Just picked up a good read about the troubled marriage of rock and the boob tube: “TV a-Go-Go” by Jake Austen (producer of a cable-access children’s dance show that airs in Chicago). Austen traces the roots of rock on TV back to Bo Diddley’s first (and last) appearance on the Ed Sullivan Show, on Nov. 20, 1955. Bo was told by the show’s producers to play Tennessee Ernie Ford’s hit Sixteen Tons. He later noted in his biography “Living Legend” that he deferred instead to his label, Chess Records, which was hoping to break a hit with the song Bo Diddley: “Chess tol’ me that if I’da did Sixteen Tons and not Bo Diddley, that would have been the end of my career right there.” Bo snubbed the producers and played his namesake single, which earned him a lifetime ban from America’s most popular variety show:

As Austen points out, the most remarkable thing about the video is the last 55 seconds as Bo became “intimately engaged with his guitar – a guitar with a distorted, damaged tone that sang like a human being in a voice simultaneously joyous and mournful. Diddley was rock ‘n roll’s first guitar hero.” Far more viewers watched Elvis the following year on the same show, but the King’s mild renditions of Don’t Be Cruel and Love Me Tender couldn’t match the power of Bo and band in ’55.

By the end of the decade, Dick Clark had built a financial empire around a show that served as the prototype for virtually every music-related program that followed: American Bandstand. Clark is often blamed for polluting the airwaves in the late ’50s and early ’60s with the sappy sounds of teen idols like Fabian and Frankie Avalon – a trend that benefited his Philadelphia-based business interests and cronies. But Austen notes that Bandstand gave birth to a whole slew of worthy imitators, including shows like Shindig, Hullabaloo and, starting in ’71, Soul Train. And let’s hand it to the ageless one for featuring a long list of garage bands on Bandstand and its eventual spin-off, Where the Action Is, which featured bands lip-synching at various outdoor locations (mostly beach-related). Here Music Machine mimes their hit Talk Talk at what appears to be a zoo:

Speaking of lip synching, Austen is fairly forgiving of this hoary showbiz tradition. Given the technical limitations of most Sixties’ TV studios (and outdoor locations), it was difficult to accommodate multiple bands and their equipment in one session. “If no one had lip synched there would have been no guests on those shows,” Austen points out. Many of these mimed performances serve as historical documents of artists ranging from Chuck Berry to the Rolling Stones. Austen also notes that some of the better artists – like James Brown and, later, Michael Jackson – turned lip synching into an art form. He singles out Brown’s dazzling footwork during a solo take on Papa’s Got A Brand New Bag (seen here) – a mic-less performance on Shindig that enabled the show’s producers to “create a powerful, original visual statement instead of focusing on being ethnographic rockumentarians capturing a ‘real’ live performance.”

Even some of the band-less moments have their unique pleasures… Those of you who have a taste for the truly bizarre will enjoy this Bandstand clip from 1966 as Don Van Vliet (aka Captain Beefheart) calls in to answer some questions and introduce his cover of the Willie Dixon tune Diddy Wah Diddy (“Who thought of the name of the group?” “I thought of the Captain Beefheart and the rest of the group thought of The Magic Band”).

American Bandstand also should be credited for spawning countless regional music shows, like The !!!! Beat (filmed in Nashville, broadcast in Dallas, and featured in our recent post on Gatemouth Brown), The Buddy Deane Show in Baltimore (inspiration for John Waters’ movie and Broadway musical Hairspray), and Upbeat in Cleveland. Austen describes Cleveland as “one of the great TV rock towns,” with Upbeat serving as a first-rate example of regional rock ‘n soul programming. I remember being captivated by the show as a kid and even admiring Upbeat’s slick and cheery host, Don Webster. And if there’s better footage from the show than this live performance of Otis Redding and band tearing through Can’t Turn You Loose, you need to send it my way. (Historical footnote: Redding’s ’67 appearance on Upbeat occurred the day before the plane crash that took his life.)

Given its many studios and vibrant music scene, LA gave rise to the most Bandstand-like programs in the country – Shivaree, Shebang and Groovy, to name a few. Here’s sort of a hybrid performance from Shivaree, with The Byrds singing live over a prerecorded backing track. This segment was hosted by Frankie Avalon and broadcast on May 8, 1965, only three days after the band’s TV debut. Interesting tidbit from “mcd220″ for you Byrdmaniacs out there: ‘If you listen carefully, you can hear Gene Clark’s baritone vocal part in the second chorus during ‘In the jingle jangle morning I’ll come following you.’ This part was NOT on the record; reason being is that Gene’s vocals were on the same track as Leon Russell’s electric piano, which was taken out of the mix.”

