Bob Mac's Compilations
Welcome to my compilations of Blues, R&B, Soul, Gospel, Jazz, Rockabilly, Rock & Roll, Hillbilly & Country music.
Wednesday, August 5, 2026
Country, Pre-War & Acoustic Blues Vol 114 - All About The Women Vol 03
Black Gal Swing (1930-2023)
Blues, R&B, Soul & Gospel Records Vol 292 (1947-1996)
Sunday, August 2, 2026
Bob's Chat
Today's Best Of Jazz Volume 126 brings you the third volume in "All About The Chicks" with 20 fine tracks running from 1933 through to 2024. A few well-known and several not-so-well-known artists are in this collection: Clifford Brown, Stephane Grappelli, Ray Charles, Larry Coryell, Stanley Jordan, Carl Perkins, Ravi Coltrane, Henry Red Allen, Calvin Keys, plus a few others, all performing great tracks dedicated to the fairer sex.
Blues, R&B, Soul & Gospel Records continues with Volume 291. Here for your listening pleasure are 21 selected tracks starting in 1938 with Sonny Boy Williamson I and "Whiskey Head Blues" to Nathaniel 'Snoopy' Dean's "Travelin' Man" recorded in 1996, just two years before his death in 1998. Other fine artists included here are: Melvin Sparks, Esther Phillips, Wynonie Harris, Tiny Bradshaw, Walter Brown, Sugar Boy Crawford, Marylyn Scott, and several other great people.
The other day I was listening to Lonnie Mack's superb 1963 album "The Wham Of That Memphis Man!". I bought the 1969 Elektra Records LP "For Collectors Only" sometime in the early 1970s and it instantly became one of my most favorite albums. However, it had been a long time since I last heard this great album so I really enjoyed having another listen. Every track is a gem, the obvious standouts being "Wham!" and "Memphis" but the track that totally blew me away was "Down And Out". Of course I've heard it many times in the past but probably not for two or three decades, so I'd forgotten just how good it is. If you haven't heard this before, or haven't heard it for a long time, then give yourselves a treat and listen to this ballsy guitar classic. Lonnie Mack's "The Wham Of That Memphis Man!" most definitely deserves another listen.
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:
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:
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.
Best Of Jazz Vol 126 - All About The Chicks Vol 03 - Delilah (1933-2024)
Blues, R&B, Soul & Gospel Records Vol 291 (1938-1996)
Thursday, July 30, 2026
Soul Party Vol 118 - Nothin' But The Blues Vol 02
Suffering With The Blues (1955-2024)
Blues, R&B, Soul & Gospel Records Vol 290 (1938-1976)
Monday, July 27, 2026
Rockabilly & Early Rock & Roll Vol 127 - The Rockin' Groups Vol 01
Flying Saucers Rock 'n Roll (1955-2000)
Blues, R&B, Soul & Gospel Records Vol 289 (1947-2023)
Friday, July 24, 2026
Hillbilly & Country Vol 164 - We Got You Covered Vol 07
Bonaparte's Retreat (1945-2016)
Blues, R&B, Soul & Gospel Records Vol 288 (1952-1993)
Tuesday, July 21, 2026
Country, Pre-War & Acoustic Blues Vol 113 - Gospel Blues Vol 07
Warming By The Devil's Fire (1927-2024)
Blues, R&B, Soul & Gospel Records Vol 287 (1946-2009)
Saturday, July 18, 2026
Best Of Jazz Vol 125 - Cool Cats Vol 10 - The Sax Players #2 - Upswing (1947-2024)
Blues, R&B, Soul & Gospel Records Vol 286 (1951-1996)
Wednesday, July 15, 2026
Don't Forget To Visit Bob's Cellar
Tuesday, July 14, 2026
Soul Party Vol 117 - Funk Special Vol 04 - Bustin' Out On Funk (1967-2022)
Blues, R&B, Soul & Gospel Records Vol 285 (1947-1989)
Saturday, July 11, 2026
Bob's Chat
RIP Bonnie Tyler
As English is my wife's second language we sometimes have some confusion and misunderstanding.
A prime example happened a couple of mornings ago when we had the Australian ABC News on the TV. I was busy, walking in and out the room, preoccupied with something and not paying attention to the news. However a few minutes later my wife came and informed me that "Bondie" had just died from a heart attack.
Mention the name "Bondie" to anyone of my vintage from Western Australia and they'll immediately think of Alan "Bondie" Bond, the Australian entrepreneur who achieved international fame in 1983 winning the America's Cup. I actually thought "Bondie" had already died (in fact he passed away in 2015) but I wasn't certain. But more to the point I was startled that my Thai wife had even heard of "Bondie", and asked her how come she knew who "Bondie" was. She replied that she liked "Bondie" and enjoyed her songs.
"Wait a minute", I said. "Do you mean Blondie? Is Blondie dead?" To which she replied yes, it was "Blondie" the female singer who had just died.
This news saddened me as I have always been a fan of Debbie Harry, she's recorded some terrific songs and I admired her sexy rebellious image.
So I had a look online, Googled Debbie Harry, expecting to find a flood of obituaries and reports of her sudden death, only to discover that Debbie was still very much alive and well.
Perplexed, I then sat down to watch the ABC News and finally learned that it was in fact the Welsh singer Bonnie Tyler who had just passed away.
So it was good that we eventually got that misunderstanding sorted out, from "Bondie" to "Blondie" to "Bonnie".
