Albums That Deserve Another Listen
Lonnie Mack - The Wham Of That Memphis Man! (1963)
"The Wham of That Memphis Man!" is the first album by Lonnie Mack. It was recorded in several sessions beginning in March 1963 and was released by the small Cincinnati label Fraternity Records in October 1963. It reached just #103 on the charts, however music critic Jimmy Guterman ranked it #16 in his book "The 100 Best Rock 'n' Roll Records of All Time".
Lonnie Mack is considered a pioneer of virtuoso rock guitar soloing and a key stylistic forerunner of the blues rock and Southern rock guitar genres for his fast-paced instrumental solos, including his 1963 hit singles, "Memphis" and "Wham!", both of which are on this album.
Tracklist:
01. Wham!
02. Where There's A Will There's A Way
03. The Bounce
04. I'll Keep You Happy
05. Memphis
06. Baby What's Wrong
07. Down And Out
08. Satisfied
09. Suzie Q
10. Why
11. Down In The Dumps
Personnel:
Lonnie Mack - guitar, vocals
James Edmondson - guitar on "Memphis" and "Down in the Dumps"
Wayne Bullock - bass
David Byrd - keyboards
Truman Fields - keyboards
Fred Stemmerding - piano
Ron Grayson - drums
Don Henry - saxophone and maracas on "Memphis" and "Down in the Dumps"
Marv Lieberman - saxophone
Irv Russotto - saxophone
Bill Jones - bass
The Charmaines - background vocals
The Wham Of That Memphis Man! was released in October 1963, and was hailed a groundbreaking album. Critics and record buyers had never heard an album like The Wham Of That Memphis Man! Partly, that was down to Lonnie Mack's band.
Accompanying Lonnie Mack on The Wham Of That Memphis Man! were a rhythm section of drummer Ron Grayson and bassist Wayne Bullock. Pianist Fred Stemmerding was joined by a horn section of Irv Russotto, Marv Lieberman and tenor saxophonist Donald Henry, who also added maracas. He and the rest of the band provide eleven backdrops that veer between bluesy and soulful. Meanwhile Lonnie Mack steps up and unleashes a series of breathtaking, virtuoso performances.
Wham! opens The Wham Of That Memphis Man! which is two minutes of foot to the floor music. Growling horns add an element of drama, as the rhythm section power the arrangement along. When the horns drop out, up steps Lonnie Mack. He unleashes a blistering solo. It climbs high above the arrangement, as the fleet fingered virtuoso never misses a note. Later, when the horns return, Lonnie and the band are heading towards a crescendo, and do so in style. However, it's Lonnie the musical pioneer, that steals the show.
Where There's A Will There's A Way shows another side to Lonnie Mack. It's a heartfelt, soulful ballad, where gospel tinged harmonies accompany Lonnie. He delivers a soul-baring vocal, as the rhythm section, origin and harmonies provide a slow backdrop. This proves the perfect accompaniment to his vocal which later, becomes needy, impassioned and emotive. It's a track that shows there's more to Lonnie Mack than a fleet fingered guitar slinger.
Braying horns join the jaunty rhythm section in driving the arrangement to The Bounce along. They're joined by Lonnie, and his shimmering, vibrato guitar. Its crystalline sound is accompanied by punchy, soulful harmonies. Meanwhile, Lonnie fingers fly up and down the fretboard. Later, a backing vocalist sings: “just one more time.” She sings call and response, as Lonnie and the bands head for the finishing line and another impressive crescendo.
I'll Keep You Happy marks another change in style. Lonnie delivers another heartfelt, needy vocal. He's joined by backing vocalists, while the rhythm section and wistful piano create a slow meandering backdrop for this ballad. His vocal veers between needy to hopeful, as Lonnie breathes emotion into the lyrics. It's further proof that Lonnie was a talented vocalist, as well as a virtuoso guitarist.