If you’ve got about eight minutes, you’ll want to check out this treasure trove of soul music from Shindig – great footage (both live and otherwise) of James Brown, Tina Turner and Booker T and the MGs:

Next up: The agony/ecstasy of psychedelic rock on TV.

As we approach the end of 2011, some of you might be looking at various ways to shake things up in the coming year. Maybe take a few dance classes, learn how to cook with a wood-burning stove, turn that toolshed into a bitchin’ mancave, recycle that oxy you found in grandpa’s bathroom…

I tend to be a little more realistic. It’s hard enough dealing with the day-to-day challenges of making ends meet with a dwindling paycheck. Why complicate matters by trying to reinvent yourself? The craziest thing I’ve done in recent years is start this blog (which I view as the cornerstone of RCR’s burgeoning virtual empire… and my wife sees as “the thing that keeps you from fixing this goddam sink”). That slight reinvention should do me for the entire decade – or at least until End of Days (see #10).

This year, I prefer to simply express my gratitude for all the things that somehow went well in 2011. Let’s face it, plenty of things sure as shit went south. We lost Hubert Sumlin, Howard Tate, Dobie Gray, Amy Winehouse, Cesaria Evora, Manuel Galban, Doyle Bramhall, Gil Scott-Heron, Bert Jansch, Willie “Big Eyes” Smith, Clarence Clemons, Cornell Dupree, Pinetop Perkins, Melvin Sparks, Big Jack Johnson, Eddie Kirkland… and, in a way, Etta James, who’s in the final stages of leukemia and also suffers from dementia. Also, Fear Factor came back on the air – an event that surely was documented in Revelations. And Rick Perry’s still in the hunt. But let’s set aside those tragedies for now and focus instead on some positives from a year that needed every one of them.

