Year: 2006
Time: 61:50
Size: 141,7 MB
Label: 7 Arts Entertainment
Styles: Blues/Electric Blues
Art: Front
Tracks Listing:
1. Keep Me In Trouble (My Eyes) - 4:24
2. Can't Stop Lovin' - 4:36
3. Key To The Highway - 3:48
4. The Seventh Son - 3:30
5. Broken Heart - 5:07
6. Too Much Fun - 7:03
7. Bon Ton Rouley - 6:13
8. Rock Me Baby - 5:27
9. Drifting Blues - 6:50
10. Crazy For My Baby - 4:19
11. Goodbye Baby - 5:23
12. Dust My Broom - 5:03
It was 1965 and half past nine outside the Barn in Indianapolis and Jerry Lee was still a no show. Downstairs the Shadows were arranging the last bit of sound equipment and testing microphones before what we perceived a monumental gig – playing opposite the true King of Rock & Roll. Just above and slightly bending under the weight of a thousand plus teenagers I could hear shoes scuff and drag along the sagging wooden floor. Suddenly, someone screams, “He’s here, Jerry Lee’s here.” It seemed half the house makes an impromptu dash towards the side door to watch this pale white figure escape the stylish sedan.Young girls beg for autographs as boyfriends sneer from afar. Jerry didn’t disappoint or satisfy his legion of followers offering a few hasty slashes across promo pictures and scraps of paper.By the time Jerry Lee finds sanctuary we’d already started booming away Lonnie Mack covers; “Wham, Memphis, Susie Q” and the rest. Within ten minutes the march begins and we disappear under the weight of the deafening sound. Jerry Lee kicks his platoon in order and the rhythmic stomping begins. The heavy banging of shoes clocking beats one and three nearly crushes the floor of the old structure. Every five or six minutes there’d be a brief pause then the pounding would resume. So went the night. As for the Shadows – we didn’t stand a chance.Jerry Lee was the polar opposite of Elvis. There was nothing pretty about him. I’d be like comparing the Rolling Stones to the Beatles. What Lee possessed the rest of the pretty boys didn’t was a maniacal sense of urgency and clear and present danger in presentation and playing. For me it was the piano styling. The boogie-woogie was there but played as straight eights – good chunks of country blues and plenty of that Southern revival sound. The evening would play over and over in my dreams.
By the mid to late sixties I found myself onstage with Chuck Berry in front of ten thousand reverent fans at the Los Angeles Coliseum recreating Jerry Lee’s hard-hitting piano rhythms. Chuck banged out the favorites, duck walked and rocked with great ferocity. I played as hard as I could on an imported upright piano and smiled broadly from low A to top E.In 1983, I joined the Hawks backing rebel rouser Ronnie Hawkins. That band with Bill Dillon, Steve Hogg, Robin Hawkins and Dave Lewis had Great Spirit and solid connection with the past. This was during the Hawk’s eating and sleeping phase. We played six nights a week in rock houses in Nashville and Little Rock. Every night the Hawk would proclaim the band the best he’d had since Robbie and Levon strayed north.Here we are in 2003 and I’ve paired down my dream band - the Saturday Nite Fish Fry to the rhythm section and allowed it to feast on it’s own vices. A steady Friday night gig at RD’s Barbeque & Blues in Toronto helped the four-piece find a name, conscience, distinct personality, and new repertoire. The sound is classic blues with a bit of New Orleans and Southern rock sprinkled on top for seasoning. The material for our first session – ‘Too Much Fun’ spans the history of an idiom rich with songwriters. There are no band originals only words and melodies borrowed from the saints of the blues.
Too Much Fun
Комментариев нет:
Отправить комментарий