keyboardist Richard Bell whose mastery of the chief ingredients of the highly identifiable Stax/Volt sound is profound and savvy. Yonder Clouds is the bluesiest track, as Danny accurately describes it as having a “chain gang groove” with a debt to John Lee Hooker. The Church of the Blues! The Ray Charles-influenced Down On My Knees is the most personal, as Danny reveals he finds his greatest strength is found when kneeling in prayer. All 13 tracks are the product of decades of tribulations by a man who practically wasted away from the indignities and addictions he fell prey to. Yet somehow hope and ultimately redemption would emerge from the ashes of despair. It’s this honesty of the street-worn evangelist combined with a passionate love of the music that causes everything to fly by so quickly. And that’s why this qualifies as a great listen. So enter this House--and you will find a home!
ORDERING DETAILS:
www.dannybrooksmusic.com
KEVIN MARK: ROLLING THE DICE (INDEPENDENT)
--by Gary Tate
Hailing from Quebec, Kevin Mark is simply the best new male Canadian Blues artist to emerge in a very long time. Sure there’s hundreds of artists doing similar high-octane, driving Blues out there, but this 25-year old cat does it better than the rest. There’s immediate satisfaction as his assertive baritone vocals kick in: a thunderous eruption not dissimilar from the full-throated lamentations associated with the deeply missed West Coast harmonica legend William Clarke (rest in peace, Bill). As for Kevin’s guitar voice, it is intrinsically tasty, swinging, and right on the money (B.B. King would approve). Great tone by the way! Mark is well grounded in tradition, and his writer’s ear has a special affinity for those jump, jive, and wailers that ruled the roost some 50 years ago. His current CD Rolling The Dice was produced by Canadian Blues legend Jack de Keyzer and recorded at Alec Fraser’s Liquid Studio in Toronto. I’ve only clued into the greasy charms of Mr. Mark over the last couple months, but he’s been making a huge impression in the Blues press for quite a while. Here’s Mike Rainsford of Blues In Britain Magazine who commented: “Kevin Mark is a powerhouse baritone blues shouter, with a guitar style to match. Rolling The Dice is a highly impressive slab of 50’s/60’s R&B”. Similar plaudits have arrived from U.S. sources like Blues Revue and Blues On Stage, and even France--via Blues & Co--has demonstrated that trans-Atlantic differences can dissipate when it comes to matters of Roots-based music. Every tune is so fitting, so perfect for partying purposes, and so dripping in “real-as-it-gets” authenticity, that every single Blues club from Tokyo to Buenos Aires should have a copy on hand to keep their patrons happy. Special guest Michael Fonfara has the piano seat throughout the proceedings. That in itself should make this CD required listening for Blues fans. The horn section is effectively subtle, superbly complementing the main players, thereby putting the proverbial cherry atop the icing. There are only jacks, queens, kings, and aces in this 13-card winning hand, so picking standouts is next to impossible. However, I’m So Broke brought me completely under its spell, especially with lines like: “I’m so broke, I can’t even pay attention” or how about “I don’t really care what I look like cause I can’t afford a mirror”. Sweet Sugar Mama summons up all the glories of the late 40’s/early 50’s when Johnny “Guitar” Watson, Joe Turner, Roy Brown, Amos Milburn, and Louis Jordan were kings of the castle. Sweet as honey on a cone! Equally gratifying is the T-Bone Walker/Louis Prima influenced I Want You To Be My Baby. In point of fact, every song is a winner. Rolling The Dice is a special kind of release, and it provides highly persuasive evidence that the future of the Blues is in very proficient hands.
ORDERING DETAILS:
www.kevinmark.com