Lonnie Mack

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风格: #摇滚　#器乐摇滚
地区: United States of America 美国

艺人介绍

by Bill Dahl

When Lonnie Mack sings the blues, country strains are sure to infiltrate. Conversely, if he digs into a humping rockabilly groove, strong signs of deep-down blues influence are bound to invade. Par for the course for any musician who cites both Bobby Bland and George Jones as pervasive influences.

Fact is, Lonnie Macks lightning-fast, vibrato-enriched, whammy bar-hammered guitar style has influenced many a picker too — including Stevie Ray Vaughan, who idolized Macks early singles for Fraternity and later co-produced and played on Macks 1985 comeback LP for Alligator, Strike like Lightning.

Growing up in rural Indiana not far from Cincinnati, Lonnie McIntosh was exposed to a heady combination of R&B and hillbilly. In 1958, he bought the seventh Gibson Flying V guitar ever manufactured and played the roadhouse circuit around Indiana, Ohio, and Kentucky. Mack has steadfastly cited another local legend, guitarist Robert Ward, as the man whose watery-sounding Magnatone amplifier inspired his own use of the same brand.

Session work ensued during the early 60s behind Hank Ballard, Freddy King, and James Brown for Cincys principal label, Syd Nathans King Records. At the tail end of a 1963 date for another local diskery, Fraternity Records, Mack stepped out front to cut a searing instrumental treatment of Chuck Berrys Memphis. Fraternity put the number out, and it leaped all the way up to the Top Five on Billboards pop charts!

Its hit follow-up, the frantic Wham!, was even more amazing from a guitaristic perspective with Macks lickety-split whammy-bar-fired playing driven like a locomotive by a hard-charging horn section. Macks vocal skills were equally potent; R&B stations began to play his soul ballad Where Theres a Will until they discovered Mack was of the Caucasian persuasion, then dropped it like a hot potato (its flip, a sizzling vocal remake of Jimmy Reeds Baby, Whats Wrong, was a minor pop hit in late 1963).

Mack waxed a load of killer material for Fraternity during the mid-60s, much of it not seeing the light of day until later on. A deal with Elektra Records inspired by a 1968 Rolling Stone article profiling Mack should have led to major stardom, but his three Elektra albums were less consistent than the Fraternity material. (Elektra also reissued his only Fraternity LP, the seminal The Wham of That Memphis Man.) Mack cameoed on the Doors Morrison Hotel album, contributing a guitar solo to Roadhouse Blues, and worked for a while as a member of Elektras A&R team.

Disgusted with the record business, Lonnie Mack retreated back to Indiana for a while, eventually signing with Capitol and waxing a couple of obscure country-based LPs. Finally, at Vaughans behest, Mack abandoned his Indiana comfort zone for hipper Austin, TX, and began to reassert himself nationally. Vaughan masterminded the stunning Strike like Lightning in 1985; later that year, Mack co-starred with Alligator labelmates Albert Collins and Roy Buchanan at Carnegie Hall (a concert marketed on home video as Further on Down the Road).

Macks Alligator encore, Second Sight, was a disappointment for those who idolized Macks playing — it was more of a singer/songwriter project. He temporarily left Alligator in 1988 for major-label prestige at Epic, but Roadhouses and Dancehalls was too diverse to easily classify and died a quick death. Macks most recent album from 1990, Live! Attack of the Killer V, was captured on tape at a suburban Chicago venue called FitzGeralds and once again showed why Lonnie Mack is venerated by anyone whos even remotely into savage guitar playing.

Lonnie Mack

艺人介绍

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