Anyway, Bonnie Tyler, who also recorded some terrific songs, and who was also a lovely singer I admired. RIP.
Friday, July 10, 2026
Rockabilly & Early Rock & Roll Vol 126 - Ain't Nothing Like Loving Vol 02
What A Dolly (1956-1965)
Blues, R&B, Soul & Gospel Records Vol 284 (1945-1996)
Wednesday, July 8, 2026
Hillbilly & Country Vol 163 - Cities & Places Vol 07
Cincinnatti Dancing Pig (1929-2023)
Blues, R&B, Soul & Gospel Records Vol 283 (1947-2023)
Sunday, July 5, 2026
AUSSIE BLUES #9
Matt Taylor - Old New Intuitive (1975)
01. Bendigo
02. Hound Dog Dust Bust
03. The Beast
04. Good Advice
05. Hope
06. This Story Must Have No End
07. Watch Out
08. Somebody Stole My Hair
09. My My My
Musicians:
Matt Taylor - Vocals & Harmonica
Greg 'Sleepy' Lawrie - Guitar
Graham Morgan - Drums
Barry Sullivan - Bass
An Australian blues legend, Matt Taylor has been playing his brand of Australian-twinged blues music since the mid-'60s. His first band, the Bay City Union, was formed in March 1966 and was one of Australia's first traditional Chicago blues bands. They issued one single, "Mo'reen"/"Mary Mary," in April 1968 before breaking up in July 1968 due to a general lack of interest in blues bands.
Taylor briefly sang with the Wild Cherries before forming the Horse, and then briefly stepped in as lead singer with Cam-Pact for a two-week tour of Sydney during early 1970. He then joined blues band Genesis in February, who released a collaborative single with Carson County Band, titled "Bad Luck Feeling"/"Back Home" under the banner the Meating. They toured until August 1970 when Taylor left to join Chain; the move proved fruitful with the hit single "Black and Blue"/"Lightning Ground" (March 1971) and the groundbreaking album Toward the Blues (September).
Taylor left Chain in October 1971 and spent the next year living on a farm in Beechworth, Victoria. In January, Taylor performed at the 1973 Sunbury festival and the track "From Brisbane to Beechworth" appeared on Mushroom's triple live album set The Great Australian Rock Festival Sunbury 1973. Another live performance, "Roberta" (recorded June 1973), appeared on the album Garrison the Final Blow Unit 2, and his performance with Chain on "Grab a Snatch and Hold It" also made it on the album.
His debut solo album, Straight as a Die, was released at the end of 1973. The single "I Remember When I Was Young"/"Krishna Loves You, Too," which had been recorded in an open paddock at Kingston Park Farm, hit the Top Ten in Melbourne. The album reached number 15 on the national charts and Taylor toured the country, performing at Sunbury 1974; the live track "We'll Never Do the Same Again" appeared on the various artists album Highlights of Sunbury '74 Part 2.
His second album, Music, was released in August 1974 and he supported Jethro Tull on their Australian tour in August 1975. His third solo album, Old, New, Intuitive, was released in September 1975, before Taylor once again retired to a commune, this time at Balingup, Western Australia. He formed a new band, Western Flyer, in 1977 and played with them until August 1979. He then formed the Matt Taylor Band with legendary slide guitarist Dave Hole and they toured Australia during the next year.
In December 1980, Taylor and Phil Manning formed the Matt Taylor Phil Manning Band, which issued the Oz Blues album in June 1981 and the single "Spring Hill"/"The Line." They supported U.S. guitarist Roy Buchanan on his Australian tour before disbanding in December 1981. In January 1982, Chain re-formed for the Mushroom Evolution Concert to celebrate the tenth anniversary of Mushroom Records. Taylor then re-formed the Matt Taylor Band which released the album Always Land on Your Feet (February 1983). The Matt Taylor Band broke up in December 1983, and Chain re-formed yet again. Chain would tour on and off until 1995.
In April 1991, Taylor and Manning toured the country with other Australian blues legends before Taylor flew to Germany in 1993 to tour with a band called the Booze Brothers. He then played in the U.K., followed by the U.S., where he supported the John Heussenstenn Band and Walter Trout Band.
Taylor's fourth solo album, Pyramids and Spirals, was released in March 1995 followed by his fifth solo album, The Awakening, in 1997. Again working with Chain after its release, the band recorded a new album, The First 30 Years, and toured during 1988. A new Chain album, Mix Up the Oils, was released in July 1999.
Country, Pre-War & Acoustic Blues Vol 112 - Train Songs Vol 04
On The Frisco Line (1927-2024)
Blues, R&B, Soul & Gospel Records Vol 282 (1945-2023)
Wednesday, July 1, 2026
Best Of Jazz Vol 124 - Cool Cats Vol 09 - The Singers #3
These Boots Were Made For Walkin' (1952-2022)
Blues, R&B, Soul & Gospel Records Vol 281 (1947-2022)
Sunday, June 28, 2026
Soul Party Vol 116 - It Takes Two, Baby Vol 05 - Lover's Holiday (1958-2024)
Blues, R&B, Soul & Gospel Records Vol 280 (1946-2023)
Wednesday, June 24, 2026
Rockabilly & Early Rock & Roll Vol 125 - Rockin' With The Blues Vol 05
Baby Let's Play House (1956-1998)































