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    Vintage Rock APR MAY 2023

    Uploaded by

    fuyukawi

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 92
    ia PERKINS . Re JOEMEEK | FL Elvis Res 3 VINTAGE HAIL! HAIL! ROCK'N'ROLL! THE MUSIC, THE S S10 ey CLASSIC ALBUM A DATE WITH THE EVERLY BROTHERS Aen sty DS ) al aa Wales Wg UeM PL Tt > CHUCK BERRY * SHOWADDYWADDY > CHUCK WILLIS fe Pe CM MUL UE alae TKS DUST TT a aa) aves cai) SATS ii ir anys ae) Na SN ars yeh ua ae PNar) Sth Nae need Ce Biro MON 27 ues) bused iar ete SUN 9 ah Nena cael SAT 22 ENE) auc bilsuessg laos PRN rolls T AMINO) PMWeN Grats ae elaterolt] awe THE PLAYHOUSE ANI Sula uaF CTS elas fe enol US Be keto is en IelS TCI peptone t THE ORCHARD THEATRE NEW WIMBLEDON THEATRE fei eV aac LYCEUM THEATRE NUS Sua Pe Ua LS Navan HEXAGON ECC PM ECO An ruiyaod De hao eee CENTRAL THEATRE Krewe a rc TOUR DATES SPRING 2023 Nel ama VO TINo Ace N Res =P ON ol STP r amo oa est Fe MONS PN Pome Vie Ete mena terr 0) SV ae Noon Mr cL MN bn 2.014 Nee els SATS PN amu EU NN col Ney Sa Wats aa Te oa Mihi og BA MOAN Dae sSNA PNP Maas MIS Eee eu aio) TUE3O QUEEN'S THEATRE PSU ean SUM Tear Sen PN MnO OR OER IELTS Rta chan kU PRA Neca hoe er ee ATA ISUG HL ean 2 verrf CACO COTA cate a Meat © @THATLLBETHEDAYUK WWW.THATLLBETHEDAY.COM © @TBIDSHOW VINTAGEROCK ‘London od Bath BALSPL “stu@asuwyKe srovainenerchmncom -womfceock cr rngerockat rtitercom/ Va ck Mag _wirintapamcom Mintek EDITOR Str Hem stecharelieathemnak AR EDITOR Det Baee ‘kbaburkegnthem ck PRODUCTION EDITOR RicFym ADVERTISING MANAGER Leh Henry ‘ean-benncumemcauk ANTHEM PUBLISHING ‘NER EXECUTIVE on Bickley Jmicey@untemcnuk [MANAGINE DIRECTOR Sinon Lows ‘anpnlewis@anthemcok ‘CREXTIVE DIRECTOR Jy Conk Jeryankaademcauke rosepunbhurtundhmcaule Dun Bigee. Crigtesconlg, lle mus Gahan Peron Dada Pin Seve Bre, “Bek Wiens and Dal Woe lan Gitens & So Lat st @oo272001, Markers (U0) a, ‘5Chahil ae Conary Whee, lon BASU +H0)2027870001 LiceNsING age Eke saree segnazrakegoogheai com Faas 0682.1) HOUTIESOUS “mi shoparetagerectmgom weaning Yea eel ANTHEM|PUBLISHING BR erat cop bn Rei 22g rome vie eee deem eal ato Ve od ompsescrot w ‘ony egckiy mela oa rep cs es ey ee nl gate neki ert Tope epenney dd olin ‘eae ad noua dion arg Ln hp npn reopisalayeds amie winds tan heepsth, mala on eM tific bina oy mies [SIV Asi che average musiefanto pinpoint l/ the birthplace of rock'n'roll and the majority will no doubt send you in the direction of the legendary Sun Studios in Memphis. While the influence of Sam Phillips can never be underestimated, of course, | it’s areductive answer thatonly tells a fraction of the whole story. I've long been ofthe opinion that it’s high time ‘Cosimo Matassa was elevated to the top table of rock'n'roll influencers, The producer and engineer’s work at the iconic J&M. Recording Studio in New Orleans laid the foundations for hundreds of other artists who followed in his wake. So this issue we head south for a deep dive into the evocative musical heritage of The Big Easy that informed Matassa and the biggest star the city has ever produced - Fats Domino. Mixing the jazz with which it isso synonymous with gritty R&B, there's no doubt, that New Orleans and Fats in particular helped to bring rock'n'roll to the masses. Elsewhere this issue, we argue the case for a reappraisal of Carl Perkins’ often-overlooked post-Sun recording career and our classic album is A Date With ‘The Everly Brothers, Phil and Don's second LP for ‘Warner Brothers that featured the ageless Cathy's Clown. We also have an exclusive behind-the-scenes report from the launch ofa stunning feature-length Joe Meek documentary that is attempting to attract a whole new generation of fans to the work of the groundbreaking producer. In another exclusive chat, I'm delighted to feature Allan Clarke in these pages. The ex-Hollies frontman, returns with a new studio album that’s partly been inspired by his love of Buddy Holly, ll Never Forget. The LP also marks a reunion with former bandmate Graham Nash. Like those of the Everlys, they're truly harmonies from heaven - or Salford at least. Enjoy the issue! Steve Harnell Editor Follow meon Twitter @steve_harnell mnaeace 3 COVER STORY FATS DOMINO lexing TeSigs'srusil ele and oe fhe css hac Fas Domino wassecond ony to hs Pes exo aes crn the Ss Presi evenpubld ec orn is coum as rg Of Rock Ral. We plore Uherenerede lu of Fatal iret Recon his de to Ne cers. THE FEATURES CLASSIC ALBUM: A DATE WITH THE EVERLYS B Don and Pisecnd bu er Wamer others ariedin te year th he harmonoussbings wereon a winnasbeakn bth be UK andthe Sates itaso rianedoreof ter fest cabins aries se ‘CARL PERKINS AT COLUMBIA 34 65 yeesonfomlevng Sune stliowed ero meee mec Clumbia weteckthe unsnd dwn he KingOt Roda et pase ‘STORY BEHIND THE SONG: JOHNNY B. GOODE 40 irstopotthe eas the pest ecenleorecnelandinspxe ni ow, JOE MEEK a2 Fassl Calg caso nage ack abot is upeaing oe Week docamenery ALLAN CLARKE. 50 ‘Theex-oles forma eluns wih sparing pane ram ih oranew albu thatlooksback to hes ath vng soto shee By Holy ROCK'N'ROLL HEROES: CHUCK WILLIS. 56 Nar winning of hk is, utes assed were othe frst songs cf 50 R88 who provided Ruth Brewn with aN it ELVIS IN THE ARMY 60 IEsbeon yas sine is es indi te US ye per gptunty ort hein’ days as Pvt Presley USS TOP 20 SURF SONGS. VitgePok seach unto up the pick o ava sat tds GLAM ROCK. 10 Didalam roca ie ap betwen Ss kc andthe ly Fev? Weinsigatte kira fost ota of Ts pees ‘Q&A: DAVE BARTRAM. B Wesceakt Showed wad soundeg member ard caret manage THE REGULARS ‘ALL MAMA’S CHILDREN 6 ‘eB Roya bet ltl the Sy Corpse Wes summers ‘Q8A: OLLIE GRAY Ack conn wth epee the i gh ar snm ‘ON THE RADAR: THE BURNER BAND. R lens Bumer Puc is pur cris rewabumardopesior theft GRAHAM FENTON 4 Nattboreese ther second bum and ior wih Pens and oie ON THE RADAR: TOTO & THE RAW DEALS. 6 They shetupthepeckng ede now he oe ths yeas Erahesthaes TOP 10: 24 MARCH 1960. 48 “ens Ha 3a georgia puns andor esrgmovieheme SUBSCRIPTIONS 8 Hevesmssansuec! Vitae LP REVIEWS 80 How’ Wot Marnie ery Lee Lens oe ek ard atmobie SINGLES AND EP REVIEWS. 82 The Pasi Frus Jon es, chs of Chart ether mere! CD REVIEWS. 84 Alan Cece Eisven Veg Tels ante siren SOUNDTRACK OF MY LIFE 88 Fete Cenceing aes trough his i changing juke choices CODA 90 CI chard ands and Te Stow tae tur the top anew 5 WILDEST CATS WEEKENDER CELEBRATES ITS 21ST Back for its 2st year tits regular knows every word to every song. You'lbe hosting another tribute to home of PakefieldPontins, the latest The great thing about Bobby is that Crazy Cavan this yer. Are there any Widest Cats in Town event has a hes got that Arkansas voce. just details you cn share about that? head-tuning line-up of artists ine Sonn used to have. Bobby told My weekender, of course, was store including Bobby Catford, Rip me that it would be his lst show in named aftr one of Crazy Cavan Masters, Jake Calypso and The Cosh the UK and Europe songs. Cavan and his hand were a Boys. We cauoit up with Widest big influence on meas a young ‘alsin Town main man Ritchie Gee ‘There are also a number of one-off Teddy Boy as well as thousands of asthe promoter prepares to ‘Ukexcusives. What can you tellus others. | found some great musicians welcome a wholehost of rockin’ about those? {om Spain and aot singer from legends, current favourtes and The Wildest ats InTown isthe France ~ Yann O'ender - who up-and-coming talent tothe UK's biggest rodntoll weekender in wanted to doa special one-off biggest rcknoll weekender, the UK. his year ism 2Ist year sincere homage to the legendary reunion weekender at Ponts Crazy Cavan And The Rhythm You've managed to pull off teal Pakeild It takes alot of work to Rockers, and must say they sound coup with Bobby Cafford, an find top acts ftom around the world sensational. They're called Mr Cool original Sun Records artist who is and get one-offexclusive shows And