Chicago Blues: Al Stone Chicago to Jacksonville by Gatorman

Al Stone

There are artists and then there is Al Stone. Al is a true blue blues artist. He can hold his own with any top name blues/southern rock artist out there today. He has the stuff plain and simple. I met Al Stone while watching a live stream of a blues jam. Al was in the chat room. When I identified myself as a blues blogger he asked if I could listen to his CD. I said OK. I did not expect much, but man oh man, I was mistaken. I was totally blown away.  Mr. Stone is a Chicagoan who now resides in the land of the gator Florida. I am looking out my window while writing this and Al is one lucky man for it is wintertime in Chicago and the snow is falling down. (song hmmmmm)His Chicago roots are very evident in his music and it also reflects his southern rock location. Al is also a genuinely good natured individual.

How did you come to the music world?

With dreams of a new Cadillac good whiskey and bad women. OK that was just a joke.   Every one from my Mother and my three older sisters play music, and I was the youngest , when I was about 12 years old, my sisters had an all girl band called the Diamond Lenz. They toured the Midwest, and I was there roadie.

If it wasn’t music where would you be?
 
Well to tell you the truth, I used to work in forge shops like Wyman and Gordon and Commercial stamping and forging in the Chicago land area .

 Do you come from a musical background?

Yes, as I was saying before, and to add to the fact that, every one in my family plays music, my mother played fiddle, mandolin, piano, and guitar like Chet Adkins, and every morning she would wake me by playing Church gospels, and she was also a singer on a live gospel, broadcast radio show in Jacksonville, Fl.,  when she was 19 [ wjax ]
 
Where did you grow up? Do you miss it?

I was born in Chicago, than moved to a suburb called Markham, but I hung out in the Chicago area, most of my late teens and early twenties , playing music . And I will be back in Chicago soon, planning on doing a couple of shows in March , Cant wait so yes I miss Chicago!!

Where do you call home now?

Chicago, is my Home and always will be in my heart . But I am living in Jacksonville, Fl. At the present time on a piece of land that has been in my family on my mothers side since the old days.

What was your very first paying job, when where?

I think it was at this party down the street from my house, when I was in 8th grade, like 13 years old, we only knew 4 songs. If I remember one of the songs was Tobacco Road .

When did you first start playing?

I started out with Drums at 10, then my sister, Lorren, who played bass Guitar gave me her first bass at 12 . It was a cheaper one that she replaced with a Gibson EB0,  than in one of my earlier bands, we were playing this song, and the guitar player could not get the lead guitar break right so we switched guitars and from than on I played Lead guitar.

Who were some of your early influences?

Justin Pomeroy and Bob Carter, from a  Chicago  band called “ Pop “, Phil Lacafo from  Midlothian Il.  a band called Hartsfield, and Mike Bloomfield, Hubert Sumlin. Jeff Beck, Jimmy Page, Johnny Winters, my Mother and sisters, Marietta [ Lead and rhythm guitar ] and Lorren [ bass guitar ].

How did you come about your first Guitar?

I shoveled out the dirt and helped build forms to pour a cement side walk at a music store at about 13 years old.
 
What kind was it/ How about the first amplifier?

My first real six string guitar was a Gibson SG, blue metal flake,   My first amp Wilder 2+2 that was a hand me down from my sisters when the got there duel  showman fenders .

I really love the style of music you play. What genre would you put it in?

Electric Blues

Can you tell me what your current stage set-up is?

I am playing a custom hot rodded  Peavey amp, but it is a temp, till the same guy that did the hot rod work [ Erik Guess ] gets my Train wreak Express Clone done . And a Ibanez AR250 made in 2002 its made like a Les Paul double cut away guitar. No effects straight  into the amp, and a Seymour Duncan Pick up at the bridge.


Who was your favorite artist to play with?

There are two Bob Moseley, and Erik Guess. Bob Moseley, piano player, originally from Alabama, lives here in Fl. Now, Bob did some shows with me. Bob is older now and I am going to record some new songs with him in January.  Erik Guess, even though I play slide Guitar, this Guy Erik is just great .


Who’s in your I-Pod or who are you listening to currently?

I don’t even have an I-pod, but I been getting into the older Guys from the 40’s  50’s  60’s you know Otis Spann, Muddy Waters, Sunny Terry, Brownie McGhee, James Cotton

Who is your favorite guitar player?

I don’t have a Favorite one , but I have a favorite few, Jeff Beck, Johnny Winters, Ry  Cooder, are always in my favorite’s but I change from time to time with some of the new guys.

Do you have a favorite venue?

I love playing blues fests, but there is some thing to be said about the intimacy of a smaller club .  being close to people brings out the deeper emotions of your playing, its like your havin a personal conversation with the people in the room that your playing for.

Is there anything in the works?

Yes, I am recording some new songs to be released  asap, and I am focusing on a tour in the U.K. and South Fl.  I will be At the House of Blues , Orlando . June 26 /27 . Oh and Chicago in March



Where can we get your Cd “I Want It All”?

http://www.cdbaby.com/cd/alstone and also I-tunes , there is also a site on Reverb Nation here is the link for that http://www.reverbnation.com/alstone


How do you approach writing songs?

