1/22/2024 0 Comments Flamingo lyrics engineThe son of the late great McKinley Morganfield - aka Muddy Waters - Big Bill and his legendary last name came riding into Austin with a solid buzz preceding them. What's in a name? For Big Bill Morganfield, quite a lot. And I almost danced, too.īIG BILL MORGANFIELD & THE ROLLING FORK REVUE Damn, all too soon it was over, leaving more than a handful of ham-fisted guitar dawgs seized with the urge to go home and beat themselves unconscious with their Les Paul copies. Think what you want about the whole swing/big band /jump blues thing, but this is obviously what Brian Setzer is happy doing. Of course, no Brian Setzer set would be complete without covers of "Stray Cat Strut" (segued nicely into "The Pink Panther Theme"), "Rumble in Brighton," and "Rock This Town" he may be sick of them, but the crowd wasn't. His astounding instro version of "Stranger on the Shore" was pulled off with less effort than most people use to parallel park. Brandishing an assortment of fat candy-colored Gretsch guitars, Setzer pursued his true love, jazz guitar, but also did some fingerpicking stuff that was as clean as Chet Atkins himself. With his guitar riding over the top like the surfer in the opening of Hawaii Five-O (the kickoff to their set), he ripped open licks that came more from Joe Pass and Barney Kessel than Carl Perkins and Scotty Moore. The band did their part, no doubt, especially a trumpet man who bore a resemblance to Mark Katz and Al Hirt both, but it's all Setzer's show. With a horn section blasting away loud enough to knock a house down, the ex-Stray Cat wore a godawful star-spangled suit and the grin of a man who's extremely happy and comfortable doing what he's doing. The Backyard crowd of Levi's Dockers folks, rockabilly cats, and even the occasional mohawk-head was disappointed when their set lasted only 30 minutes, but the malaise vanished when the Setzer big band came on stage. the fable of the lost Andy Griffith episode, "Me & Opie Down by the Duck Pond"). With a sound that harkens back to forebears like Faron Young and Hank Sr., BR5-49 are nevertheless not so traditional that they would have made it on the Grand Ole Opry in, say, 1953 listen to their lyrics sometime for their dope-smokin' references (esp. Every member of the band is good, but the star of the show is the Mechanic of Hillbilly Music, Don Herron, switching effortlessly from fiddle to pedal steel to mandolin to lap steel and proving himself equally adept at all of them. The Nashville combo paid their dues on Music City's Lower Broadway scene longer than most bands have been around, and their razor-sharp chops show through in their live show. BR5-49 almost made me cut loose, though (footloose). Aside from occasionally twisting like Chubby Checker with a slipped disc, my efforts at dancing resemble a trained bear shambling around with two left feet and fallen arches.
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