The Crazy Rhythm Band, playing aspecal trbuteshow to from these great bands and artists. Sonny Burgess... For many, it's quite rare for them to Are there any ersonal highlights Sonny Burgess played at my Wildest perform inthe UK, which makes it on the bil that particularly jump (Gis weekenders on many occasions, even more exciting ‘out at you? ‘and since Sonny and his piano player I's hard to pick out any particular Ker Kennedy cid, Bobby ratford Tell usmore about some ofthe ats or band because they al ring isthe ony orginal Sun ecrting bandreunions that you'te hosting something exctna and diferent to artstremaining ~ Bobby recoded for your 2st celebrations... the weekender. The excitement of forthe abel with Sonny fom 957. Thesearethe top ban that have the crowd seems to spur the bands When | aporoachedhim toplay kept the rock’ntoland rockabilly nto overdrive and we ll havea at Widest as, told Bobby that scene aie duting the 7s, 80s and great time - the Iwouldbe able toput together a 90s."'vemanagedto get athe camaradeieis reat backing band wih pianist original members back together. amazing. remember Rip Masters, Darel Higham on lead W'S going tobe fenastictohear andthe legendary lack uta and ex-Restless member Jef see them alagain Scot saying tome: Baleyon double bass. Bobby Would pg “niche, you have sing and play the drums, He replied a BAM! moore characters at saying that ed played rams with a Cie Your weeker then ‘Sonny for more than 65 years and , Gig they haven Hollywood” . ‘han of bands and artists ‘hatjump ou, though, woud be berets ace rene ry Ear ny ‘The Spunyboys who have arelly ‘great stage show, as well asthe aforementioned super-talented Yann O'Fender. Not only can Yann lay crums, but he’s an ae lead guitars, too. A fantastic singer and ‘ockin’ songwriter ~ he penned We Are The Teas, which Was recorded by Furious. Yann 0'Fender and his band (CorrupTe are ones to watch out for ‘and willbe keeping od school {ck and the 80s rockin’ scene alive and kicking. Im aso abia fan of Dylan Kirk And The Killers. Dylan isa fantastic ery Le Lewis-style iano player. He's young, wil and play a frantic set - well worth Tooking out for One of my favourite tists was Roy Olson and we aso hhave Danny Reno at the Wildest Cats this year ~ an absolutely superb singer and guitars, the best Roy Orbison tribute act I've ever heard ‘The Wildest Cats In Town 2st Year ‘Summer Party Reunion takes place from 30 June to 3 July at Pakefield Holiday . Village, Lowestoft, For more details and tickets, visit www. tennesseeclub.net Former Creedence Clearwater Revival frontman and Rock And Roll Hall Of Fame induetee Job Fogerty has announced two UK datesas part ofhis 2023 tour Joined! by his sons Shane and Tyler with their band Harty Har, Fogerty plays the Manchester Arena on 25 May followed by the 02 in London four days later as part of his Celebration Tour Thisyear is something ofa watershed for the much- loved songwriter who has finally gained control ofhis ‘own back eatalogue that includes CCR classes including Proutd Mary, Fortunate Son and Bad Moon Rising, among ‘many others. For years the copyrights to Pogerty'ssongs were the property of Saul Zaentz, the owner of Fantasy Records, who sold the label and its publishing portfolio tothe former Concord Music Group in 1995. Fogerty, who extricate himself from Pantasy in 1974, re-signed withthe label upon its purchase by Concord. Even s0, he ‘was not able to gain ownership of his songs ~ until now: “As ofthis January, Lown my awn songs again, Thisis something thought would never bea possibilty: Aer so years, Iam finally rounited with my songs. also have say in where and how my songs are used, Up until this year that i something T have never been abe to do, Tam looking forward to touring and celebrating this year: Twantto thank Concord for helpingto make all ofthis happen. And, [am excited for new ideas and a renewed interes in my music..ike a revival” said Fogerty To underline CCR’s ongoing popularity, Fogerty has recently joined Spotfy’s Billions Club’ withthe band’s enduring 1971 hit Have You Ever Seen the Rain, The song, which has racked up more than one billion streams onthe platform, joins other iconic tacks including (Queen's Another One Bites The Dust and Nirvana's Smells Like Teen piri, Fogerty addl:“I am honoured and humbled thet my song hasbeen loved by so many forall these years 'm just so grateful Ironically, I wrote this song about my band breaking up, but today it has found new meaning for me. love todedicateitto my family because they are the rainbow that comes from rain falling on a sunny day” Additionally, when it comes to overall monthly listenersof bands founced in the 60s, CCR currently ranksin Spotff’s top three, landing ust behind The Beatles and Fleetwood Mac, and ahead of acts ike ‘The Rolling Stones, Pink Ployd and Led Zeppelin, To purchase tickets for the tour; head over to www johnfogerty.com 8 Teac BOOK REVIEW tetook That'll Be The Day CCL aU LOT Oa errr SOs Cec eon er soa £8 The Hounds, Bo Walton BEST Uo LOCATION Rs stoke, North Somerset Pasian s eras) eat Viva Las Vegas website rs Tropicana Avenue, era ce) Basa Crapo Cr Sony 1c Sie SF Minor id Se ne) any) Greece ray Pana oun g Wildest Cats in Town oN Party Reunion mea eco Rip Masters, Jake Calypso, UCC en) Deen User ao pC Mag eg ut eat EOC OMS en Teen ae asec) ese une 0): 24h) pb VMSIL SD URGE FIREBIRDS ee FES (ae A VOL pares idl Ruck’ Pam nm ig RELENTLESS Meaty AN as GA UPR an UE e ee an TL 5: WWW. VINTAGEMANIA.CO.UK DOLL ALA ADVERTISING FEATURE Ollie Gray We catch hit musi ‘Tell us about the genesis of the show — how did it come about? While touring in That'll Be The Day with co-producer Pete Jackson, sharing a ear for many miles we diseovered a mutual love ofthe Everly Brothers their sound, their songs, and the magic in those records, ‘We discussed the idea of putting the show together with Trevor Payne [director of ‘That'l Be The Day and Prestige Productions] whosalso a huge Everlys fan, and he was immediately on board. We started plansin carly 2017 and soon had a setist~ albeit far too long ~ and a scrip. We were then ready tostart sourcing the hand and singers as ‘well as bookingits debut UK tour, which hhappened in the spring of 2018, How has itevolved over the years? We starred mach more script-based, with the sory in the first halfbeing told with acting and scenery. This proved a litle ambitious fora one-night touring production, so we decided to leave such endeavours forthe residency in the West End that we still hope toachieve. Instead, ‘we've converted the touring production into a first-person concert-style format, which sill uses much ofthe sript and audio-visual content from the original production. What periods of the Everly Brothers’ story does the show cover? "The show goes from the very beginnings of their career ~ appearing as children with their parents on the local radio station inthe 40s through ther ise to fame in 1957, all the way to their famous split in 1973. tn the second hal ‘we give the audience an even faster paced experience loosely based on their ‘wonderful Royal Albert Hall reunion concerts in 1983 featuring anecdotes and ‘musical moments that come from the years afterthey reunited. ‘There's room for the Alan Freed rock’n'roll package tour which also includes other artists, right? 