Most of the songs I write,  just kinda pop in my head , its like I see the guitar playing the song and the words are just there all at once, than I have to figure out what I heard and saw in my head .

Do you start with lyrics or music?

I try to write down the lyrics first as they flow from my mind, while all the while I hear the music in music head.

What would be your ultimate place to play?

That question,.. Its like a big menu at a great restaurant, to many choices to answer that one . I Guess it would be a show that was broadcast live, from a popular venue, so the world could view it.


What do you for see in the near future?

Good times, Great people, And music that tells the truth

Do you have any top secret things you’d like to share?

Yes, I Do and it is some thing that, I already know,  some people will not get it, and others will love it, at least I hope. And as a matter of fact when we first met I shared it with you. and  I am sure that, not many people have seen it. Do you Remember that test Video I did on a PC camera and a 70 year old 4 string regal.  Well lets give them that. It will be fun.  After all you said I should let people see it . So lets do it.  Give them the link.

As an artist how do you deal with the business end of the art?

Its all good, just go with it. There are good and bad times for every one.  And in the end if you did what you love and stuck to your Artistic  believes . Than what ever happens, than its ok.
 

Let’s turn to your CD “I Want It All”. I received your CD in the mail and really did not think much of it until I listened to it. When I popped it in my player I could not stop listening. I literally listened to it 5 times before I took a break. It has to be one of my all time favorite CD’s. It has extremely strong vocals and outstanding guitar work. Very, very soulful and straight from the heart and I believe this could easily be a big hit in 2010. Thanks the journey well be fun Tell me a little bit about how it came about. The title cut “I want It All (’59 Cadillac)” has quite a funky groove. Tell me about it. Gatorman, that is honestly, one of the songs that jumped in my head as I walked past a piece of paper and started writing, there was words and music in about 15 minutes. And another years worth of work to make it play just right .

“Strange” another funky style blues with the wah-wah guitar. Where did it come from?

Strange was written on a stage at a club, here in Jacksonville, Fl.  Where I hosted a jam, the story goes like this. It was early after noon the doors of the club were not open yet and I had my band on the stage for a quick rehearsal, I said  got a new riff for the jam tonight, so we jammed it , I told the band the changes, than we took a break, and I drank beer and scratched out the words on a napkin.

“The captain” is as poignant as the opening line ”Like a knife driven suddenly through a strong cold heart of a winter’s night”. I am at a loss for words to describe this one. It is simply powerful and well done. Where did the idea come from for this song?

It Came to me as I walked on the ocean beach in Jacksonville, Fl.

I leave the idea of what it means up to the listener , for that is the magic in that song .

“She’s Gone” is a great lumpty lump romp into the rocking side of blues. “Blind Dog” is my favorite on the whole CD. What a great groove. Where did the song come from?

Blind Dog was inspired By Johnny Winter, I just love that Blues he plays like  “ Going Back to Dallas “ and its about this mean dog that a girl friend had, and the dog didn’t like any one. So the first time I went to her house there I was walking up on a mean Dog that I didn’t Know and the dog just sat on my foot and liked me. The dog followed me every where till it got old .

“Pontiac Four Door” is quite humorous. Was that your intent?

No it’s a true store, and that is why its so funny. And as you know good blues is all about making real live hard times into stories that makes  fun of being alive .

“Drunk Again” great southern blues rock song. Is it based on real life?

Well , I am quit sure some one is living that life, but it reminds me of a few people I knew in my own life.

“Old #9” Another great down home delta blues influenced song. Lumpty lump at it’s soul.
“12 Personalities” Is it based on life experience? 

Well  has to do with the way I  saw  an old girl from back than.

“ Don’t Try To Change Me” What a rocker. Was that your intent or did it just happen?

Well it was what I said to the girl that didn’t want me to play music. I told her don’t try and change me !!  So I guess it got an in your face kinda sound .  it’s the old Blues had a baby and they called it Rock and Roll thing [ Muddy Waters }  

Thank you Al for the interview. Gatorman
Copyright 2009 Terrance B. Lape
Gatorman its my pleasure and Thank You
Al Stone 2009
 More Al Stone Links  http://www.livebluesworld.com/profile/AlStone?xg_source=msg_share_post
You have got to see this video. http://www.ustream.tv/recorded/2466850
Al emailed me with this about the video.


