The above track Let The Left Hand Know… is from Billy Gibbons’ new solo album The Big Bad Blues, which appeared last Friday – his second after Perfectamundo from November 2015. According to the official press release, it focuses on Gibbons’ lifelong love of the blues and rock & roll…[and] features 11 tracks balancing some classic covers like “Rollin’ and Tumblin’” and “Standing Around Crying” [both by Muddy Waters], along with some of Billy’s signature new blues originals. The above tune is among the latter.
Commenting on his affection for the blues, Gibbons said, “I suspect Jimmy Reed did me in early on. The inventiveness of that high and lonesome sound remains solid and stridently strong to this day. We could go on to mention the lineup of usual suspects, Howlin’ Wolf, Muddy, all three Kings [B.B., Albert and Freddie]. The lengthy list of champions are forever carved in stone.”
While Let The Left Hand Know… is nothing we haven’t heard from Gibbons before, its nice shuffling groove and the blues harp fills make for a fun listening experience, as does the remainder of the album. Gibbons is sharing harmonica parts with blues harp player and singer-songwriter James Harman, though I don’t know who is playing the instrument on this tune.
Gibbons is supporting his new album with a 25-date tour kicking off October 13 in Riverside, IA and concluding in Los Angeles on November 18. The schedule is here.
“The Blues Is Alive And Well” features guest appearances from Mick Jagger, Keith Richards, Jeff Beck and James Bay
A Facebook post from Buddy Guy’s page I spotted earlier made my day, or I should better say my evening. The 81-year-old blues legend will release The Blues Is Alive And Well, his 18th studio album this Friday. With his late fellow artists B.B. King, Muddy Waters, Howlin’ Wolf and Junior Wells all having passed away, some may consider the title as optimistic, but when it comes to this record, the music surely is still cooking, based on the three tracks that are already out.
The album includes guest appearances by Mick Jagger, Keith Richards, Jeff Beck and James Bay, a 27-year-old English singer-songwriter and guitarist. Guy has known and been friends with Jagger, Richards and Beck for decades. While other black blues artists at times have resented that white guys took their material and oftentimes became more successful than they did, Guy has a different view. He appreciates many of these white artists, especially British blues rockers, since they helped popularize the blues among white audiences, which he feels has also benefited black artists like him.
Here’s a clip of the most recently released track from the forthcoming album. Cognac features Richards and Beck. I just love how Guy calls them out. Plus the music and his singing are awesome. Guy still has a great soulful voice!
The album was produced by Guy’s longtime collaborator Tom Hambridge, who has worked with him since his 14th studio album Skin Deep from July 2008. Like on previous records, Hambridge was also involved in the writing.
“Every time I go into the studio my hope is that I give my best and come out with something good enough to try to keep the blues alive,” Guy told music journalist and Forbes contributor Derek Scancarelli. “But that’s not the case always. I don’t even think the Stones made a hit every time they went into the studio.”Added Hambridge: “It’s an important piece of music that’s coming out. He puts his blood and sweat in this stuff. This is a statement about his life. This is everything he has.”
I surely look forward to listen to the entire album this Friday.
81-year-old Chicago blues legend shined at New York’s B.B. King Blues Club & Grill
Boy, had I been full of anticipation of this show, and Wednesday night it finally happened – Buddy Guy at B.B. King Blues Club & Grill in the heart of New York City. It was just as amazing if not even better as the first time I had seen the Chicago blues legend at New Jersey’s PNC Bank Arts Center in July 2016. Undoubtedly, one factor was the more intimate club setting where I was seated much closer to the stage. And then, of course, there was the man himself, who at age 81 still delivers the blues with a Jimi Hendrix-like intensity.
From the very beginning with the excellent opener Damn Right, I Got The Blues, Guy left no doubt why he had come to the Big Apple. As I usually do, I didn’t take any videos with my smart phone. Instead, I’m relying on YouTube clips to recreate some of the show’s highlights with the caveat that the footage was captured at different gigs. Written by Guy, Damn Right, I Got The Blues is the title track of his seventh studio album from 1991. Here’s a nice clip of the blues rocker from 2016.
Guy followed up his set’s fiery start with a 12-minute-plus version of the classic I’m A Hoochie Coochie Man combined with She’s Nineteen Years Old. Both tunes were recorded by Muddy Waters, who became a major influence on Guy after he had moved from his native Louisiana to the windy city of Chicago in 1957. The following clip from a concert earlier this month nicely illustrates the onstage persona of Guy who likes to tease his audience by cursing like a sailor. It also showcases his killer piano player Marty Sammon.