10 ean with the director and Walk Right Back: The Everly Brothers Story ul-estmentis te a aso ecto Areal highlightisin the first half where we portray the energy, power and camaraderie ofthe 50s packsge tours, festuring The Everly Brothers, Buddy Holly - who Phil bbecame great friends with ~ and other artists from the rock'n'roll seene that the boys appeared with at various times. We utilise the talents of the other band ‘members here. In past versions of the show ‘we've seen Roy Orbison and Johnny Cash appear on the bill and we're currently “We've got a four-piece band of mega-talented guys who know these songs inside out” featuring Rddie Cochran, There are also plans in the pipeline for asong or two from. Jerry Lee Lewis! How do you tell the story of the brothers in the production - purely viathe songs ‘ordo you have other techniques, too, that drive the narrative? ‘Thestory, the bulk of which is told chronologically inthe first hal i punctuated by the songs, but largely driven producer behind the by dialogue predominantly from our two guys, Lars Pluto and Luke Wilson. Larshas narrated the show in one form or another since te firs tour, and being the ‘real deal southern American he is, the auciences love his authenticity, charmand wit. He's partnered perfectly by a very British and endearing Luke. ‘What do you think is the enduring. attraction of the Everly Brothers’ music? Ithas a magic all ofits own. As many people have said in one form or another, the chemistry and intuition those boys had two voices came together ‘there was a unique sound created, almost something more than just two people singing, that had never been heard before and probably never will be again. When you ‘marry that with some ofthe greatest songwriters, and legendary musicians and record producers, it's perfect recipe for some ofthe finest musie ever made. meant when th ‘Tell us what your personal favourite songs are on the setlist ~ any why. A lesser-known hit called Rowilig Green It’sgot sucha great vibe and melody, and shows off the boys' voices so well. I'sa total pleasure to sing, play on and listen ta. T've also always really loved Crying-In The Rain. If there's one thing the Everlys can do like nobody else its a slow ballad, and there are ‘so many beautiful ones. Thatone tops thelist for me, My all-time favourite record of heirs though, has to be When Will Be Loved, written by Phil himself. Irs the epitome oftheir sound and there's no groove like it And audiences can also expect full live band to accompany Phil’ and Dor’. ‘They certainly can. In addition to Lars and Luke we've gota four-piece band of handpicked mega-talented guys who know these songs inside out and love playing them. The band has evolved over the last five yearsto become a supertight unit and each member ofthe group gets a chance to show off their skills throughout the night. + Be erie cic oar entra ee eed ee a eT as PMT epics oan Mec an ayy 1 nn | ] pila (TMNT TOUR DATES 2023 APRIL Fr CR ery Semen NM La Ne tUscar Crete poe ter Lee cee het) eee ned ms alec AT te Nene Cg Le ae CO te ec ae ct) Femme Nsler NoMa Cort sci 29 caer rte titty men engin Pier EN rtd See ee mento a i ena Ur Gieaiiceead ovat atone seeder a Mead Lacey dcr eutectic) ee ac Rc rars) UCLA take oace) PM Rem od ed Pee Se ed Pe tia come Ma ame get) Perea a eT) LCR a esto) ater TP MRco Neer cM CR te Pee ete troy ee cla en ee ry A a a eT Cae Pies are Ro ee ee mee) ie Pr ey Seemed Terma reun tt Rd Rare a a ee ned PN cr Cre es etme eM OR Tr) Orme A ee ae ce) meet NN els RL Nae Een reer) Notre Meotene Tae ce io aoe rad uc erected Perm ae agit} Fai ntgeckcog som Rect Ome uaa) | {foros PRC C ULL aes LO cay The Burner Band Growing up to the sound of his father’s banjo, Lewis Burner’ Pugh punk rock before returning to the rootsy tooka detour youth. Now he’s stirring up country, bluegrass and rockabilly via his latest musical outfit. WORDS BY DAVID WEST romhis2018 solo ‘debut, Dog Songs, through to The Burner Band’s Signs And ‘Wonders in 2021, Lewis ‘Burner’ Pugh has been drawing on adeep well of bluegrass, country and rockabilly. Based in Leeds, hisband's new album, Age Of The Lia, features cover art by ID Wilkes, frontman of ‘The Legendary Shack. Shakers with whom Burner shares an appreciation for the fall readth of American, OL aia Pei eer roots music,a talent for exorcisingtheir personal demons through their eraf, and a knack for a memorable ‘melody. The Burner Band can evoke blue-cellar git, in Company Man, or tackle polities, in Block Out Tho Sun, about Liverpool's oyeot of the tabloid newspaper, brought to vivid life through their musical portaits What inspired you to make music? ‘My dad plays banjo, my mum used to ply double bass and mry sister used to play fiddle ‘My mum and dad had a Bluegrass band so ry sister and I would go to their gigs, and ‘weld attend lots of festivals in the summer, many of which aren't running anymore such 1s Edale Bluegrass festival and the Yorkshire Dales one. Despite this, from around the age of eight or nine all] wanted to play was the drums. Ittook awhile to move on from that notion. Eventually [took up the bass thenguitarin my teens. joined a local punk band on drums aged 131 did my first gigs then, as they were allolder and there was local social club that used tolet us put on sigs After that, [formed my own bands with 12 Yam “In terms of perspiration, I think that music should be hard work - put some hours in, learn your craft” fiends from school and gigged and recorded regularly. I started touring in my 20s, with the same band for seven years, got quite iin my mid-20s, and it was he only time I wasn't in an active band since Twas 13 When Tcame out of hospital started playing blues and country music again, instead of the heavier stuf needed ‘change. That was about 10 years aga. T've bbeon working on it since then I suppose How did The Burner Band get together? previous version ofthe band, Backyard ‘Burners, was formed around 2013, which \was just three-piece with my dad on banjo, imyselfon guitar and voeals,and my wife on bass and singing: We played bluegrass and country and did aloe of wedding gigs. My Wife wasn't too bothered about gigzing and travelling really, which shel freely so started playing with Ian Blackburn on double bass and Lew Beresford on snare drum more around 2017, I started playing more of my own material and being less ofa function band. released, og Songs in 2018, then Dark Wheels Tarn Above Our Heads in. 2020, both as solo albums. played most ofthe instruments on these records because Hove playing drums and don’t get to do it much, plusit kept costs down. The next natural move seemed to vwrite some songs with Ian and the end result was Signs And Wonders in 2021, Steven Hicken Jr added his excellent pedal stel playing to this record, and stared joining uslive,and we invited Chris Wallum on electric guitar slong forthe ride, based on his severe handsomeness. My dad doesn’t play livewith usat che moment due tohis health, but hopefully we can get him ‘onstage with us sometime this year. How did you arrive at the sound of ‘The Burner Band? AsT mentioned, Iwas raised with music. Inmy early teenage years, I discovered punk, mostly American skate punk then ‘older hardeore, and then lator metal and classic rock After a steady diet of this for yeas, I did what lots of people whoimmerse themselves in musie do and dug back into ‘the past I got into early rockinroll and blues, then eventually arrived back at some of the _musie Ta been brought up on - hillbilly and bluegrass ~ full cirle. ll this feeds into our sound and the lads put their own spin on things. After listeningto lots ofhardcore and punk, [got heavily into blues music when I and ‘wasat college took up the harm taught myseE I was listening to people get ene cating John Lee Hooker, Little Walter and Bukka White. tried leaming slide guitar but was never any good, then I started going to folk and bluegrass sessions again with my dad and we began playing wherever we could [started singing infront of people around then. That was the beginnings of Backyard Burners, around 2012-13, What ar nspirations behind the music? ‘Some of my all-time favourite artists include Hank Wiliams, Lonnie Donegan, The Housemartins, Thin Lizzy and ‘The Clash, Im not suggesting you can necessarily detect their influence, but it's there. [love a lotof musie and musie for its owen sake is constantly inspiring tome. Tisten tall sorts. Tove reggae