Gatorman,

  The Regal guitar played in the video is made for a banjo player to play when he is not looking for a banjo sound, but wants to play a guitar sound . It is 1930 's and was only made for a few years. It is a four string tenor Guitar style with a banjo shape neck.  In this video it only has three of the strings on it and they have been on the guitar since I was little about 45 years or possible more. ,  They are tuned  to strings 4,5,6 of a guitar in E tuning , the song was made up on the spot, to test my web cam, and what you are seeing is the first time it was played. Making up the words as I went along.  Song Title " Walkin Cane " has since turned into one of my completed new original songs I perform live at my shows, Starting with the first verse  just me and a Dobro and the band kickin in on the second versus, and me kickin in on an Electric Guitar,   with versus and solo breaks . inspiration comes when it comes !

well that is about it

Al Stone

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CHICAGO BLUES: Alligator Records Part One by Terry "Gatorman" Lape

Part One

Alligator Records

Bruce Iglauer

Thank you very much for taking time out of your busy schedule to answer a few questions for me.   


How did you first start in the record business?


I came to Chicago at the beginning of 1970 to work for Bob Koester, my mentor and hero, at his label, Delmark Records, and in his store, the (still wonderful) Jazz Record Mart. I thought I was going to stay for a year and then go to graduate school, but I’m still here. At first I just wanted to be around the blues scene, and to see recordings being made. I became Bob’s shadow; if he went to a South or West Side club, I went along. If he went to the studio, I was there as gopher. If he was editing tape, I wanted to watch. My first recording session was “Junior Wells’ South Side Blues Jam” with Buddy Guy, Louis Myers, Otis Span, Fred Below and Earnest Johnson. It was like going to heaven. I also got to watch/help out on sessions with Robert Lockwood Jr., Roosevelt Sykes, Jimmy Dawkins and a few others. I never dreamed of having my own label; I just wanted to work for Delmark. Bob is still a huge hero to me, and I feel he’s never gotten the credit he deserves as a key figure in bringing the blues to the world. I walk in his footsteps.


At that time, the entire blues scene was in the black community, and I was going to the little ghetto blues bars 4-5 nights a week. The music was often just terrific, and the atmosphere was very special. The musicians and the audience were basically the same people, and they communicated in a way that I don’t see when blues is more of a presentation, as it usually is today. The people in these ghetto clubs shared a cultural understanding, a history and understood blues as a way to heal everyone’s emotional wounds, not just a form of entertainment. Those nights were some of the happiest experiences of my life. Often I was the only white person there, and almost everyone was very friendly and welcoming. Sometimes the street was a little scary, but the clubs (which were basically neighborhood bars with a band) were full of working class people who understood that I was there for the music, and appreciated it. This was before I was a record guy; I was just a fan, and a “hippie” (at least in appearance). I got to know a lot of musicians personally.

Junior Wells always kept an eye on me and we drank on street corners. People like Lefty Dizz , Eddie Shaw, Big Bad Ben and Magic Slim were really nice to me.




Why the Blues?


It’s hard to explain, and I don’t entirely understand it myself. They say that if you don’t love the blues, you have a hole in your soul. Well, it seems like the blues fills the hole in my soul. From the first time I really heard blues, at a Fred McDowell performance in 1966, it was as though blues spoke directly to the innermost part of me. I know that sounds corny, but it’s true. I felt Fred’s music was the most honest, direct and emotional thing I had ever heard. After that, other kinds of music seemed false and plastic. These days, I’m not an easy man to move with music, but when the blues works for me, it still works just like it did that first time. Blues has made me happier than I ever imagined, and it’s wrenched me more than I ever imagined. Sometimes it’s so good it makes me cry (in a good way). First and foremost, I’m a fan. That’s crucial in understanding what Alligator is about. I made a label to share my fan-dom with others.


In 1971 you left another blues label shortly after you recorded Hound Dog Taylor & the House Rockers. Did you have any idea at that time that you would become one of the most influential Blues Men in the industry today?

Not at all. When I recorded Hound Dog (while I was still working at Delmark Records), all I hoped was to sell enough copies to make another record. I never dreamed of a catalog of 260 albums. Hell, I never dreamed of having an employee! Everything was day to day, just trying to make my company survive. I never wanted to be a businessman, but I realized early on that unless I was good at business, I couldn’t make more records. So, I learned. A lot of people I know tried to start labels at that time. They loved the music but didn’t take time to learn the business.


What did it cost for that very first record?


That’s easy—my first studio bill was $956 dollars. That included cutting the master disc. We recorded direct to two-track, mixing as we went. There was nothing to do over. We recorded each song a couple of times, and chose the best versions.  I paid the band $960 dollars--$480 for Hound Dog and $240 each for the other two members of the band. Of course, that was an advance. They made thousands on royalties over the years. I pressed 1000 LP's, and got the jackets printed on credit. Then the hard work began!


In the start up years, what were some of the challenges you faced?