1. 10 Years of Daptone Records. It’s reassuring to know that soul music – made the way god and James Brown intended – is alive and well in Brooklyn. But that’s just part of the story at Daptone. Do yourself a favor and pick up one of the label’s outstanding samplers. You’ll find everything from Afro-beat (Antibalas) to a capella gospel (“Como Now: The Voices of Panola Co., Mississippi”). Simply put, Daptone is an American treasure. Here’s to many more decades of fine, funky soul… and a whole lot more. Let’s celebrate the first 10 years with the queen of Daptone soul, Sharon Jones: Be Easy/Sharon Jones and the Dap-Kings
2. More Live Music on TV. Maybe I’m deluded, but it seems like I’m coming across more first-rate music programming on cable (not on the main broadcast networks, unless you count your favorite band’s performance on SNL, Letterman or Jimmy Fallon – and even then, you have to wade through a lot of crap to get there). In the course of a few days, I watched two great shows on Palladia – one featuring Radiohead (The King of Limbs: Live from the Basement) and a rebroadcast of My Morning Jacket on VH1 Storytellers. And although it only includes a few live performances, Talihina Sky: The Story of Kings of Leon was easily one of the most powerful and captivating rock docs I’ve ever seen (video below). Keep ‘em coming, cable gods!
3. The Return of Gillian Welch. It took Welch eight years to deliver a follow-up to her previous album, “Soul Journey.” But “The Harrow & The Harvest” was well worth the wait. Tunes like Scarlet Town and The Way It Goes capture Welch and her longtime musical partner David Rawlings at the top of their game – combining heavenly harmonies with Rawlings’ predictably stunning fretwork. I had the great pleasure of seeing the duo on tour in support of the new album… noticed a lot of local pickers watching Rawlings’ every move. But my favorite moment found him on banjo and harmonica as Welch hamboned and clogged her way through Six White Horses (video below). It seemed like a pure expression of joy, without pretense or artifice. In other words, many galaxies away from modern country.
4. The Black Keys Bust Loose. They started the year on a roll, and now they’ve conquered the world with their new album “El Camino.” As Brian van der Brug of the LA Times put it, “After something like 30-odd years of listeners’ declaring that rock had run out of steam, there’s something wonderfully weird about a drums-and-guitar duo riding swaggering blues-rock to the top, and it sounds even better.” Basically, it’s what happens when two unassuming and non-ironic dudes from Akron reinvent blues, soul, garage rock and a few other vital strains of American music, tour relentlessly, and spend countless hours honing their craft. I know, pouring Crystal over strippers sounds a lot more glamorous, but for these guys, it would just get in the way of the work. Money Maker/The Black Keys
5. Music Streaming Services Become More Competitive. And by competitive, I mean “free.” Actually, I’m not sure if this is a positive or a negative. Earlier this year, RCR teamed up with the MOG Music Network, which gave me access to their massive digital library. It’s pretty cool, but in some ways overwhelming. If you have 16 million+ songs at your fingertips, where exactly do you start? Playlists and Pandora-like streaming helps, but I get a little cranky when a song by Steve Earle is followed by American Pie or some other dreck. Fact is, they should just pay me to program their service (then they’d really be out of business!).
6. The Miami Heat Tanks. I know, I shouldn’t take pleasure in another team’s demise. But they sort of asked for it, didn’t they? I don’t even consider myself a LeBron hater. After all, he keeps coming back to our fair city to dole out money to various charities and play some hoops with his buddies. But it would’ve really pissed me off if the billion-dollar trio had realized their goal in Year One. The King will eventually get his Ring, but let him wait a few more years… builds character.
7. I Finally Visit Europe. You didn’t think I’d leave myself out of this, did you? I should be embarrassed to admit that at fifty-(cough) years, I’d never made it to Europe. But I fixed that in June when I flew to Berlin with my wife (hobbled by a knee injury) and daughter. We spent a few days in Chemnitz, a former car manufacturing center that was practically destroyed by bombs in WWII and then partially rebuilt under Communist rule (the bartender at the hotel yearned for the good old days when the Russians would show up with wads of cash). Then we survived a wild night in Berlin with our friends at iCrates before heading over to Paris, where we joined throngs of other tourists staring at the Notre Dame Cathedral, the gardens of Versailles, the Eiffel Tower, the Arch de Triumph… Glad we went, not sure we’ll be back any time soon. Aaah, the ennui…
8. I Got Hooked on Justified. For this, I blame my sister Mary. It seems to me that few shows capture the nuances of life below the Mason-Dixon Line better than Justified. There’s nothing even remotely hip about the show – other than maybe the theme song by Gangstagrass with T.O.N.E.-Z: Long Hard Times to Come Just solid storylines with some fine acting (including a well-deserved Emmy for Margo Martindale, who scared the shit out of me as Mags Bennett, the matriarch of a very twisted crime family from Harlan County). And it’s all served up with a healthy dose of backwoods funk and filth. Still time to jump on board this crazy train… Season 3 starts on January 17 (FX).
9. Commodity Prices Rise as Dollar Weakens. Actually, I have no idea what this is all about… Just thought it was time for RCR to tackle one of the more important financial issues facing the nation. Done.
10. Last Full Year Before End Times. The 5,125-year Great Cycle of the Ancient Mayan Calendar ends on winter solstice, December 21, 2012 (at 11:11 a.m., to be precise). What does this mean? Is The Rapture near, or am I confusing the Mayans with a religious cult in Idaho? I think the best we can hope for is that we reconnect with the wisdom of nature, and Bravo cancels the next season of The Real Housewives of New Jersey.

I’d be remiss if I didn’t thank my family for sticking with me as I spend far too much time on dubious missives like this one. After all, what’s more important than the support of your loved ones? Even Charles Manson hears from his family this time of year… in the “extended” sense of the word, of course.

Kings of Leon perform Talihina Sky – after a solid minute of bitching…

Gillian Welch and David Rawlings at the 2011 Newport Folk Festival…

Writing about dead blues guys is a fairly thankless pursuit. I’ll do a post on someone like Pee Wee Crayton and hear crickets. And just when I’m ready to fold up my tent and leave this virtual campsite for good, in walks Amanda Zelina – better known through her stage persona, The Coppertone.

My introduction to The Coppertone was when she weighed in on our post on cover songs (“Don’t Play Me No Stormy Friggin’ Monday”). I was intrigued by the name, so I checked out her website and signed on as a fan right away. Since then, we’ve shared a few comments and recent musical finds via Facebook and Twitter. For example, Amanda turned us on to Alabama Shakes and Hanni El Khatib, and I think we got her listening to some Latin boogaloo.

I also recognized a kindred spirit when I came across this quote: “I was not about to be another one of those ‘technical’ blues players. In my opinion 90 percent of all contemporary blues players while I was growing up were white guys in khakis playing shitty renditions of The Thrill is Gone and Stevie Ray Vaughan’s Pride and Joy. I was not about to attempt a career doing that shit. Fuck no.” Amen, sister… No wonder she liked our piece on bands that keep flogging the same old warhorses!