artists such as Jimmy Cliffand Toots Hibbert. Talso really enjoy country and bluegrass, people like The Osborne Brothers and Jimmy Martin. This week [ave mostly ‘been listening to Marty Stuart, Jonathan, Richman and Johnny Paycheck. some ofthe influences and How does songwriting work for you ‘and where do you sit on the perspiration ‘versus inspiration spectrum? Do you _waitfor inspiration to strike or sit down, and wrestle out the music? Tywrite whenever I feel the urge. Sometimes itwon'tbe for weoks then three songs right come in a day. For yrs, try to take notes of inspirations one-liners titles or just ramblings and hope they might be ‘fuse down the line. I don't wrestle too hard ift’snot finished, Il Teave itand ‘comeback later.Some songs come out in five or 10 minutes. I mostly writ politieal songs, some story ones and quite a few bout mental health. Ive also had the 100d fortune tobe friends with David ‘Rebel Poet’ Holmes who've collaborated with afew times over Iyries: haven't created characters realy, but [ve written from people's point of view a few times. In terms of perspiration, I think that music should be hard work ~ putson Ieam your craft: Hopefully, always dothat. ‘Where did you record the Age Of The Liar albums? Te recorded the last three albums with my good friend Grant Henderson who has studio in Leeds called Loom. It's digital setup, For those albums, Trecorded a lot ofthe basi tracks at home ~ guitar, banjo, harmonica ete ~ and finished the drumsand vocals, as well as the mix, in the studio For the next album, we're hoping to record live inthe studio, Hove working with Grant and ‘we've become good friends. [usually have a prety strongidea how T want the song to tum out in the studio from what I've already demoed and using tracks Pv brought into the studio helps keep costs down, ‘Theband’s sound covers alot of bases, from country to rockabilly and beyond. Does that make iteasier tobook’The Burner Band or tougher to fit in with neat category? lemakes it harder. lot of people want tobe easily defined. Tha ‘managed to get us through tothe festival cineuit much, The thing promoters who n common is they ike it that we'rea decent band, and we're not tayingto be one thing. We're pretty much an independent band so we rely on people who arent interested in hype orbox-ticking to giveusa chance support us hav ‘What have been the highlights of ife with The Burner Band so far? After Signs And Wonders, we started giging asa five-pieceas that hasbeen really enjoyable, Travelling down south to play London and Brighton is always great fun but we've also had some lovely hometown, ‘gigs atthe Brudenell Social Club and Farsley Constitutional, Releasing the lst, and the next, album on vinyls also an absolute joy, thanks to Miek at Shed Load Records, What are your hopes for The Burner Band in 20237 ‘Tocontinue to make records, continue to ‘make new friends, see old ones, play new places and hopefully gt invited to perform atthe odd festival! ‘MTGE 13 Rock'n Rol \ Matchbox blaze their trail and serve up a fiery studio album, plus tales of life on the road with Ss» rock'n'roll legends Carl Perkins and Bo Diddley 11977, Matchbox were making ‘waves. After our trips to Holland ‘we started playingata whole host of UK rock nro eubsas well asthe other bookings that were coming in. We had a now transitvan and plenty of rehearsalsin ‘Steve Bloomfields soundproof garage ~ the band were really starting to enjoy learning the new songs and puting. show together. ‘Wewere soon offered a deal with asmall, label called Raw Records in Cambridge, Thestudio we used was called Spaceward Iwas there that we recorded our album Settin’ The Woods On Fire, the first track ‘being the Hank Williams songof the same plus some of Steve's original material pambridge while recording the album. We were happy with the ist he overdubs and backing Vocals went on, and it was coming together nicely. Later on, some ofthe guys putting the LP’ artwork together had the idea of taking uustoa wooded area and, with the owner's permission, they gota load of paper and all manner of things to make a fire not to create a forest fre but certainly made to look like it. We even hac fre truck on standby. The cameras had special lensesto get the look ofthe flames on our faces - basically a scene whereit would appear asifwe were rmning avay fom the blaze. We loved the idea ofthe tres nthe background, the whole concept of Matchbox and the link with our name tothe ttle tack, The actual meaning ofthe Hank Williams song, though, was linked to dancingon hardwood floors that they had allthose years ago. As for us, thought the other ‘meaning ofliterall setting the woods on fre was erazy, butthere you ga. Before the album was pressed and 14 rane Ped Sey Mode erie released we returned to London as we had several of our own gigsto play as wel as some great support sltsin the pipeline. (One was.atourin April 1978 with Carl Perkins and his band plus Bo Diddley, so we had aot of rehearsing and arrangements todo for the gig. The tour went all he way from London to Inverness aver the course ‘of about two weeks playing various towns between Scotland and Kent ~ exciting scuff [first met Carl atthe Nashville Rooms in Kensington fora ‘advance promotion’ event for his OP Blue Suode's ack album —Tguess it was atwist on the Frank natra idea. The next ‘occasion was on The be, the popular TV show hosted by Jools Holland and Paula Yates. had worked with Bo Diddley in 1972 atthe London Rock And Roll Show: ‘The tour was being co-promoted by aul‘Legs' Barrett who was also the MC. Matchbox were to open the concerts and back Bo Diddley, then Carl Perkins and his band, the CP Express, would come on. The (CP Express consisted o Perkins on bass and Stan Perkinson drums, plus Lee MeAlpin on piano. Alsoin the band ‘were Dave Sea on harmonica and sax and Carl, of course, on guitar and voeals, Te-was along drive from Marble Arch to Inverness for our first show with stops.en route, so we were very tired by the time is two sons Grog \we eventually checked into the hotel ready forthe gig the noxt day. Itwas then that we realised Matchbox and Paul Barrett weren't ‘on the check-in list for the hotel, We were booked in somewhere else down the road! Tewas a small hotel, which was ait ofa pain in the but. ‘The next day Carl Perkins and the others \woron't happy at all, so Carl went to soe the other co-promoter and told him they wanted us to bein the same hotel. That other promoter, being abit stingy, was trying tocut corners to save money but Cat sid het pull the tourif wedi’ stay with them, which of course was arranged. That's ‘when we found that Carl wasa true friend and nice guy, weall got on marvellously Also traveling on the our bus was Bo Diddley and his wife plus his manager New Yorker called Marty. Tewas a lot of fun. Bo could be quite a comical character: sometimes hell borrow one of ‘our instruments, such as Steve's mandolin ‘where he'd strum and sing rude blues songs. Hie have everyone on the tour bus in ts oflaughter: All of us got on extremely well ‘on the journeys, in the hotels and, it snes without saying, the shows We became lifelong friends and stayed in touich, I¢wasa real honour o know these great people as friends The gigs were supert, we did lots offinterviews forthe press, ra ‘TV, and had alo of fun socialising inthe hotel bar, hearing ots of stories ofthe ‘old days on the road and theSun Records ioand studios recorded way back in an obscure session ~ Twas alittle drunk so don't remember all the details ~ was called Put Your Cat Clothes On, Matchbox featured and we asked Carl ifhe'd play iin his show the 50s, One ofthe songs that Carl and he agreed, Atthat time, though, hel forgotten how ie went ashe never played tive -ithad come togetherin abooay session in Sun Studios. Hedid tell usthat many fans had asked hi song but held never got round to puitingit in