Joe Krown - Tribute - New Release Review

 

I just had the opportunity to review the most recent release, Tribute, from Joe Krown, and it's a New Orleans soaked release. Opening with Allen Toussaint's, All Of It, renown piano and B3 player player really gets things going, backed by  Mark Brooks on bass, Doug Belote on drums and with some searing guitar riffs by Leo Nocentelli. Powerful opener. Dr. John's Such A Night maintains all of the spirit of the Daytripper's original with Ivan Neville on lead vocal and Kassie Netherland backing, Jack Miele and John Fohl on guitar and of course Krown really  working the piano. On Ode to Mr. Davis, Krown lays back in the slot with cool piano and B3, joined by excellent sax work by Joe Sublett, Belote and Brooks. Very nice. Lightning Hopkins' Feel So Bad, features Wolfman Washington on vocal and guitar. I have always loved his style and his vocal, paired with his own funky guitar riffs makes this my favorite track on the release. wrapping the release is a stirring original, Gumbo Boogie, with Krown really cranking up the heat. With B3 under the bottom and piano on the top, a walking bass line by Brooks and a tight drums line by Belote, this is an excellent closer. 

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Blue Star Records artist: Jack de Keyzer - Tribute - New Release Review

 I just had the opportunity to review the most recent release, Tribute, from Jack De Keyser and it's  straight up rocker. Opening with the driving, Are You Ready?, De keyser on lead vocal and guitar is joined by Alan Duffy on bass, Nick Succi in piano and organ and Peter Grimmer on drums. De Keyser has a distinctive and particularly active guitar style and this is a solid opener. With the addition of Richard Thornton on sax, On the Money has a funky sound along the lines of Stax but with great blues guitar soloing. Very cool. Coming Up has a definite driving rock beat with traces of Don Nix and Jeff Beck. Duffy's romping bass line accented by Succi on piano and de keyser's scorching guitar soloing makes this my favorite on the release. Supernatural has a Spanish flavor and with it's smooth melody, works nicely with Carlos Santana like guitar riffs. Blues ballad, You Turned My World to Blue, will be my choice for radio track on this release with it's catchy melody and Gary Moore like guitar approach. I do like the slide work on this track which sets it off nicely. Just For The Funk is a particularly interesting track with a JG Watson or Walter Wolfman Washington feel. With it's New Orleans funky rhythm and jazzy guitar riffs, another favorite on the release. A more traditional Chicago style blues, If My Baby Left Me will appeal to most blues listeners with it's 12 bar format and cool guitar riffs. Very nice. Wrapping the release is Forever, a cool rocker with traces of Clapton and Hendrix. This is an interesting release with a variety of blues rock approaches. Check it out. 

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Tribute to Lonnie Mack - Our prayers are with his family

Lonnie Mack (born Lonnie McIntosh, 18 July 1941, Dearborn County, Indiana) was an American rock, blues and country guitarist and vocalist.

