DANNY AND THE FAT BOYS
''AMERICAN MUSIC''
1975
50:20
1 American Music (Gordon Gano, Billy Hancock) 03:11
2 Hauled Off And Loved Her (Unknown) 02:22
3 Good Enough To Keep (Benny Goodman) 03:00
4 Ubangi Stomp (Jerry Lee Lewis, Charles Underwood) 01:57
5 After Hours (Mark Gordon, Erskine Hawkins, Avery Parrish) 05:40
6 Honeysuckle Rose (Andy Razaf, Fats Waller) 03:32
7 A Tribute To Amos Milburn (Billy Hancock) 06:02
8 Tv Mamma
9 Memphis (Disco Funk) (Chuck Berry) 05:46
10 Move On Down The Line 03:49
11 Opus De Funk
12 Harlem Nocturne (Earle H. Hagen) 04:02
Danny Gatton: Guitars, Pedal Steel
Billy Hancock: Vocal, Bass
Dick Heintze: Piano, Hammond B3
Ralph McDuffie: Tenor Sax ("American Music", "Harlem Nocturne")
Dave Elliott: Drums
Mike Melchioni: Guitar ("Hauled Off and Loved Her")
Jimmy Unger: Fiddle ("Hauled Off and Loved Her", "Good Enough To Keep")
Ted Efantis: Tenor Sax ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Derwin Holder: Bass ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Scott Taylor: Drums ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Charlie Barden: Vibes ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Steve Wolfe: Bass ("Memphis Disco Funk")
Robbie Magruder: Drums ("Memphis Disco Funk", "Move On Down the Line")
Moses McDaniel: Clavinet ("Memphis Disco Funk")
Lance Quinn: Guitar ("Move On Down the Line")
Obie O'Brien: Percussion ("Move On Down the Line")
REVIEW/AMG
by Ralph Heibutzki
Danny Gatton's debut as a bandleader proved notable for its celebration of neglected idioms like rockabilly, which energized roots music advocates around his native Washington, D.C. Bassist Billy Hancock's up-tempo title track comes across as a rallying cry of sorts, an impression underscored by the Clovers' presence on backup vocals. That's not the only unique thing happening here, however. American Music outlines the blueprint for Gatton's future development, where he covered whatever territory took his fancy. Whatever you want, it's all here, including Gatton's affinity for country surfaces on "Hauled off and Loved Her," which features a classic Hancock sung-spoken monologue. Gatton and pianist Dick Heintze -- an important collaborator in this era -- let their bluesier side fly on "After Hours" and "TV Mama." The band's rockabilly is present and correct on "Ubangi Stomp," as are nods to R&B ("Memphis Disco Funk") and even reggae (Hancock's resigned "Move on Down the Line").
Naturally, there's also plenty of the swing and jazz that Gatton played so fearsomely well. Hard-bopping versions of Benny Goodman's "Good Enough to Keep" naturally coexist with "Harlem Nocturne," which is far more laid-back here than the biting live show piece it would later become. Gatton would famously dismiss the album as "so many different things with different guys who didn't play with us." That's true as far as the credits go, but it's also the diversity which makes this album such a fascinating listen. Five years before roots music became hip to explore, Gatton and friends knew the secret, as Hancock's title song so eloquently states ("never could I find such good American music and it's mine"). The thrill starts here for Gatton fans.
BIOGRAPHY
by Steve Huey
Guitar virtuoso Danny Gatton was known for the incredibly wide stylistic range of his playing; based in rockabilly, Gatton's musical vocabulary included R&B, pop, country, rock, and jazz, all of which he could play effectively. Gatton began playing at age nine, joining his first band, the Lancers, three years later. In 1960, Gatton pursued a jazz direction when he joined the Offbeats, where pianist/organist Dick Heintze proved to be one of Gatton's biggest influences. The band broke up four years later, and Gatton moved to Nashville to get into session work; there he met Roy Buchanan, who briefly became his roommate and taught him more about his instrument of choice. Eventually, Gatton built a reputation as a top-notch guitarist around his native Washington, D.C., area through his club performances. He recorded an album with his backing band the Fat Boys titled American Music in 1975 and followed it with Redneck Jazz in 1978. The band on the latter featured steel guitarist Buddy Emmons, drummer Dave Elliott, and eventual longtime cohorts Evan Johns on vocals and rhythm guitar and John Previti on bass.
