Southern Rockin’ At the Handlebar Dec. 28: Garfeel Ruff Reunion
Garfeel Ruff record promo photo. L-R, Rickey Godffrey, Ronnie Godfrey, Al Pearson, Buddy Strong, Frank Wilkie (courtesy F.L. Wilkie)
Woo woo! Greenville, S.C. you better make room for the mighty large talent that’s heading your way. These guys are the soul of the south. They put the rock in southern rock, and they are coming together to pound it ‘til you bleed.
Then, just when you’re ready to call Uncle, they’ll jump to a soul-bending bluesier groove that leaves you lusting for more. For one night only, the Handlebar is hosting the jam of jams, the fourth annual 2009 Homecoming Jam featuring the Upstate’s finest in southern rock, soul blues, funky country AND the first reunion in almost ten year’s of S.C.’s favorite sons, Garfeel Ruff.
The line-up for the Dec. 28th event includes a who’s who in S.C. music:
Marshall Tucker Band will be well represented with former MTB bass player Tim Lawter; Ronald Radford, MTB guitarist, keyboard player (1993-1995); bassist Frank Wilkie, who took on the heavy task of replacing Tommy Caldwell after his untimely death in 1980; Tony Heatherly ; and Ronnie Godfrey, MTB keyboard player (1981-1984).
Donnie Winters, with brother Dennis formed the ultimate Southern rockin’ Winters Brothers Band during the seventies. On his own, he leans toward Americana, but who knows what he’ll bring to the stage of the Handlebar?
Greenville-based Marvin King and 13-year-old son Marcus (Marcus King & the Blues Revival) will showcase dual lead guitar work to shout out a message of rockin’ revival. Yeah!
Word has it, Michael Buffalo Smith will also be joining in the jam. A blogger (gritz.net), author (“Carolina Dreams: The Musical Legacy of Upstate South Carolina”), stage and commercial actor and musician, this MTB historian has shared the stage with the Charlie Daniels Band, Marshall Tucker Band, Molly Hatchet, Southern Rock Allstars and more.
Other musicians slated to appear include Scotty Hawkins (Reba McIntyre, Brooks & Dunn, One-Eyed Jack); and Mark McMakin (Mac Arnold & Plate Full O’Blues, Hard Rain).
All this is well worth the price of admission and your time, but add Garfeel Ruff to the mix, and it’s a no-brainer. Get your tickets now!
Garfeel Ruff Comes Home
Early Garfeel Ruff (courtesy F.L. Wilkie)
If you were anywhere near the Upstate in the late 70s, you already know how huge Garfeel Ruff was and now the band members are as excited as their fans to be coming home.
During a telephone interview with Frank Wilkie, I can hear the excitement and anticipation as he talks about the reunion.
“Garfeel Ruff has always been my heart, my passion,” says Franklin Wilkie. “We were really influenced by George Martin [longtime record producer for the Beatles], and intent on achieving certain goals musically. Unlike other bands, we had definite sound parts. Not that we never jammed, we did, but we were practice fanatics. We worked on vocals for hours.We worked everything out and you could hear the effort that went into it. I think this reunion is way overdue.”
Ronnie Godfrey, lead vocalist and keyboard player for Garfeel Ruff said, “We were just very, very good! We played the hell out of our music; we practiced all of the time and worked our asses off to get what we wanted and boy did we ever become a great band!!
“It’s really going to be great to see the guys, rock some and have some fellowship! Of course my man Scotty Hawkins will be there to take the great Alan Pearson’s place on drums and it’s just a chance to groove with some extended family and, of course, my woommate Rickey. I know Al will be there in spirit as well. I miss him so much!
“I was just 22 when we started and 27 when we broke up. I was married with a small child and subsequently got divorced during that period and I think I probably grew up, as much as any musician can grow up, during that time. I learned that attitudes are more important than facts and it’s not what happens to you in life, it’s how it affects you! I also learned something that I kind of already knew. If you figure out what you want, visualize it, dream about it and think about it all the time, you can make it happen!!!
Self-titled LP released in 1979 on Capitol Records.
“Over the 30 years or so since we broke up, we have played together in all kinds of combinations and in all kinds of situations! In 1980, we decided to make the “Born To Play” record. There were some songs which were left over from the five years we were together and we just wanted to do it. In 1986, I believe, we did a big reunion concert in Spartanburg and the police crashed the thing and started, for some reason, to arrest people. The church makes sure the cops and politicians stay stupid up there in Spartanburg. The Pharisees run the town!”
Ronnie Godfrey isn’t known for his reticence.
Buddy Strong, who played guitar during the Garfeel Ruff days is a successful engineer today. He owns Southeastern Studios in Easley, S.C. Although he hasn’t played live since the last Garfeel Ruff reunion, he often plays guitar parts on Studio projects including MTB’s latest record, The Next Adventure and Ear Candy, Chocolate Thunder’s CD, which was produced by Frank Wilkie and recorded at Southeastern.
“It’s going to be fun,” he tells me. “The other guys in the band are all monster players. I love it.”
When I ask Buddy what he felt the reason for Garfeel Ruff’s great appeal during its five-year run, he echoes what the others have told me, “We treated it like a job. We worked constantly. We would record our live shows and then listen to see how we could improve. We worked hard!”
Rickey Godfrey, 2009
Guitarist Rickey Godfrey is grinning from ear to ear when he tells me, “I’m very excited about playing with the guys. We’ve remained good friends, all of us, and having one of the best drummers in the United States, Scotty Hawkins, playing with us, makes it even better.
“Our plan at the homecoming jam is to not only feature the band, but feature us as writers, so, we plan on doing five Garfield Ruff favorites, doing one song apiece written by each individual member.
“All of us are a lot more mature than we were back then, and we are better listeners, and certainly better musicians. I know, myself, as a guitar player, that I’m a much better player and musician than I was back then. Now, when I play, I think a lot more about what I shouldn’t do, rather than what I should do.
“I’m a lot calmer person, too, and I think all of us are more flexible as people.
“It’s also gonna be a pleasure to hear some other really great musicians at the jam. Marvin King, and Ronald Radford, for instance, are two of the best guitarists I know … with unusual talent.”
“The only sad thing I suppose is that we wish Alan Pearson were alive to be there with us, it’s amazing to me that’s it’s been almost 14 years since he died, but Scotty was groomed by Al on how to play drums and be a good musician. As a kid of eight or nine years old, Scotty used to come out and hear us all the time, so he really looked up to Alan.”
“I’m a little nervous. Buddy Strong and myself haven’t played guitars together in over 20 years, except for a 30 minute show we did in Spartanburg in 2001; so, both of us are gonna have a private rehearsal together.”
Old habits die hard.
Additional Interview Q & A
Looking back, what were some highlights of Garfeel Ruff’s career?