Another highlight of the set was Five Long Years, which Guy also recorded for his Damn Right, I Got The Blues album. The tune was written and first recorded by blues pianist Eddie Boyd, who scored a no. 1 hit with it on the Billboard R&B Chart in 1952. Guy’s rendition featured more hilarious cursing and a crazy solo by his guitarist Ric Jaz Hall, who mostly played rhythm but proved he can shred as well, if given the opportunity. The following clip from July 2017 nicely illustrates all of that. Check out Hall’s solo starting at about 2:25 minutes into the tune.
Yet another great moment occurred when Guy performed Skin Deep, the title track of his 14th studio album from 2008. He was joined on stage by his long-time producer Tom Hambridge who co-wrote the beautiful ballad with Guy and Gary Nicholson. I just loved Guy’s soulful singing in that tune.
Apart from singing and playing great blues tracks like the above, Guy also credited white British blues artists, especially his friend Eric Clapton, with introducing black blues artists to broader, white audiences. He also threw in a bit of Hendrix. Here’s a cool clip of a medley including Voodoo Chile and Cream’sSunshine Of Your Love.
A few words about Guy’s excellent backing musicians, The Damn Right Blues Band. In addition to Sammon and Hall, the members include Orlando Wright (bass) and Tim Awesome Austin (drums). All of these artists are veterans of the Chicago blues scene and have been touring with Guy for more than a decade.
Also, the show had an excellent opening act, The Ben Miller Band. I had never heard of these guys before, who have been around since 2005. They play a dynamite mix of blues, country and bluegrass, using homemade instruments and other unusual equipment. Among others, this includes a one-string washtub bass played by Scott Leeper who is also the band’s drummer. In addition to a standard microphone, lead vocalist and guitarist Ben Miller uses a microphone from an old telephone that creates a unique distorted sound. Rachel Ammons (violin, cello, guitar) and Bob Lewis (bass, guitar, percussion) are also part of the current line-up.
I was very intrigued by this band and plan to check them out more closely. One of the tunes they played last night was a cool cover of Black Betty. Probably the best known version of this traditional African-American work song was released in 1977 by American one-hit rock band Ram Jam.
Finally, this post wouldn’t be complete without acknowledging the sad fact that Wednesday night’s concert was one of the final shows at the B.B. King Blues Club & Grill. After 18 years, the place is closing down at the end of the month. Guy will return to headline the final show on April 29. A note “To Our Valued Patrons” stated, “As a result of escalating rent, we are being forced to close our doors at the end of April” – what a shame! It was added the club is in the process to select a new location in Manhattan, so at least there appears to be a silver lining here.
Guy’s fantastic debut could have been called ‘Left My Blues In Memphis’
When it comes to Buddy Guy, I’ve yet to hear a bad song, so I feel you pretty much can’t go wrong. After Apple Music served up Left My Blues In San Francisco as a suggestion, I said to myself, ‘sure, why not.’ Other than I Suffer With The Blues and Leave My Girl Alone, which I had previously included in my iTunes Guy playlist, I don’t recall having listened to his debut in its entirely. When I did so this morning, my first spontaneous thought was, ‘boy, not only do I dig his guitar playing, but I also like his soulful voice.’ In fact, this whole album has a Wilson Pickett/Stax feel to it. As it turns out, this wasn’t accidental.
Remarkably, by the time Guy released Left My Blues In San Francisco, he already had been a professional guitarist for more than 15 years. According to Wikipedia, Guy, who was born and raised in Louisiana, had been performing with different bands in Baton Rouge since the early 1950s. In 1957, he moved to Chicago and met Muddy Waters. Soon thereafter, he became a session guitarist for Waters and other local blues artists, such as Howlin’ Wolf, Little Walter and Sonny Boy Williamson. They were all under contract with Chess or that label’s subsidiary Checker.
Apparently, company founder Leonard Chess felt Guy’s blues guitar playing sounded like “noise.” So Chess told Guy to play R&B ballads, jazz instrumentals and soul tunes and recorded him, but none of this material was released. In fact, Left My Blues In San Francisco became the only Guy record that appeared on the Chess label. I suppose, Leonard’s attitude explains the soulful sound of the record. While it pains me to think the album probably wasn’t the one Guy would have cut had Chess given him full artistic freedom, it’s a true gem, in my opinion.