Essentially, everything, I had no distributors, no radio play, no press, no booking for the artists I recorded, no road management, nothing. I was on my own. So, I found distributors (some of them I knew as Delmark distributors, but others I had to find; I wanted distributors who weren’t so specialized that they only dealt with a few stores), made my own contacts with radio and press, booked the bands, traveled with them, published their music, and pretty much did everything, including packing and shipping the boxes of LPs. I could only afford to release one album a year, and if that one didn’t sell, it was hard to get the distributors to pay me for anything. I was operating out of an efficiency apartment in the Uptown neighborhood of Chicago. It took two years to move to a three-room apartment, and a year later I bought a small house. It took from 1971, when I started, until 1985, before I wasn’t living in the same place as Alligator. I didn’t have a full time employee until 1977. Eventually I had seven people coming to my house, with LPs warehoused in the basement and 7000 cassettes in the kitchen. I knew then it was time to move, either the label or me. I chose to move the label, and I still live in the house. Alligator has never stopped being a challenge, or a battle. Actually, this may be the hardest time ever in the history of the label. I don’t know how record labels are going to survive the closing of literally thousands of stores and the rampant illegal downloading. Plus blues is not at the peak of its popularity right now. We need some young champions of the music who have a vision for taking the blues into the future.


Can you name some of the very first artist’s you recorded?


Sure. Hound Dog Taylor, Big Walter Horton, Son Seals, Fenton Robinson, Koko Taylor, Lonnie Brooks, Albert Collins and the Living Chicago Blues series, which had 18 different artists spread over six LPs. It’s now four CDs.


Can you tell us a little bit about the costs involved to develop an artist for recording?


Every album varies in costs. First, there is the cost of the musicians, both the sidemen and the leader. These can vary a lot. Then there’s the studio cost—typically $600 to $1000 per day. In the old days, recording tape was a big expense, often $1500 or more for an album. We usually spend between three and ten days recording, and mixing is usually about three songs a day. There are artists who record really quickly, like Lil’ Ed & The Blues Imperials, and artists who need more time. When I’m the producer (I’ve produced or co-produced about 125 albums), I prefer the faster artists. I’m not super patient!


I like to do as much rehearsal as possible. I don’t think the studio is the place to experiment with arrangements. The studio is the place to get the best possible performance. But sometimes, when I’m working with an out of town band, we have to pull a lot of the music together in the studio.


Once I’ve recorded and mixed, then there’s mastering (usually around $1000-$1500 if you want it done right), photos, packaging. And then we get to manufacture about 4500 CDs that we give away as promo copies, to radio, press, and retailers. Then we have to buy retail programs at the stores—things like listening posts and top shelf positions and featured placements. None of those things are free. And we have to do our basic advertising. Usually this means that we’re spending $15-20,000 per release to set up the recording in the marketplace before we sell a single copy.


In the meantime, we’re working with the artist, the booking agent and hopefully a professional artist manager to do tour planning, so that the artist is out in front of the public when the new release is being promoted. We have about three months when the media and stores will think of something as a new release. After that, it’s back catalog.  During that three month period, we will spend additional money advertising and publicizing every gig the artist does. We continue to publicize gigs after that, but our big advertising push is in those first 90 days.


One thing that’s important to understand is that we have to pay for all these things, on a product that gives us a profit of around $6 per CD (less for a downloaded album).  So it’s a very risky proposition. Alligator spends more promoting a release than anyone else in blues, and I like to think we do it better.


How do you find new artists?


I’m constantly listening to artists, both on demos or home made recordings (or on other labels) and at live gigs. The first thing I go by is my gut feeling. Does this artist reach my emotions, stir me, touch a little of my soul? It’s MY label; I have to believe in everything we release.


Alligator probably signs at the most one or two new artists a year. So, as you’d imagine, these decisions are terribly important. Besides the cost of making a new record, including paying the artist, we spend tens of thousands of dollars promoting, marketing and advertising every new release. And of course we also spend hundreds of hours of human time trying to attract the attention of the media, the retailers and potential customers. Plus, for every artist or band we sign, this means there are hundreds that we don’t sign. If one of them had been a better choice (or maybe not signing anyone new and attempting to further promote our existing roster of artists would have been the smartest choice), then we have wasted a huge amount of time and money. In 2009, the new artists we signed were Buckwheat Zydeco and Tommy Castro, who were obviously already well-established acts. Plus, we released the debut by Rick Estrin & The Nightcats, who had begun life as Little Charlie and the Nightcats and spent their whole recording career with Alligator. In 2008, we signed Janiva Magness, Eddy “The Chief” Clearwater and Smokin’ Joe Kubek and Bnois King. Again, these were artists who had already had some success on other labels. The last artists we signed who had not been on a nationally distributed label before Alligator were Eric Lindell in 2006 and Michael Burks in 2002.


So, obviously, one thing I look at when considering artists is their previous recording history, including their sales history. I’m always looking for artists who have done a lot to establish their own fan base, whether locally and regionally or nationally. I need artists who have some sense of how to take care of their own careers, or who may have some kind of professional management or booking agent. I can’t deal with artists who are ‘weekend warriors’ or who are unprepared for major touring; getting in front of audiences is the best way blues and roots artists can create fans and sell their music. There isn’t enough radio and other media for blues and roots to make touring less than totally essential.