Ronnie Godfrey (courtesy Ronnie Godfrey)
Ronnie Godfrey: One of the highlights for me is one that wouldn’t stand out in anybody’s memory much. It was in Warm Springs, Georgia or maybe Millageville, Georgia; I’m not sure, Rickey might remember. Original music had been our constant mantra for years; our goal was fixed and firm; to play nothing but original music one day as soon as we could get a following. Anyway, that night, we had this ritual where we would as we called it, “Stack hands!” We would put our ten hands in a clench and just feel each other’s energy before we would play. On this night, for some reason, somebody said, “Let’s play our own stuff from now on” and from that moment on, we stopped playing copy music! By the way, that night was one of the best we ever had together!
How has your music changed/grown?
Ronnie Godfrey: Garfeel Ruff was an incredible experience for me and I will always treasure it but it was only one of many wonderful things which have happened in my career. After the ruff thing I had the pleasure of playing with MTB; I played in 43 states in some of the best venues in the world; made 3 records for Warner Brothers and, for the 3 years I was there, I experienced the joy that comes from making good money, playing great music, doing what I love and being extremely fulfilled! Then I moved to Nashville and, in many ways, my career began again all over again! I have had the pleasure of writing with, singing with, and playing with and producing some of the most talented, hard-working, successful people in the world and I wouldn’t trade the experience for anything! In 2006, we finished the “Virgil” record, “Standin’ in A Circle!” This record pretty much defines me as an artist. I had the vision years ago but it took the right players and the right time for it to happen and, if you want to know Ronnie Godfrey, IT’S ALL IN THAT RECORD! I’m not a band musician any more; I never will be again. I am fully comfortable with myself as an artist/writer/singer/producer now; I don’t feel like I have anything really to prove to anybody and I’m going to spend the rest of my days composing, playing, singing, producing and making records and I am basically at peace as an artist; more than at any other time in my life!
What were your strengths then and what are they now?
Ronnie Godfrey: My strengths come from being the oldest child. From a very early age, because my Mother had to work the third shift and would sleep during the day, my sister and I had to keep things up and running and take care of our younger brothers. This made me kind of a control freak at times but it also made me a natural-born leader. I, in many ways, was the musical organizer of the band; yes, it’s true that we voted on many things, everybody had in-put and the band certainly had some type a personalities but I think I brought an aggressive, visionary and organizational talent which helped. I was also born with a gift for music which was cultivated by some serious training at The Cedar Springs School For The Blind where I took Voice, Clarinet and Piano lessons for 10 years before I started my professional career. Now, I’m pretty much the same; I have learned to accept things as they are much better than I did when I was younger and I hope, I emphasize hope I am aging gracefully!
What dates/events were pivotal in the Garfeel Ruff saga?
Ronnie Godfrey: Rickey is better at dates than me but I’ll do my best to be as accurate as possible. We consider the start of the band happening on December 15, 1974. In August of 74 or thereabouts, we recorded four songs for Bill Lowery in Atlanta. This was very important because, though we had already been in the studio and had some stuff on tape, this session helped to validate our sound and our band approach! I want to say it was June of ‘76 when we opened for MTB in Wheeling West Virginia. What a concert that was; IT WAS A THRILL FOR ALL OF US!
In December of 1976, Roger Blare (sound man) joined the band and everything went up a notch in our sound! In February of 1978, we show-cased at Hoolie’s Underground in Spartanburg for the suits at Capitol Records. Four or five of these guys showed up; one came all the way from London I think and heard the band. Afterwards, we went up to their room and visited; they seemed really blown away and they gave us a record deal! In April, I think, of 78, we actually signed. In June and July of 78, we went to Muscle Shoals Alabama and recorded our first attempt at a record. That’s when we scored the movie “The Hitter” as well. In November of 78, we made the actual record in Vermont. In March, I think, of 79, the record was released. In August of 79, the band broke up.
Can you tell me something about your songwriting?
Ronnie Godfrey: I started trying to write when I was about 13. I had a crush on a girl at school who was much older than me and I wrote her a poem which I eventually put music to and I knew from that time on that I would write. About that time, I heard a song called “Solitary Man,” written and performed by the great Neil Diamond and I fell in love. I just started making stuff up and, by the time I was 18, I was writing songs that even I liked. This went on with some success till I moved to Nashville. That was when I really started to grow as a writer! I co-wrote a song which is Ty Herndon’s first disk called “Hat Full Of Rain,” which was certified gold in 1996. I learned how to write for the market a little better and, just recently, I think I wrote the best song I’ve ever written so, as far as I’m concerned, I’m still growing and the next mountain on the horizon is the one I want to climb! I have always looked at writing as therapy. I have written many personal songs; things only I would probably ever perform, that have given me so much peace and self-fulfillment, I would recommend that anybody who is having a personal issue should just sit down and write it out; you don’t have to share it with anyone if you don’t want to but IT’S A GREAT WAY TO GET IT OUT!
If You Want To Go
2009 Homecoming Jam & Garfeel Ruff Reunion
What: Fourth annual year-end jam and concert, organized by bass player Mark McMakin, featuring some of the S.C. Upstate’s finest in southern rock: ex-Marshall Tucker players Frank Wilkie, Tim Lawter, Tony Heatherly, Ronnie Godfrey; Ronald Radford; Donnie Winters; Marvin King and 13-year-old-son, guitar wizard Marcus King; and the long-awaited Garfeel Ruff reunion – Rickey Godfrey, Ronnie Godfrey, Frank Wilkie, Buddy Strong and sitting in for the late Alan Pearson, Scottie Hawkins (How fitting, huh?).
When: Dec. 28, 8:30 p.m.
Where: The Handlebar, 304 E. Stone Avenue, Greenville, S.C.
How Much: $11 ($2 extra at the door under if you’re under 21)
Information: MySpace.com/ MarkMcMakin; 864-233-6173
CD Picks: Stocking Stuffers
Robert Cray Live From Across The Pond (Vanguard, 2006), because he lets his soul just pour out onto the stage. When he takes his guitar solos you can hear him moaning faintly into the vocal mic. I have seen him many times and if someone has never had the chance to, it is just like being there. It doesn’t sound polished or produced ; it sounds just like Robert does live, which is pure soulful bliss!!
I picked up a Bryan Lee Greatest Hits CD (Justin Time Records 2003). Great stuff! Finally I stumbled on a Sonny Terry & Brownie McGhee CD for $4 called But Not Together (Tomato Music, 2003). Great stuff! Real raw blues delivered the good old fashioned way! Not cleaned up and sanitized… Just great blues!
Inspiration Information by Shuggie Otis [originally released 1974 (Epic), rereleased 2001 (Luaka Bop) ] cause it’s awesome and funky. The kid was like 13 when he wrote and recorded all of that stuff.
