InMack resurfaced  with a successful blues-rock LP, Strike Like Lightninga promotional tour featuring celebrity guitarist sit-ins,  and a concert at Carnegie Hall. Attack of the Killer V then retired from recording. He continued to perform, mostly in smaller venues, until He was raised on a series of nearby sharecropping farms.
Using a floor-model radio powered by a truck battery, his family routinely listened to the Grand Ole Opry country music show. Continuing to listen after the rest of the family had retired for the night, Mack became a fan of rhythm and blues and traditional black gospel music. He began playing guitar at the age of seven, after trading his bicycle LP) a " Lone Ranger " model acoustic guitar. He soon taught himself to merge finger-picking country guitar with acoustic blues-picking, to produce a hybrid style resembling, but prefiguring, rockabilly guitar.
His musical influences remained diverse as he refined his playing and singing styles. Mack experienced flashes of significant commercial success as a rock artist during the s and s. However, his career-long pattern of switching and mixing within the entire range of white and black Southern roots music genres  made him "as difficult to market as he was to describe"  and lasting commercial stardom eluded him.
He was mostly absent from the rock spotlight for two long stretches of his career — and — during which he continued to perform, mostly in small venues, as a roots-rock "cult figure". At age 13, Mack dropped out of school after a fight with a teacher. Large and mature-looking for his age, he obtained a counterfeit ID and began performing professionally in bars around Cincinnati with a band led by drummer Hoot Smith.
In the early s he became a session guitarist with Fraternity Recordsa small Cincinnati label. Inhe recorded two hit singles for Fraternity, the proto-blues-rock guitar instrumentals "Memphis" and "Wham!
Mack made some notable recordings later, particularly in the s,  but his debut album became a perennial critics' favorite and is widely considered the centerpiece of his career:.
He recorded many additional sides for Fraternity between andbut only a few were released and none charted. Although his recording career had stalled out, Mack stayed busy as a performer, criss-crossing the country with one-night stands. We had bennies, like the truckers had [and] we just stayed on the road all the time.
Inat the height of the blues-rock era, Elektra Records Down In The Dumps - Lonnie Mack - For Collectors Only: The Wham Of That Memphis Man (Vinyl out Mack's dormant Fraternity recording contract and moved him to Los Angeles to record three albums.
It was the hippie era, however, and Mack's rustic, blue-collar persona was an awkward fit with commercial rock's target demographic. John Morthland wrote: "[All] the superior chops in the world couldn't hide the fact that chubby, country Mack probably had more in common with Kentucky truck drivers than he did with the new rock audience.
He temporarily set aside his own career to help recruit and develop other artists for Elektra. Hills attracted little attention. While under contract to Elektra, Mack tasted enough of rock celebrity status to conclude that he didn't like it. I wasn't happy. So one of the best-feeling moments I ever had was when that L.
I just pull up and run. I think he'd rather have been hunting and fishing. He didn't like cities or the music business. The experience inspired Mack's tune, Cincinnati Jaila rowdy, guitar-and-vocal rock number that he favored in live performances later in his career. Then, worn from the constant touring required to sell records,  he ended his recording career.
On March 12, at the end of a recording session backing up The CharmainesMack was offered the remaining twenty minutes of studio-rental time. He kept it as part of his live act, calling it simply "Memphis". As recorded in"Memphis" featured a brisk melodic blues solo within a rockabilly framework, augmented by a rock drum-beat. Mack recalled that, upon recording the tune, "It didn't mean a thing to me. I left to go on the road. We hit every roadhouse between Cincinnati and Miami, but we didn't have time to listen to the radio, so I didn't know what was going on [until] we were backing Chubby Checker one night.
Still inMack released "Wham! It reached No. A tight chordal riff laid over a fast boogie-woogie rhythm sets the tone for the cut, which contains guitar breaks, vibrato arm highlights, echoey single-note lines, and the repetitive string-pushing licks that eventually became so prevalent in Jeff Beck's guitar style.
Mack's early guitar recordings remain closely identified with the dawn of LP) blues-rock guitar. By his late teens, Mack was well-versed in country and bluegrass guitar,   blues guitar, rockabilly guitar, and the percussive chordal riffing of early rock's most influential guitarist, Chuck Berry. InMack's ability to rapidly "exploit the entire range"  of the guitar was unprecedented in rock music.
Mack enhanced his guitar sound with overlapping vibrato effects. Guitarists typically toggle the device with the picking hand while sustaining the last note or chord of a passage. Mack, however, customarily cradled it in the fourth finger of his picking hand, toggling it while continuing to pick. Usually accompanied by horns, drums, keyboards and bass guitar, Mack's early instrumentals broadly resembled the contemporary Memphis Soul instrumental style of Booker T and the M.