Memphis was the single that launched Lonnie Mack's career. Choppy, bristling and chiming guitar licks join the rhythm section, and add a degree of urgency. The guitar is crucial to the sound and success of this instrumental. Especially, as this instrumental unfolds. By then, Lonnie has taken center-stage and is playing a starring role. His searing, blistering guitar is played briskly, chirping and chiming. A hint of vibrato is used sparingly, before the choppy licks bookend this instrumental version of Chuck Berry's Memphis. It's one of the highlights of The Wham Of That Memphis Man.
Baby, What's Wrong was written by a giant of the blues Jimmy Reed. It's given a makeover by Lonnie Mack. Choppy, chirping guitar licks join the rhythm section in setting the scene for Lonnie's vocal. It's full of hurt and sadness, as he asks “Baby, What's Wrong with you.” Backing vocalists accompany and then augment his scorching guitar solo. They add soaring harmonies, before Lonnie rejoins them. He adds a vocal, while adding a bristling guitar solo. It rings out, as the punchy and later, soulful harmonies join Lonnie's hurt-filled vocal. By then, it's obvious that this another of Lonnie's finest moments. Despite this, commercial success eluded this song when it was released as a single. Fifty-three later, and this reworking of Baby, What's Wrong has an almost timeless sound.
Down And Out is a slow, bluesy shuffle. The horns add to the bluesy sound while stabs of piano help the rhythm section drive the arrangement along. Meanwhile, Lonnie unleashes a vibrato soaked guitar solo. It shimmers, glistens and quivers. Other times Lonnie plays with urgency and aggression, before later, deploying speed and accuracy. This shows how versatile a guitarist he is. However, playing an important part in the sound of the bluesy instrumental, are Lonnie's band. They frame another spellbinding performance from the virtuoso guitarist, as he pioneers the blues rock sound.
Horns bray, and washes of organ join the rhythm section on Satisfied. It has a surprise in store. This comes when Lonnie sings: “on well you ask me if I'm happy, I have a peace within, if I worry…as I reach my journey's end.” This gospel track is reworked by Lonnie, and shows yet another side to him and his music. Blazing horns, gospel tinged, soaring harmonies testify as Lonnie unleashes an impassioned, powerful vocal. It's soulful and delivered with sincerity as also Lonnie adds a guitar part. This time, it's Lonnie's vocal that steals the show. Aided and abetted by the backing vocalists, Martha Carson's song takes on new life and meaning; and back in 1963, was heard by a new audience.
Dale Hawkins is regarded as being responsible for the definitive version of Susie Q. Despite this, Lonnie's version is one of the best cover versions. Subtle rasping horns punctuate the arrangement while the rhythm section provide the heartbeat. Meanwhile, Lonnie's crystalline, chiming and bristling guitar soars above the arrangement. It quivers, as vibrato is added and steals the show. Especially, as Lonnie's fingers fly up and down the fretboard at breakneck speed. All this effort is well worthwhile, and results in one of the best cover versions of Susie Q.
Slow, bluesy and moody describes Why. Lonnie's crystalline guitar quivers, ringing out as blues horns join the rhythm section. They set the scene for Lonnie's heartbroken vocal. He delivers the lyrics as if he's lived them. His vocal is a mixture of power, emotion and hurt. Meanwhile, cooing harmonies soothe and sympathize. Lonnie continues to lay bare his soul on this tale of hurt and heartbreak. It's without doubt one of the best songs Lonnie wrote for The Wham Of That Memphis Man! and is one of most moving songs on the album.
Down In The Dumps closes The Wham Of That Memphis Man! It's another instrumental, penned by Lonnie Mack. His quivering guitar is joined by braying horns as the rhythm section and piano drive the arrangement along. Soon, the scorching guitars soar high above the arrangement. When they drop out, Lonnie's guitar takes center-stage. From there, the horns and guitar play leading roles, on what's a perfect showcase for Lonnie Mack and his talented band.
Despite the undeniable quality of The Wham Of That Memphis Man!, the album reached just 103 in the US Billboard 200 when it was released in October 1963. Those that bought a copy of The Wham Of That Memphis Man! heard a musical pioneer, who changed the future direction of music.