Of course I look for artists who have their own sound and style, well connected to blues but not repeating what’s already been done. This is a tough row to hoe for artists. The pressure is often to do familiar songs and re-create familiar sounds. But Muddy Waters didn’t become famous by coping Son House and Robert Johnson. B.B. didn’t become famous trying to copy T-Bone Walker. So creating your own songs, or taking other people’s songs and making something fresh from them, is essential for anyone hoping to be signed with Alligator.

Above all, there is the live performance. If an artist can thrill me on stage (and I’m a tough sell), then I’m interested. That includes the ability to play but also to sing really well, and to communicate with the audience.


I do still listen to demos, but it’s been a long time since I found an artist based on his or her demo recording. And these days so many artists who aren’t ‘ready’ are financing their own albums and sending them to me. They are expecting me to take an hour of my life to listen to their album, and are often resentful when I only listen to the first four songs. As almost no one else in the industry listens to demos at all, I would hope they would be thrilled just to get a listen, but often my honest response leads to an angry reply, not a ‘thank you for taking the time’ note. No one wants to hear “you can’t sing”, even when they asked for my opinion. And “you can’t sing” (said really nicely) is my most common criticism of demos and self-made records that I receive.


Can you tell us some of the steps involved in recording an artist?


One thing that distinguishes Alligator from most other blues labels is how much preparation we put in before recording. In the old days, when so much of the standard blues repertoire was still new to younger fans, labels like Delmark could bring artists into the studio and if they didn’t write a lot (like Magic Sam), they could still make great records of songs that are familiar now but weren’t then. Now I work very closely with my artists on repertoire and arrangements, to try to make each album as fresh and original as possible. If I am producer, I generally rehearse quite a bit before we get to the studio, trying to figure out how to give each song its individual identity, planning the dynamics, and honing the lyrics. I try to involve the whole band in creating the arrangement. Musicians play with more fire if they have some ownership of the arrangement instead of just coming in playing a pre-defined part. Plus, sessions are more fun that way.


Some of my artists produce themselves, like Tinsley Ellis , Rick Estrin, Eric Lindell, Lee Rocker and Roomful of Blues. Some bring their own producers, like Marcia Ball, Janiva Magness and Tommy Castro. For some, like Lil’ Ed, Michael Burks and Smokin’ Joe Kubek; Bnois King, I produce with the artist. Under almost all circumstances, I’m going to be involved with the choice of songs and give some input on the arrangements. One thing I like to point out is that I am running a commercial record company, albeit in a specialized field of music. I’m not just saying to my artists “express yourself.” I want them to make honest records that they believe in, with songs they want to perform live. But I also have strong feelings about what each artist’s most distinctive talents are, and why I wanted them on Alligator. I’m not shy about saying to an artist, “that’s the kind of song your fans like” or “that’s not really a song that is showing what makes you special” or “that’s one that will challenge the public definition of you.”


Generally I will insist on approving the mixes and mastering, and want input into the order of songs on an album. I am often called a control freak, but that’s mostly by people who don’t understand the kind of input a label normally has into its releases (outside the world of blues). It’s my job to sell the final album. If the artist gives me something that I can’t sell, then I’m going to disappoint him or her. I have had situations where an artist wants very much to make an album that I don’t believe shows the artist’s strengths, or I simply believe is wrong-headed for that artist, and that I won’t be able to market effectively. In that case, I have sometimes released an artist rather than put out an album I don’t believe in.


What do you look for in a new artist or signing an artist?


I’ve answered some of this already, but to summarize—I want artists who have a real musical vision, with at least one foot firmly in the blues/R&B tradition but other elements that make their music personal and different from what’s already been done. I want artists with both vocal and instrumental talent. I ideally want artists who write their own material, or can personalize songs written by others. The point is of course that they need to have a distinctive, personal sound. I absolutely need artists who know how to deliver on stage. Blues and roots music is all about communication skills, both musical and visual. It’s not only music, it’s also show business, so a visually boring act is not for me (though I know that some artists can hold stock still and keep the attention of the audience through their intensity). I need artists who understand that they are in the business of being professional musicians, and that it’s a full time job. The fun part is doing a show. The un-fun part is leading a band (very different skill set), honoring contracts, working with booking agents, being media-available and media-friendly, not getting too ‘relaxed’ on substances to keep from delivering a top notch show and total professionalism. I need artists who have already established some kind of fan base, even if it’s just local; I need to have something to build on. Ideally, I’d like artists who are internet-savvy and take care of things like Myspace and Facebook. And of course I need artists who are prepared to sell their CDs from the stage, understand how to do that, and don’t think they are ‘above’ taking the fans’ money! But ultimately the real and final question is—does their music move me?  I have built Alligator to be a label that has a consistently of quality, rootedness, and musical urgency. I have to believe in every release. The Alligator Logo is also the Bruce Seal Of Approval. I admit there are some releases I like better than others, but my concept of the label is all killer, no filler.



Terry " Gatorman" Lape

PART TWO NEXT WEEK


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Chicago Blues: Diamond JIm Greene by Terry "Gatorman" Lape

HAPPY VETERAN"S DAY AND A SPECIAL GATORMAN THANKS TO ALL OUR VETERAN'S

THANK A VETERAN TODAY.