Have been listening to many different CDs the last few weeks,and the ones I’ve listened the most to,are:
Led Zeppelin, The Song Remains The Same: Expanded Reissue. This beats the pants off the original double LP. Some of the tracks that appeared on that LP are different takes, and the unreleased stuff is superb. Jimmy Page wanks all over the place, but it’s wanking of the first order. I can see why people pegged them as devil worshippers. Jimmy’s guitar playing sounds way more like Satan than anything Charlie Daniels ever dug up in Georgia.
I like the new Levon Helm CD, Electric Dirt (Vanguard 2009). I was really impressed with the Buddy and Julie Miller CD Written in Chalk (New West 2009). Randall Bramblett’s The Future Is Now (New West, 2008) I think a lot of artistically. Fortunately, too, I hear a lot of rock & roll that my daughter, Heather, has turned me onto like Panic At the Disco’s first CD, A Fever You Can’t Sweat Out (Decaydance 2005). Nickelback’s All the Right Reasons (Roadrunner 2005) and Pappa Roach’s Getting Away With Murder (Geffen 2004). I love The Fray’s album, Over MyHead ( Cable Car) (Bmg Int’l, 2007), especially the title track. What a great communicator that singer is! My daughter also turned me on to the group, Paramore. I think their lead singer, Hayley Williams, is one of the best female singers I’ve heard in a long time.
Ottmar Liebert, Nouveau Flamenco (Higher Octave) – This groundbreaking 1990 CD has been re-released with extra tracks showcasing Liebert’s deft guitar work and the flourishes of jazz, pop and world music that frame his later efforts. Passionate Latin beats and melodies for neither purists nor the faint-of-heart.You might think that a geek like me is listening to the new Star Trek sound track or some obscure folk singer, but I am stranger than any geek you’ve ever met. I’m listening to Tom Waits.
I just downloaded Tom Waits new live album, Glitter and Doom Live (Anti 2009). Recorded from performances across the U.S. and Europe during the 2008 tour, it is Waits at his best.
Why Tom Waits? (And if you don’t know Tom, you are missing out. For the more main stream of you out there, he did the “tango” version of “Roxanne” in Moulin Rouge and “A Little Bit of Poison” for Shrek.) Because, there is nobody else who takes the most hedonistic parts of rock, old time blues and weirdness, twists them together, and produces a style that defies classification and makes you want to hobo across America with a guitar or move to New Orleans and sing about all your ex-lovers on street corner.
Guest Post: Stoney Dennis – EG Kight on Koko Taylor
EG Kight on left, with her great friend and mentor Koko Taylor, who passed away June 3, 2009.
EG Kight on Koko Taylor
Interview by Stoney Dennis
EG Kight, known as the “Georgia Songbird,” writes music that encompasses blues, jazz, country, southern rock, gospel, and funk. Early in her blues career, she was the only independent artist to have songs included on two Get the Blues! albums, both of which remained on the Billboard charts for over a year (Let the Healing Begin – Get the Blues! released September 18, 2001/ Narm Records; Sad Sad Sunday – Get the Blues! Vol. 2 released July 8, 2003/ Narm Records). Other artists on these albums included Delbert McClinton, Stevie Ray Vaughn, Keb’ Mo’, Robert Cray, Muddy Waters, and Koko Taylor.
Kight has been nominated for six Blues Music Awards, two of which were for Song of the Year. Her songs “Fuel to Burn” and “Bad Rooster” were included on Koko Taylor’s Grammy nominated albums Royal Blue (Alligator Records, 2000) and Old School (Alligator Records, 2007), respectively. Kight’s newest release “It’s Hot in Here” was ranked #1 on the Blues Roots Chart as well as on Sirius/XM Satellite Radio’s Bluesville Channel. Kight considers herself a singer first and foremost, though she began playing guitar as a child, and her song lyrics are based on personal experience as well. She is always on the move, touring and teaching songwriting workshops both in the United States and overseas.
Kight recently finished a three-week tour of Germany and Norway with her European band Blue Alley. She performed at venues in Dusseldorf, Hamburg, Detmold, Lippstadt, and Kristiansand, Norway. At one concert, she played with the popular Norwegian band “Rita’s Lolitas.” Fans fell in love with Kight almost immediately as she wooed them with her southern hospitality.
In addition to performing with her full band, she plays acoustic solo shows, such as her recent act at the Rock Café in Paderborn, Germany. The tour came to a close with Kight headlining a concert called “Blues Meets Gospel” where she performed her original song “Through the Eyes of a Child” with a full gospel choir for the first time. This song has been nominated as one of the top ten selections in the Peace Song Challenge conducted by Bring Peace Not Pain, a multi-faceted grassroots organization that strives to promote peace throughout the world. “Through the Eyes of a Child” is one of the most real life songs I have ever heard. The musical arrangement is powerful and Kight speaks words that surpass the barriers of class, race, or cultural background. Everyone in the world can relate to this song. She taps into peoples’ emotions with masterful, smooth vocals and heart-warming lyrics.
I was invited by my friend, producer Paul Hornsby, to sit in on Kight’s latest recording session at Muscadine Studios in Macon, Ga. She and Hornsby are co-producing “Koko’s Song,” which will be included on Kight’s upcoming album. I had the privilege of listening to her record the lead vocal track for the song. Her vocals were full of energy and passion. She was so meticulous with every syllable and every note. When I listened to her sing I felt like time was standing still for just an instant and I had witnessed the birth of a song that many will cherish.
As a singer/songwriter myself it was amazing for me to talk music with her. I told her I covered “Stormy Monday,” (originally recorded by T-Bone Walker) and she was thrilled that I was so interested in the blues. When I shared my songs with her she responded by saying, “I enjoyed listening to your music. Great blues.”
Kight spoke masterful words to me and it was a great privilege. I was intrigued by her desire to write songs dedicated to the memory of Koko Taylor, and asked if I could schedule an interview. She graciously agreed to answer my questions.
Dennis: What does EG stand for?
Kight: Eugenia Gail. I was named after my father Eugene who was named after Eugene Talmadge, governor of Georgia in the 1930’s and 40’s.
Dennis: What do you remember most about when you first started out in music?
Kight: Music was always a part of my life. My mother sang in a gospel band with my uncle. I grew up singing in the church. Music came naturally to me. I couldn’t ever imagine doing anything else. When I was 16 I got my heart broken and wrote my first song about love.
Dennis: Can you tell me a little about your family life?
Kight: I’m from Dublin, Ga. and I still live here. I live on the same land that belonged to my great grandfather. I never had any children because I never got married. I came close to being married a few times, but if I had done that I would have had to quit my music. I guess you could say that no one supported my music the way I wanted. I’ve never really talked about this much. I had always been an only child, but when I was 23 my parents adopted a baby – Scotty, who is now 31 years old. I remember bringing him home from the hospital and I helped raise him. For this reason, I had a hard time distinguishing him as my brother or as my child.
