ZZ TOP, THE MOVING SIDEWALKS & THE 13TH FLOOR ELEVATORS | TEXAS MUSIC LEGENDS

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“Our ’65 Chevy low rider convertible, flying the colors of ZZ Top’s El Dorado Bar is solidly a Texas car yet, equally at home on the streets of LA, Fresno, or Bakersfield.” –Billy Gibbons. This pic of ZZ Top has it all, in my opinion. Just checkout that custom-built Texas state Gibson guitar! The band has acquired an enviable car collection over the years, and is out and about in the custom scene. “We attend the Mooneyes Festivals in California and Japan and always make the SoCal Speed Shop summer ‘Open House’ gathering. Always a terrific time. As far as clubs are concerned, we think of ZZ Top as one.  We hang out, we shoot the breeze, we get down, we move on to the next town and, of course, it’s all about the arrival.  Loud, low, while you Rock and Roll…!” –Billy Gibbons

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Young ZZ Top Prom

“Dusty Hill, Frank Beard, and Billy Gibbons (ZZ Top) playing the Senior Prom in May, 1970 at Little Cypress-Mauriceville High School in Orange, Texas. Apparently sometime between signing the contract and the actual prom itself, the band broke-out big. They tried to get out of the contract, but the school couldn’t find a replacement on such short notice so ZZ Top still performed…people were climbing through the windows, crashing the prom, just to hear the band play. This was all at a really small school with a graduating class of around 100, maybe less.” via

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THE PHOTOGRAPHY OF KIRK WEST | ICONIC IMAGES OF MUSIC LEGENDS — THE BLUES

Kirk West is probably best known as the long-time tour manager, archivist, and photographer for the Allman Brothers Band— but before that he spent many years shooting many other musical legends while living in Chicago. Many of those images laid dormant for decades, and now with time on his hands since his 2010 retirement from ABB, the amazing images have now come to light– and many of them are stunning in their honest, fly-on-the-wall, honest energy. Being a lover of the Blues, I was instantly strike by many of his images of legends in a bygone time that I’d love to step back into.

1978 — Blues guitar great, Johnny Winter at Chicago’s Park West theatre –Image by © Kirk West There’s a famous story about a time in 1962 when Johnny and his brother went to see B.B. King at a Beaumont club called the Raven. The only whites in the crowd, they no doubt stood out. But Johnny already had his chops down and wanted to play with the revered B.B.”I was about 17,” Johnny remembers, “and B.B. didn’t want to let me on stage at first. He asked me for a union card, and I had one. Also, I kept sending people over to ask him to let me play. Finally, he decided that there enough people who wanted to hear me that, no matter if I was good or not, it would be worth it to let me on stage. He gave me his guitar and let me play. I got a standing ovation, and he took his guitar back!” via

1985 — Late guitar great, Stevie Ray Vaughan at the Chicago Blues Fest –Image by © Kirk West     From Guitar World Magazine ’85 — “Vaughan remembered something that came from Johnny Winter, the first white Texas blues guitar hero, who’d preceded him down the long path. ‘He said something to me when the first record was doing so well,’ Stevie Ray recalled. ‘It made me feel a lot of respect for what we did, for the music. He said that he wanted me to know that people like Muddy Waters and the cats who started it all really had respect for what we’re doing, because it made people respect them. We’re not taking credit for the music. We’re trying to give it back.'” I dig that attitude– doing what you love, and doing it well– to give back to those who cam before you– and the music as a whole. You don’t hear  enough talk like that these days. That’s real heart and soul right there.

1978– Johnny Winter, Bob Margolin, & Muddy Waters at Harry Hope’s, Cary IL where they recorded Muddy “Mississippi” Waters – Live  –Image by © Kirk West. During early live performances, Johnny Winter would often recount about how, as a child, it was dream of his to one day play with the great blues guitarist Muddy Waters. In 1977 Winter’s his manager creating Blue Sky Records to be distributed through Columbia,  Winter now had the opportunity to bring Waters into the studio for Hard Again. The album became a best-seller, with Winter producing and playing back-up guitar on the set that included Waters, and  the legendary James Cotton on harmonica. Winter produced two more studio albums for Muddy Waters – I’m Ready (this time featuring Walter Horton on harmonica) and King Bee. The partnership produced Grammy Awards, a best-selling live album (Muddy “Mississippi” Waters Live), and Winter’s own Nothin’ But the Blues, on which he was backed by members of Muddy Waters’ band.