his show Duringone ofour soundchecks he asked us to perform it for him, which ‘was kinda cool He sat and watelied us~it was awesome, about the Backon the bus, Isat with Carl writ he remembered them, which helped mecorrect some ofthe Iyries while on the journey. out the words as ete) ror onstage ‘When we gotback to the Holiday Inn in Londonon one of our daysoff, Car asked toborrow my cassette recorder witha recording of his version of Cat Clothes. He also asked me if take the boys -thatis hissons and the rest of his band — out in my earand show them around town, ashe ‘was going tohave arestand have a good listen tothe sony He did finally put Cat Clothes into the shows and when he played it at the Royalty Ballroom in Southgate he dedicated it to yours truly, which was avery special moment for me. The frst night in London, friend and I drove Carlsband from ‘the Holiday Inn toa couple of places | knew to show them about and then on toa record hop over in North London at aplace called Bumbles A friend of mine,'50s Fash’ the DJ, ‘had a regular spot on a Monday night there which attracted many rockin’ people. We Inada ball wh fans and signed autographs. Although Carl wasn't there, some ofthe fans were going to.cometo the shows ~ especially the North Londonone atthe Royalty Ballroom. they metall the rock’ rll Weld often stop for food breaks on tour and Bo would regale us with tales of the spicy food that hei eat back home in the webet him that he couldnt handle some of our Indian curries here in Blighty. Bo agreed really sai ‘would be anything ike as hot asthe food he wasused to, States So the rest af us had an idea that there was no way they First ofall we tried him out with the mildest we could find, just a timid litle korma. Bo had afew bites and stared Peake Cees sweating, he couldn't handle it and ‘wasnt able to finish what wason his plate Incredible! Ie’ fortunate that we didn’t challenge him toa Vindaloo fora kick-off ‘Traveling wasnt always the ceasieston thar tour, we struggled during the high winds in Seotland especially. f'wehad to pull over in one ofthe usual truck stops, though, Carl had numerous stories to entertain us with includingtales ofthe early days when he played with his brothers in old honky tonks. ‘There would be plenty of boozy fi there, generally over a woman, And some of those fights were fatal - people were getting stabbed or shot. ‘These were very dangerous places Carl came close to being killed himselfonce ata honky tonk where he went outside for smoke one night. In the gloom ofthe dusk, he was mistaken for some other guy ina revenge attack Luckily, ehe knife mistake in time and sav that Carl ‘wasn't the man he was after. Hisintended tanget wasnt s0 fortunate, though, and Cat saw hi \woukl-be attacker stab his intended. victim ina ditch. Carl disappeared sharpish back tothe relative safety ofthe bar butt wasa close shave ori an realised his atleast. amu 15 Toto & The Raw Deals One of the finest up-and-coming bands on the rockin’ circuit, frontman Salvatore ‘Toto’ Marziano tells us why he’s bristling with fresh ideas ahead of what looks set to be an exciting 2023 — =. A. 5. faces a of isolation was something of acreative awakening, pd strum When did Toto & The Raw Deals first get together? Duringlockdown Iwas doing a lotof videos online and with time on everyone's hhands,1 was thinking about forming aband. Trounded everybody up,and we finally ‘managed to get together in 2021 atthe Hemsby Rock'n'Roll Weekender and start coming up with some song ideas. We ended ‘up jamming together that same wee the Hemsby Jam Session, Less than a month later, we threw a set rogether and played our first gigin Kent. end at 16 TEI mere) Paid Peres “We like to see how far we can push from the roots of what we do” sounds sifthero'sa story behind it.. “Toto is my Italian nickname, soit was always gonna’ be “Toto and something? think. The Raw Deals part eame from the legendary Junior Thompson track. Ouroriginal idea wast keep the band quite authentic sound country/hillbily, but quickly we naturally became a bit more edgy. ‘There area few familiar faces in your line-up. Were you all from different bands before you got together? ‘Thisis actually my first ever band, beliove itornot! Joe has been in The Runaway, currently also King Joe & The Atlantics, and has played guitar for many bands and artists He also plays in theatre shows such as Sun Records: The Concert and Elvis: Good ‘Rockin’ Tonight. Sam played with Danny (0° The Astrotones, The Runawayz, WORDS BY CRAIG BRACKENRIDGE ‘The Honkabillies, Drugstore Cowboys and loads more He'sa go-to’ bass player for most bandson the UK circuit, nd also foreign artists when they come over here. Tony has played with some big names over the years, including Jack Rabbit lim, and loads more, As yourband members arebased in Suffolk, Kent, Sussex and London how do ‘your songs come together? Istherea usual process or do they just evolve? We usually getvoice notes from each other and they'll show ric ideas, guitar rif, oramelods, We're also trying tostay away from standard 2bar-style songs: Notthat we have anything against it-it'sa part of rock'n'roll, and we love it, but wejust Tike to get creative and see how farwe can push boundaries without venturing too fae from the mots of what we do, ‘There seems to bea strong streak of ‘country in your music. Would you agree and are there any particular country artists that have been an influence? ‘Yeah, the original idea ofthe band wasto have a more authentic and clean country vibe, which kinda crossed over with cevoryone ese’ influences. I think I'm the bigest country fan fin the band] but we alllove it massively, anything from Hank Williams and Lefty Frizzell through to some modern country like Alan Jackson, ‘Country Side OF Harmonica Sam, The Zae Brown Band ete, We all love other aspects, +00, Sam isa big fan of neo and modern rockabilly, Tony likes his rockabilly and hillbilly, and Joe particularly likes R&B, cy ESL} original rockabilly and rock'n'roll. All these influences and styles have worked their way into what we originally planned and have now become whatever itis we havel ‘Would you say your sound has evolved already since your earliest time together 1d how important isit that you focuson writing your own material? Ie changed really fast without even intending to do so, ejusthappened! I think the moment we realised what we were or what we were gonna be, wa the studio last year when we recorded our eponymous debut album. Myself,Sam and Joe had written some songs ~ together and individually ~ and we alljust clicked at the same time and knew what this band was goingto become. We're still writingand for-usit's particularly important. There are bands that set out to play their favourite songs, but we agreed pretty early on that we \wanted to bea mainly originals band. Was it enjoyable putting your debut album together and how did you approach the reconing? We had one day in the studio, and this is what we got. Isupposeit ‘The recording was very spontaneous to say thatleast.Mr Apollo’ Studio, run by Jim Dawkins, had recently opened in Dover dhe offered us some ‘mates rates’ studio timeso we jumped atthe opportunity and ‘went in just afew weeks later: We weren't ataster rally, particularly sure how we were going to the album but im just pressed ‘record’ on everything we did, The rehearsal sound — where we were all playing live in ‘one room ~ felt ike the way to go for us. think the band isa sbout the energy that we build up when we are playing live together. Idon'et anything as good if we were layering our parts individuals nk we would capture ‘You seem tohave madea very large impact on the rockin’ scene ina relatively short space of time. Did lots of preparation go into this or diditjust happen naturally? Iesall just happened as naturally asi possibly can. [think with usall being young playing well and