Dennis: You started out in country music. Can you give me some information on that part of your career?
Kight: I started opening for country shows. I opened for George Jones, Conway Twitty, and Brenda Lee, and also performed with Ray Price and Jerry Lee Lewis. I appeared several times on Nashville Now, a variety television series that focused on musical performances and interviews with guests. I was doing Top 40 country songs back then and some blues and popular stuff too. When I was in my early 20s I performed for the Macon Elks Club. Actor Patrick O’Neal saw me sing there and told me that he was directing a made-for-TV movie called “Mr. Griffith and Me” starring Burgess Meredith and Gloria Graham. I got a job as Meredith’s vocal instructor for that movie.
Back in the early days I played over 300 dates a year. I performed in resort areas like Jekyll Island and St. Simons Island. I had a really big fan base in Tulsa, Okla. especially. I played both country and blues in my act at that time. See, what I would do – I would play country music, then when I switched to blues I would put on my sunglasses so the crowd would know it. Well, it got to the point where people liked the blues more and they would say, “Put your glasses on” during my show and things like that. So I was on the fence about what to do and I eventually favored the blues.
Dennis: What made you want to switch to blues?
Kight: I was playing a gig one night in Warner Robins, Ga. and a waitress asked me if I had ever considered singing blues. She told me that I should listen to an album by Koko Taylor. I picked up a cassette tape by Koko called Queen of the Blues. From the first moment I heard her music, it sparked a new emotion in me. It felt real. I remember listening to it in my car and thinking “I have to put this in my act.” I bought all her CDs and covered her songs. I enjoyed playing the blues more, it was well received by my fans, and I was making more money.
Dennis:What was it about Koko Taylor that made her so special?
Kight: It was just the way she made me feel when she sang her songs. She conveyed the message to her audience in such a way that they could tell that her music was straight from the heart. Listeners could connect with her on a deeper level. She was my mentor but more importantly my friend.
Dennis: When did you meet Koko?
Kight: On March 13, 1995 at 10 p.m. I met her in Chattanooga, Tenn. She was playing at a place called The Sandbar. I begged the owner to let me meet her. When I met Koko I didn’t give her much room to say anything. See, I only had a limited time to talk with her. I was trying to say everything I wanted to tell her as fast as I could. I thought, “She is going to think I’m a nut.” But it ended up turning out okay. Koko just smiled a lot as I talked. I think she was in awe that I knew so much about her. I knew every time she had been sick or gotten in a car accident for example, more personal things that most people wouldn’t know. I think that made an impression on her. Anyway she ended up calling me on the phone and that’s when we started to develop a relationship.
Dennis: Koko’s Grammy nominated albums featured two of your original songs. Can you elaborate on the creative process involved in working with her?
Kight: I feel privileged to have been able to work with such a remarkable musician. It was a surreal experience. I would send the song to Koko. She would call me back and sing it over the phone to me. Koko would sing it how she wanted it to go, and would ask me “Are you sure you like it this way?” I remember thinking “I would like it any way you did it.” But I told her to do whatever she wanted with my song. I told her to make it her own and she did. Koko would sing it for Bruce Iglauer, president of Alligator Records, the largest and oldest blues label to date. She would sing my song to Bruce and then he and I would spend a lot of time editing the track and things like that. It was such an honor to work with both Koko and Bruce.
Dennis: What gave you the idea to write a song about Koko?
Kight: I wanted to write a song that explained not only who she was as a performer, but also who she was as a person. After I wrote the song “The Queen” about her in 2000, she would always say, “Sing that song about me.” Sadly, she passed away June 3, 2009. Her passing was heavy on my heart during the time I wrote “Koko’s Song.” She was sweet and good-natured, a kind and generous woman. One could realize her love of life and people when listening to her songs.
Dennis: Have any of your songs been featured in a way that was especially rewarding for you?
Kight: My performance of the song “Through the Eyes of A Child” was broadcast during the 2007 and 2008 Children’s Miracle Network Telethons. That was a rewarding experience because that song is very meaningful to me. I had the opportunity to perform this song with a full gospel choir in Schlangen, Germany. I was honored to work with a choir for the first time because my songs had never been presented in that way. When I heard the rehearsal it brought tears to my eyes.
Dennis:Where are you currently touring/performing?
Kight: I’ve been in Europe for three weeks in Germany and Norway. I’ve been through Dusseldorf, Hamburg, and other little towns in Germany. This is my third year playing overseas with my German band Blue Alley.
Dennis: What’s coming up for you?
Kight: I’m playing at Calvin’s Live Jazz and Blues in Warner Robins, Ga., and at the Rookery in Macon, Ga. Since I am from Dublin it is like playing at home to me.
Dennis: I know you were the headliner for the National Women in Blues” festival in Wilmington, North Carolina in 2007. How did you get involved?
Kight: Michele Seidman, director of the National Women in Blues festival, heard me playing at The Blues Music Awards in Memphis, Tenn., and invited me to sing at the festival. I feel like women have always had a harder struggle in the music business than men. I don’t know exactly why that is. Someone like Michele who promotes women in the arts, that means a lot to me. The event was good because it brought so many women in the arts together to perform. I got most everybody up on stage with me – Michele, Big Red, Laura Chavez, and Robin Rogers to name a few. We had ourselves a large time. I really enjoyed it and I know everyone there enjoyed it also.
Dennis:What women do you see as up and coming blues artists?
Kight: Shemekia Copeland, Nora Jean Bruso, Robin Rogers, Reba Russell, and Dorothy Moore. I especially like Moore’s song “Misty Blue.”
For more information about EG Kight, visit www.egkight.com or www.myspace.com/egkight. For more information about Stoney Dennis, visit www.myspace.com/stoneydennis.
Thanks to Stoney Dennis and EG Kight! Interview ©2009 Stoney Dennis.
Beach, blues, rock & a big ole Fish Shtick
Receiving the Pioneer Award at the 2009 Carolina Beach Music Awards is R&B artist Chuck Jackson.
CBMA Awards
This is a long weekend of live music and partying. The local clubs will be jumpin’ with artists who don’t come to town all that often. Pre-parties start Wednesday night with the Craig Woolard Band at 2001 Nightclub and the Embers at Duck’s Beach Club. The rascally King Tyrone & the Graveyard Ramblers will reign at Fat Harold’s on Thursday while the Sand Band plays the O.D. Beach club.
SxSE presents roots rock group the Youngers at their Nov. 7 Music Feast.
Chicago bluesman Bill Lupkin, one to see. Photo by Kate Moss.
Jim Quick is offering two of his original folk art paintings for auction, with proceeds to benefit UCP of Wilmington.
