Time: 119:50
File: MP3 @ 320K/s
Released: 2020
Styles: Rockabilly Blues
Art: Front
01. The Way I Walk (Live 1981) (5:02)
02. Ubangi Stomp (Live 1981) (2:34)
03. Love My Baby (Live 1981) (5:14)
04. Look Who's Blue (Live 1981) (4:18)
05. I Love You So (Live 1981) (2:43)
06. Lotta Lovin' (Live 1981) (3:09)
07. Drivin' Wheel (Live 1981) (3:04)
08. Fire (Live 1981) (4:14)
09. Loverboy (Live 1981) (3:11)
10. Cruisin' (Live 1981) (3:18)
11. There Stands The Glass (Live 1981) (2:58)
12. Rockabilly Boogie (Live 1981) (4:46)
13. Mystery Train (Live 1981) (3:12)
14. Black Slacks (Live 1981) (2:43)
15. Red Hot (Live 1981) (2:26)
16. Melancholy Serenade (Live 1981) (1:19)
17. Lonesome Train (Live 1981) (3:12)
18. Twenty Flight Rock (Live 1981) (4:47)
19. Someday Someway (Live 1981) (2:41)
20. It's Only Make Believe (Live 1981) (1:42)
21. Way I Walk (Live 1982) (2:53)
22. Love My Baby (Live 1982) (3:16)
23. Heart Like A Rock (Live 1982) (3:06)
24. Bertha Lou (Live 1982) (3:50)
25. I Love You So (Live 1982) (3:38)
26. Ubangi Stomp (Live 1982) (2:12)
27. Drivin’ Wheel (Live 1982) (3:08)
28. There Stands The Glass (Live 1982) (3:23)
29. Someday Someway (Live 1982) (2:32)
30. Undecided (Live 1982) (2:21)
31. Rockabilly Boogie (Live 1982) (4:02)
32. Red Cadillac & Black Moustache (Live 1982) (3:10)
33. Fire (Live 1982) (4:10)
34. Lotta Lovin (Live 1982) (3:25)
35. 20 Flight Rock (Live 1982) (3:02)
36. Black Slacks (Live 1982) (3:17)
37. Red Hot (Live 1982) (1:35)
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. ~Steve Huey
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. ~Steve Huey
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