But mainly what we dig about The Coppertone – other than her obvious good looks and taste – is the otherworldly sound that comes out of her. Sort of a mix of primordial blues howl and ballsy, barroom indie rock (not the “too sensitive to live” variety). First of all, she plays some damn nasty guitar – not at a Link Wray level of filth, but well on its way. And that voice… where the hell did that come from? It’s got plenty of rock ‘n roll attitude but just enough blues misery to make you wonder where all the bodies are buried. In other words, right up RCR’s dark, crime-ridden alley: Black Water

Let’s check in with Amanda so she can ‘splain herself…

T.Q.: You’re from King City, Ontario – a well-scrubbed community just north of Toronto… Not exactly a hotbed of roots music (hockey, maybe). What got you started down this road to ruination?

A.Z.: I am a late bloomer with music, so even though I grew up around my father who would saturate my ears with tunes, I never really fully found myself and surrendered to music until I moved away to California to learn guitar and got my ass kicked by John Lee… That’s when the real “ruination” begun (haha). What sparked it all at the very start? I’d say I owe a lot to the country… growing up with no one around who I spoke to. It’s an odd thing for people to grasp even now, the fact that I enjoy being close enough to the city (Toronto is about 40 mins away) but able to seclude myself out here. I think growing up with that molded who I became creatively. It really pushed me to fight boredom and as a result I have this very driven and strong-willed discipline when it comes to songwriting, playing guitar, singing etc. It instilled this sense of urgency in me at a very young age. I thought I had to learn as much as I could as fast as possible to get out of there and do something great. When I found a guitar kickin’ around the house at 18 it was all over… or should I say, all begun.

Dan tells me you’re a big Junior Kimbrough fan, and I’ve heard you wax poetic about the usual culprits, like John Lee Hooker. What are some of your other influences, both blues-based and otherwise?

Yea my favorites are definitely Junior and John. My other loves would be Elmore James, Wanda Jackson, Mississippi Fred McDowell, ZZ Top, BB King, Robert Johnson, Jack White, Anne Peebles, Al Green, Dan Auerbach solo as well as The Black Keys, The Stooges, David Bowie, Chuck Berry, Lightnin’ Hopkins, Ray Charles, Muddy Waters, Little Walter, FREE, Taj Mahal, Seasick Steve, Elvis Costello, Tom Waits, SRV, George Thorogood, Otis Redding, The Temptations, Wilson Pickett, Sam Coffey, Lucinda Williams, Loretta Lynn etc. etc.

What are you locked into right now? I need a shot of something new and awesome.

Oh! I love doing this… I’m such a sucker for tipping off people on new tunes! Also for receiving them… thanks to your posts I’ve had quite a year of refreshing new material. Right now, I’m really into a few records in particular: Gozalo Bugalu Tropical Vol. 1 // Michael Rault, Ma-ME-O // Michael Kiwanuka, Tell Me a Tale // Daniel Romano, Sleep Beneath the Willow // The Dinner Belles, West Simcoe County // Sam Coffey and the Iron Lungs (self-titled) // Mariachi El Bronx, Mariachi El Bronx (II).

Thanks – already digging into Kiwanuka: Tell Me a Tale… I’ll pounce on that boogaloo collection next! I’ve been following you on Twitter, and you’re an obvious foodie (lots of iPhone shots of some sweet-looking meals). Kind of pisses me off, really. Do you have a food wrangler as part of your crew? And what are a few of your favorite eateries/dishes? 

Hahahaha, I am such a foodie! One of my goals is to be featured in some way on the Food Network. Luckily with touring I’ve had the opportunity to scout out and try some gems. I also have a lot of friends who are musicians and fellow foodies who point me in the right direction. My favorite cuisines would have to be Mexican (I live for great guac), Japanese, Vietnamese, and the odd Italian in there somewhere. To break it down here is a list of some of my favorite spots:

Ciccio pizza: Terroni

1) Terroni, Queen Street in Toronto… This place is unreal. I mainly always get their Mezzo e Mezzo platter, which is an antipasto plate. I can’t really eat a lot of lactose, but you only live once and I like splurging on quality. If you ever get a chance and are in town, go there – start with the Mezzo e Mezzo and a glass of Italian red… make your way to a mouth-watering main like their thin-crusted traditional pizzas… I love the Ciccio: folded pizza with prosciutto di parma, arugula, fresh tomatoes, fior di latte, served cold. Finish with their warm flourless chocolate cake… perfection! They also have this beautiful patio in the back for the summertime. I swear it’s like you’re transported right to Florence. Sometimes I’ll go and order a Spagiatto – translation: a mistake (a fav summertime drink of mine: Prosecco, Vermouth, Campari and a blood orange) – read a book and kick my feet up.