Life’s Too Short: Freddy Mangum, Johnny Jones Pass
Freddy Mangum /1963 – 2009
Freddy Mangum in North Myrtle Beach,S.C. Sept. 2009
We recently lost two musicians, one I knew personally and the other only by reputation. Both were significant artists and deserve mentioning here. Freddy Mangum, 46-year-old lead vocalist for Maurice Williams and the Zodiacs passed away unexpectedly on Oct. 7; and Johnny Jones, 73, Nashville blues guitarist and mentor to Jimi Hendrix and countless other musicians, died on Oct. 14, also unexpected.
I first met Freddy Mangum in 2004 in Raleigh, N.C. during a celebration of Carolina beach music, the regional R&B genre. He was recording a number of tunes for the northern soul market with the Sugar Bees, from Florence, S.C. , although his fulltime gig was as a lead vocalist with Maurice Williams and the Zodiacs.
“Freddy was with me for 15 years,” Maurice Williams told me in a telephone interview earlier this week. “I was managing him now, and I produced ‘Mama Didn’t Know,’ his single on the GAD label. We had so many plans … a solo album for him … it’s such sad timing, here he has this song on the charts and he passes away.”
After years of hitting the high notes for Maurice, Freddie Mangum had just come into his own. “Mama Didn’t Know,” which was written by Curtis Mayfield, is a bona fide hit and climbing the beach charts.
Fred Shaw, who owns Bradley House Productions and is also the Sugar Bees drummer, said, “We’ve been friends for years. I was devastated when I heard. I was in Washington D.C. and left to go to the funeral in Durham. Over 500 people showed up, could hardly fit them…
“We’ve done a lot of recording together … and I always knew when we went onstage that he was going to pull off a great show. Freddy just had that magic in his voice. I never heard him hit a bad note.
“The Zodiacs will be different now. They’ll go on, of course; they’ve had their share of loss in the group, but they’ll go on.”
Shaw continued, “ Maurice was just so proud of Freddy … Freddy was great to be around. He was always positive … a good friend. ”
Williams agrees, “He was like a godson to me, to me and my wife, Emily. He had a fantastic personality … He was my right hand man, I put him in charge of the band. He conducted rehearsals. He helped me produce, too. He set everything up for us. I was going to get off the road and Freddy would have the Zodiacs…” His voice trails off and it’s obviously a sad moment for Maurice Williams.
I feel so fortunate that I got to see him just last month. Jerry Goodman of GAD Records and Maurice Williams decided the group would make a last minute appearance at Craig Fleming’s Beach Music 45 record showcase at the Avista Resort in North Myrtle Beach. Some three hundred fans were treated to over an hour of hits like “Stay,” “Little Darlin’” and Freddy’s own “Mama Didn’t Know.”
They rocked the place.
This would be the last time I saw Freddy Mangum perform and the last time I spoke with him. We talked about setting up an interview. He was going to be my next long interview. I’m a Freddy fan and I wanted to know what was ahead for him.
Life’s too damn short.
Johnny Jones/ 1936 – 2009
Johnny Jones, although not a household name, played a major role in Nashville’s Jefferson Street R&B scene as depicted in the 2004 Country Music Hall of Fame’s Last Train To Nashville project and compilation CD (Vol. 1 and II) of the same name.
Jones was born in 1936. It’s said he experienced his first live blues performance by Joe Hill Lewis in Memphis, Tenn. at the age of 13. By the early 50s he had relocated to Chicago with his mother, a move that would place him in the midst of the great blues players of the time and help shape his own musical career. He shared a flat with harpman Walter McCollum. Together they formed a group, often playing with Junior Wells and Freddy King.
Jones moved to Nashville sometime in the early 60s, where R&B icon and songwriter Ted Jarrett took him under his wing and taught him how to read music In Nashville, Jones worked as a studio musician and played in his own band, the Imperial Seven.The group worked regularly at the popular New Era Club. It was with this group that Jones met a young guitarist named Jimi Hendrix, who regularly sat in with him at the club. During this period, Jones also played rhythm guitar with Clarence “Gatemouth” Brown in the house band for “The Beat,” a Dallas television program.
In the mid sixties, Jones was a founding member of another band, the King Kasuals*, which included not only Hendrix but also bass player Billy Cox, who was later part of Hendrix’ Band of Gypsies and also played with him at Woodstock.
Shortly afterward, as Johnny Jones & the Imperials, Jones released three funked up tunes: “It’s Gonna Be Good,” “Soul Poppin’” and a cover of Hendrix’s “Purple Haze.” “Soul-Poppin’” would be included on vol. 2 of the Night Train To Nashville disc set. “Really Part I” was included on vol. 1 and “Lucky Lou,” originally performed by the Imperials, but not recorded in the studio was also on vol. 2.
Jones would go on to work with musicians such as Bobby Blue Bland. Continuing to gig around Nashville, he mentored many of the younger Nashville guitarists and played the Jefferson Street Jazz and Blues Festival every year.
Just last month, Jones was one of the speakers at a memorial jam in honor of his own mentor – Nashville treasure Ted Jarrett ( single, “You Can Make It If You Try and album, Night Train To Nashville).
There has been no funeral, but tentative plans are in the works for a celebration of the man and his guitar mastery at The Place on Second Avenue in Nashville.
*There are numerous references to this band as both King Casuals and King Kasuals.
Writer Dariel Bendin can be contacted on the Internet on MySpace (MySpace.com/culturejunkie); Facebook and Twitter (Twitter.com/darielb).
Guest Post: Rickey Godfrey On Donny Trexler
Donny Trexler and Rickey Godfrey 'givin' it up for your love' at Captain Poo's, Little River Neck, S.C. Oct. 6, 2009.
By Rickey Godfrey
Observations About an Old Pro, Donny Trexler, at Captain Poo’s
When I walked into Captain Poo’s about a quarter till nine on Tuesday night, I already knew I was gonna be entertained by a real pro, Donny Trexler. The atmosphere was festive, but not too rowdy; you could tell right away that most of the crowd were folks who came here every Tuesday night to hear this one man band do his stuff. As I sat down to order some wings and tacos, and of course, a margarita,
I became immediately riveted by Donny Trexler’s soulful voice. It didn’t take me long to realize that Donny’s priority was doing a great interpretation of every song that he sang. His sequenced backing tracks that he used were a little subdued for my taste, but emphasized even more Donny’s desire for his audience to clearly understand the words to every song he did. On occasion he would encourage the crowd to sing along with him. Well, that’s normally nothing new for any entertainer, but in this case, I was listening to a first-rate singer do these songs. Donny’s vocals were very soulful, as good as it gets in my opinion, and his guitar playing was flawless, nothing flashy, but still supporting his vocals. I suppose you could say he knew how to lay down the rhythm grooves to help bring to life his backing tracks.