Gatton's albums led to offers from other musicians to join their bands. Lowell George extended an invitation after leaving Little Feat, but was found dead two days later. Gatton wound up touring with country singer Roger Miller and rockabilly artist Robert Gordon, giving him national exposure and a growing cult among guitar fans, who traded bootlegs of Gatton concerts. Gatton returned to Washington, D.C., to be near his friends and family while playing up and down the East Coast with several bands and doing session work. When Gatton purchased an old farmhouse in need of expensive renovations in 1988, he decided to pursue his music career more seriously. He released his first solo album since 1978 the next year, Unfinished Business, which drew notices from several guitar-oriented magazines as well as Rolling Stone. Elektra Records signed him during the summer, and he made his major-label debut in 1991 with the tremendously varied instrumental album 88 Elmira St. 1992 saw Gatton's first straight-ahead jazz album, New York Stories, recorded for none other than Blue Note. Gatton toured the nation solo for the first time in 1993 in support of Cruisin' Deuces, but its lack of success, coupled with the departure of A&R man Howard Thompson from Elektra, spelled the end of Gatton's association with the label. Gatton returned to session work to pay the bills, but sustained a further blow when rhythm guitarist Billy Windsor died of a heart attack early in 1994. Gatton collaborated with organ virtuoso Joey DeFrancesco on Relentless in May and toured Europe during the summer. Sadly, on October 4, 1994, Gatton locked himself in his garage and shot himself. He left behind no explanation.
WEBSITE
TO THE TOP
''AMERICAN MUSIC''
1975
50:20
1 American Music (Gordon Gano, Billy Hancock) 03:11
2 Hauled Off And Loved Her (Unknown) 02:22
3 Good Enough To Keep (Benny Goodman) 03:00
4 Ubangi Stomp (Jerry Lee Lewis, Charles Underwood) 01:57
5 After Hours (Mark Gordon, Erskine Hawkins, Avery Parrish) 05:40
6 Honeysuckle Rose (Andy Razaf, Fats Waller) 03:32
7 A Tribute To Amos Milburn (Billy Hancock) 06:02
8 Tv Mamma
9 Memphis (Disco Funk) (Chuck Berry) 05:46
10 Move On Down The Line 03:49
11 Opus De Funk
12 Harlem Nocturne (Earle H. Hagen) 04:02
Danny Gatton: Guitars, Pedal Steel
Billy Hancock: Vocal, Bass
Dick Heintze: Piano, Hammond B3
Ralph McDuffie: Tenor Sax ("American Music", "Harlem Nocturne")
Dave Elliott: Drums
Mike Melchioni: Guitar ("Hauled Off and Loved Her")
Jimmy Unger: Fiddle ("Hauled Off and Loved Her", "Good Enough To Keep")
Ted Efantis: Tenor Sax ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Derwin Holder: Bass ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Scott Taylor: Drums ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Charlie Barden: Vibes ("Honeysuckle Rose", "A Tribute to Amos Milburn")
Steve Wolfe: Bass ("Memphis Disco Funk")
Robbie Magruder: Drums ("Memphis Disco Funk", "Move On Down the Line")
Moses McDaniel: Clavinet ("Memphis Disco Funk")
Lance Quinn: Guitar ("Move On Down the Line")
Obie O'Brien: Percussion ("Move On Down the Line")
REVIEW/AMG
by Ralph Heibutzki
Danny Gatton's debut as a bandleader proved notable for its celebration of neglected idioms like rockabilly, which energized roots music advocates around his native Washington, D.C. Bassist Billy Hancock's up-tempo title track comes across as a rallying cry of sorts, an impression underscored by the Clovers' presence on backup vocals. That's not the only unique thing happening here, however. American Music outlines the blueprint for Gatton's future development, where he covered whatever territory took his fancy. Whatever you want, it's all here, including Gatton's affinity for country surfaces on "Hauled off and Loved Her," which features a classic Hancock sung-spoken monologue. Gatton and pianist Dick Heintze -- an important collaborator in this era -- let their bluesier side fly on "After Hours" and "TV Mama." The band's rockabilly is present and correct on "Ubangi Stomp," as are nods to R&B ("Memphis Disco Funk") and even reggae (Hancock's resigned "Move on Down the Line").
