April 7th, 2010
here is an early version of you`re gonna miss me.
the song was written by roky erickson under the alias emil schwartzie and was originally done by the spades, roky`s first band. it was then redone by roky when he joined up with tommy hall and the lingsmen to form the 13th floor elevators.
Categories: Audio, Garage, Rock 'n Roll, Song of the Day, Uncategorized | No Comments
April 3rd, 2010
tony owens – i got soul.
unbelievable raw emotion by the great unknown soul king of new orleans tony owens
Categories: Audio, Song of the Day, Soul, Uncategorized | Tags: Soul, Tony Owens | 2 Comments
March 6th, 2010
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.
Categories: New Orleans, R&B, Uncategorized | Tags: cosimo matassa, Dave Bartholomew, fat man, New Orleans, video | No Comments
July 20th, 2009
While in NYC this weekend, the Bo-Keys took a few hours off from the Lincoln Center showcase to play with the Sweet Divines and the City Champs.
I wasn’t able to make either gig, but New York Times music critic Ben Ratliff liked what he heard at Southpaw.
From today’s NYT:
But the high point of the evening came from the middle act, and especially by musicians from the time and place being heavily referenced. The Bo-Keys, an eight-piece band, are Memphis’s current answer to the Bar-Kays, the Stax record label’s house band in the 1960s and ’70s. (They were in town to take part in the Ponderosa Stomp festival, at Lincoln Center through the weekend.) The band’s boss is the bassist Scott Bomar, but it boasts the trumpeter and singer Ben Cauley, an original member of the Bar-Kays and the only survivor of the plane crash that killed Otis Redding. The band’s visual and aural centerpiece, though, is the gravel-voiced guitarist Charles Skip Pitts, who played the music’s stinging, wrangling leads and chicken-scratched through a wah-wah pedal.
The band’s set was a marvel of discipline and dirt, keeping its dance grooves close to the ground, never overplaying or letting solos spiral beyond their tight spaces. In addition to Memphis soul standards like “Soul Finger” the band played “Theme From Shaft,” for which Mr. Pitts originated the guitar part. (Maybe you can hear it in your head: wicka-wicka.) If you remember that sound as something good but limited, watching him play it was something else. Carefully using harmonics, changing up the rhythm of his strumming, violently sliding his hand up the guitar neck, he created a whole percussive and melodic universe out of wicka-wicka. It was the sound of origin and ownership.
Go here for the rest of the review.
Categories: Uncategorized | No Comments