2) Golden Turtle, Ossington in Toronto … They kill it. It’s super cheap and super cramped all the time in there which adds to the dining pleasure.

3) The Merchant Tap House in Kingston Ontario. I went there to play a show and we got a free meal, which already makes the food taste better. I ordered this grilled tiger shrimp salad that came with chipotle seasoned potato wedges and had an avocado vinaigrette dressing. I swear to god I haven’t had a better salad in my life.

4) The Gratitude Cafe, Berkley California. I came across this gem while helping my sister move to Oakland. They only serve raw vegan food, gluten free or veggie dishes… which at first glance could make some people squeamish. But you wouldn’t miss the meat or lactose one bit. My favorite dish is called I Am Fortified (yes, if you haven’t got it by now the whole cafe is one big self-affirmation). It consists of sauteed seasonal vegetables, steamed Quinoa or local brown rice, topped with a choice of sesame-ginger, tahini-garlic or Thai almond sauce.

Coconut mango salsa salmon: The Royal

5) The Royal, Nelson B.C. We were playing on tour recently in the gorgeous mountains of Nelson and came across a menu that blew my mind. I got the coconut mango salsa salmon accompanied by a little tower of wild/basmati rice. Jesus spoke to me in my mouth that evening… Amen.

I could go on and on with this list… honorable mentions include the pineapple shrimp quesadilla at Amigos in Saskatoon.

The road can get a little boring… What are you reading to help you get through those long drives across Ontario?

This time around I brought a copy of The Prophet by Kahlil Gibran. It’s a short and poetic read and I have honestly read it hundreds of times. There is something about it that grounds me, so whenever I hit the road and become transient I make sure to grab it. Also, I’ve been known to (and been made fun of) for bringing along books on marketing or advertising. I have no clue why but I LOVE that stuff. Also, self-improvement books (haha) pseudo spiritual/psychological reads. I find them fascinating. I grew up with a very spiritual mom and a psychiatrist as a dad so I have always been drawn to finding that middle ground. Learning about body language, the power of thoughts and intentions, communication etc. is really rewarding to me.

You’re into vintage sounds and the kind of equipment that can get you there. Tell all our gearheads out there what you’re playing with (and through)…

Oooooo okay! Well… my primary setup for the past two years has been my 50th Anniversary gold Airline run through a Fender twin using a Fulltone Soul-Bender for my fuzz. That trio is basically my tone. I also love my 1482 Silvertone Sears amp… the trem on that thing is ridiculous. Most recently (thanks to Dan) I picked up an old Shin-ei Fuzz Companion that rules. I also use an old Electro-Harmonix Memory Man for my delay.

Seems like you’re about ready to bust loose… What’s it going to take? Anything on the horizon you can share with us?

Haha well thanks! Your guess is as good as mine. I’m a pretty firm believer in the old-school mentality of you reap what you sow (if you have talent and half a brain). That being said I’ve been putting myself to the grind for the past few years and am starting to finally see the slow and steady growth, which is amazing. The new year is really exciting for me… there’s a lot to look forward to. First on the map is going into the studio and recording a new full-length, hopefully at the end of January. I know come March we are headed to SXSW, which is pretty awesome. We’ve got a handful of festivals to nail and really just aiming to play as much as humanly possible. I love traveling and meeting new people, winning over new crowds. My goal for 2012 is to record a solid record and tour the hell out of it… and hopefully if I have anything to do with it, find some killer eats along the way.

Any plans on bringing your tough little band to NE Ohio??

I sure as hell hope so.

Test drive The Coppertone’s four-song EP, “Hymns for the Hollow,” at the coppertone.com, or buy it below. 

The Coppertone on video… Just in case you were wondering if Amanda could deliver the goods live (“Matthew” tagged this on the end of a comment below; I liked it so much I moved it up here):

Here’s a rockin’ little number from “Hymns”:

And here Amanda talks about her previous album, “Hidden Dreams” (this clip is from the Wood and Wires Video Series):

Hard to believe, but it’s time for RCR’s 3^rd annual Holiday Song Roundup (for those of you who need to catch up, pour yourself a little nog and ride these yule logs: Vol. 1, Vol. 2).

