Among my favorites in this list are the now and then reviews of Bobby Rush’s, 1979 masterpiece Rush Hour
“Bobby Rush…took his decades of his experience and his close study of Howlin’ Wolf and made an urban blues album for his times, incorporating touches of Philadelphia soul, street-corner harmonies, and the rhythms of the pulpit….Rush Hour was the first album in a sequence of ever-stranger “folk-funk” explorations.
What We Said Then: “Rush Hour …is outrageous and stunning…Rush Hour is a tribute to resilience–a sign that the lessons Howlin’ Wolf and his peers learned and taught have been neither lost nor forgotten. You’re going to need something like this to get you through the Eighties.” — Dave Marsh, RS 305 (November 29th, 1979)
Presently, in this decade, the stalwart blues funk purveyor from Homer, LA has just won grammy for best traditional blues album twice. Congratulations to Bobby on such a good long run of great albums. I look forward to seeing him take the stage, always an inspiration.
Here he is in BCI #15 talking Chitlin’ Circuit and New Orleans blues.
The L.A. Times reports that 673 tape reels of Producer Allen Toussaint have been purchased at Roadium in Los Angeles, a weekend flea market. The trove includes masters and safety copies of many 1968-1979 records at Sea-Saint Studios. After several ownership transitions following the sale of the tapes winding up in a flea market where Mike Nishita purchased them. He is brother of Money Mark and a DJ of reknown. The tapes had been feared lost after Hurricane Katrina.
I had the distinct pleasure of video interviewing Allen twice in the mid-1990’s as well as shooting a play talk interview with Earl King at Sea-Saint. Funky and full of mystique, Sea-Saint is best known for Sir Paul’s Venus and Mars, Labelle’s Lady Marmalade, Allen’s own Southern Nights, and Robert Palmer’s Sneakin’ Sally Through the Alley, but so often Toussaint could pull magical results from his regular backing band, The Meters.
Providing to New Orleans what Booker T. & The M.G.’s did to Memphis, they went on to become a funk mainstay and have had outsized influence on subsequent sounds. In addition, the Neville Brothers found a world-wide audience summarizing these triumphs with tours and records featuring songs first recorded at Sea-Saint.
Funky bassist, Runnin’ Pardner and Meterman George Porter, Jr. holds forth on bass, blues, country and how the Meters got their moniker. The early days as Art Neville and the Boys came to an abrupt ending with a game of chance, or perhaps it was all the design of Rock Hall of Fame writer-producer Allen Toussaint. Catch some funky live licks with Mike Lemmler on keyboards and stickman Terrence Houston caught live. They hold down a Monday night residency at the Maple Leaf.
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 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!
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.
Gil Scott-Heron was one of the most influential spoken-word poets of late 1960s and early 1970s. His post-beat poetry concerned a wide array of urban socio-economic, political, and racial issues. The ‘Godfather of Rap’ absorbed stylistic inspiration from Langston Hughes, Malcolm X and Huey Newton. A self-described “bluesologist” concerned with the traditions of blues and jazz music, he was born in Chicago, and grew up partly in Tennessee and the Bronx. Worldly and wordy from a very young age, he published his first volume of poetry at the age of 13. While attending Lincoln University in Pennsylvania, he started the band Black & Blues with musician/producer Brian Jackson.
The ‘revolution’ began when Heron recorded his well received debut album Small Talk at 125th and Lenox on Flying Dutchman Records in 1970. The album opened with the hip anthem “The Revolution Will Not Be Televised” which derives its name from a catchphrase used by African-American activists during the 1960s. The next year, Scott-Heron recorded Pieces of a Man, marking a shift to a funkier-sounding yet more structured album. In 1974, Scott-Heron and Jackson released their collaborative album Winter in America on Strata-East Records, which retrospectively became their most critically-acclaimed work. Winter in America delivered a combination of blues, soul and jazz with his rapping and often melismatic singing. These early works of Gil Scott-Heron were seminal to styles of music such as hip-hop, neo-soul, and contemporary jazz. http://www.westword.com/music/gil-scott-heron-a-bluesologist-cultural-anthropologist-and-black-icon-5702821