Although notable commercial success was periodic and fleeting, Mack's early-'60s recordings became rock guitar trendsetters. They raised the bar for rock guitar proficiency, helped propel the electric guitar to the top of soloing instruments in rock, and were early style leaders in the genres of blues-rock and Southern rock.
Interviewed for a biography of Southern Rock guitar legend Duane Allmanguitarist and early Allman associate Mike Johnstone recalled the impact of Mack's unprecedented six-string proficiency: .
Now, [in ], there was a popular song on the radio called 'Memphis'—an instrumental by Lonnie Mack. It was the best guitar-playing I'd ever heard. All the guitar-players were [saying] 'How could anyone ever play that good? That's the new bar. That's how good you have to be now. Mack's "edgy, aggressive, loud, and fast" blues guitar sound is also credited with a key role in the electric guitar's rise to the top of soloing instruments in rock.
Blues critic Shawn Hagood wrote: . His playing was faster, louder, more aggressive than anything people were used to hearing. He essentially paved the way for the electric guitar to become a soloing instrument in rock music. A true blues-rock pioneer, the genre would not have been the same — indeed, much of rock music might not have been the same — without his innovative way of treating the electric guitar as a lead soloing instrument in rock — edgy, aggressive, loud and fast.
Lonnie took rock guitar playing to a whole different level. You had to really play now. He made the guitar the preeminent lead instrument. Mack's early-'60s guitar tracks are said to have set the stage for "blues-rock" guitar and "Southern rock" guitar, styles that first enjoyed broad popularity a few years after Memphis and Wham! From Legends of Rock Guitar : . He also made the crucial bridge between the black blues and white hillbilly music via his lead work In all, it is not an exaggeration to say that Lonnie Mack was well ahead of his time in His bluesy solos predated the pioneering blues-rock guitar work of Jeff Beck, Eric Clapton, and Mike Bloomfield by nearly two years.
Southern rock Allman Brothers lead guitarist Warren Haynes expressed a similar assessment: . Guitar players, true musicians, and real music fans realize that Lonnie was the Jimi Hendrix of his time. Between the era of Chuck Berry and the era of Hendrix there were a handful of guitar players like Lonnie Mack who were making ground-breaking music that paved the way for the [lead guitar] Revolution. That goes for all of us. Mack's debut album has been called "the first of the guitar hero records"  and, as such, is said to have founded rock guitar's "modern" era.
According to The New York TimesMack's guitar style was "a seminal influence on a long list of British and American" rock guitar soloists. Mack was proud of his role in the evolution of rock guitar. What you do in this business, your whole thing is givin' stuff away. But that makes you feel good, makes you feel like you've really done something, LP).
Farther on up the Road Cry Cry Cry Save Your Money Tension, Pt. At first glance, this might seem like nothing more than a retread of the classic The Wham of That Memphis Man, as the disc includes all 14 songs from that album. This is hardly filler that only collectors will care about; it's good stuff, sometimes ace stuff, that's almost all on the same level of The Wham.
Some of the rare add-ons are less essential than others like the instrumental reading of the Beatles' "From Me to You"but taken together it's certainly the best Mack collection, enhanced by Bill Millar's informative liner notes. By the way, in one of those inexplicable occurrences bound to cause collectors to run around in circles, the song titled "Farther on Down the Road" on The Wham of That Memphis Man recording is here titled "Farther on up the Road" and listed as previously unreleased, although in fact it seems to be the same track as the one given a different title on the LP.
To cause further confusion, Mack definitely sings the lyric "Farther on up the road, " not "Farther on down the road, " as it was originally titled. Lonnie Mack. Van Morrison. Albert Collins. Labels: Ace Records UK. Ricky Nelson. Brenda Lee. Eddie Cochran. Little Richard. Buddy Holly. Gene Vincent. Fats Domino. Chuck Berry. Bill Haley. How to Order. International Shipping. Regarding the vocals on this album, music critic Bill Millar said: "For consistency and depth of feeling — the best blue-eyed soul is defined by Lonnie Mack's ballads and virtually everything the Righteous Brothers recorded Lonnie Mack wailed a soul ballad as gutsily as any black gospel singer.
The anguished inflections which stamped his best songs had a directness which would have been wholly embarrassing in the hands of almost any other white vocalist. The track listing shows the eleven tracks in the order in which they Down In The Dumps - Lonnie Mack - For Collectors Only: The Wham Of That Memphis Man (Vinyl on the original release.
It adds two tracks "Farther on Down the Road" and "Chicken Pickin'" to those included on the original release. It begins with "Wham! From Wikipedia, the free encyclopedia. Lonnie Mack.
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