realy givingit ‘some onstage while not doingthe typical rockabilly covers that alot ofbands do isthe ‘main attraction. think we can keep itup as long as we regularly provide something new, which shoukdn'tbe a problem. Atleast that'soursim. How would you compare your earliest sigs with some of the bigger festival appearances you had last year? ‘We were iil nding our fet in the earlier sigs. We planned to be an authentic sounding band and were kinda trying to hold back chi beast within that realy ‘wanted to rock out! Weeruly found our ‘own style early last year but I think this will & THE en hy nd just keep evolving, The bigger gigs we did atthe Rockabilly Rave and Hemsby were just phenomenal. We somehow had the crovrd on our side before we even played a note, and when we did we just fed offeach other. There was high energy, and what ‘makes it even better is those great festival PA systems. How is your year ahead shaping up in terms of gigs, weekenders and writing and recording new material? ‘We aren't over-gigging the band, We don’t ‘want to be in everyone's faces and become band that people can say “not them we saw them a week or two ago". However, wwe have some great gigs lined up for this year including High Rockabilly in Spain, Bethune Retro in France, Rockabilly Rave and lots more. We als plan to have another album out as we are sting on some great ‘new original material that we! fends nd fansare gonna love It’s about the content, good music is good music, and \we think we pulled out some corkers on the first album ind are very excited to got back Inthe studio and provide you with some more new stuff, ‘MTGE 17 Fats Domino WALKING TO NEW ORLEANS Vini tage Rock salutes the Imperial phase of Fats Domino’s glorious career by taking a look at how his rich R&B hits added a touch of spice to the sweet-sounding gumbo served up in The Big Easy lot of people seem to th I started this business, but rock'n'roll was here along time before I came along...Let's face its I can't singit like Fats Domino can?’ admitted Elvis Presley to Jet magazine in 1957, While the piano-playing pioneer himself might've been humbled by such adulation, he would concede toa Hearst newsreel interviewer that same year; “What they call rockand rolls rhythm and blues, and I've ‘been playingit for 15 yearsin New Orleans, R&Borrock'nroll, call it what you will, there's no debating that the amiable artist's ‘catalogue of work forthe Imperial label had aadramatic impact onthe music landscape and would reverberate through the ‘generations and inspire future rockers A wide range of impressive names ll eame togetherin 2007 ta pay homage to the big man and tackle some of his most notable hits for the Goin’ Home:A Tribute To Fats ‘Domino album. An appropriate title given cart was fo Fats, and we start this celebratory look at the story of Antoine Domino Jrby walking to New Orleans, orn on 26 February 1928 into a French Creole family the future trailblazer was the youngest of eight children born to Antoine tha home was where th WORDS BY DAN BIGGANE Caliste Domino and Marie-Donatille Gros. “Having moved from Vacherieto settle inthe Lower Ninth Ward, theres no doubting that Domino’ earliest musical infuence ‘would have been the city of NOLA herself, Film-maker Joe Lauro, who became fiends ‘with the singer during the recording of his 2014 documentary The Big Beat: Fats Domino And The Birth Of Rock n’Rol, revealed to The Guardian how: “Everything, he did his patois, his creole accent, the beats he used ~ reflected the city” Located along the Mississippi Rive, in the south-eastern region of Louisiana, New Orleans’ unique musical heritage is about as ‘old as colonial America itsel£ The sprituals ofenslaved Afticans appeared in the port city from across the Atlante alongside the sounds of European setters from France, Spain, Ireland and Germany. The home of New ans’ msi ospot Cookery a Afro-Creole and voodoo, of Si bands and Dixieland ragtime, The Big Fasy is celebrated as the birthplace of ass’ which ‘would later be called jazz. With its roots reachingback to the drumming rituals that cook place in Congo ‘Square, where slaves joined to play musicon Sundays, jazz is synonymous with the city in 1895, local cornetist Buddy Bolden started his first and and added blues rhythms to their loose interpretation of ragtime, effectively inventing the genre. ‘Some 22 years later in 1917, Nick LaRocea and his New Orleans-based Original Dixieland Jass Band recorded the first jazz record entitled Livery Stable Blues. The city ‘was also the birthplace ofsuch notable ‘names as saxophonist Sidney Bechet, trumpeter Louis Satchmo' Armstrong, and ragtime pianist Ferdinand ‘lly Rol” ‘Morton, who would later surmise: "Teis evidently known, beyond contradiction, that [New Orleans is the Cradle of Jazz’ ‘Thistih history and the city’s ever- evolving vibrant energy was unescapable for ‘young Domino. While his father played the fiddle,a more immediate role model was the jaz guitarist Harrison Verrett, who had ‘married his sister Philones, Having played with trombonist Kid Oryand trumpeter = mnbrass mean 19 Fats Domino Oscar Papa’ Celestn, Verrot taughchis brother-in-law his first few chords by writing jownnoteson the Pia Antoine was about 10 years old Talking to New o keys when Orleans masie wagazine Offboat in2004, Domino rovedled how he had an innate talent for playing alongsto records after only a handful oflistens He said: “I could play itjustlike the record because [had a good eat for catchin’ notes and different things Botween 1938 and 1942 Antoine dilig to deliverice around the neighbourhood, he would practice in any house that had piano. and, as he revealed tohistorian Michael Hurt. Bverywhere I went, every house, they had a piano” In his teens, he started performing pennies in local hotspots at nighe. Following the Second World Wat, the most fashionable music to infiltrate [New Orleans was beat-driven rhythm and blues. Clubslike The Dew Drop In, “The Tisjuana, The Caldonia and Robin Hood attracted the hottest ats and radio stations, which catered specifically for ‘Hac listeners, picked up on the fresh sound. The impressionable ears of honed his eraft. Quitting school Fats could not help butbe exposed to this ‘musical movement. Laying the foundations fr this exciting new direction was Louis Jordan. Having, d swing jazz of the 1930s, ‘The King OF The Jukebox’ ‘popularised the bouney jumpblues phenomenon, Eschewing the more polished style ofhis contemporaries, thed Arkansas-born saxophonist and leader of the Tympany Five developed a dance- oriented hybrid ofjazz, blues and started his career with the big : > Dee et er rn eet) boogie-woogie, which would morph into R&B, As the burgeoning rhythm and blues sound started to develop and spread, prominent vocalists remained deeply rooted in gospel music Onesuch singer, Ry Brown, was ingligh seene and. signficantinfuence ‘on Domino. Hesettled in NOLA in 1047 after stints performingin California, Texas and Shreveport in Louisiana, and re ny ofits ales the Louis important figure in the genesis ofrock'n'rll His Good Rocking esd Pore eto Fats Domino Tonight, with its “Well Theard the news, there’s ood rocking tonight!” refrain, is nearly contender for the frst rock record ever committed to was. Written for Nebraskan R&B singer Wynonie Harris, another huge inspiration for Domino, Brown decided toperform the track himself for De Luxe Records in 1947 afer the blues shouter had rejected it, However, as Brown's version began to develop interest around New Orleans, Harris soon changed his mind and would go on totop the Billboard R&B chart with his rendition. Significantly, Elvis also record and released the song for Sunn 1954 after seeing Harrison stage in Memphis. ‘Another hugely important fiure inthe development of Domino's approach was Amos Milburn, one ofthe fist performers to switch from sophisticated jazz to