Author: Don Wilcock
Don Wilcock
Now into his second half century as the warrior music journalist, Don Wilcock began his career writing “Sounds from The World” in Vietnam, a weekly reader’s digest of pop music news for grunts in the field for the then largest official Army newspaper in the world, The Army Reporter. He’s edited BluesWax, FolkWax, The King Biscuit Times, Elmore Magazine, and also BluesPrint as founder of the Northeast Blues Society. Internationally, he’s written for The Blues Foundation’s Blues Music Awards program, Blues Matters and Blues World. He wrote the definitive Buddy Guy biography 'Damn Right I’ve Got The Blues,' and is currently writing copy for a coffee table book of watercolor paintings of blues artists by Clint Herring.
He’s calling this his country album – one that captures the best efforts of a very complex man
The scariest part of all this is that some younger people who are rightfully impatient about sequestering, are throwing caution to the wind.
“I really respect Buddy’s depth,” Herring said. “That fire was exactly what I wanted to see happen. Sometimes it happens: his electricity, that fire.”
Something had soured Grace in the quarter century since “White Rabbit.” Maybe it was the fact that despite their early success they hadn’t saved a lot of money.
B.B. and Bobby were wound up like a cheap watch to be playing on the same stage with each other. This was the very top of the line of urban blues.
“They said, ‘Man, that’s what you should have done.’ But I thought it wasn’t good enough.”
The Haight nurtured a pioneering spirit made up of musicians unfettered by the conventions of postwar American society ready to rewrite the very fundamentals of everyday life. It’s going to take a similar view of freedom for music to function and thrive in the wake of the pandemic.
As blues has always done, this presentation was a rallying cry for all of humanity, giving notice to a tiny but deadly enemy that we SHALL overcome.
It’s one thing to interview a legacy artist over the phone. It’s another to sit knee to knee with him and watch his fingers sail across the fret board.
Linsey Alexander’s Live at Rosa’s is perfectly suited for the times we’re in. For post-war Chicago blues fans it’s a comfort blanket. No surprises, no attempts to push any envelopes. Just solid South Side Chicago blues beautifully recorded by the Windy City label that hasn’t wavered in its mission since Bob Koester founded it in 1953. While Chess, VeeJay, Cobra and other small indie labels beginning in the early 50s were tweaking the newly plugged in sound with heavily produced music that spiked the live nightclub sets by A&R guys — particularly Willie Dixon, to create recordings to generate record…