Meanwhile, Pete’s version is excellent
acoustic based fun, and his lead guitar is my kind of music, like fellow Cowboy Tommy Talton and of course Skydog, Duane Allman, who was a friend of Petes. “I’ll Be There” is a quite beautiful love song. Again, the guitar fills just wear me out. Sheer perfection. Still Want to Go is one of those records you
can just set to repeat on your device and never get tired of it – great songs include the up beat “Southern Man,” and the swampy “Gators in the Water,” as well as the bluesy “No Smoke, No Mirrors,” a three minute gui- tar workout that will set your toes to tappin.’ I highly recommend this one. Especially if
you like the country side of Southern Rock like Cowboy and Marshall Tucker, or the ‘70’s sounds like The Eagles and Jackson Browne.
-Michael Buffalo Smith
Professor Longhair Live at the Univer- sity of Chicago Folk Festival – February 1, 1976 (Orleans Records) Professor Longhair. I have heard his name
come up during interviews with so many, from Dr. John to Chuck Leavell, Leon Russell to Elton John. The legendary New Orleans piano man, who was born Henry Roeland "Roy" Byrd back in 1918 truly created a last- ing legacy prior to his death in 1980. His most productive years came between the late 40’s and throughout the ‘60’s, when he recorded one of his best-loved tunes, “Big Chief” (’68). Now an unreleased album has at long last
seen the light of day. Live at the University of Chicago Folk Festival – February 1, 1976, was culled from a radio broadcast aired by a Chicago radio station. The record features Professor Longhair on
piano and vocals, guitarists Will Harvey and Billy Gregory, Julius Farmer on bass and Earl
Gordon on drums. Billy Gregory, who kept his copy of the tape for about 25 years, gave it to the record company and started the ball rolling. The liner notes were penned by John Sin-
clair, a popular long time DJ at WWOZ Radio in New Orleans. In his notes, Sinclair says “this record offers incontrovertible evidence of the power and drive of the mid-70s edition of Fess’s band with Billy Gregory featured prominently on guitar.” That kind of hits the nail squarely on the head. From the life ver- sions of “Mess Around” and “Big Chief,” to “Got My Mojo Workin’” and “Everyday I Have the Blues,” it’s a rave up. Do note that the sound isn’t going to be
quite the quality you may be used to. It goes without saying. After all it was recorded from an A.M. radio broadcast and equipment from 1976. That said, what it lacks in fi-fidelity, it more than makes up for in sheer talent and energy. Check out the Professor’s “whistle along” on “Mardi Gras in New Orleans.” Professor Longhair is one of the most
revered rhythm and blues musicians in all of New Orleans music history. His style of fusing rhumba rhythms with boogie-woogie, Afro- Cuban, blues and southern R&B created a new sound that many have copied since. His legacy is so huge that the city’s Tipitina’s venue is completely dedicated to him, includ- ing its famous Professor Longhair bust. Buy this album. It’s a real honest piece of
New Orleans music history. -Michael Buffalo Smith
Various Artists God Don’t Change The Songs of Blind Willie Johnson (Alligator) There’s nothing that
makes me happier than to see tribute paid to
one of the true pioneers of music, and this fit-
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