the great new orleans songwriter, arranger, musician and a&r man`s pean to jax beer, a locally brewed new orleans brand. this was cut at cosimo`s studio with dave`s great band.
song of the day two john lee hooker boogie chillun.
it all starts with the one chord vamp and foot stomp of john lee hooker.primordial goo of rock n roll’
Incredible video from our friends at the Oxford American: Billy Lee Riley honored by his friends and comrades at the Silver Moon club in Newport, Arkansas, on August 30th, 2009. In attendance a roster of Stomp veterans – Sonny Burgess and the Pacers, W.S. Holland (from Johnny Cash’s and Carl Perkins’ bands), Carl Mann (“Mona Lisa and “Pretend”), Ace Cannon (“Tuff”), Dale Hawkins (“Suzie-Q”), and Travis Wammack (“Scratchy”) among others.
Still, one of the best events at the (SXSW) festival was one of the most basic: a showcase of New Orleans bounce, the raunchy, local hip-hop style that developed in the 1990s but is only now escaping its hometown. The beat is fast, syncopated and relentless, and bounce fans know exactly what it’s for: shaking rumps at high speed. Katey Red, a tall transsexual in a black sequined dress and high heels, rattled off rhymes about sex and prostitution. No subtlety was necessary.
Tom Waits once described Alex Chilton as “the Thelonius Monk of the rhythm guitar.” He’s damn right. I heard it all for the first time live in 1986 at the 688 Club in Atlanta, Georgia. I was 22 years old; a kid in a band called Green On Red and we were playing on a bill with him that night. We were positively bourgeois; freshly signed to Polygram Records with an extra van and a rag-tag road crew. We were living high on the hog, man (or we thought so, anyway). Alex Chilton pulled up the gravel drive to the back of the joint in an old Buick Skylark spitting plumes of blue smoke. He took off the shirt he was wearing, shoving it into the back of his Fender Super Reverb amp, and pulled out the one he wore for gigs. He donned a harmonica rack and tuned up his guitar to the harp, all the while looking at his bass player and drummer (Rene Coman and Doug Garrison). He stepped up to the mike and clicked his heels four times. That was it. I don’t know who my fragile busted up little psyche’s influences were at the time; Neil Young, Joe Strummer, David Bowie, Tom Verlaine? They all went out the window at that moment; floated up into the ether and stayed put. Alex has remained. I have forgotten many heroes along the way. Put on “Bangkok” and you’ll begin to understand why this man, this rock and roll song and dance man, can’t be tossed aside. Ever.
Dave Bartholomew and Cosimo Matassa were awarded for their contributions to New Orleans music on the 60th anniversary of the historic “Fat Man” Fats Domino recording. The Louisiana State Museum and the Ponderosa Stomp Foundation held the ceremony in New Orleans on the steps of the historic Cabildo on March 6th, 2010.