I got the impression that Donny was partial to the southern soul music of the 60’s. He did songs like “These Arms of Mine” by Otis Redding; “Midnight Hour” by Wilson Pickett; but then Donny shifted gears, and showed off his versatility by doing something slow – “Christmas in Dixie” originally performed by Alabama. He also did southern rock and blues tunes, too, like “Stormy Monday” by the Allman Brothers. When he played that song, he didn’t use a guitar pick, and then commented, “If y’all noticed, I didn’t use my pick on that song, cause Rickey Godfrey is here tonight, and he doesn’t use a pick, so I thought I would try playing without one.”
Calabash Flash got up and sang “Johnny Be Good” and I sang “Giving It Up For Your Love” by Delbert. While all this is going on, about every couple of minutes someone would come by and drop a dollar or two, and sometimes larger bills (grin) in Donny’s tip jar.
I was amazed to find out that Donny has been playing at Captain Poo’s every Tuesday night from 6 to 10, for many years, and he rarely ever takes a break. In his words, “I just don’t want anybody to leave, and I’m afraid they might, if I take a break.” Donny’s philosophy seemed to be “the customer comes first, whatever a person wants to hear I’ll do it if I know it.” On one song he said, “Give me just a moment to find the words, I haven’t done that song in a while.” He really tries to honor any musical request, meanwhile, the stack of money in the tip jar keeps growing looking like a pile of autumn leaves laying in there. Between songs, Donny tells me, “I work seven nights a week, if I can, and I make a little bit of money on each gig which helps me to survive.” Well, he was being modest, as folks continued their regular slow and steady parade to the tip jar.
At one point Donny plays guitar by himself with no backing tracks and does “39, 21, 40 shape”, and “Hey Baby” two beach music classics, encouraging the girls to sing along with him first, and then the guys. Here was an old pro at work who knew every entertainment trick in the book, and everybody was united in their approval of what he was doing.
One thing that really impressed me was Donny’s use of his digitech vocal harmonizer. When he turned on the machine it would electronically produce vocal harmonies on the vocal lines Donny would use it on. Donny told me, again between songs that he had this particular machine for 18 years, and had two more of them as back-up units, an important tool to enhance his vocals. Most of the time when you hear an entertainer like Donny, it’s an average singer, but as I said earlier, Donny is truly one of the best blue-eyed soul singers on the coast, what a great combination of skillful entertainer, guitarist and great singer. Donny has a huge following, many who regularly come out every Tuesday night to hear this gifted musician. Keep up the good work, Donny!!
Weather Channel Boyz Debut At Greenfield Park Amphitheatre
Wilmington, N.C. keyboard player Terry Nash is pretty excited about his newest musical venture. I first heard about it on Facebook and then from Terry’s wife, Windy, and I’m intrigued enough now, that I thought I’d share it here.
The Weather Channel Boyz is a funk jazz group that’s made up of musicians from assorted bands like Mark Roberts & Breeze and Painted Man, who share a love of instrumental funk jazz. The name derives from the jazz instrumentals that are a staple on the Weather Channel. (A CD is currently in the works and a proposal will be sent to the popular cable station.)
Band members include:
•“Funky” Leroy Harper, tenor, alto, soprano sax and keyboards
•Richard “Smoochie” Robertson, trumpet, muted trumpet, flugelhorn, trombone and keyboards
• Terry Nash, keyboards
• Sylvester “Sam” Bryant, drums, percussion
• Tony Mallard, drums, percussion
• Gerard Torchio, drums, percussion
• Jonathan Ward, percussion
• Brent Sisson, bass
• Thomas Stanley, bass
• Albert Rogers, bass
•Bobby Roberts, tenor sax
•Jason jackson, alto sax
•Vince Peeples, guitar
••Ethan Hanson, guitar
Other featured musicians include:
•Katja Rieckermann (Sax Player for Rod Stewart & Aerosmith)
•Simon Russell (Soul Power Posse) Nina Repeta (Dawson’s Creek)
•Vince Peeples (Painted Man)
•Mark Roberts (Breeze Band)
•William “Bosz” Bostic (Painted Man)
Weather Channel Boyz will be making their debut at a special fundraiser for EarthSave, a global nonprofit promoting healthy and life-sustaining food choices. It was created by John Robbins, the author of “A Diet of a New America.” The local chapter was started about five months ago by former Wilmington business owner Pat Benair. She says, “Our mission is to educate, inspire, and empower people to shift toward a diet centered on fruits, vegetables, grains and legumes – food choices that are healthy for the individual and for the planet.”
Brent Carter (Tower of Power) was also scheduled for the show, but due to the recent death of his father may not be appearing.
EarthSave SENC meets the last Wednesday of every month. Meetings include a vegetarian/vegan/raw potluck and a movie, lecture, or guest speaker. Meat eaters are encouraged to attend.
I’m not sure about living without the occasional hamburger, but I’ll be at the event in Greenfield Park. I’ve been to the MySpace page (Myspace.com/weatherchannelboyz) and I want to hear this band live!
If You Want To Go
What: EarthSave SENC’s presentation of An Afternoon of Blues, Jazz and Funk with featured artists Funky Leroy Harper, Painted Man, Benny Hill, The Groove Campaign & the debut of the Weather Channel Boyz
Where:Greenfield Lake Amphitheater, 302 Willard Street, Wilmington, N.C.
When: Sunday, Oct. 18, 1 to 6 p.m.
How Much: Advance $15; Gate, $20
Information: Pat Delair, senc@earthsave.org
Blues Guitarist Rickey Godfrey Is Heading To the Beach!
Rickey Godfrey working his Telecaster.
Nashville, Tenn. blues guitarist Rickey Godfrey is coming to the Grand Strand for five local performances. On Sunday, Oct. 4, Godfrey will participate in the Myrtle Beach House of Blues Art Show & Blues Battle, and is slated to take the stage at 3:30 p.m. Godfrey has four dates scheduled at Key West Crazy in Little River, S.C. He will play Monday, Oct. 5 from 7 to 10 p.m.; Friday, Oct. 9 and Saturday, Oct. 10 from 7 to 10:30 p.m.; and Sunday, Oct. 11 from 6 to 9 p.m.
Godfrey, who has been blind since birth, is considered to be one of Nashville’s premier blues guitarists. He began studying at the age of seven, while attending the South Carolina School for the Blind. He studied classical piano and voice, and later added guitar to his list of musical accomplishments. The versatile guitarist is also known for his gritty soulful vocals.
Godfrey says, “I like many different kinds of music, which has helped me to develop more of an original style. I don’t just listen to blues. I listen to jazz, country, R&B, rock gypsy music, classical, which gives my playing a lot of influences. So, when I play blues I don’t sound like Albert King or Elmore James. I don’t sound like Eric Clapton and Stevie Ray Vaughn, either; I sound like Rickey Godfrey. Although I love those guys I just mentioned, the blues I play, I infuse with guitar licks from old jazz guitarists like Charlie Christian, but, especially, Django Rhinehart, who was a big influence on my playing. It makes me sound different from a lot of guitar players who, I think, play too many stock, predictable blues and rock licks.”
