As the bassist for Booker T. & the MG’s, Donald “Duck” Dunn became, like James Jamerson at Motown, the man who provided a groove for an entire generation to dance to. In Dunn’s case it was the legendary Memphis record label Stax/Volt, where he laid down basslines for soul stars such as Otis Redding, Wilson Pickett, and Albert King, helping to create one of the largest bodies of soul and R&B music that exists.
~Steve Kurutz (allmusic.com)
Short intro:
Booker T & the MG’s – green onions:
From Wikipedia:
Birth name
Donald Dunn
Also known as
Duck
Born
November 24, 1941
Memphis, Tennessee, U.S.
Died
May 13, 2012 (aged 70)
Tokyo, Japan
Genres
Rock, soul, rhythm and blues
Occupations
Songwriter, producer, actor
Instruments
Bass guitar
Years active
1960–2012
Associated acts
Otis Redding, Booker T & the MG’s, Albert King, Mar-Keys,The Blues Brothers, Sam and Dave
Website
duckdunn.com
Donald “Duck” Dunn (November 24, 1941 – May 13, 2012)was an American bass guitarist, session musician, record producer, and songwriter. Dunn was notable for his 1960s recordings with Booker T. & the M.G.’s and as a session bassist for Stax Records, which specialized in blues and gospel-infused southern soul which became known as Memphis Soul. At Stax, Dunn played on thousands of records including hits by Otis Redding, Sam & Dave, Rufus Thomas, Carla Thomas, William Bell, Eddie Floyd, Johnnie Taylor, Albert King, and many others. Dunn also performed on recordings with The Blues Brothers, Muddy Waters, Freddie King, Isaac Hayes, Levon Helm, Neil Young, Elvis Presley, Jerry Lee Lewis, Eric Clapton, Tom Petty, Creedence Clearwater Revival, Wilson Pickett, Guy Sebastian, Rod Stewart, Bob Dylan, Roy Buchanan, Steely Dan, Tinsley Ellis and Arthur Conley.
Booker T. & The MG’s – Time Is Tight (Live, 1970):
Dunn played himself in the 1980 feature The Blues Brothers, where he famously uttered the line, “We had a band powerful enough to turn goat piss into gasoline!”
Awards:
In 1992, Dunn was inducted into The Rock and Roll Hall of Fame as a member of Booker T & the MG’s.
In 2007 Dunnand several Booker T & the MG’s members (Lewie Steinberg, Booker T. Jones, Steve Cropper, and Barbara Jackson, the widow of Al Jackson) were given a “Lifetime Achievement” Grammy award for their contributions to popular music.
“He was a happy-go-lucky nihilist…. he took things exactly as they were. No more, no less.”
~Matthew Johnson, the founder of Mr. Burnside’s record label, Fat Possum.
See My Jumper Hanging On the Line (1978):
From Wikipedia:
Birth name
Robert Lee Burnside
Born
November 23, 1926
Harmontown, Mississippi, Lafayette County, United States
Origin
Oxford, Mississippi, United States
Died
September 1, 2005(aged 78)
Memphis, Tennessee, United States
R. L. Burnside (November 23, 1926 – September 1, 2005), born Robert Lee Burnside, was an American blues singer,songwriter, and guitarist who lived much of his life in and around Holly Springs, Mississippi. He played music for much of his life, but did not receive much attention until the early 1990s. In the latter half of the 1990s, Burnside repeatedly recorded with Jon Spencer, garnering crossover appeal and introducing his music to a new fanbase within the underground garage rock scene.
One commentator noted that Burnside…. were “present-day exponents of an edgier, electrified version of the raw, uncut Delta blues sound.”
Poor Black Mattie:
In the 1990s, he appeared in the film Deep Blues and began recording for the Oxford, Mississippi, label Fat Possum Records. Founded byLiving Blues magazine editor Peter Redvers-Lee and Matthew Johnson, the label was dedicated to recording aging North Mississippi bluesmen such as Burnside and Junior Kimbrough.
Burnside remained with Fat Possum from that time until his death.
Burnside had a powerful, expressive voice and played both electric and acoustic guitars (both with a slide and without). His drone-based style was a characteristic of North Mississippi hill country blues rather than Mississippi Delta blues. Like other country blues musicians, he did not always adhere to 12- or 16-bar blues patterns, often adding extra beats according to his preference. He called this “Burnside style” and often commented that his backing musicians needed to be familiar with his style in order to be able to play along with him.
