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DVD video |
Kérjen
árajánlatot! |
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| 1. | Booty Ooty
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| 2. | Jam
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| 3. | I Need It
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| 4. | Superman Lover
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| 5. | Gangster Of Love
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| 6. | Ain't That A Bitch
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| 7. | Nothing Else To Be Desired
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| 8. | Three Hours Past Midnight
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| 9. | A Real Mother For Ya
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| 10. | Outro
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| 11. | Ain't That A Bitch
Bonus
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| 12. | Doing Wrong Woman
Bonus
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| 13. | Bow Wow
Bonus
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Johnny 'Guitar' Watson was one of the hottest and most influential rocking blues guitarists of the Fifties, playing a pivotal role in the development of rock 'n' roll from its R&B roots and pioneering the use of feedback and reverberation in the process. Watson's groundbreaking recordings from the Fifties were technically years ahead of their time. This DVD, filmed at the 1993 North Sea Jazz Festival, captures Watson in blistering form, playing a selection of his most popular numbers, including the hits 'Gangster Of Love', 'I Need It' and 'A Real Mother For Ya'. It also includes seven bonus tracks filmed at one of his last ever appearances, at the 1996 Bluesfest in Levekusen, Germany. Inspired by innovative guitarists Clarence 'Gatemouth' Brown and T-Bone Walker, Watson's own virtuoso and flashy guitar style and stage pyrotechnics in turn were to influence countless R&B and rock guitarists who followed in his wake, ranging from Bo Diddley to Jimi Hendrix, from Ike Turner to Frank Zappa. His greatest commercial success surfaced in the Seventies when he re-invented himself as a pimp-styled funkster and was in the midst of another career revival when he died in 1996.
Ever since his debut 1957 album, GANGSTER OF LOVE, this seminal blues musician has had an almost singularly far-reaching influence on not only blues and soul, but also rock, funk, rhythm and blues, and hip-hop. Included here is a late-career performance in which Johnny Guitar Watson revisits his timeless work at the North Sea Jazz Festival in 1993, by which the time the number of other artists influenced by these gems had grown to countless proportions.
Audio Interview - Radio Interview from 1987
Featurettes - 1. In Memoriam - A Tribute Documentary from 1996
2. Vintage Footage - Watson Captured in 1980
3. Young Watson - Fascinating Archive Footage
Text/Photo Galleries:
* Biography
* Discography
Johnny "Guitar" Watson
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Feb 03, 1935 in Houston, TX
Died: May 17, 1996 in Yokohama, Japan
Genre: Blues
Styles: Funk, R&B, Modern Electric Blues, Electric Blues, Electric Texas Blues, Modern Electric Texas Blues, Pop-Soul
"Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover."
Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties).
He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line.
Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights."
Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In."
Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months).
Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year.
After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996.
---Bill Dahl, All Music Guide |
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