And now on with the show

I recently went to Buddy Guy’s Legends to see and Hear Ana Popovic. She did not go on until eleven that evening and I arrived at about 8:30. I am so glad that I did.  If I had not been early I would have missed Diamond Jim Greene. Playing harmonica with him was a acquaintance of mine Lamar Harris. They were one of two opening acts. Diamond Jim Greene is a great Delta to Piedmont acoustic blues artist. Buddy Guys Is nice ,but I was quite upset with the way people were talking and not paying much attention to the performance. I  tuned the talkers out.

He grew up on the Southside of Chicago in the 50’s.  Jim is an extraordinary bluesman whose time has come. I have listened to his CD “Holdin’ On” many times. The only problem is I only have one copy.  I need two copies, one for the car and one for the house.
Mr. Greene hits us right off with a very soulful rendition of “Please Send Me someone To Love”,
and then jumps right into “Custard Pie”, acoustic style. “Oh Glory (How Happy I Am)” captures Reverend Gary Davis’ era quite nicely. It contains some very nice vocals and musical accompaniment.  The piano man adds to the composition without distracting from it. I especially like the way the vocals build. Jim’s guitar picking is outstanding.  “Come and Go Blues” is an example of a new version of a rock blues song. I previously heard it performed by Greg Allman of the Allman brothers.  Diamond Jim does an awesome job.  “Hot Tamales”, is an example of the great early blues man Robert Johnson. What a great tribute to the man I consider to be the father of the blues. Please no emails it is my opinion and I’m sticking to it.
“Please Call Home” another Greg Allman tune features excellent guitar work from Diamond. “Gates to the City” traditionally called “Twelve Gates to the City” I first heard by Reverend Davis via Youtube.  Jim does an amazing tribute to the Reverend with this one song.
“Jug Band Music” is Memphis Jug band music to the tee.  With Jim’s Growling Vocals and the barrelhouse piano it is a step back in time and should be considered an historical recording. There are not many people preserving this type of music.  “Girlfriend Blues”, displays Jim’s prowess with slide guitar. This is one of my favorites and I wish there was more solo slide guitar.
 “Death Comes A Creeping” is another traditional song that is presented in that old down home blues style. “Eliza”, has quite a New Orleans swing to it. The piano man really pigeon holes the sound with his rolling style of finger placement. “Tee Tot Blues”   by Hank Williams Junior is about a guitar man that taught Hank how to play. Nice guitar work and violin.

This CD should be part of any blues fans collection. It is representative of many different styles of the blues. I will be out to see Diamond Jim Greene again. 
Gatorman

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CHICAGO BLUES: Memphis Dallas and Smilin Bobby Video Interview by Terry "Gatorman" Lape

Last Thursday Night I spent in Memphis with my fellow blogger Robert "Nighthawk" Tooms. He is the keyboard and Mississippi saxophone player for the "Reba Russell band." Nocturnal Bird of Prey and I had a BBQ dinner like none other. Man, oh, man it was finger licking good. There are a lot of BBQ joints in Memphis and you really have to know a local to find the right joint. Nighthawk had told me previously about the best BBQ joint, but he did not pack his pistol so we went to another more touristy spot. After the BBQ we went to a local place called Neil's. Neil's is a very nice corner type bar. It is complete with pool tables, back entrances and bathrooms with no names on them. (Sorry Susy). The thing I liked the most was that the Memphis Blues Society was having their Thursday Night Jam session. Robert and I played a couple of songs and had a real good time. Nighthawk introduced me to all the pickers. They all were exceptional blues players. In 1977 our illustrious congress voted Memphis the home of the blues.

The reason that I stopped in Memphis is because I was on my way to Dallas to the world's largest guitar show. Memphis is just about half-way between Chicago and Dallas. One day's drive to Memphis and another to Dallas. I might add my 1995 Saturn logged 37 miles to the gallon. Not bad folks. My visit to Dallas was two fold. My daughter is studying musical theater at a Dallas Conservatory and of course the guitar show. Dallas is nice, but unfortunately I was too busy to seek out any blues clubs. I did however go to a musical in Fort Worth. Had a nice time at the theater, but it sure wasn't the blues.
Because of this past week on the road I am posting the following interview with My Blues Mentor Smiling Bobby.
This video was produced a number of years ago and was shot by my friend Jim Quattrocki

"Smiling Bobby" from Jim Quattrocki on Vimeo.

Until next week
Gatorman
www.chicagobluesnews.com

Blues me or lose me and If your Rocking I'm Walking.

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CHICAGO BLUES SCENE: Tom Holland

I met Tom Holland  last Friday night in a small little club on the southside of Chicago. My new blues brother Steve Kozak up in Vancouver did this video interview with him.  Tom is only 32 and he smokes a guitar. By the way he is a super nice guy who is currently James Cotton's guitar player.


