Take Me to the River (Film soundtrack featuring Various Artists on Stax Records) - Take Me to the River celebrates multiple generations of Memphis musicians as a feature documentary. The age of the men and women performing is not as important as their ability to stand tall in the ageless face of discrimination and segregation. Performers that have brought the music of their city to the world (Mavis Staples, Otis Clay, Bobby ‘Blue’ Bland, The Bar-Kays, William Bell, Booker T. Jones) span the gap between times in Memphis, Tennessee by building rap bridges within the songs to join old school horns and Soul with the new school souls with the rhymes of Frayser Boy, PNut, Snoop Dogg, Al Kapone, and Yo Gotti.

The film goes inside of the collaborative process, as well as providing the memories of a uniquely vibrant musically legacy. Rhythm and Blues is provided North Mississippi All Stars and players pumping the horns, heart, and Soul of Memphis, Tennessee. The tunes are part of the fabric of life, reminding of the history the city has given the world with versions of “Trying to Live my Life without You”, and “Ain’t No Sunshine”. Mavis Staples dips down south to the Hill Country of North Mississippi All Stars backing her on “I’m Been Buked”, Charlie Musselwhite blows his Blues harmonica, singing sweetly with the groove of City Champs on “If I Should Have Bad Luck”, and William Bell shouts out the need to “Knock on Wood” backed by the Stax Music Academy. Booker T plays keyboard with the All Stars to backbeat Al Kapone as he steers his ride through the city, calling out to ‘get that Memphis thing back where it’s “Supposed to Be”’.

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The Costello Show - Elvis Costello (from the album King of America) - Elvis Costello made his first steps into the Roots music he played at home and on the tour bus when he recorded, and released, Almost Blue in 1981. While the album was an audio photo-shop of Elvis C behind the microphone for classic country songs, the marriage proved to be perfect.  The musical chameleon that Elvis Costello has become fully came out of the closet when he moved away from New Wave rock’n’roll and stepped knee-deep into big muddy roots with King of America (1986). No king can be crowned without a trusty side-kick pointing out the way, acting as a conscience for what the audience can take, and a co-curator for American Roots music. That position was filled with a life-long relationship between Elvis Costello and T-Bone Burnett that began when Elvis had shared a bill with T-Bone during 1985-1985 solo tours.  The pair entered Ocean Way studios, tapping into former members of the TCB Band, who had backed Elvis Presley. The back-up included a number of players, such as guitar man James Burton, who had also backed Elvis Costello influences, Gram Parsons and Emmylou Harris.

King of America had some radio hits, though the album was released in the midst of a new wave reign that held court slightly outside of the dark Americana crown that Elvis donned for his tenth release. The album opened on a solid upright bass note path that offered an equally rigid snare drum to lead the parade that honors, and pushes buttons and calling cards equally with “Brilliant Mistake”.  Elvis Costello revisits an England of his youth in a version of The Animals “Don’t Let Me be Misunderstood”, and shakes the Delta out of ragtime rhythm with J.B. Lenoir’s “Eisenhower Blues”.  Elvis followed the match of Almost Blue to offer Classic Country vocals that would melt the ice-cubes in your glass through the crappiest jukebox speakers with “Indoor Fireworks”, channel a Tennessee Three beat and don some shades for “The Big Light”, haul out to the big-rig and tear out of the parking lot of “Glitter Gulch”, and blow on a “Suit of Lights” with wasted breaths as the ‘cold, cold ground’ gives back one of its own. A center point of King of America is “American Without Tears” as it defies category in lieu of a story that travels back to wartime London. As WWII ends, the track follows ‘two English girls who have changed their address’. The story waves goodbye to England as it tosses back a highball to the ‘cocktail murderess’ singing that “It’s Too Late” for the pair that no longer ‘speak any English, just American without tears’.

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Hot Tuna was not as much of a departure for the pair that made the music as it would seem. Jack Casady  and Jorma Kaukonen were flying high as founding members and lead guitar (Jorma) and bass (Jack) for San Francisco psychedelic top dogs Jefferson Airplane. The duo formed Hot Tuna in 1970 and set to the business of releasing records.  

Two albums came out quickly, a live show, on album one (recorded at the New Orleans House in Berkeley, California) and the jam style of album two, easing on the production costs and set-up. Hot Tuna (1970) and First Pull Up Then Pull Down (1970) brought Jorma Kaukonen full circle and back to the coffee house acoustic blues that he played in pre-Airplane days. Listening to the re-issues, it was a good return.

Jorma’s guitar was always a key ingredient of Jefferson Airplane music though the politics and talking points of front woman Grace Slick and band leader Paul Kantner took media and, by default, public attention.  In Airplane songs, Jorma’s guitar work always had a blues base, which was an easy listening miss for the predominantly young white audience. Cross pollination of music was still a future goal and psychedelic music was a clearing house of varied sounds coming together under one banner. The acid dripped leads of the Jefferson Airplane were all part of the trip, man, and tracing them back to the source was not a goal amid finger trails and melting walls.