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THE FABULOUS THUNDERBIRDS, ca. 1980 | PHOTOGRAPHY OF ART MERIPOL

So I recently came across these incredible images of the Fabulous Thunderbirds taken back in the ’80s by photographer Art Meripol that really grabbed me. The shots of Jimmie Vaughan are epic, and Kim Wilson is also looking pretty damn good. The bands’ storied bassist, Keith Ferguson (July 23, 1946 – April 29, 1997), the most colorful character in the bunch (and the original hipster), was even in a few of the pics. Ferguson was an anchor in the Austin music scene whose longtime drug use and increasingly odd behavior eventually led to his separation from Austin’s legendary Antone’s and many of those he once called friends. One thing’s for certain, he will always be an Austin legend (in many ways) and a revered musician. They say that to see Keith Ferguson in his prime was unforgettable. I dug through the archives of The Austin Chronicle and Dallas Observer to get the skinny…

“…When I first saw Ferguson with the Fabulous Thunderbirds at Rome Inn in 1976, about a year after they’d formed, it was one of the most memorable musical experiences of my life. Not quite 30, Ferguson was the oldest member of the band, yet he, like the rest of them, played the blues like a grown man– and they sure as hell didn’t sound like a bunch of “white kids.” Still a decade away from commercial success (there were about 25 disinterested patrons at Rome Inn that night), Ferguson, Kim Wilson, Jimmie Vaughan, and the soon-to-join Mike Buck already showcased the indelible influence they would have on blues bands coast to coast, and around the world. Collectively and individually, the original T-Birds sired cults and mini-cults, changing the way musicians played, dressed, stood, combed their hair.

At the center of all this was Ferguson– a unique, colorful, even charismatic persona, but that was just the icing on the mystique. At its core was one simple truth– he was as good a blues bass player as there was in the history of blues bass players. Even in capable hands, the subtle art of blues bass can be the musical equivalent of the witness protection program, yet Ferguson carved out a singular niche without ever saying ‘look at me’ with his instrument.” 

–Dan Forte for The Austin Chronicle

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Austin, Texas, 1980– Blues guitar great Jimmie Vaughan playing with his band, the Fabulous Thunderbirds. “Jimmie Vaughan playing behind his head (with broken foot!)” –image by © Art Meripol. via “It’s whispered that the T-Birds were the only white blues band that intimidated the Rolling Stones, for whom they opened twice at the Dallas Cotton Bowl, and twice at the Houston Astrodome during the 1981 tour.” –Josh Alan Friedman for the Dallas Observer

ca. 1980– The Fabulous Thunderbirds’ lead singer/harpist Kim Wilson with legendary bassist and band mate Keith Ferguson in Austin, TX. –image by © Art Meripol. via “…there were knock-down, drag-out, shit-kicking fist-fights between Ferguson and Wilson — the distinguished, sharply dressed ambassadors of the blues.” via

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“Keith Ferguson died with a monkey on his back. I’m not speaking figuratively– the man literally died with a picture of a monkey on his back. It was tattooed there, the head of a fang-toothed baboon permanently inked into his shoulder. That was Keith Ferguson’s statement to the world. So, when a friend called last week to tell me that Ferguson was in the hospital and probably wouldn’t make it out alive, it didn’t come as much of a surprise. Not to me, and probably not to Ferguson, either. The obituary cited liver failure as the cause of death, and that may indeed be what’s on the death certificate– but that’s like jumping off the Golden Gate Bridge and having the resultant death termed a swimming accident. Liver failure was the cause of death in name only, because for 30 of his 50 years, Ferguson shot heroin.” 
–Dan Forte for The Austin Chronicle

BLUESMAN STEVIE RAY VAUGHAN | TRIBUTE TO AUSTIN’S FAVORITE SON

From the desk of Contributing Editor, Eli M. Getson–

Life has now taken me to the great city of Austin, Texas. You can usually find me walking next to Lady Bird Lake early Saturday morning,completely stuck in my own head, and with my son in tow. He’s a bit of a freak for guitars, and on one of our walks he asked me, “Who is that statue of the man with the guitar?” As we walked closer a smile crossed my face…

It has been over twenty years since we lost Stevie Ray Vaughan in a helicopter crash– arguably one of the greatest blues guitarists ever, and one of the greatest musicians to come out of the Austin music scene. He was only 35 when he passed away, and was on a high from being clean and sober for four years. Stevie was making some of the best music of his life and then– gone in an instant.