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CHICAGO BLUES: Holle Thee Maxwell is "Thee Original Black Blonde Bombshell"

"Smiling Bobby', my blues mentor, introduced me to Holle a number of years ago. I was immediately stricken with her performance abilities. When she picks up a mike, the cord is a fuse, because she explodes on stage. Offstage Holle is a warm and truly wonderful person. She is a pleasure to be around.

About six months ago I ran into her at my ex-favorite club and I will not mention its name because it has changed hands and now is a sports bar. Holle was escorted by the late Manuel Arrington. Manuel was dubbed “Entertainer of The Year” a long time ago and it stuck. Sadly Manuel passed away last April and with his passing the Chicago Blues community lost a great artist and a friend.

Holle has been involved with the Chicago music scene since the early sixties, except for a side journey to California which included a gig as the replacement for Tina Turner. She was a back-up singer for Tina up until Tina left. She started singing at five years old and that first performance netted her ten bucks. It seems that many artists got their start singing in the church.

Holle is a very versatile performer who has dabbled in soul, blues, opera and she tells me her next venture is into country rock. I personally think she is one of the best blues performers ever. She also can be quite bawdy at times and her audiences love it, including me!

The list of people that she has performed with or opened for is quite extensive and include;

Ike Turner - Back–up and lead vocals

Jimmy Smith - Lead vocals

Captain and Tennillle – Back-up Vocals

Reynaldo Rey - Opening act

Red Foxx - Opening act

Slappy White - Opening act

Jack MacDuff - Vocals

Charlie Earland – Vocals

Red Holloway – Vocals

Authur Prysock - Opening act

Holle Thee Maxwell especially loves performing for European audiences and has told me “They have a deep appreciation for entertainers.”

Holle tells me that her songwriting approach is this,

“My approach is purely from THEE subconscious it is in my head all ready...something will trigger it off to come out on paper within 15 minutes or less...if it takes any longer it goes in THEE garbage.”

Her early influences were Shirley Temple, Mae West, Marian Anderson, Josephine Baker and Dinah Shore. For you youngsters they are some of the greatest entertainers that have performed. Mae West was way ahead of her time as Josephine Baker was.

Holle is an extraordinary performer who has played Worldwide, from France to Australia and Australia contained the largest audience she has performed for. That performance was with Ike Turner.

If you keep your eyes and ears open and you frequent the Chicago scene sooner or later you will run into Holle Thee Maxwell You’ll be glad you did.

She has a CD entitled “Holle Thee Maxwell....Thee Black Blonde Bombshell”

Recorded "LIVE" at THEE Maxwell Cafe' Paris, France

It can be ordered from Holle direct @ holletheemaxwell@yahoo.com

Leave Name, address Phone number and she will work out how to make payment.

She also has some 45's videos that can be found on youtube.com

Gatorman
www.chicagobluesnews.com

Thanks to hampton-Photos for the video

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Chicago Blues: L V Banks “Ruby” Cd Review

What can I write about L V Banks? L V is a Chicago southeast side blues artist that has no comparision.

He was born just outside Benoit, Mississippi. He moved to Greenville as a teenager. He served for four years in the army During the Korean war. Upon his release from military service he returned to Greenville and stepped off the train right into the hottest blues area of its day. Little Milton, Ike turner and their contemporaries allowed L V an opportunity to polish his craft.

His first band included Nick Charles (Billy Branch S.O.B.),Eddie Shaw on Sax and guitar man L.

B B King heard him and offered this advice “You got the voice that sings and swings so you better squeeze them strings.” L V moved to Chicago in 1965 and has lived in the same apartment since that move. He currently resides right around the corner from the current President’s house.

In 1995 Wolf Records recorded his first CD called “Ruby”.

“Hard to Love a Woman” is a straight forward driving Elmore James style rocking Blues.

The title cut “Ruby” is a nicely written almost funky Sam and Dave type number. It has a wonderful piano solo. One of the lines states “I’ll eat a rainbow” typical L V humor.

“Express Love” is in the style of B B king. It has a great opening lead guitar riff and L V’s solo work is really illustrates the Chicago westside style.

“Lonely Room” is another 1-4-5 that talks about how lonely one can be while waiting on someone who never comes. This cut has that down home style. It is one of my favorites

“Miss You Babe” moves right along and is a dancer that changes from a shuffle to a swing and back again. He writes about going to the corner to get a sweet roll and a cup of coffee. L V is the only blues man that I am aware of that sings about that particular subject. This number really cooks.

“I love My Guitar” is another tune that shows a strong B B influence. The subject matter is about a blues man’s love for his guitar and a love for his woman. Guess who wins? A blues man’s guitar will always win, because it is always true. Oh. and it does what the blues man asks of it.

“I made a Mistake” is very reminiscent of High Heel sneakers. It has the same groove which is a good thing and is very up-tempo with an outstanding guitar line and piano solo. It is quite fitting that it follows "I love my guitar", because L V kicks out his woman and does not want to be bothered with her anymore.