the \, louder jump blues. Hailing from Texas, his bawdy ‘ofboozing and partying on numbers like Bad, Bod Whiskey, Trouble In Mind and One Scotch, One Bourbon, One Beer had an immeasurable influence. Asdid the booming presence of Big Joe Turner. ‘Working Kansas City venues such asThe Kingfish (Club and The Sunset alongside the boogie-woogie pianist Pete Johnson, Turner scored a bight in 1938 with Roll Em Pete. The pair went onto regularly perform with pianist and Meade Lax Lewis, helping to propel boogie-woogie further into the mainstream. Other notable Turner recordings including Piney Brown Blues, Chains Of Ibert Ammons Potten ot ne pment Mel ro hake, Rattle And Roll, Cherry Red and Flip, Flop And Fly, would prove hugely significant in the development of R&B. “Arthe very heart ofthis blossoming contemporary musie was the sound of piano, and Domino was keen disciple of many leading purveyors who pounded out that irresistible rhythm on the keys. ‘Aforementioned exponents Johnsor Ammons and Lux Lewis often appeared asa trio nd became the leading boogie-woogie players of the day. While their styles iffered all three possessed enormous swing, drive and power. In his book, The [Blues ~ From Robert Johnson To Robert Cray, writer Tony Russell ssid thatthe members ‘of the ‘Boogie Woogie Trio" all shared, “a technical virtuosity and melodic Fertility that ean make this the most exciting of al wo muse styles Fellow pioneer, Isidore Tuts’ Washington, imaclea name for himselfas.a prominent, performer for dance bands in New Orleans. Similar to Domino, Washington had taught himselfto tickle the ivoriesasayoungster before developing his stills under Joseph Louis Red! Cayou Working with guitarist smiley Lewisin “Thomas Jefferson's Diieland bandiin the mid-1030s, Tuts became an expert ‘boogie-woogie player. Aer the war, Washington and, Lewis hiton ‘winning formula and released 22, MEO 4 several popular so asTurn On Your Volume, Bay and its flip, Flere Comes Smiley, Tee-Nah-Nah backed with Lowdown: and The Bells Are Ringing and Dirty People Lewis was notonly the frst artist to recard Bue Monday in 1984, but het also go fn to score R&B chart success with his Hear You Knocking in 1955, Hisrevamped take on Louis Jordan's 1939 {jump blues track, Keep A-Knootn is dominated by the piano triplets of Huey crossover hi ‘Piano’ Smith. Born in the Central Cty neighbourhood ‘of New Orleans and having played piano for Guitar i and Earl King, Smith would also make a hugely significant ‘contribution tothe developing R&B sound with his group The Clowns. Both Domino and Smith Were greatly affected by the innovative work of fellow New Orleanian Roy Byrd. Better known as Professor Longhair, Fess added Lat spices and Caribbean favour tothe Cajun ‘gumbo he was cookingup at the piano ‘While he might've only scored one national hit, Bald Head in 1950, he too helped pave the way for those who followes. Russell wrote “The vivacious ehumba-rhythmed piano blues and choked singing typical of Fess were too weird to sel millions of records; head to be content with siring musical offspring who were simple enough to manage that, ike Puts Domina” Iewas around the same time when Longhair cut Bald Head, that Domino first walled through the doors at J&M Stucio to rewrite rock history ‘The brainchild of young Sead perenrrrta aco) eer Peotone Poo orcs Poe Belated Ceca) chemistry student dropout, Cosimo Matassa, J&M was initially oeated in the backroom of a Federal-style building on the edge of New Orleans’ French Quarter and ‘would playa pivotal role in developing the city'ssound. Born in April 1926, Matassa was the son ofsicilia immigrant John Matassa who ‘owned ajukebox operation called J&M Amusement Services, which he ran with his business partner Joe Mancuso, On deciding chemistry wasn't the eareer path fr hi ‘Matassa would help install or fx jukeboxes inthe city's barsand ensured they were kept topped up with the latest tunes. The budding entrepreneur would sell any ld used dises and noticed a gap in the market, so approached Mancuso with the idea of ‘opening. record store, ‘Located on the comer of Rampart and Dumaine, X&M Music Shop had a sft by 16fe space atthe back which 18-year-old Ma decided to utilise by installing smal studio. While practising his production kills he offered the spacetolocal musicians and students wanting to make amateur nus. *"The first thing we had was a «dual Presto dise recorder,” Matassa told Rhythm And Blues In New Orleans author John Broven. “Ifyou listen to the way the drums sound on the very earliest things, you can tell they were done.on one microphone. thacthe records sounded decent tally today’sstandards isa miracle?” Tomes 23 eg ety Pot been tipped off by Rip Roberts, the city’ leading African American musi prot thata “special guest was in the audience, young man who reslly plays the piano" Twas while playing for those penniesin the Ninth Ward clubs that Dom the Ammons number which ultimately gave him his first taste of fame. However, it _wasn'just Roberts whotd spotted the ‘youngster's remarkable talent during his seinillating small barroom performances, After being introduced, an impressed local bandleader called Billy Diamond offered him the opportunity to sit in with his band, ‘TheSolid Senders, at the happening Hideaway Club Iwas Diamond who frst nicknamed him Pats after the renowned pianists Fats Waller and Fats Pichon. Another early New Orleansartist picked uupby the Braun brothers during their scouting mission in The Big Basy was the influential frontman of Dave Bartholomew & The Dew Droppers, Nicknamed ‘Leather Lungs for his ability to hold anote, Ni ! a eee Poet Carer ‘With New Orleans a hotbed for musical talent, J&M soon started to gamer attention and became an essential destination for record labels hopingto discover the next big, thingin jazz and blues. Among the frst potable talent seekers to travel south were [New Jersey's David and Julius Braun of De Luxe Records in 1947, During an early visit the Braun brothers discovered, signed, and rocorded Paul Gayten and Annie Laurie, Gayten was an esteemed piano player and bandleader in New Orleans where he had ‘established a residency at The Robin Hood with his trio, In1947 the collective recorded two ofthe first NOLA hits of the REBera, ‘True (You Don't Lave Mo), and a cover ofthe Buddy Johnson bluesballed Since I Fell For You. with his ianeée Laurie on vocals “Annie Laurie did the first really good record that I liked? Matassa revealed to Broven, {She} was just fantastic, mean nobody will ‘ever make another version like that” Teas during.a Sunday afternoon concert insummer 1947, that Gayten invited Domino tojoin him and Laurie on stage fora showstopping rendition of Albert Ammons intricate Swanee River Boogie. Gayten had 24 NOMEN CAS FEMRNONRE MEME OMELET, AKINORRE CIAO CHGS LSPA MELTS Bartholomew named his first group after the famed Dew Drop Inn wherehe ‘would become resident bandleader. Makinghis first DeLuxe recordings at Matassa'sin September 1947, he worked behind the seenesat the studio and became a key Iyseto the iecting an owing suceess of J&M, playinggon countless sessions as well as being the chief inchouse songwriter 1n1949, while playing in Houston, Texas, Bartholomew met Lew Chudd, who owned Los Angeles-based independent label Imperial Records, Init Spanish-langu ly focused on. xe music, Chudd was looking to sign new country and R&B acts There wasno one better positioned than Bartholomew to become Imperial’s eyes and ears in New Orleans Teas while hunting for talent atthe Hideaway he saw music’ ‘nextbigthing’givea life-changing performance, wh The Fat Man’ signing with Imperial When interviewed by the Cleveland Plain Fhresulted in Dealer back in 2010, Bartholomew said: “My first impression was lasting impression. He was a great singer, He was a great artist. And whatever he was doing, nobody ould beat him.” Entering