As for Leonard Chess, according to an interview Guy gave to Rolling Stone in November 2015, he eventually realized how wrong he had been about Guy. “The first thing he said was, ‘I want you to kick me in my ass.’ And I said, ‘What?’ He said, ‘Because you’ve been trying to show us this shit ever since you came here and we was too goddamn dumb to listen. So now this shit is selling and I want you to come in here — you can have your way in the studio.’ But by then I was gone.” Well, Chess had their chance and they blew it – tough luck! Time for some music.
The album kicks off with Keep It To Myself, a terrific opener that sets the soul mood for the record. The tune was written by Williamson who recorded it in 1956.
Next up: Crazy Love, another excellent song, which was written by Dixon. Guy’s take was the first recorded version of the track.
I Suffer With The Blues is one of three tunes on the album, which are credited to Guy.
Buddy’s Groove is another gem on the record. The song is credited to Gene Barge, who also produced the album and played the tenor saxophone on various songs, though not this one.
She Suits Me To A Tee is another original Guy tune. I really dig the groove and Guy’s vocal on this track.
The last song I’d like to call out is Every Girl I See, the album’s closer. The tune was co-written by Dixon and Michael M.P. Murphy.
To date, Guy has recorded sixteen additional solo albums. His most recent studio release is Born To Play Guitar, another fantastic record that appeared in July 2015. It won Guy the Grammy Award for Best Blues Album in 2016, his seventh. While Guy has been admired by many other guitar greats like Eric Clapton, Keith Richards, Jeff Beck and Carlos Santana early on, it took until the early 1990s until those Grammy awards started coming.
Today, Guy can rightly be called the last man standing from the great Chicago blues artists. I’m thrilled I’m going to see him on April 18 at B.B. King Blues Club in New York City, which will be my second time after July 2016. Given ticket prices these days, there aren’t many artists I see more than once. When I learned Guy was coming to New York, it didn’t take long to convince me.
World’s first commercially successful solid-body electric guitar continues to be popular to this day, more than 65 years after its introduction
Similar to the Fender Stratocaster and the Gibson Les Paul, which I covered in previous posts here and here, I could have called the Fender Telecaster the quintessential electric guitar. After all, that model predated the Stratocaster and the Les Paul by three years and one year, respectively. And while Paul Bigsby built the first solid-body for country and western artist Merle Travis in 1948, it was the Telecaster that became the first such electric guitar that was manufactured on a substantial scale.
But the truth is “quintessential” is largely in the eye of the beholder. I always loved the seductive shape of the Stratocaster. I also thought Mark Knopfler created such a cool signature sound with it on Sultans of Swing, Once Upon a Time In the West and other early Dire Straits classics. Ultimately, that’s why I feel the Strat is THE electric guitar and wrote about it first. On to the Telecaster.
The Telecaster was developed by inventor Leo Fender, the founder of the Fender Electric Instrument Company. He built the first prototype in the fall of 1949 and introduced it to the market in 1950 as the Fender Esquire, a solid-body with one single-coil pickup. But the Esquire was hampered by quality issues, especially around the guitar neck that easily bent, so it was only produced in limited numbers.
Fender addressed the lacking neck stability with the placement of a tross rod. He also added a second single-coil pickup to the guitar and renamed it the Fender Broadcaster. That name was very similar to Broadkaster drum sets made by Gretsch, so needed it be changed. The Broadcaster became the Telecaster in 1951, and the guitar has been sold under that brand name ever since.
The Telecaster featured several innovations and used production techniques that made manufacturing and repairing the guitar more cost-effective compared to models from Gibson and other manufacturers. Rather than constructing the Telecaster individually, Fender introduced the production of components that could easily be put together into the finished product on an assembly line.
Unlike the traditional glued in neck, the Telecaster had a “bolt-on” neck. Not only did this make production easier, but it also allowed for faster repair or replacement of the neck. Additionally, the neck on the classic Telecaster was made from a single piece of maple without a separate fingerboard.
Moreover, the bodies of the Telecaster were built with solid pieces of wood instead of being hand-carved individually. The Telecaster also featured easily accessible electronics. This was made possible through a removable control plate. In contrast, the electronics of the then-predominant hollow-body electric guitars could only be accessed through the soundholes.