“Pipe Layer”. This song talks about hard times and a man’s quest for work and his landing a job as a layer of pipe. Of course anyone can read between the lines on this one.

“What happened to our Love?” Talks about relationships and love lost.

“Falling to Pieces” is another B B influenced number that drives right along with the guitar hook and lead guitar work.

“Bobby Sock Baby” talks about letting that young love go and it’s a number that cooks right along. This is one of two songs on this Cd that L V did not write

“Love Light” L V has one of the best versions out there with his cover. His vocals are right there and it is of course very well performed. L V ‘s second song that was authored by someone else.

The band includes

Michael Thomas (second guitar)

Allan Batts (keys)

Dave Kay (Bass)

Jerry Price (drums)

This CD “Ruby” showcases a blues man at his best and should be in your collection filed under “Chicago Blues”.

Authors note

I may be a little bit partial to L V Banks; he played this past Saturday in my back yard for my daughter’s engagement/ moving to Dallas party.

You can get L V’s CD “Ruby” on Amazon.com or direct from Wolf Records. Go to Shop and put L V Banks in the search engine.

TERRANCE "GATORMAN" LAPE

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gatorman

"MARK OF THE GATOR"

CHICAGO: DVD Review; "Full Moon Lightnin'"

Before I start I must inform the readers that I am a BLUES FANATIC. I would not be writing this review unless this DVD is the real thing. These are real people with real problems and it is the blues. Blues can fall anywhere between happy and sad. This runs more on the sad side, but that is to be expected considering the subject matter.

One man searches for his family and another man searches for a way to put his sorrow behind. Floyd Lee is a blues man of extraordinary talents and, after 60 years, returns to his roots in the hope of finding family he never knew. Joel Poluck is a young upcoming blues artist that uses song to heal from the loss of his soul mate.

John Gardiner was the driving force behind this project. He handled the role of editor, cinematographer, producer and director. One of those tasks would tend to overwhelm any one person. Judging from this DVD "Blues" Documentary, John handled those with ease. The story is concise and to the point. The editing is top notch and the direction is very easy to follow.

"Full Moon Lightnin'' is a journey into the blues that very few people take. I enjoyed it from the first scene of Floyd Lee dropping a needle on a record to the last parting shot of Floyd Lee saying "I may be almost gone, but the blues lives on. Mark that."
The soundtrack can stand on it's own two feet and along with the DVD presents a total package that belongs in any blues fanatics catalog. The music is the down home real deal stuff ladies and gentlemen, The real stuff. I recommend you buy it now.

Terry "Gatorman" Lape

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CHICAGO: Via Kankakee Laurie Morvan

The "Freinds of the blues" main man James Walker sent an email inviting me to see Laurie Morvan at the Kankakee Elks club. She was touring in the area and FOB had caught her on a rest over night. I must admit that I was pretty tired and debated whether or not to attend. I had contacted her camp in the past, but sadly I had forgotten she was coming. I checked her website and was intrigued by her story.

Laurie is an Illinoisan that now makes her home just outside of Long Beach. She moved to California to work in the aerospace industry. She has an Electrical Engineering degree and utilized it for three years. She told me that she teaches at the College level in Long Beach. She also confided in me that the teaching job helps her with tour costs.
She invited me to a one on one sit down while she restrung (Ernie Ball.10) her re-issue 1956 Stratocaster. She is a wonderful individual to talk to and would certainly become a close friend if circumstances were different. We talked about schools she attended, Guitars and role models. I was very excited about her performance as I choose a table in back.

The people started to file in one by one and the one-hundred seat banquet room filled up quite quickly. I had chosen a table of ten and I was the only one there until Jack and Jean Miller joined me. Jack, Jean and I started to talk and it turns out we both had visited Singapore, small world. Sister Ellen Thomas sat down and introduced herself. She was not dressed as a nun so I immediately thought along the terms of the slang hip style of talking brother and sister. Not the case, she actually was a Nun. I had to watch my mouth after that. It seems that Laurie's whole family was in attendance. When they found out who I was, man oh man did I get an earful. I was introduced to Aunts, Uncles, Nieces, Cousins, her Mother and Step father and on and on and on. I jokingly started a family tree with my notebook. It was a family reunion. I might add that Laurie's Mother was just as nice as she was.

Laurie took the stage and exploded into song. Her guitar work is extraordinary and her vocals, along with her backing Vocalist Lisa Grubbs, were beautifully done. Their combined vocals were song with a take no prisoners attitude. Very strong and definitive.

Laurie talked to her audience frequently. I like when an artist communicates stories about how a song was written. "Skinny Women Chicks" was written as a response to those old time blues men who beat the song "Big Legged Woman" to death.
"Kicking Down Doors" was one of my favorites.
Laurie Morvan is an unstoppable blues artist and I will see her again I'm sure. I was told that Lisa also plays bass. I got her number.

Terry "Gatorman" Lape

PS. Writing for www.americanbluesblog.com is "Not just a job it's an adventure".















Lisa Grubbs, Gatorman, Laurie Morvan