BY JOE NICK PATOSKI
Stevie Ray Vaughan and Double Trouble EPIC/LEGACY [Box Set]
SRV breaks out of the gate with Little Stevie Vaughan before he was Stevie Ray. A member of Paul Ray and the Cobras, the kid’s doing “Thunderbird”the upbeat, swinging standard by the Nightcaps, Texas’ first great white-boy blues banda song that every Dallas kid with an electric guitar and an attitude knew by heart. The voice is already full-formed, deep and bluesy. The instrumental prowess, in terms of tone, technique, and attack, is already over the heads of his bandmates. And so begins a long evolution, detailed by the low-down and dirty reading of “I’m Crying,” from Vaughan’s first recording session with Double Trouble, followed by a full-throttle shuffle, “You’re Gonna Miss Me Baby” and 51 other tracks. Most of the songs on this three-CD set are unissued alternate studio takes or live performances. Rarer gems like “Rude Mood/Pipeline” performed with brother Jimmie for MTV and three songs from Vaughan’s last gig, at Wisconsin’s Alpine Valley, are worth the price of admission alone. Taken as a whole, it is even bettera remarkable body of work. So if earlier recordings Vaughan made as half of Blackbird with Christian-Charles de Plique or as part of the Nightcrawlers with Doyle Bramhall and Marc Benno in the early seventies are missing (or even “Let’s Dance,” the song and guitar break that made David Bowie’s career), it’s a minor complaint. What’s important is that the box set captures Stevie Ray Vaughan in full blazing glory, locked into that sweet spot where he could soak up roots, tradition, and soul the way he did so well and then take all that to the next level. Ten years after he died, it’s clearer than ever: SRV was in a different zone. Texas guitar will never sound the same.
[More About Stevie Ray Vaughan] [order from Amazon.com]
West Side Horns
BY JOE NICK PATOSKI
September 13, 2002
San Quilmas (Dialtone Records)
Within the first few bars of “Rainbow Riot,” the opening track of the West Side Horns’ San Quilmas, three great revelations came to me while getting reacquainted with the honey-dripping saxophones of Eracleo (Rocky) Morales, Spot Barnett, and Louis Bustos blending with Al Gomez’ trumpet, Jack Barber’s swinging bass, and Arturo (Sauce) Gonzalez’s fat Hammond B-3 chops: 1.) Doug Sahm lives! The Horns defined Doug’s puro San Antonio pachuco soul, and you can hear it right here. 2.) San Antonio Express-News music critic Jim Beal was right on comparing the West Side Horns to the Memphis Horns, and the reggae rhythms of Sly Dunbar and Robbie Shakespeare. They’re that good, and that distinctive; worthy of the North Texas tenor tradition, articulated by Buster Smith and carried by David “Fathead” Newman, and the Honker & Shouter school, defined by Arnett Cobb and still practiced by Grady Gaines. The West Side Horns sound like San Antonio should, with roots firmly planted in the R&B and swing traditions of Aaron (T-Bone) Walker and Clarence (Gatemouth) Brown in particular, with a jalapeño con Big Red afterburn. 3.) They’re pretty great taken on their own terms, especially with the added presence of Johnny Moeller on guitar and his brother Jay on drums. They traffic in a bluesy instrumental jazz-funk, where lead breaks are economical, short, and to the point, and all ears are first and foremost locked on the rhythm. Sort of like those other all-stars from Memphis, Booker T. & the MGs, if they’d grown up on El West Side: an obscure Freddy King instrumental (“High Rise”) here, Joe Zawinul there (“Mercy, Mercy, Mercy”), and like-sounding originals (“Hit’ N the Jug”) sprinkled in. Thrice the formula is broken, when Morales vocalizes (quite well) in an earthy voice, recalling in verse and timbre the great Jimmy Reed, one of the first black bluesmen to find favor among white audiences in the south and Texas in the late Fifties and early Sixties (he influenced Delbert McClinton, Steve Miller, Augie Meyers, and Dusty Hill among others). Ever since he single-handedly revived the career of Freddy Fender with his searing solo on Sahm’s version of “Wasted Days, Wasted Nights” more than 30 years ago, I’ve regarded Morales as the one of the best, if not my very favorite, horn player in the state. His sendup of Reed seals the deal, because he’s got Jimmy, trashed-out and drawling, down cold. Rocky Morales is beyond cool. Rocky is hep. But on this recording, he’s only among equals, because he stands next to Spot Barnett, the house band leader at the Ebony Club on San Antonio’s east side, and the object of admiration of all three horns in the West Side Horns as teenagers as well as Doug. (“I used to want to be a pimp like Spot,” Sahm told me almost three decades back.) Barnett came out of retirement at Sir Doug’s behest in the mid-Nineties and has stuck around, his seasoned honks providing the anchor for the horns in more ways than one. In that respect, San Quilmas is really a piece of history, a continuum of Doug, T-Bone, Gatemouth, Freddy, Clifford Scott, and all the other arbiters of Texas jump blues pumped into the corpuscles of SA vatos. The breadth of their repertoire, always coolly danceable, and a pedigree of those they quote from underscore a greater, bittersweet truth that when the Horns finally hang it up, this kind of sound will be gone for good. Hear it while you can. It’s the sound of roadhouses and jukes, dancing to the music so hard you can feel the whole joint shake. And while you’re at it, you might want to work on those dance steps, too.
