LONNIE
MACK
When
Lonnie Mack sings the blues, country strains are sure to infiltrate.
Conversely, if he digs into a humping rockabilly groove, strong signs of
deep-down blues influence are bound to invade. Par for the course for any
musician who cites both Bobby Bland and George Jones as pervasive
influences.
Fact is, Lonnie Mack's
lightning-fast, vibrato-enriched, whammy bar-hammered guitar style has
influenced many a picker too -- including Stevie Ray Vaughan, who idolized
Mack's early singles for Fraternity and later co-produced and played on
Mack's 1985 comeback LP for Alligator, Strike like Lightning.
Growing up in rural Indiana not
far from Cincinnati, Lonnie McIntosh was exposed to a heady combination of
RB and hillbilly. In 1958, he bought the seventh Gibson Flying V guitar
ever manufactured and played the roadhouse circuit around Indiana, Ohio,
and Kentucky. Mack has steadfastly cited another local legend, guitarist
Robert Ward, as the man whose watery-sounding Magnatone amplifier inspired
his own use of the same brand.
Session work ensued during the
early '60s behind Hank Ballard, Freddy King, and James Brown for Cincy's
principal label, Syd Nathan's King Records. At the tail end of a 1963 date
for another local diskery, Fraternity Records, Mack stepped out front to
cut a searing instrumental treatment of Chuck Berry's "Memphis."
Fraternity put the number out, and it leaped all the way up to the Top
Five on
Its hit follow-up, the frantic
"Wham," was even more amazing from a guitaristic perspective
with Mack's lickety-split whammy-bar-fired playing driven like a
locomotive by a hard-charging horn section. Mack's vocal skills were
equally potent; RB stations began to play his soul ballad "Where
There's a Will" until they discovered Mack was of the Caucasian
persuasion, then dropped it like a hot potato (its flip, a sizzling vocal
remake of Jimmy Reed's "Baby, What's Wrong," was a minor pop hit
in late 1963).
Mack waxed a load of killer material for Fraternity during the mid-'60s, much of it not seeing the light of day until later on. A deal with Elektra Records inspired by a 1968 ~Rolling Stone article profiling Mack should have led to major stardom, but his three Elektra albums were less consistent than the Fraternity material. (Elektra also reissued his only Fraternity LP, the seminal The Wham of That Memphis Man.) Mack cameoed on the Doors' Morrison Hotel album, contributing a guitar solo to "Roadhouse Blues," and worked for a while as a member of Elektra's AR team.
Disgusted
with the record business, Lonnie Mack retreated back to Indiana for a
while, eventually signing with Capitol and waxing a couple of obscure
country-based LPs. Finally, at Vaughan's behest, Mack
abandoned
his Indiana comfort zone for hipper Austin, TX, and began to reassert
himself nationally. Vaughan masterminded the stunning Strike like
Lightning in 1985; later that year, Mack co-starred with Alligator
labelmates Albert Collins and Roy Buchanan at ~Carnegie Hall (a concert
marketed on home video as Further on Down the Road).
Mack's
Alligator encore, Second Sight, was a disappointment for those who
idolized Mack's playing -- it was more of a singer/songwriter project. He
temporarily left Alligator in 1988 for major-label prestige at Epic, but
Roadhouses and Dancehalls was too diverse to easily classify and died a
quick death. Mack's most recent album from 1990, Live Attack of the Killer
V, was captured on tape at a suburban Chicago venue called FitzGerald's
and once again showed why Lonnie Mack is venerated by anyone who's even
remotely into savage guitar playing. ~ Bill Dahl, All Music Guide
