Sweet Home, Chicago - Mac Arnold

Mac Arnold must have known at an early age that his music career would read like a “Who’s who” of Blues/R&B Legends. His high school band “J Floyd & The Shamrocks” were often joined by none other than Macon, Georgia native, James Brown on piano. After deciding to pursue a professional music career, he joined the Charles Miller group until 1965 when he made the move to Chicago to work with recording artist/saxophonist A. C. Reed. In late 1966, at age 24, came the opportunity of a lifetime to join the Muddy Waters Band and help shape the electric blues sound that inspired the rock and roll movement of the late 60’s and early 70’s. Regular guests of the band included Eric Clapton, Paul Butterfield, Mike Bloomfield, and Elvin Bishop. The Muddy Waters Band (as a unit) shared the stage with the likes of Howlin’ Wolfe, Elmore James, Jimmy Reed, Junior Wells, Big Joe Williams, and Big Mama Thornton just to name a few. During this time, Mac played on John Lee Hooker’s “live “album, Live at the Café Au Go-Go, as well as Otis Spann’s classic recording “The Blues is Where It’s At”. After more than a year with Muddy Waters, Mac formed the Soul Invaders which backed up many artists, including The Temptations and B. B. King. In the early 70’s, he moved Los Angeles to work at ABC Television and LAFF RECORDS (Redd Foxx). This led to working on the set of Soul Train from 1971 to 1975 and then working with Bill Withers (“Lean On Me”) before moving back to South Carolina in the 80”s. Mac in his field Mac now resides in Pelzer, SC, where at the age of ten he got his first taste of the blues when he learned to play his brother Leroy’s home-made guitar. Going back to his roots. Mac is serving up a mess of Blues with his own band, “Mac Arnold & Plate Full O’ Blues”. The band consists of Joe Jones on bass, Austin Brashier on guitar and vocals, Max Hightower on keyboards, harmonica, guitar, and vocals, Larry Brashier on drums, and Mac Arnold on vocals, bass and Gas Can Guitars. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Chesepeake Bay Blues Fest - Blues Ace Reporting

Blues Aficionado Allen "Blues Ace" Anthony was on the scene for the festival as usual and brought us some great photos as well as short commentary. The picture of

Motor City Josh is of him (left) and his brother bringing the house down at the end of their set. What a pleasant surprise that band was! I had no idea how good that guy was.

Mac Arnold made his guitar out of a gas can. While it’s more of a guitar than many of Super Chikan’s glorified Diddley Bows, it also sounds it’s best when played with a slide rather than any primitive attempts at fretting notes or chords. (More to come on Mac Arnold). He spent a lot of time in the LA music scene for much of his career and has semi-retired back to South Carolina where he bases his band, Plateful of Blues. Another interesting thing about him is that he grew up with James Brown and played in high school bands with “The Godfather of Soul.”

John Mayall played a nice set. Did 3 songs off the Bluesbreakers “Beano” albums. Parchman Farm, and a few others. Also did a song, L&M Blues, aka Ridin’ On The L&M, which I know from other blues artists covers of it. But he introduced it as being a Lionel Hampton composition which I did not know.

Little Feat is always interesting every time I’ve seen them and this was no exception. They called out Nighthawks harpist Mark Wenner to play a couple songs, in particular Dixie Chicken, which is what they were playing when the photo was taken. First time I ever heard them play Dixie Chicken “stand-alone.” All of the half dozen times I’ve seen them they have morphed Dixie Chicken into a medley of some sort which almost always included Tripe Face Boogie. But this was about a 12-14 minute rendition of Dixie Chicken by itself. Their set was cut short by the demands that Kenny Wayne Shepherd take the stage at exactly his scheduled time. Fred Tackett looked like he was ready to break the band into Feats Don’t Fail Me Now as an encore, but they swept their carcases off the stage promptly. They even said, “We’d like to play one more but our time is up.” They were having fun and the crowd was heavily into it.

Then Kenny Wayne came on and played a standard set.

Ray Manzarek-Roy Rogers was very good by my estimation but I don’t think too many people got as excited by them as I did. Manzarek at one point played an instrumental solo of The Crystal Ship that was the highlight of their set. They also did Riders On the Storm where Manzarek sang and the crowd loved that but it was just OK. He also announced some kind of 40th anniversary of Jim Morrison’s death concert in Paris next month where they were going to play.

Roy Rogers did not have his guitar coming through the PA like it should have. It was weak so it’s hard to tell how good he was really. It was the only issue I had with the sound production for the whole two days of the festival.

Ronnie Baker Brooks damn near stole the whole show. He was terriffic! Way better than Lonnie Brooks was a couple years back. Looking forward to seeing him on the Cruise.

The Lee Boys were great. It’s a band of all family, either brothers or nephews, cousins, and uncles. They call their music “Sacred Steel” which is a base of gospel with generous portions of blues, jazz, mixed with part soul, r&b, and country. It’s is much like Robert Randolph. This band is basically a top notch rhythm section in support of their centerpiece, keystone, and focal point, Roosevelt “The Dr.” on pedal steel and lap slide guitar. I got to say, in a head-cuttin’ contest with the Devil on pedal steel, and my soul on the line, I might take Roosevelt over anybody alive including Robert Randolph! That dude was awesome.