Mack's early 1960s instrumental hits “Memphis” and “Wham!” influenced a generation of guitarists and whose singular mix of blues, country and gospel inspired performers such as Keith Richards, Stevie Ray Vaughan, the Allman Brothers Band and Danny Gatton, died April 21 in Nashville. He was 74. Alligator Records announced the death but did not disclose the cause. Mr. Mack lived in Smithville, Tenn. “Memphis,” an instrumental variation on Chuck Berry’s “Memphis, Tenn.,” and Mr. Mack’s follow-up, “Wham,” cut through the predictability of 1963 Top 40 radio, where teen idols and reverb-drenched surf instrumentals ruled. Mr. Mack’s guitar work combined the harsh attack of urban blues with the frenetic tempos of rock-and-roll. His guitar — an arrow-shaped 1958 Gibson Flying V — was as distinctive as his playing style: chords that rang with an organ-like sustain, courtesy of his Magnatone amp, followed by a barrage of trebly, staccato notes during his solos. “Lonnie Mack was one of the first white guys to really make a mark playing blues-infused guitar,” said record producer and blues historian Dick Shurman. “I think of him as a prototype of what later could be called Southern rock. His music was a blend — it wasn’t a conscious blend — he brought black and white styles together seamlessly.” Lonnie Mack, center, with Keith Richards, left, and Ron Wood of the Rolling Stones at the Lone Star in New York City on July 10, 1985. (Courtesy of Alligator Records) Although his instrumentals sold in great numbers, Mr. Mack struggled to find chart success with his impassioned late 1960s ballads such as “Why,” “I’ll Keep You Happy” and “Where There’s a Will, There’s a Way.” Mr. Mack was one of the first “blue-eyed soul” singers whose records were promoted as rhythm-and-blues. He recalled going to a soul radio station in Birmingham, Ala., for an interview when “Where There’s a Will, There’s a Way” was beginning to break out. The disc jockey stopped playing it when he discovered Mr. Mack was white. But others were taken with Mr. Mack’s soulful style. Rock critic Greil Marcus said of “Why,” which climaxes with a full-throated scream in its last verse, “This tune offers a false choice: listening to the most stately ballad in the annals of white blues, or listening to a man kill himself. The choice is false because in the last verse, you don’t get to choose.” In between the gigs, he did session guitar work behind James Brown, Hank Ballard and the Midnighters and blues guitarist Freddie King. He later filled in as a session bassist for The Doors on the songs “Roadhouse Blues” and “Maggie M’Gill.” Mr. Mack moved to California in 1968 when he signed with Elektra Records. The company also hired him to scout for talent, but he came to loathe the job after Elektra failed to sign singer-songwriter Carole King at his suggestion. Mr. Mack, who was known for a quick temper — he once shot his computer with a gun — was also viewed by record company executives as difficult. “His temperament wasn’t suited to stardom,” Shurman said. “I think he’d rather have been hunting and fishing. He didn’t like cities or the business.” By the late 1970s, he had returned to playing local jobs in Indiana and Ohio. In 1985, Vaughan persuaded Mr. Mack to move to Austin, where he signed with Chicago-based blues label Alligator and recorded “Strike Like Lightnin’,” with a guest appearance from Vaughan. That same year, he performed at Carnegie Hall for the concert DVD “Further On Up the Road,” with fellow guitarists Albert Collins and Roy Buchanan. Lonnie McIntosh was born in West Harrison, Ind., on July 18, 1941. His father, a farmhand, played banjo, and Mr. Mack began performing guitar in the family bluegrass band at 7. “Didn’t have a record player or nothin’,” he told Dan Forte in Guitar Player magazine. “Most of the places we lived didn’t have electricity, so that made it rather difficult. . . . We used to have a whole lot of jam sessions with the family in the old days.” Mr. Mack quit school in the sixth grade after fighting with a teacher and soon began professional music engagements in local clubs, eventually changing his last name to Mack. In his teens, he recorded with rockabilly and country bands for small Ohio labels. He was reportedly married and divorced three times. Survivors include five children; two sisters; a brother; eight grandchildren; and seven great-grandchildren. Discussing his career, Mr. Mack told writer Sean McDevitt in 2007: “I ain’t got no regrets, but at the same time, it ain’t something I would recommend to a young kid right now like I used to. . . . The only way you can make any money is to do what everybody’s telling me I need to go do: Go back out and tour and get the money at the door.” He added, “I mean, you’d better love it. I mean, daggone! Why I got into it in the first place wasn’t about the money. I got into it because I loved it.” In 1963 and early 1964, he recorded a succession of full-length electric guitar instrumentals which combined blues stylism with fast-picking techniques and a rock 'n' roll beat. The best-known of these are "Memphis", "Wham!", and "Chicken Pickin'". These instrumentals established the standard of virtuosity for a generation of rock guitarists[1][2] and formed the leading edge of the "blues-rock" guitar genre. Reportedly, the tremolo arm commonly found on electric guitars became known as the "whammy bar", following Mack's singularly aggressive use of the device in 1963's "Wham!".

In 1979, music historian Richard T. Pinnell, Ph. D., called 1963's "Memphis" a "milestone of early rock guitar". In 1980, the editors of Guitar World magazine ranked "Memphis" first among rock's top five "landmark" guitar recordings. He is widely regarded today as a pivotal historical figure in expanding the role of the electric guitar in rock. Despite a modest all-career recording output as a rock artist, he has been called "one of the great rock guitarists of all-time". Mack is also regarded as one of the finest early "blue-eyed soul" singers. Crediting both Mack's R&B vocals and his guitar solos, music critic Jimmy Guterman ranked Mack's first album, 1963's The Wham of that Memphis Man!, No. 16 in his book The 100 Best Rock 'n' Roll Records of All Time.

Mack released several singles in the '50s and '60s, as well as thirteen original albums spanning a variety of genres between 1963 and 1990. He enjoyed his greatest recognition as a blues-rock singer/guitarist, with productive periods during the '60s and the latter half of the '80s. However, an aversion to notoriety led him to switch musical genres and idle his career as a rock artist for years, even decades, at a time.

In 2011, he announced an upcoming self-published album of informally recorded compositions, including the recently released acoustic blues single "The Times Ain't Right".

Beyond his career as a solo artist, Mack recorded with The Doors, Stevie Ray Vaughan, James Brown, Freddie King, Joe Simon, Ronnie Hawkins, Albert Collins, Roy Buchanan, Dobie Gray and the sons of blues legend Arthur "Big Boy" Crudup, among others.