I should warn you up front that if you’re looking for the usual holiday-flavored confections by the likes of Michael Bolton, Susan Boyle and Sting (or Sphincter, as my bro-in-law calls him), you’ve come to the wrong place. We spend a lot of time at this site dissecting songs about drinking, cheating, murder and prison. We like our Christmas songs too – as long as they’re a short walk from John Lee Hooker or Big Mama Thornton. Save Amy Grant for the in-laws (and don’t get me started on that holly-jolly hairball Burle Ives).

We’ll kick things off with the Guru of Hoodoo, Dr. John, and one of our favorite albums: “Dr. John Plays Mac Rebennack.” This outing from 1981 (accompanied by a second album released in ’83, “The Brightest Smile in Town”) captured the only solo sessions Dr. John ever recorded on piano. We covered those sessions in this post but neglected to feature Mac’s spirited take on Silent Night. It’s a keeper – which is probably why it showed up on the initial release. By the way, RCR is looking forward to Dr. John’s latest project, produced and recorded by nephew Dan at his Easy Eye Studio in Nashville. If their performance together at this year’s Bonnaroo Music Festival was any indication, it should be another keeper. Silent Night/Dr. John

A lot of us aren’t very merry this Christmas. Times are hard. Jobs are scarce. And if you’ve got a job, you’re probably earning the same or less than you did a few years ago. Of course I’m speaking to those of you in the “99%” camp (I think we chased off our few 1% readers several posts ago). So if you don’t have any cash to spend on gifties and just aren’t in the mood for the usual holiday claptrap, you’ll probably appreciate this hard-bitten alternative from The Staple Singers, released on the Stax label in 1970. “Too busy fighting wars, trying to make it to Mars…” Hey, times were tough back then too, but at least we had enough money in the federal budget to consider space travel! Who Took The Merry Out Of Christmas/The Staple Singers

Am I the only one bothered by the fact that many of our most treasured holiday songs were recorded in the balmy surroundings of Los Angeles? Think about it… Bing Crosby probably played a round of golf and had a couple of cocktails by the pool before laying down White Christmas in an air-conditioned studio. L.A. also served as the backdrop for the holiday classic Merry Christmas Baby by Johnny Moore’s Three Blazers, with the great Charles Brown on vocals and piano. Guitarist Moore tried several times to recreate the success of that number – even recruiting Brown soundalike Frankie Ervin for this blatant rip-off recorded in November ’55 (just in time for the holiday season). Who cares? I’ll take this over Michael Bublé’s Christmas any time of year. Christmas Eve Baby/Johnny Moore’s Three Blazers

Here’s another gem from the West Coast – this one by R&B pianist, bandleader and arranger Lloyd Glenn. The former Texan played on T-Bone Walker’s signature tune, Stormy Monday Blues, and contributed to some of B.B. King’s best recordings from the ‘60s. Sleigh Ride appears on the B side of a ’54 single on Hollywood Records. The A side? Merry Christmas Baby with Charles Brown. Which, of course, makes this little slab of vinyl essential for any desert-island jukebox (and required listening for all you holiday hipsters out there)… Sleigh Ride/Lloyd Glenn

There’s hip, and then there’s ahead of your time, like Rahsaan Roland Kirk. The Columbus, Ohio, native stunned audiences in the ‘50s by playing several horns at once – often using some fairly unconventional techniques (nose flute?). And he eventually perfected a “circular breathing” method that enabled him to play a flurry of notes (or even a single note) for long stretches of time without having to take a breath. Gimmicks aside, Kirk was a bold player with a wide-ranging style – sometimes lyrical, often searching and “outside.” You can hear it all in this stunning remake of an old Christmas favorite. Kind of gives new meaning to the phrase “star of wonder.” We Free Kings/Rahsaan Roland Kirk

Here’s a band that never registered on my “give a shit” meter… that is, until I came across this little Christmas cut-and-paste that also features fellow Canuck Sarah McLachlan. It didn’t make me change my mind about the rest of the Barenaked Ladies catalog. But apparently the band had some fairly serious musical chops to go along with its reputation as the nudge-winking blowhards of the ‘90s. I’ll give them 4 stars for coming up with this well-crafted and fairly swingin’ version of two classic carols that should’ve been jammed together a long time ago. And we’ll throw in another star for McLachlan, who typically spends the holidays ripping my guts out with that damn ASPCA commercial. God Rest Ye Merry Gentlemen/We Three Kings/Barenaked Ladies & Sarah McLachlan