Burnside’s “Skinny Woman” was also interpolated into the song “Busted” by fellow Fat Possum musicians The Black Keys, who have listed Burnside as an influence on their music.
“I will take love wherever I find it and offer it to everyone who will take it.., seek knowledge from those wiser than me and try to teach those who wish to learn from me.”
― Duane Allman
Nice tribute:
From Wikipedia:
Birth name
Howard Duane Allman
Also known as
Skydog
Born
November 20, 1946
Nashville, Tennessee
Died
October 29, 1971 (aged 24)
Macon, Georgia
Genres
Southern rock, blues, blues-rock, soul, rock, jazz
Occupations
Musician, songwriter
Instruments
Guitar, vocals
Years active
1961–1971
Labels
Mercury, Capricorn
Associated acts
The Hour Glass, Wilson Pickett,The Allman Brothers Band,Derek and the Dominos, Aretha Franklin, Herbie Mann, Gregg Allman, The Allman Joys
Website
AllmanBrothersBand.com
Howard Duane Allman (November 20, 1946 – October 29, 1971) was an American guitarist, session musician and the primary leader and co-founder of the The Allman Brothers Band, until his death in a motorcycle accident in 1971 at the age of 24.
The Allman Brothers Band was formed in 1969 and, unusual for the time, based in the Southeastern United States. In the early 1970s the band was hugely successful. Duane is best remembered for his brief but influential tenure in the band, and in particular for his expressive slide guitar playing and inventive improvisational skills. In 2003, Rolling Stone magazine ranked Allman at #2 in their list of the 100 greatest guitarists of all time, second only to Jimi Hendrix and in 2011 he was ranked #9.His tone (achieved with a Gibson Les Paul and two 50-watt bass Marshall amplifiers) was named one of the greatest guitar tones of all time by Guitar Player.
Allman Brothers – Whipping Post, 9/23/70:
A sought-after session musician both before and during his tenure with the band, Duane Allman performed with such established stars as King Curtis, Aretha Franklin, Wilson Pickett, and Herbie Mann. He also contributed heavily to the 1970 album Layla and Other Assorted Love Songs by Derek and the Dominos.
Duane Allman’s skills as a guitarist were complemented by personal qualities such as his intensity, drive and ability to draw the best out of others in making music.He is still referred to by his nickname “Skydog”.
Allman Brothers – In Memory of Elizabeth Reed, 9/23/70:
From rollingstone.com (100 greatest guitarists):
If the late Duane Allman had done nothing but session work, he would still be on this list. His contributions on lead and slide guitar to dozens of records as fine and as varied as Wilson Pickett’s down-home ’69 cover of “Hey Jude” and Eric Clapton’s 1970 masterpiece with Derek and the Dominos, Layla and Other Assorted Love Songs, constitute an astounding body of work. But Allman also transformed the poetry of jamming with the Allman Brothers Band, the group he founded in 1969 with his younger brother, singer-organist Gregg. Duane applied the same black soul and rebel fire he displayed as a sideman to the Allmans’ extended investigations of Muddy Waters and Blind Willie McTell covers and to his psychedelic-jazz interplay with second guitarist Dickey Betts in live showpieces such as “Whipping Post.” Although Duane and Gregg had played in bands together since 1960, Duane did not learn to play slide until shortly before the start of the Allmans. In his only Rolling Stone interview, in early’ 71, Duane said that the first song he tried to conquer was McTell’s “Statesboro Blues.” Allman’s blastoff licks in the recording that opens his band’s third album, At Fillmore East, show how far and fast he had come — and leave you wondering how much further he could have gone. In October 1971, eight months after the Fillmore East gigs, Allman died in a motorcycle accident in the band’s home base of Macon, Georgia. -> Read more: rollingstone.com
Album of the day:
Stepehen Thomas Erlwine (allmusic.com):
Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians’ interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances. Producer Tom Dowd skillfully trimmed some of the performances down to relatively concise running time (edits later restored on the double-disc set The Fillmore Concerts), at times condensing several performances into one track. Far from being a sacrilege, this tactic helps present the Allmans in their best light, since even if the music isn’t necessarily concise (three tracks run over ten minutes, with two in the 20-minute range), it does showcase the group’s terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine. Even after the release of the unedited concerts, this original double album (single CD) remains the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy.
