If I could only listen to one, of course it would be Little Walter, but that doesn’t take anything away from Magic Dick. Magic Dick and Charlie were and are great harmonica players, Little Walter and Sonny Terry were great harmonica players, so let’s just enjoy what they gave us instead of comparing them or worrying about what the fuck color they are. Dave Marsh of Rolling Stone claimed that Magic Dick was possibly “the best white musician to ever play blues harmonica,” conveniently forgetting about Charlie Musselwhite and primarily revealing that Dave Marsh is a racist asshole. The most influential harmonica piece of its era, “Whammer Jammer” is a flat-out fucking gas, a virtuoso performance combining high energy, sensitive touch and not a little bit of showmanship. We’ve had two teasers so far, so it’s time to let Magic Dick take center stage with the licking stick. There’s a brief pause where Peter Wolf introduces the next song as “Take Out Your False Teeth, Mama, I Want to Suck on Your Gums,” but is in fact Big Walter Price’s “Pack Fair and Square.” The original here was sort of a “big band blues number” that sounds like something that Lloyd Price would have been comfortable recording, maybe as a B-side to “Personality.” In J Geils’ hands it’s two-and-half-minutes of accelerated adventure, punctuated with another sweet harp solo by Magic Dick and the always spot-on rough harmonies from drummer Stephen Bladd. Geils delivers a solid solo, more on the rock side than the blues side, and Seth Justman’s subtle organ adds to the soulful melodrama of the moment. Geils Band has a lot of fun with it, with Peter Wolf’s intro to the “College of Musical Knowledge” setting the stage for an ironically melodramatic vocal that sounds great and makes you want to laugh at the same time. Without stopping to breathe, the band proceeds to Otis Rush’s “Homework.” The original is, oddly enough, more famous for its killer horn arrangement than Otis’ guitar or vocal. Stephen Bladd rocks out on the drums, Daniel Klein beats that bass, and Magic Dick gets into the act with a soulful piece of harp. The Contours get credit for the original, a surprisingly sanitized version that doesn’t square with the carnal energy they had displayed on their signature hit, “Do You Love Me?” In the hands of Peter Wolf and company, the raw undertone of the song comes through, hot, heavy and with no apologies for the blatant capitalist exploitation of a broad. ‘Nuff said!Īfter the “Are you ready to rock and roll?” intro from the emcee, the band bursts into action with Smokey Robinson’s “First I Look at the Purse,” the sister song to Barrett Strong’s “Money” in the genre of naked greed music. Geils Band when they were in their prime. Personal tastes are what they are, but except for Roger Daltrey, I never considered The Who very sexy, and I could have fucked all the guys in the J. Yes, I like it even better than Live at Leeds, everyone’s model of a live album.
#Who played whammer jammer j giles band full
Until Sonny Landreth came along with Grant Street, Live: Full House was my favorite live album. Same thing happened a couple of years later when I saw them with Loggins & Messina when those guys were at their peak. Then they showed up at The Fillmore right before it closed, on a bill with Eric Burdon & War. I bought that album, their first studio album way back when, played it once, and put it in my reject pile to trade it in for something better on my next trip to the record store. Some bands are studio bands, some bands are live bands, some do both. “Oh, my God, what happened to them? Were they sick? Are you sure these are the same guys?” Those same songs all sounded deader than a dysfunctional dick. Geils Band because I’d just heard six of the same songs performed live. “The lesson’s not over,” he said, and put on another record.
“Wow! Thanks for the lesson, Dad,” I said, and started to leave the room. I could really feel their energy and the experience was definitely a revelation for me. The record was high-energy, crowd-whipping, shake-your-fanny fun. I’d always dismissed live recordings, because they never seemed to capture the energy I felt when I heard live music, and often the live versions of my favorite songs ruined them for me. I’d heard snippets before, but hadn’t paid much attention. Time for a little lesson in crowd-whipping.” My father smirked and asked, “You never saw J.
It must have been a Saturday afternoon after a show, because I was bragging about some band I’d seen the night before with my fake ID and how they really whipped up the crowd. No, these were the facts of life about studio bands and live bands. By the time I was seventeen I’d already fucked both traditional genders and had started down the dark and delightful path to sexual domination. Not those facts, silly! My mother taught me the facts of life right after my first menstrual cycle. I was seventeen when my father taught me the facts of life.
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