It’s always heartening to see a new face in the historic genre of blues. One such newcomer is 19-year-old Christone “Kingfish” Ingram. A contemporary of BCI #1’s Jontavious Willis, Kingfish brings an old school blues feel to the material. Heres’ looking forward to seeing his career evolve. In the meantime Rolling Stone profiled the Clarksdale, MS native’s rise…
Tony Joe White burst onto the national music scene in 1969 with “Polk Salad Annie,” a top 10 hit inspired by Bobby Gentry’s “Ode to Billie Joe,” drawing on his real life experiences in rural Louisiana. Over the course of an uncompromising six decade career, Tony Joe kept it down home in both minimal bluesy recordings and gutsy live performances on guitar/harmonica and whomper stomper – his name for a Gibson distortion pedal.
His 1967 composition “Rainy Night in Georgia” was included on his second album Continued in 1969 only at his wife’s behest. Six weeks later, Atlantic Records super producer Jerry Wexler shipped White a new rendition by Brook Benton. As White put it in an interview with BC’s Ric Stewart in 2002, “It was like hearing the perfect voice sing those words back to me. I must have played it a 50 times in a row…” It shot to #1 in the R&B chart and #4 on the Pop chart in 1970 and Tony Joe was suddenly on top of the business.
Tony Joe White with author Ric Stewart, 2002
Tony Joe White went on to record 16 studio records in a career packed with one great song after another. On September 28, 2018, White released Bad Mouthin’ (his first all-blues album) on Yep Rock Records, just a one month before his demise at age 75 from a heart attack. The Oak Grove, LA native’s songs were often picked for covers by musical luminaries such as Tina Turner, Joe Cocker and Elvis Presley. Presley cut three Tony Joe White tracks and the two bonded. White related that Elvis would sometimes find him during sessions at Stax asking for a few guitar pointers – ‘bluesy licks.’ “He’d probably forget them in 2 minutes, but I’d show ’em to him.” As the King was reinventing his sound in the early 1970’s, his stage shows featured “Polk Salad Annie” replete with Kung Fu stage moves.
White’s socially conscious “Willie and Laura Mae Jones,” from 1969 album Black And White, was covered by Dusty Springfield on her definitive work, Dusty In Memphis. His appearance duetting on Johnny Cash’s TV show in 1970 was loose, full of laughs and captured the Man in Black’s appreciation for the Swamp Fox. For a moment, everyone wanted to be Tony Joe!
https://youtu.be/5vkYVWA6yzY
The respect from on high was to continue albeit after decades of a low profile solo career. On his long-awaited final release Chuck Berry covered Tony Joe’s “3/4 Time (Enchiladas).” The rock and roll pioneer described Tony Joe White to Rolling Stone in 2017 as “vastly underrated,” especially such songs as “Polk Salad Annie,” “Rainy Night in Georgia,” and “The Train I’m On.”
With the top talent offering such effusive praise, imitation and admiration, it’s inevitable that more fans will connect with White’s brand of authenticity. Quite possibly the greatest songwriter that not everyone knows, Tony Joe White’s unfiltered take on swamp rock and funky country blues already stands the test of time.
Thanks once again to the New Orleans Jazz Festival & Foundation, Inc for a community partnership grant that will help build the archives of oral histories. These archives are part of the budding exclusive content collection serviced by Save the Blues and the Blues Center, a future interactive museum in downtown New Orleans.
Catch glimpses of the Blues Center in the interview series with founder Ric Stewart at bluescenters.com.
Otis Rush performing at Notodden bluesfestival, Norway, in 1997
Otis Rush, one of Chicago blues’ leading lights, passed away on September 29th this year. His playing lives on in landmark recordings such as “All Your Love (I Miss Loving)” and “I Can’t Quit You Baby” impressed Eric Clapton, John Mayall and Jimmy Page – meaning that his sound became part of the tool box for blues rock heroes to come.
In the late 50s and early 60s he was one of Chicago’s brightest rising stars, tagged with Magic Sam and Buddy Guy as a creator of the spiky new West Side sound, but after his first record label, Cobra, went out of business he was signed by Chess, which did little for him, and Duke, which did less. “I started lagging with recordings,” he said later, “and it seemed like all I was meeting up with was crooks.”
Rock and Roll Hall of Famer John Oates talks and plays the blues in this recap of his Arkansas album and his dedication to roots music. Find out how the riff for “Can’t Go For That (No Can Do)” came together at Electric Lady Studios in NYC. John plays “Stack O’ Lee” (Mississippi John Hut) and “That’ll Never Happen No More” (Blind Blake) showing off the bumble bee pick. John gives a shout out to Arif Mardin for inspiring his producing style. Subscribe to catch the series.
Will Bernard in BCI #11 details his collaborations with Charlie Hunter, Stanton Moore, John Medeski and Peter Apfelbaum in this jazzy, funky story with a few twists. Indian guitarist Vishwa Mohan Bhatt provided a stimulus for Will’s singular slide guitar sound.
Will has played guitar on 43 albums as a guest artist! Compelling clips from Raw Music and Ric’s 1998 interview provide an exclusive 3 decade window into the work of a string master. Country Funk gets a mention, it’s Ric’s weekly radio show 10-noon fridays on WTUL 91.5 FM.
300 for 300 covers Walter and Jerry Brock.
With plenty of optimism and a huge record collection, Walter Brock came to New Orleans from Texas in 1978 to set up a community radio station….
http://s.nola.com/qfLWxEe
In BCI #13 find out how you get Bob Dylan and Jerry Wexler to coproduceyour solo lp? Find out from keyboardist Barry Goldberg in BCI #13 coming soon to bluescenters.com