Big Jack Johnson (not to be confused with surfer-dude Jack Johnson or the famous boxer) was a master of the southern roadhouse blues tradition – that raw, earthy, greasy sound that found a home on the Fat Possum label in the early ‘90s. The guitarist and native of Lambert, Mississippi, teamed up with harp player Frank Frost and drummer Sam Carr in 1962 to form The Jelly Roll Kings (who also performed as The Nighthawks – not to be confused with the D.C.-based blues band). We featured the Frost standout My Back Scratcher in this post. Johnson eventually struck out on his own with his band the Oilers, and can be seen performing with Samuel L. Jackson in the movie Black Snake Moan. Johnson passed away in March, so consider this tune a holiday-flavored tribute to another fine bluesman who left us too soon: Jingle Bell Boogie/Big Jack Johnson

Any of you bother with New Year’s resolutions? You know, drink less, exercise more, spend less time blogging, give up Twitter… I’m considering all of those, but I’ll probably end up with another lame, vague promise to “be a better person.” The fact is, I’m fairly boring without the occasional drink or fascinating nugget that I find online. And my gym doesn’t have a bar or wifi, so I’m kind of screwed there. So I’ll just hang on to the same vices that helped me fend off a nervous breakdown in 2011 and all the other years I’ve spent in semi-adulthood. Which brings us to our last number, by Otis Redding and Carla Thomas. “Baby let’s make promises that we can keep…” Now there’s a resolution that I can wrap my head around! New Year’s Resolution/Otis Redding & Carla Thomas

Man, what a rough month… R.I.P., Hubert Sumlin (seen here with the Wolf)…

R.I.P., Howard Tate…

R.I.P., Dobie Gray…

Clarence "Gatemouth" Brown

Rolling Stone recently came up with another list of the “100 Greatest Guitarists of All Time.” The new list was compiled by “a panel of top guitarists and other experts” – including RCR supporter Dan Auerbach of The Black Keys, Steve Cropper, Dave Davies of The Kinks, Eddie Van Halen, James Burton, Carlos Santana, rock writer Peter Guralnick, RS contributing editor Anthony DeCurtis, and many others. It follows up on a previous list assembled in 2003 by the magazine’s senior writer, David Fricke.

Both lists share some obvious choices – including the consensus #1 pick, Jimi Hendrix. And you don’t have to head too far down either list to find Eric Clapton, B.B. King, Jimmy Page, Duane Allman and Jeff Beck, to name a few perennial favorites. But once you get past the first 20 or so picks, things get far more debatable and, in a few cases, downright puzzling.

Now I’ve never placed much value on “best of” lists, the Grammys, CMA Awards, blues competitions, battles of the bands, etc. etc. To me, ranking artists seems like a fairly useless and highly subjective exercise (ranking athletes, no problem – stats don’t lie). But if someone else is doing the ranking, I have every right to throw stones, don’t I?

I have three major problems with the new list (which made me want to call Dan and bitch, but he probably deserves some credit for Clarence White showing up at #52). My concerns are as follows:

1. No Robert Quine (#80 on Fricke’s list). My main problem here is that Lou Reed, not exactly an awe-inspiring stringbender (important in other respects, but not for his fretwork), shows up at #81. Keep in mind Reed, who had practically given up playing guitar, hired Rob back in ’82 to play on his critically acclaimed album “The Blue Mask.” And Rob goaded his boss into playing more guitar – with Reed quickly assuming a supporting role to his far-superior hired hand. After battling through two more albums and several tours with Reed, Rob went on to contribute to seminal recordings by Tom Waits (“Rain Dogs”), Marianne Faithfull (“Strange Weather”) and Matthew Sweet (“Girlfriend”), among others. For further evidence of this injustice, check out our Quine posts here and here.
2. No Danny Gatton (#63 on Fricke’s list). This is inexcusable. I’ve already made the case here that Gatton was simply the most amazing guitarist I’ve ever witnessed. Read it (and listen to the samples)… If you still don’t mind that John Frusciante (ex-Red Hot Chili Peppers) is taking a spot away from Gatton, then click here to exit site.
3. No Clarence “Gatemouth” Brown (not on either list).

Unfortunately, this final indignity is just one of several heaped on Gatemouth both during and after his time on earth. Maybe it’s time to set the record straight (yeah, that’ll happen!) on one of the most effortlessly soulful and satisfying pickers of all time.

