For me it can range from Grateful Dead, to Mozart, to Miles Davis, to Jim Croce. I am starting an electric band after all these years on acoustic, so I am immersed in classic rock, and especially Steely Dan, which takes some discipline to play. Also listening to loads of SRV
Johnny "Guitar" Watson "Tarzan" "Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover." Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties). He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line. Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights." Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In." Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months). Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year. After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996. by Bill Dahl - Allmusic.com http://www.allmusic.com/artist/johnny-guitar-watson-p136438/biography A young Jimi Hendrix saw Johnny Watson in England and was inspired by his act. http://www.oldies.com/artist-biography/Johnny-Guitar-Watson.html http://www.independent.co.uk/news/people/obituary-johnny-guitar-watson-1348344.html http://inabluemood.blogspot.com/2009/09/important-if-flawed-bio-of-johnny.html
ROTARY CONNECTION-"I AM THE BLACK GOLD OF THE SUN" (1971) Rotary Connection's psychedelic chamber soul continues to sound ambitious and progressive decades after the group's departure. Instantly recognizable from the dramatic string arrangements of Charles Stepney and the five-octave voice of Minnie Riperton, the group released six albums between 1967 and 1971 that combined rock, soul, and psychedelia to theatrical and occasionally transcendental heights. The racially mixed group never really broke out of the Midwest, a region in which they frequently played out. Their failure to become more than a regional cult act can be partly attributed to their management's decision to spurn a slot at Woodstock in order to play a more lucrative festival in Toronto. Despite some patchy albums and poor management decisions, Rotary Connection's status as an influential cult group has steadily risen since the '70s. Marshall Chess, son of Leonard Chess, conceived Rotary Connection in 1967 for Cadet Concept -- an upstart subsidiary of his father's Chess label. Chess initially centered the instrumentalists around a trio of musicians from a rock group called the Proper Strangers: drummer Kenny Venegas, bassist Mitch Aliotta, and guitarist Bobby Simms. Sidney Barnes, Minnie Riperton, and Judy Hauf were added as the vocalists. Upon the group's formation, Barnes was already something of a vagabond; his resume as a songwriter, background vocalist, and solo artist was extensive. Riperton was a veteran of the Chess ranks; she worked as a receptionist in the label's Chicago office, had been a member of the Gems, and released material under the name Angela Davis. Chess musical supervisor Charles Stepney -- a legendary composer, arranger, and producer -- was brought in to direct the group. He would also implement the skills of studio musicians from the extended Chess family throughout the group's existence, such as drummer Morris Jennings and guitarists Phil Upchurch, Bobby Christian, and Pete Cosey. Under Stepney's guidance, Rotary Connection recorded and released their self-titled debut album in late 1967. The group's spacious sound was leavened by Stepney's often gorgeous and lilting string arrangements. The album featured both originals (co-written by Stepney and a number of other songwriters, including Barnes and future Riperton spouse Richard Rudolph) and radical covers of the Rolling Stones' "Ruby Tuesday" and Bob Dylan's "Like a Rolling Stone." This became the blueprint for what would follow from the group and, as a stunning (if flawed) debut, the album falls into that old rock trap of being viewed as the only essential one the group made. That's an unfortunate fact, because the group's key factor -- the voice of Minnie Riperton -- wasn't truly given a chance to shine until the second album. The albums Aladdin, Peace (a Christmas-themed LP), Songs, Dinner Music, and Hey Love were issued between 1968 and 1971. Though the albums include a fair amount of filler, each has some amazingly inspired moments. "Respect," for instance, was a radical reworking of Otis Redding's original; transformed into a duet between Riperton and Barnes, the song's infamous "r-e-s-p-e-c-t" call-out was left out, and the tempo was slowed down to a sultry crawl. Hey Love, bizarrely credited to the New Rotary Connection, would become the group's last record. By that time, Riperton already had a solo masterpiece under her belt -- 1970s Come to My Garden. After the group split, Riperton continued her solo career and became one of the most beloved soul vocalists of the '70s. Breast cancer took her life in 1979, when she was just 31-years-old. Stepney passed away three years prior, at the age of 43. by Andy Kellman - Allmusic.com http://www.allmusic.com/artist/rotary-connection-p20264/biography
Since the last song included Minnie Riperton, lets let her have a solo. This is a very moving song since it was her last. Back Down Memory Lane by Minnie Riperton
If you watched the Unsung documentary on Minnie Riperton you heard some discussion on the cover of Otis Redding's song R-E-S-P-E-C-T. This came out slightly after Aretha's definitive version, but give this PsychodelicSoul group Rotary Connection credit for turning the song on its proverbial ear and making their version the most sinister version. This is simply a great band that could not get the right backing and who chose not to go to Woodstock. That denied RC the long term accolades afforded the bands and singers that did appear at Woodstock.
A staggeringly beautiful lp. If you can find it, get it. It yearns to be heard. One of the most beautiful works ever. Klaus Ogerman wrote and arranged this for Evans. Really a wonderful work of art.