J&M on 10 December 1949 with musicians from Bartholomew's band = drummer Earl Palmer, bassist Frank Fields, suitarist Emest McLean and sax players Herbert Handesty, Clarence Hall, Joe Harris and Red Tyler ~ Domino's Imperial debut rolled out just days ater it was cut. Taking ‘Champion Jack Dupree’s Junker Blues, Bartholomew had the foresight to change thelyrical content from*they all mea junker, because Pm loaded al the time”, t0 the radio-friendly, “they call me the fat man, ‘cos I weigh 200 pounds", and teens across ‘the US were seduced by the riotous The Fat Man and theb Orleans. Reaching No2 on the US R&B chart, the track went ‘ontosell million copies within four years. “IfDave Bartholomew play another note?’ wrote st new sound in New music historian Jeff Hannusch in his book, I You Knockin’, could sitbeck and bask in the Fats Domino =, roncner ert) ee eee Se) knowledge that he was very much responsible for shaping today’s music: unrefined conditions, 1&M attracted a host ofindie labels and numerous artists from outside New Orleans such as Little Richard, Ray Charles and Jerry Lee Lewis. Matassa would continue to record legendary singles for local talent including “Huey Piano’ Smith’s Rockin’ Pnetmonia And ‘The Boogie Woogie Fl, Clarence Frogman! Henry’ Ain't Got No Home, Shirley & Lee's Let The Good Times Roll and Irma Thomas Tes Raining. He moved operations around the town, frstto 528 Governor Nicholls Street before 748 Camp Stree, and would change the name to Cosimo’s However, it ‘was that inital combination of Matass, Bartholomew and Domino that sein ‘motion a monumental change in direction forthe future of music and what we call rock'n'roll Fats told Hurt i! Cee Perr Pero eons rei Fats Domino wasn'ta big studio but somehow orother ‘they got a good sound out off Folle from the The Fat Man, Domino would release 22 singles for Imperial and score a further 10 USR&B ‘Top 10s between 1950 and 1954, but everything, would explode year later After Presley had shaken things up Memphis with his cover of Arthur ‘Big Boy" Crudup’ Thar All Right in1954, 8 rock'nroll evolution had started to sweep soss the airwaves Ain't That A Shame, coriginally labelled Ain’ ItA Shame and one ‘of the first numbers he didn’t record in New Orleans, propelled our starto the top of the USR&B chart and Na10 on the Pop chart. “Rock nroljust kind of formed around him? Joe Lauro reflected to The Guardian, “Up ‘il 1955, he sold records to the black audience, buthis hit Ain't That Shame crossed over and brought him tothe attention ofa white audience” Domino was one of the first black artists thatthe white Kids took to their hearts. However, ike many black acts of the time, he would endure terrible racism, ‘Asa resultof auch mistreatment, he often refused to play shows that were segregated and sometimes the volatile environment ‘woud resi in headline-grabbing riots. Rick Coleman, author of Blue Monday. Fats ‘Domino And The Lost Dawn Of Rock in’ Roll, told American Standard Time: "Many of his ‘young white audiences from 1956 on hed never seen a black performer before and hadn't danced or sat beside blacks, Domino and his band members subconsciously had the attitude of New Orleans musicians against the world partly because they had ‘been through discrimination, riots, and other hardships together and they prided themselves on rocking the house, They bonded with their musie, partying, and New Orleans soul foo.” Domino's star status among.all audiences was cemented when rock'n'roll took over Hollywood. Ever since Bill Haley's Rack Aroutrel The Clock had played over the credits of Blackboard angle, studios had looked ed Prec Sor) eee ere epee) towards the Hot 100 for acts to appearin, their movies. Like many ofis peers, the larger-than-life Domino made small musical ‘cameos on the big sereen. He can be seen performing Ain't That A Shame,1'm In Love Again and Honey Chilein Shake, Rattle Rock! and Blue Monday in The Girl Can't Help It. He pops up again with Wait And inthe 1957 flick Jamboree! and Imperial was, ofcourse, delighted with the exposure, seach scene-stealing turn resulted in another hit Inthe UK, Domino scored 16 ‘Top 40 hitsand spent 87 weeks ‘on the hit parade. Released here through Decca on their new London American Tabol, his firs rack co break ‘the Top 40 was 'm In Love Tis remarkable to think, Fhuge impact and catalogue of songs, that he only registered one UK Top 10 hit when Blueberry Hill peaked at Nos in February 1947 First recorded inthe 1940s by a variety ofartists including the ‘Singing Cowboy" Gene Autry and the New Orleans-raised jnzz vocalist Connee Boswell itwas Louis Armstrong's 1949, version of Blueberry Hill which inspired Domino. Fats explained to Hurtt how Chudd had had his reservations: “T liked that record cause Theatd it by Louis Armstrong and. I sai, “That number gonna ft Be me", We had to beg Lew bs Chudd fora while. told him Twasn't gonna make no more records ‘il they putthatrecord ‘ut, Tcould fee! that ie was ait” Tesagood thing he angued his ease because Blacberry Hillwould be his biggest release, Not only did he score his only UK Top 10, but he would ‘also hit No.2 on the US Hat 100, spend. ight weeks at No1 on the R&BChart, and sella reported three million eopies. ‘AsCarl Perkins once ssid:“In the white Thonky-tonks where I was playin, they were punchin’ Blueberry Hil. and white eats ‘were dancin'to Fat In total, Domino recorded more than ‘60 US singles for Imperial, placing 40 tracks inthe R&B Tapio © om brcaRanCmeeRNONL NOS Pa TNA i H i i eS From Now, MeCartney remembered how he ‘came to write the Beatles chart-topper, ‘Lady Madonna was me, sitting down atthe piano trying to writes bluesy boogie-woogie a ocrasDonice i voice toa ery ad place’ T2085, Doin sisted ovo mics a indicted ino the Rock And Rall Se: Hal OfFame nd woul inthe etary ational thn hes lin 2016 oe Larosa “This uy wasa majors The only person snd inthe Fo har aking she Los shosld ore records inthe SOs ws Tnesin 985, che mes Eis Bata vas happy ving performer nd Twa hacky Chet if at home inthe enought wrtesonesthat 7 neighbouthond he wasbor in carry a good beat and > Fats Domino enjoyed a tell areal story;too - remarkable career at Imperial something that old and remained a hurmble guy people and the kids with a heart fll oflove..leve could both enjoy” \ forhis cherished New Orleans, When Imperial where he stayed until his passing was sold in 1963, (0n 24 October 2017, and alove for Domino moved to the sublime sound of R&B, “As far ABC-Paramount Records asT know, the music makes “Tstuck with them until people happy?” he ance said, they sold out!" he would “1 now it makes me happy: admitin 1979. While he Is reported that whena ‘continued to make journalist referred to Elvis as records for hisnew “The King’ duringa press label, The Beates-led conference athe Las Vegas “British Invasion’ lessened International Hotel in 1968, Domino's chart success When Presley pointed towards Fats Fats toured Europe for the first atthe back ofthe room and time in 1962, he was sill the exclaimed: “No, that's the real headline attraction and when, King of Rock’a’Roll hhemet The Fab Four in ‘And well certainly raise Liverpool they were suitably in bowl of bubbling awe I'm In Lave Again was the ‘gumbo to that. € song which introduced George Harrison to rock'n'roll, while Ain’ ‘That A Shame was te first song.John. Lennon learned how to play: He went on tocoverthetrack for his 1975 Rock'n’ Roll album, as would Paul MeCartney on 1983's CHOBA B CCCP, where it featured alongside renditions of Fm In Love Again and I'm Gonna BeA Wheel Someday. ‘While the hits disappeared for Domino, he would hurrah with acover of Lady ‘Madonna, fed from his 1968 album Fats Is Back Released as single, final US chart hie. Inthe 7 1994 book Many Years .e scored his 77th and oad eri ert fo MONO} » Oy tes ys

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