Unlike the Stratocaster, which got a lukewarm initial reception from many guitarists, the Telecaster was an immediate hit. This can be explained by the guitar’s distinct properties, which according to Reverb include: “A bridge pickup tone like to no other. The definition of twang when clean. The definition of rock when dirty; Liberating simplicity. Two pickups, two knobs, six strings, no frills. It forces you to be a better player; Surprising versatility. Across three pickup positions, different tone knob positions and varying levels of gain, the Tele is capable of an unexpected number of voices.”
I think it’s mainly the guitar’s versatility, which has made the Telecaster a staple in country, electric blues, rock & roll and other music genres. Like in the case of the Stratocaster and the Les Paul, several customized versions of the Telecaster have appeared over the decades. These variants feature different pickup configurations like a humbucker in the neck position, dual humbuckers and three single-coil pickups. There is also a semi-hollow version called the Telecaster Thinline.
Now comes the part of this type of gear-focused post that excites me the most – a list of musicians who have championed the equipment.
American guitarist James Burton, who has performed with Ricky Nelson, Elvis Presley, Johnny Cash, Glen Campbell, Roy Orbison and many others, has played a Telecaster since age 13 and is considered to be the most visible Tele player in the late ’50s. Here’s a great clip of Burton performing Johnny B. Goode and Blue Suede Shoes live with Presley, playing his Paisley Red Tele.
Also known as Mr. Telecaster, English guitarist Albert Lee has played a Telecaster since 1963. Here is a cool live clip from the early ’70s of Lee performing Country Boy with British country rock band Heads Hands & Feet – holy moly!
American electric blues guitarist Albert Collins was called The Master of the Telecaster. The Fender Custom Shop offers an Albert Collins Signature Telecaster, which is based on his 1966 model featuring a humbucker pickup in the neck position. Here is a fantastic clip of Collins playoing Iceman, the title song of his tenth and final studio album released in March 1991, two and a half years prior to his untimely death from lung cancer in November 1993 at age 61.
Rolling Stones guitarist Keith Richards has used a variety of Telecasters throughout his long career. The most famous one is a ’53 Tele called Micawber. According to the Fender website, Richards got the Micawber from Eric Clapton as a present for his 27th birthday in 1970. At the time, the Stones were gearing up for Exile On Main Street. Shortly after the band’s ’72 tour, Richards replaced the single-coil pickup in the neck position with a ’50s Gibson PAF humbucker for extra bite. Here’s a clip of Richards in action with his Micawber, together with the Stones: Brown Sugar, from the 2016 concert in Havana, Cuba.
Blues guitar legend Muddy Waters played a red ’57 Telecaster. Until 2010, Fender offered a replica as part of its signature series, the Muddy Waters Telecaster. Here is a great clip of the maestro and his red Telecaster, performing I’m A King Bee, captured during ChicagoFest in 1981.
Of course, this short list of Telecaster champions would be incomplete without The Boss. Bruce Springsteen’s iconic guitar, which is pictured on the cover of the Born To Run album from 1975, is not a pure breed Telecaster. As Bobby Owsinskiexplains on his Music Production Blog, it’s actually a hybrid from at least two other guitars: a ’50s Telecaster body with what looks like a ’57 Esquire neck, which Springsteen purchased at a guitar shop in Neptune, N.J.
Before selling it to The Boss, store owner Phil Petillo removed the two additional pickups that had been added to return the guitar to its original Telecaster configuration. Over the years, Petillo made significant additional modifications requested by Springsteen, including triangular Precision Frets, a six saddle titanium bridge, as well as custom hot-wound waterproofed pickups and electronics, so the guitar could better withstand Springsteen’s marathon shows. In 2005, he retired his beloved instrument from live shows and has since played clones of it during tours. Springsteen continues to use the original for studio recordings. Here’s a clip of the mighty Born To Run, which is from a 1978 show and presumably features Springsteen’s original Telecaster hybrid. Man, watching this footage makes me want to see The Boss again!
Sources: Wikipedia; “Telecaster Buying Guide,” The Hub, March 2017; “Statocaster vs. Telecaster: The Differences That Matter,” Reverb, Nov 2016; “Interesting Mods: Keith Richards’ ‘Micawber’,” Fender website; “The Story Behind Bruce Springsteen’s Iconic Hybrid Telecaster,” Bobby Osinski, Music Production Blog; YouTube