Hot Tuna arrived with no need to trace the path of music anywhere. Jorma Kaukonen was a blues natural and the songs included on the album were, for the most part, Folk Blues classics. Hot Tuna played host to two of Jorma’s originals alongside a pair of songs each from ReverendGary Davis (including the much recorded “Death Have No Mercy”) and Jelly Roll Morton. Three traditionals make an appearance including “Uncle Sam Blues”, a track that fit in perfectly with the turbulent anti-war tone of the 1960’s. (NOTE: A “traditional” is the term used to connote an often well-known song which has no writer credited.) The song breaks down the message to more human terms with lines like “Uncle Sam ain’t no woman, but he sure does take your man” and “I’m gonna do some fighting, of that you can be sure. Well now, I wanna kill somebody, won’t have to break no kinda law”. Hot Tuna barely raises its head above an acoustic tone, with the work of Jorma and Jack complemented with Will Scarlett on harmonica.

Jorma Kaukonen plays blues guitar with an intuitive ability, but Hot Tuna’s dual punch came courtesy of bassist Jack Casady. Few other bass players play their instrument as if it were a lead guitar. Jack Casady shares that status with maybe one other four sting guru, John Entwhistle of The Who. Jack Casasdy’s playing can be described as jam or jazz-based, but his playing is pure rock and though hardly a strictly rhythm instrument in his hands, his bass notes manage to balance both improvisation and beat.

For their second album, Hot Tuna retreated deep into the Santa Cruz Mountains, returning with the three players from their eponymous debut and adding in recent Airplane addition Papa John Creach on fiddle and Sammy Piazza on drums. Like another Who member, Keith Moon, Piazza’s drumming does double duty, maintaining a consistent rhythm and still finding lots of room to move around. Papa John Creach makes fiddle playing blues cool. Another change on First Pull Up Then Pull Down is the decision to plug in. The second album, and first studio session, is 100% electrified.

You know how it is when friends drop by and things get rowdy? First Pull Up Then Pull Down kicks off with Papa John leading the charge with his fiddle. The opening track, “John’s Other” (written by Papa John Creach), sets the pace and forces itself out of the speakers with the message “Hot Tuna paid the dues on electricity”. Extended jams are the norm and only seven tunes grace the album. There are psychedelic overtones to the production, but even amid the distortion and feedback, there is a blues heart beating. Two blues classics, both tunes by Reverend Gary Davis, receive a remake for the second album. “Candyman” is a traditional blues song that got a lot of attention in the early 60’s folk days as a hit for Dave Van Ronk. In “Keep Your Lamps Trim and Burning”, Hot Tuna upped the electric ante and delivered a song that stands as a cornerstone for psychedelic blues. Hmmm, guess that lamp must have been filled with lava.

Hot Tuna created their sound in the early 70’s and both albums one and two were released at the dawn of the decade. The 1970 stamp on the albums gives the impression that they were meant as companion pieces for a new group who wanted the world to know that they were as comfortable with acoustic as well as electric deliveries.

 Jamming was something you did in 1970 but not something that you dubbed the finished product. With Bonnaroo, not even a gleam in the three-day-music-festivals eye, Hot Tuna was certainly one of the first bands to achieve major success with the style. Hot Tuna and First Pull Up Then Pull Down stand as proud testament to a band that continues today, long after the main gig as Airplane members has disappeared.

The albums have been lovingly reconstructed as part of the Vinyl Replica Collection. Culture Factory USA has selected the catalog of Hot Tuna as worthy of a rebirth. The sound on these recordings is phenomenal. The clarity of the guitar and bass in acoustics give the feeling of sitting at the artists’ feet. On the electric, the instruments sizzle; you can almost feel the heat of the amps. Culture Factory USA curated the discs with such care that all original artwork on the albums is present, even down to the RCA logo on the disc, which looks like a mini-twelve incher piece of vinyl. More Hot Tuna releases are on their way.  The collection starts here.

Listen and buy music from Hot Tuna HERE

Listen and buy music from First Pull Up Then Pull Down HERE

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Georgia Satellites   (from the album Georgia Satellites) - The Georgia Satellites trajectory did not immediately send anything up when the band (loosely) formed in 1980 around Atlanta-based musicians, Dan Baird and Rick Richards. They began to appear under the band name with a residency in Atlanta, Georgia, and recorded demos. Nothing was catching a spark and the group disbanded in 1984.

Little Richard   (form the album Little Richard, Directly from the Heart on Specialty Records through Concord Music Group) - Richard Wayne Penniman was twenty-one years old when Art Rupe signed him to Specialty Records. Being in a family as one of twelve children gave Little Richard Penniman the need for a more attention than Leva Mae and Charles ‘Bud’ Penniman had to go around. Not unusual for kids from big families, though in the case of Little Richard, that desire was on steroids.