[More About West Side Horns] [order from Dialtone Records] [this review in the Austin Chronicle]
James Luther Dickinson
BY JOE NICK PATOSKI
October 18, 2002
Free Beer Tomorrow (Artemis)
You may know Jim Dickinson as the daddy of those North Mississippi All-Stars, producer of the Replacements’ Pleased to Meet Me, or the guy who played piano with the Stones on Sticky Fingers and Dylan on Time Out of Mind. For others, he’s the white cat out of Memphis, who 30 years ago cut his one and only solo album Dixie Fried, one of the best rock & roll albums of all time. Well, the Dickinson growl and his hard-bitten Easy Credit No Money Down, Years to Pay philosophical rant is back, most clearly evident in “Hungry Town,” which throws more than a few hints about where the Stones at their peak learned their funk. Or take “Asshole,” a tune that manages to rhyme the orifice with both “that’s so” and “low class-o,” and even inject “little children” into the lyrical fray while skipping along to a musical duel to the death that pits a gypsy violin against a smoky xylophone. With his greasy fingerprints smudging a gospel rant/Ry Cooder retro-roots mandolin stomp (“JC’s NYC Blues”), sentimental covers of Irma Thomas’ “It’s Raining,” and Blaze Foley’s “If I Could Only Fly,” plus loads of references to gambling that only Texas hustlers in Vegas and Southern cads on riverboats can fully appreciate, Dickinson’s album should be required to carry the following warning: “Anything Dixie Fried may not be good for your health, but it sure sounds good anyway.” The artery-clogger lives.
[More About James Luther Dickinson] [order from Amazon.com] [this review in the Austin Chronicle]
Stay All Night – Buddy Holly’s Country Roots
West Texas Roots
BY JOE NICK PATOSKI
Buddy Holly took the world by storm when he broke out of Lubbock, Texas in 1957. His singing and playing was the freshest version of rock and roll to come down the line. It was as if his music had come out of a vacuum from somewhere in the middle of the proverbial nowhere. But locals knew better. Before there was Buddy Holly, the all-American rock and roll hero, there was Buddy Holly, the good ol’ boy from the Hub City of the south plains know for his style of Western Bop. That was a nice way of saying that the hormone-addled nitro-fueled teenager played western, honky tonk, and western swing music with way too much energy and enthusiasm to pigeonhole him as plain old country. Countless hours of picking and singing went into polishing, honing, and embellishing his sound that would later become an international sensation.
Stay All Night – Buddy Holly’s Country Roots is the first historical accounting of how Holly got where he did, performed by those who knew Holly best: Buddy’s bandmates; Tommy Allsup, Carl Bunch, and Larry Welborn, and Buddy’s earliest professional collaborator Jack Neal. They are joined by the Texas Playboys, that swinging big band led by Bob Wills from down the road in Turkey, Texas. Adding to the account are Buddy’s brothers and mentors, Larry and Travis Holley, and his contemporaries Al Perkins and Billy Grammer. Featured also are a new generation of stars from Lubbock – the Flatlanders; Joe Ely, Jimmie Dale Gilmore and Butch Hancock; and some Holly disciples from far beyond Lubbock including Robert Reynolds from the Mavericks, and blues masters Judy Luis-Watson and Paul Watson. Together these players weave the cultural heritage of West Texas through the thread of this music. Each and every song is an old familiar tune for those who grew up in Buddy Holly’s place and time. Some are jukebox standards, others dancehall favorites. A few drifted in on static airwaves from faraway radio stations in Shreveport and Nashville. Two are previously unreleased tracks by Buddy Holly and Jack Neal as performed for their radio show on Lubbock station KDAV. Each and every track tells a piece of the story about how the torch was passed to the kid with horn-rimmed glasses, and how that torch has been passed on to others.
Stay All Night is more than the name of a song. It’s more than an album title for a collection of soulful, heartfelt songs that could have been made nowhere but Texas.
Stay All Night is a celebration of a talent like no one before or since, the talent that nourished Buddy, and the talent he’s inspired since, from Lubbock, Texas to the entire planet.
[More About West Texas Roots]