Naturally, there's also plenty of the swing and jazz that Gatton played so fearsomely well. Hard-bopping versions of Benny Goodman's "Good Enough to Keep" naturally coexist with "Harlem Nocturne," which is far more laid-back here than the biting live show piece it would later become. Gatton would famously dismiss the album as "so many different things with different guys who didn't play with us." That's true as far as the credits go, but it's also the diversity which makes this album such a fascinating listen. Five years before roots music became hip to explore, Gatton and friends knew the secret, as Hancock's title song so eloquently states ("never could I find such good American music and it's mine"). The thrill starts here for Gatton fans.
BIOGRAPHY
by Steve Huey
Guitar virtuoso Danny Gatton was known for the incredibly wide stylistic range of his playing; based in rockabilly, Gatton's musical vocabulary included R&B, pop, country, rock, and jazz, all of which he could play effectively. Gatton began playing at age nine, joining his first band, the Lancers, three years later. In 1960, Gatton pursued a jazz direction when he joined the Offbeats, where pianist/organist Dick Heintze proved to be one of Gatton's biggest influences. The band broke up four years later, and Gatton moved to Nashville to get into session work; there he met Roy Buchanan, who briefly became his roommate and taught him more about his instrument of choice. Eventually, Gatton built a reputation as a top-notch guitarist around his native Washington, D.C., area through his club performances. He recorded an album with his backing band the Fat Boys titled American Music in 1975 and followed it with Redneck Jazz in 1978. The band on the latter featured steel guitarist Buddy Emmons, drummer Dave Elliott, and eventual longtime cohorts Evan Johns on vocals and rhythm guitar and John Previti on bass.
Gatton's albums led to offers from other musicians to join their bands. Lowell George extended an invitation after leaving Little Feat, but was found dead two days later. Gatton wound up touring with country singer Roger Miller and rockabilly artist Robert Gordon, giving him national exposure and a growing cult among guitar fans, who traded bootlegs of Gatton concerts. Gatton returned to Washington, D.C., to be near his friends and family while playing up and down the East Coast with several bands and doing session work. When Gatton purchased an old farmhouse in need of expensive renovations in 1988, he decided to pursue his music career more seriously. He released his first solo album since 1978 the next year, Unfinished Business, which drew notices from several guitar-oriented magazines as well as Rolling Stone. Elektra Records signed him during the summer, and he made his major-label debut in 1991 with the tremendously varied instrumental album 88 Elmira St. 1992 saw Gatton's first straight-ahead jazz album, New York Stories, recorded for none other than Blue Note. Gatton toured the nation solo for the first time in 1993 in support of Cruisin' Deuces, but its lack of success, coupled with the departure of A&R man Howard Thompson from Elektra, spelled the end of Gatton's association with the label. Gatton returned to session work to pay the bills, but sustained a further blow when rhythm guitarist Billy Windsor died of a heart attack early in 1994. Gatton collaborated with organ virtuoso Joey DeFrancesco on Relentless in May and toured Europe during the summer. Sadly, on October 4, 1994, Gatton locked himself in his garage and shot himself. He left behind no explanation.
WEBSITE
TO THE TOP
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