Stevie Ray Vaughan played in my hometown of Chicago quite a bit while I was growing up. Any serious blues player will tell you that all roads lead to the Windy City– and Stevie was no different. He had a reverence for the blues and its history. Stevie was heavily influenced by Chicago legend Buddy Guy (who along with Albert King, Otis Rush, Lonnie Mack, Johnny “Guitar” Watson, and Jimi Hendrix really sculpted his style) and would show up at Buddy’s club Legends to jam after hours when he was in town. I was lucky enough to see him play there several times. You could tell that Dallas-born Stevie had cut his teeth playing the small clubs around Austin– he really liked that environment and usually played some great stuff. You had to be willing to stay well into the morning hours to catch Stevie jam with Buddy and any number of Chicago’s finest players, but it was well worth it. Well before the days of cell phone cameras and YouTube, most of these sessions will only live in the memory of those of us that were there to witness two of the greatest guitar legends take turns on classics– like Born Under a Bad Sign, Red House, Not Fade Away, and Mannish Boy.

I often pass Stevie’s statue on my Saturday walks, and wonder if others still stop and reflect on his greatness. Do they know how truly special this guy was? Sadly, time has a way of dulling our memory, and we can forget. Man, I hope not. I feel blessed to have seen Stevie play guitar back then.  His incredible sound was pure Blues and pure Texas.

Eli M. Getson

The legendary Texas Bluesman and guitar great, Stevie Ray Vaughan, going behind the back.

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DAMN RIGHT I’VE GOT THE BLUES | LEGENDARY BADASS BLUESMEN

Townes Van Zandt was famous for saying– “There’s only two kinds of music, Blues and Zip-a-dee-doo-dah.” Boy, was he ever right. I say, gimme the Blues. The most perfect sorrow-drownin’, tear-jerkin’, soul-howlin’, baby-makin’ music there is. Mystic sounds born from blood, sweat & tears — still giving birth to the best Rock & Roll bands to this day.

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R.L. (Robert Lee) Burnside — Born in Mississippi hill country back in 1926. Worked as a sharecropper, picked up the guitar as a young man, heavily influenced by bluesmen — Fred MacDowell, John Lee Hooker, Buddy Guy, and Muddy Waters (who was married to his first cousin). Burnside shook the Mississippi dust off his heels some time in the ’50s and headed for Chicago. Within a year, his Father, brother, and uncle were all murdered. He went back home to Mississipi where he ran into trouble himself — killing a man. “I didn’t mean to kill nobody… I just meant to shoot the son of a bitch in the head. Him dying was between him and the Lord.” R.L. Burnside gained a huge following and critical acclaim finally in the ’90s when he teamed up with Jon Spencer, releasing the masterpiece — “A Ass Pocket of Whiskey.” Burnside died at the age of 78 in 2005. –Image by Jim Herrington

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John Lee Hooker — Born in Mississippi, the youngest of 11 children, back in 1917 to a sharecropper family. His Daddy was also a preacher, and when he was just 4 yrs old, his parents split-up. His Mama married a bluesman, William Moore — a young Hooker took-up guitar, and credits his stepfather with being a major influence on him musically. With his own unique style of talking blues, infused with boogie-woogie, Hooker racked-up a string of hits — including“Boogie Chillen” (from 1948) and “Boom Boom” (from 1962), and my favorite John Lee Hooker tune is — “One Bourbon, One Scotch, One Beer.” John Lee Hooker passed away in 2001.

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WINTER WHITES | JOHNNY & EDGAR — THE LEGENDARY WINTER BROTHERS

The Legendary Johnny Winter and his equally epic younger brother, Edgar Winter, began performing together when they were just kids. Their first TV appearance was on a local children’s television show in Houston / Beaumont area when they were somewhere around 10 years old, strumming the ukelele and singing. Both being Albino, and Johnny cross-eyed, they were quite a sight. The Winter brothers really glow in those old pics. it’s amazing.

Johnny Winter’s star rose quickly. He was the front man, and they began recording at the age of 15, when Johnny and the Jammers released “School Day Blues” on a local Houston record label. Coming up in the music scene back then he’d soak-in performances by his heroes– epic blues artists Muddy Waters, B. B. King and Bobby Bland. Johnny went on to become one of the best blues guitarists of all time. Edgar Winter took a more progressive route– with his smash hit Frankenstein” launching The Edgar Winter Group (with badass munchkin guitarist Rick Derringer) headfirst into major Rock and Roll stardom. I still love that monster riff, man.

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Wicked Grin.

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If you’re a fan of Tom Waits and not familiar with this album– pick it up now.  John Hammond covers Tom Waits’ originals (except for one song), with Waits himself on backup and producing the album.  They’ve been friends and played together for years.  I’ve had Wicked Grin in heavy rotation since it came out in 2001, and whenever anyone hears it, right they are blown away by John Hammond’s boozy, barrelhouse blues chops.  

Wicked Grin is utterly timeless, still worth raving over.  In fact, I’m listening to it right now– and all of a sudden I need a beer.

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