At the dark end of the street
That’s where we always meet
Hiding in shadows where we don’t belong
Livin in darkness to hide a wrong
You and me
At the dark end of the street
You and me
Dan Penn was an important player in the development of the “Southern Soul scene” in Memphis in the early 60’s.
Here he performs one of the greatest soul songs ever, which he wrote together with Chips Moman in 1966:
Dark End of The Street:
I also need to include the best version of this fantastic song – James Carr:
From Wikipedia:
Dan Penn (born Wallace Daniel Pennington, 16 November 1941) is an American singer, musician, songwriter, and record producer who co-wrote many soul hits of the 1960s including “Dark End Of The Street” and “Do Right Woman, Do Right Man” with Chips Moman as well as “Out Of Left Field” and “Cry Like a Baby” with Spooner Oldham. Penn also produced many hits including “The Letter” by The Box Tops. Though considered to be one of the great white soul singers of his generation, Penn has released relatively few records featuring his own vocals and musicianship preferring the relative anonymity of songwriting and producing.
I’m Your Puppet (Penn/Spooner Oldham):
Steve Kurutz (allmusic.com):
Songwriter/producer Dan Penn has been a quiet force behind Southern soul music for over thirty years. Always moving just out of view of the limelight, Penn has produced and written hits for the Box Tops, Solomon Burke, Aretha Franklin and Ronnie Milsap, among others.
Originally from Vernon, Alabama, Penn began his career as a performer, leading several white R&B bands around the Muscle Shoals area. Achieving early success by selling a hit song to Conway Twitty (“Is a Bluebird Blue?”), the songwriter eventually moved to Memphis, joining producer Chips Moman at his American Studios. Together the two, along with Penn’s writing partner, organist Spooner Oldham, wrote and/or produced several hits for the Box Tops, such as “The Letter” and “Cry Like a Baby,” throughout the late ’60s.
…read more over @ allmusic.com
Album of the day:
Do Right Man (1994):
From allmusic.com (Chris Nickson):
If James Brown is Soul Brother Number One, you can make a very credible case for Dan Penn being number two. The Alabama native has had a hand in writing a fair number of classic soul songs, and here he commits his versions of them to tape for the first time, recording, of course, in Muscle Shoals, with their fabulous house band, and a horn section including former Memphis Horn member Wayne Jackson. It’s a tall order Penn sets himself, offering himself up for comparison with greats like James Carr, Aretha Franklin, and James and Bobby Purify, who have sung his songs — and that’s just the start of the list. However, he comes out very well, beginning with a quiet take on”The Dark End of the Street,” coming across like a note to a secret lover, rather than a cry of pain. …read more – allmusic.com
Booker T. Washington “Bukka” White (November 12, 1906– February 26, 1977) was a delta blues guitarist and singer born in Aberdeen, Mississippi. Even though he didn’t like the spelling “Bukka”, he was best known by that name. “Bukka” was not a nickname, but a phonetic misspelling of White’s given name Booker, by his second (1937) record label (Vocalion).
He is also known for giving his more famous cousin B.B. King his first guitar, a Stella.
A selection of “Bukka” White performances part 1:
White started his career playing fiddle at square dances. He met Charley Patton early on, although some doubt has been cast upon this; regardless, Patton was a large influence on White. He typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in Em, which he may have learned, as James did, from Henry Stuckey. (Lastfm)
A selection of “Bukka” White performances part 2:
Booker T. Washington “Bukka” White was active from the 30s all up to the mid 70s (he died in 1977).
Allmusic.com
by Uncle Dave Lewis
Blues purists will tell you that nothing Bukka White recorded after 1940 is ultimately worth listening to. This isn’t accurate, nor fair. White was an incredibly compelling performer who gave up of more of himself in his work than many artists in any musical discipline. The Sky Songs albums for Arhoolie are an eminently rewarding document of Bukka’s charm and candor, particularly in the long monologue “Mixed Water.” “Big Daddy,” recorded in 1974 for Arnold S. Caplin’s Biograph label, likewise is a classic of its kind and should not be neglected.