Born in Greenville, S.C. he moved to Nashville in 1993. Since then he has worked with artists such as Rufus Thomas, Sam Moore, Billy Preston and Junior Walker. He has been nominated by the Music City Blues Society for both Guitarist and Keyboard Player of the Year.
For more information about the artist, visit his MySpace page at www.myspace.com/therickeygodfreyband .
Why We Need SxSE
Rocker turned gospel artist Mike Farris after signing guitar for SxSE director Jeff Roberts. Myrtle Beach Train Depot, May 2008.
Let me tell you about South By Southeast, and why I think it’s so critical to the Carolinas, especially to its native Myrtle Beach.
The group was formed in 2003 by a bunch of music lovers who believed there was more to music than the Top 40. According to their mission statement, their goal is “to preserve and promote American music not usually heard in traditional venues.” Their mission is also “to provide assistance and support to local music education programs, with our goal being to offset some costs associated with the musical education of young people in our area. In this time of budget cuts and strangulation of funding for the arts, our goal is to help young people in their pursuit of the joys of music.”
Fastback to 2002. Bob O’Connor, local guitarist with the Mullets, a popular jam band in Myrtle Beach, had put together a house concert featuring acoustic guitar wizard Jack Lawrence, known for his flat pickin’ with Doc Watson. A group of 30 or 40 split the musician’s fee, brought along their own eats and were treated to a intimate concert – the kind of show music aficionados lust for. Among those attending were Jeff Roberts, Seth Funderburk and Sam Hannaford – the core founders of South By Southeast.
Jeff Roberts was the owner of the now defunct record store, Sounds Familiar. He later opened Sounds Better, still one of the only independent record stores left in the area. Funderburk at one time was Roberts’ store manager. Today he co-owns Sea Note Recording and manages local rockers Ten Toes Up. Hannaford was a businessman and an avid music fan. Nowadays he also plays percussion with the Chainsaws.
Within a year, this core group along with Mike Millsaps (Sweet Nell guitarist) put together their own show for about a dozen friends at the Aloha Hotel on N. Ocean Boulevard, which was owned by the Millsaps family. Jeff Roberts’ face lights up when he talks about it. “We had Lauren Ellis and Jill Block in that first concert … and they blew us away.”
Lauren Ellis’ husky voice and guitar playing could give Bonnie Raitt a run for her money. Jill Block is a singer/songwriter. Both are top talents, yet neither are household names, and that’s a running theme for SxSE, one I’ve come to love.
The fledgling group would present additional concerts, complete with pot luck dinners, at the Royal Oak, now Spencer’z Pub, in Murrells Inlet and the New South Brewing Company in Myrtle Beach.
Today the tradition of top quality music in an intimate venue continues with almost all shows, which are called Music Feasts, at the landmark Myrtle Beach Train Depot.
“I love the intimate feel of the Train Depot,” says Roberts. “It feels right. Once the food, the free beer and wine are set up, it’s warm and friendly, and the acoustics are really sweet. Seth has the sound down.”
The historic Train Depot, which was almost demolished several years ago, is now owned by the city of Myrtle Beach and has been home to most South By Southeast shows since 2004.
Performers have included singer/ songwriter Randall Bramblett and his band. They have to turn away folks whenever he comes to town. Another popular show was Carolina Chocolate Drops, the highly acclaimed African-American string band playing the rich tradition of Carolina piedmont music.
Rocker turned gospel artist Mike Farris gave a breathtaking show at the Depot. I know, I was there for it. Cat Mary is an experimental acoustic group, one most music fans wouldn’t get to hear, were it not for an organization like South By Southwest.
Add to this, just to name a few, stellar performances by Diesel, Nashville’s David Olney and the rockin’ jammin’ Jumper Cables aka Johnny Mac, Paul Tucker and Steve Kent
I wanted to know if any particular concerts stood out in Jeff’s mind, but I don’t recommend asking him that if you don’t have an hour or two.
“Well, Mike Farris … that was a magic night,” Jeff tells me, “… and Verlon Thompson had to be the most reactionary show I can think of … Chris Knight … Scott MIller … Hayes Carll, oh that was a great night.” [Hayes Carll’s recent video is “When I Find Jesus I’m Going To Kick His Ass,” due to the fact this his girlfriend did indeed find Jesus.]
I wanted to know how South By Southeast became so aligned with Americana music.
“I’ve always liked different kinds of music. The Americana thing happened in 1998 or 1999 because that’s when people started identifying themselves like that,” came the answer.
Jeff Roberts, who serves as the director for South By Southeast, has been involved in music his whole life. “I was born in Asheboro, N.C.” he says, “And moved to Myrtle Beach when I was three. In fact, we lived in a big white house in Hidden Village where the store is today.
“I was running to the dime store to buy 45s by the time I was nine. Music was my only window to any kind of culture outside a small town. I would stand looking at the promo pictures and record labels in the front window of the store.
“My dad was selling non-prescription drugs on a route around eastern South Carolina, and I would work with him after school. I’d take my little paycheck/allowance to Mac’s Dime Store and the Record Shak on Ninth Avenue.
“Eventually the Record Shak, owned by Junior Blanton, hired me because the guy who worked there was getting married and they needed someone to fill in.
“I worked at the Music Box on Broadway, too, until 1975. Then the Record Bar chain came along while I was at Coastal Carolina. I took a management position with them out of college.
“For me, putting South By South together … it’s the realization of a dream. I can remember standing in Sounds Familiar with Seth …. when Robbie Fulks was the Mack Daddy King of Americana and I remember saying, ‘Wouldn’t it be cool if we could get Robbie Fulks to play for us? Well, he did … Christmas two years ago.”
The other prong of the SxSE mission is music education and outreach programs in the schools. The group holds instrument drives to help out local schools. They find the money to send young musicians to music events or band camp.And they donate their time.
Some of these generous musicians include Bob O’Conner, Steve Marino, Paul Grimshaw, Butch Barnes and Phyllis Tanner-Frye.
“Most of these musicians have kids,” says Roberts. “They know how important it is to bring music into the schools and to teach them about the hard work that comes along with it.
“It seems like the sweat equity of the bands is what’s so rewarding. I can tell you a story that really says it. Marty Richardson from Crocodile Rocks went down to Tara Hall near Georgetown. [a home for troubled boys]. He spent a lot of time talking to these kids. When he came back up to town, I wanted to give him some money for his gasoline expenses. ‘No,’ says Marty, ‘I’ve already been paid,’ and he takes out a picture one of the boys had made for him. It was a picture of Marty and across the top it read, ‘I want to be like you.’”
Does it get any better than that?