But first, another one of our “bio briefs” (this stuff is readily available elsewhere… no need for me to plagiarize): Born in Vinton, Louisiana – April 18, 1924… quickly moved to Orange, Texas…  learned to play fiddle from his multi-instrumentalist father… dubbed “Gatemouth” by a teacher, who claimed he had a voice like a gate (?)… played his first professional gigs as a drummer (with William H. Bimbo and His Brownskin Models, which belongs in the Band Name Hall of Fame)… switched to guitar when he was blown away by the great Texan T-Bone Walker in San Antonio… sat in with T-Bone’s band at a club in Houston – an impromptu performance that earned him a record deal with Don Robey, owner of the Peacock label. According to Gatemouth, he improvised this next tune on the spot including the opening line: “My name is Gatemouth Brown, just got in your town. If you don’t like my style, I will not hang around.” Gatemouth Boogie

Well, Gatemouth hung around for the next 48 years, recording for a number of labels and taking his distinctive brand of what he liked to call “American Music” (he hated the blues moniker) around the world several times.

I was first exposed to Gatemouth’s music during a trip to Austin in 1980, and I’ve been a fan ever since. In performance he was a revelation – playing fluid single-note runs that he’d punctuate with punchy chords that sounded like a full horn section (a style he reportedly landed on when he couldn’t afford to tour with horns). And those long, talon-like fingers – not a pick in sight – that would barely move as he burned through hyperactive showstoppers like Pressure Cooker and Flippin’ Out. He also played harmonica and was an exceptional fiddler, even contributing to the groundbreaking and Grammy-winning collaboration “Talking Timbuktu” with Ry Cooder and Ali Farka Toure: Ai Du

But Gatemouth’s greatest legacy remains the red-hot sides he recorded for Don Robey from 1947 to 1960. Much like fellow guitar shredder Pee Wee Crayton, Gatemouth came up with his own take on the elegant stylings of his mentor T-Bone – tougher, more visceral and far closer to the nascent sound of rock ‘n roll: Ain’t That Dandy

Here’s a rare blues fiddle workout he recorded in 1959 during one of his last sessions for Peacock: Just Before Dawn

The Peacock recordings alone should earn Gatemouth a spot on the “top 100” list. But his career took a number of interesting twists and turns over the next five decades. Those of you of a certain age might remember his legendary duels with country picker Roy Clark on the hit TV show “Hee Haw” (and the fine album “Makin’ Music,” an out-of-print treasure). And he asserted his dominance over a small army of contemporary blues wankers with several albums he recorded for the Rounder label in the ‘80s. Here’s a blistering cover of an Albert Collins original from Gatemouth’s 1981 Rounder debut and comeback of sorts, “Alright Again!” Frosty

One of my favorite latter-day Gatemouth releases was a Texas swing-flavored session from 1975, “Blackjack.” The album captures Gatemouth at his best, moving seamlessly from cajun fiddle stomps to fiery swing tunes that feature some mind-boggling interplay between Gate and pedal steel guitarist Don Buzzard. I especially like the title cut, which borrows heavily from a soul-jazz classic by Kenny Burrell but ends up as pure American music, Gatemouth-style: Blackjack

A few of Gatemouth’s final recordings lapse into some fairly listless and formulaic schtick (including one of those dreaded “guest artist” outings that somehow always involve Eric Clapton), but he’d long ago established his reputation as a true original and roots-music legend.

Gatemouth’s final years were difficult. Although he fought lung cancer and heart disease (he smoked for many years), he ultimately was a casualty of Hurricane Katrina. His home in Slidell, Louisiana, was destroyed by the storm – and even though he beat a retreat to his brother’s house in the familiar surroundings of Orange, Texas, he never recovered from the debacle.

“He was completely devastated,” said Rick Cady, Brown’s booking agent (AP story). “I’m sure he was heartbroken, both literally and figuratively. He evacuated successfully before the hurricane hit, but I’m sure it weighed heavily on his soul.”

Gatemouth passed away in Orange on September 10, 2005, at the age of 81. At least he didn’t have to live through another snubbing by the list-makers at Rolling Stone.

Gatemouth doin’ the Okie Dokie Stomp – live on “The !!!! Beat” TV show (Dallas), 1966.

From the same show – Gatemouth and Freddie King doing a short version of Funky Mama…

Here’s Gatemouth throwing down on fiddle, circa 1990… Nice footage of black cowboys too. I think Gate’s prowess on fiddle – not to mention his eclecticism – actually worked against his legacy as a guitarist. Pisses people off when someone’s that good on two instruments and can cover so many different styles.