If you’d like more information about this organization, visit www.sxsemusic.com or contact organization director Jeff Roberts at 843-497-3643. You might also want to attend the House of Blues Art Show & Blues Battle on Oct. 3 – 4, which willl be donating 100% of sales from a special signed and numbered limited edition Kim Dawn Clayton guitar print to South By Southeast. The Rock 102 Radio Reunion concert featuring Nantucket on Sept. 25 will also benefit South By Southeast.
Memberships for this recognized S.C. charitable organization (501c(3) status is underway) are $25 a year. It’s money well spent.
House of Blues Art Show & Battle of the Blues
©Kim Dawn Clayton. All sales of a special signed & numbered limited edition print will benefit South By Southeast.
House of Blues boasts one of the finest collection of antique and contemporary folk art in the world.Every year the local Myrtle Beach club celebrates its own local outsider artists with a special two-day show in the courtyard.
This year they’re going one better: the House of Blues Art Show and Battle of the Blues. And thanks to the efforts of organizers Kim Dawn Clayton and Jeff Hulse, local nonprofit South By Southeast stands to benefit, too.
Over 40 folk artists and fine art folk plus 30-something blues performers and bands will be filling the courtyard, Sugar Shack, restaurant and three stages for a two-day rockin’ extravaganza of art and music.
Mark your calendars for Oct. 3 and 4, starting at 10 a.m. each day and going strong until 10 p.m.
Folk artist Kim Dawn Clayton said, “For me the art and music have always gone hand in hand, so the idea of having them in the same show feels so right.”
Kim Dawn has been a stalwart in the HOB art gallery and annual show for years. “Wait until you see the artists we have this year,” she says.
“Keith Borshack is a musician and an artist. I discovered him during my hunt for supporters for the HOB show. I was waiting to talk to the manager of Star Music. I looked up and saw Keith’s Crossroads Guitar and was determined to have him in the show. He paints these incredible guitars and sells them at Star Music.
©Chris Beck. His stuff is so creative; metal clothing!
“Chris Beck is this amazing metal artist from Dalton, Ga. He creates sculptures of clothing. He’s been working on this piece of ladies underwear hanging … well, you’ll have to ask his wife about coming home with her bosses and clients to find her underwear hanging on clotheslines all over the yard … By the way, Chris was my gallery partner for Folk Festa, which is one of the largest folk art shows in the southeast. He’s been creating a huge following … after only showing for the last few years.
“Jeff Norris is an acrylic artist who paints on recycled mediums. Jeff find humanity in the faces he paints and beauty in the imperfections. He is so talented!
“You know, he also works as a graphics designer for the Sellers Group right here in Myrtle Beach. Jeff will be creating a graphic for the winner of the blues battle. They’ll be able to use it for a CD cover or whatever they want.”
“Blair Browning is another Myrtle Beach artist. She’s amazing. You’ve seen her mosaics, I know … and she gives so much back to the arts here in our area. Blair is also a very important member of the local Round Table art group.
“Fleetwood Covington is the featured artist. He paints wonderful portraits of blues legends and musicians on tin. You can just feel the soul of the artist. That’s why he was chosen.
“He used to work on the docks. Finally, at 50, he started doing his artwork full time. He was the biggest seller at Folk Fest.
Poster by Michael Tidwell. Image by Fleetwood Covington.
“If you’ve seen any of the posters or graphics for the HOB Art Show & Battle of the Blues, then you’ve seen Michael Tidwell’s work. And he’s a musician as well. See how it’s all together?”
At press time, musician slots are still being filled, but muscian – and music lover – Jeff Hulse took time to talk to me about some definite players.
“Burn 1 Down … This is Lynwood Salvo, Kid Drew and Russ Whitman. They’re a very aggressive, sort of shredding blues band. Drew just won the most recent stage of the Charleston Guitar Center Blues Guitar Contest. He will be attending the regional finals in Florida sometime in the near future for a chance to compete for a national title.
“Guitarist and vocalist Rickey Godfrey from Nashville will be there doing a solo act. He’ll be amped, so you know he’ll bring the house down Rickey will be on the main stage.”
Blind since birth, Rickey Godfrey is known for his exuberant performances and smoking guitar licks. He has been nominated by Music City Blues Society as both guitarist and keyboard player of the year. He’s played Europe with Sam Moore of Sam & Dave and worked with such artists as Rufus Thomas, Billy Preston and Junior Walker.
In a telephone interview, Rickey said, “I’m thrilled to be playing. It’s personally important to me for people to be aware of South By Southeast and the work they’re doing. Their goal is to present good music to folks on the coast, music than an audience might never hear. I know, as a musician, I’ve always wanted to be able to play places where the people are seriously interested in the songs I’m performing and my musicianship as a vocalist or guitarist. That’s what South By Southeast offers.”
Nashville blues guitarist will perform at the HOB Art Show & Battle of the Blues on Sunday afternoon. (photo courtesy Rickey Godfrey)
Jeff expects Rickey to go on about 4 p.m. on Sunday. He’ll be one to watch.
Also on the roster, according to Hulse, is My Buddy Todd, aka Todd Roth. This New York native relocated to the beach in 1996. He likes his blues hot and smoky. Todd is known for playing both acoustic and electric.
“Probably one of the most passionate individuals in the community as far as giving back to the arts,” Hulse goes on, “is Dr. Joe Mayer. I have watched him for years, donating his talents and time to some many festivals and charities. I feel personally that celebrating this humble talented man will be an honor at this event. He will be doing a solo act in the courtyard playing his ukulele.”
The winning musician or band will earn a booking at the House of Blues as well as the graphic created by Jeff Norris. On Sunday night, somewhere around 7 p.m., the top two or three, as determined by the judges will have a final “battle” and a winner will be chosen.
Plans for a DVD of the weekend’s events (the sales of which were to benefit South By Southeast) were thwarted by some legal obstacles and had not been resolved by press time. In fact, Kim Dawn Clayton was already moving to replace the funds.
“It’s important to me to involve South By Southeast in this,” she explained. “They do so much in this area to keep music in the schools and to bring great music to the whole area.
Blues bard and guitarist Jeff Norwood will be performing a solo act as well as playing with his band. (photo courtesy Jeff Norwood)
“So, I’m making 500 11- by 14-inch prints of my guitar painting and donating 100% of this special signed and number limited edition to South By Southeast. Jones Printing Company in Chattanooga, Tenn., my home town, has also donated the printing.
It’s fitting that bluesman B.B. King is playing the House of Blues on Saturday night. He’s provided inspiration for many of the artists who will be there.
If You Want To Go
What: House of Blues Art Show & Battle of the Blues
When: 9 a.m. – 10 p.m. Oct. 3 -4 (Reception Oct. 3, 7 p.m.)
Where: House of Blues in Barefoot Landing, 4640 Hwy 17 S., North Myrtle Beach, S.C.
Info: 843-913-3730
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