Archive for the Tony Joe WHITE Category

Tony Joe WHITE – Black And White 1969

Posted in BLUES, Tony Joe WHITE on December 18, 2010 by whoisthemonk

Tony Joe WHITE – Black And White 1969
XBLY 921032


When “Polk Salad Annie” blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White’s swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing — he really was from the bayou country of Louisiana, while Fogerty’s bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides “Annie,” side one of this album includes several other White originals. The best of these are “Willie and Laura Mae Jones,” a song about race relations with an arrangement similar to “Ballad of Billie Joe,” and “Soul Francisco,” a short piece of funky fluff that had been a big hit in Europe in 1968. “Aspen, Colorado” presages the later “Rainy Night in Georgia,” a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky “Who’s Making Love” and “Scratch My Back” faring better than the slow stuff. Dusty Springfield had a minor hit with “Willie and Laura Mae Jones,” and White’s songs were recorded by other performers through the years, but “Polk Salad Annie” and the gators that got her granny provided his only march in the American hit parade.
By Jim Newsom, All Music Guide.
Jim Isbell- (Drums),
David Briggs- (Keyboards),
Tony Joe White- (Vocals),(Guitar),(Harmonica),
Norbert Putnam- (Bass),
Jerry Carrigan- (Drums),
Chip Young- (Guitar).
A1. Willie and Laura Mae Jones  4:55
A2. Soul Francisco   1:55
A3. Aspen Colorado  2:48
A4. Whompt Out on You  2:22
A5. Don’t Steal My Love  3:49
A6. Polk Salad Annie   3:43
B1. Who’s Making Love  3:11
B2. Scratch My Back  2:59
B3. Little Green Apples  3:56
B4. Wichita Lineman  2:49
B5. Look of Love  3:17

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Tony Joe WHITE – The Heroines 2004

Posted in BLUES, Tony Joe WHITE on December 13, 2010 by whoisthemonk

Tony Joe WHITE – The Heroines 2004
Recorded at Church St. Studio, Franklin, Tennessee.


For The Heroines, Tony Joe White invited some of his favorite female friends to the party. Unlike Hollywood movie stars, White likes his costars within spittin’ distance of his own age. Shelby Lynne’s lines in “Can’t Go Back Home” fit like a glove; her voice is reminiscent of White’s own, like someone simultaneously whispering sweet nothings and the secrets of the universe into your ear. Lucinda Williams, Emmylou Harris, and Jessi Colter also join the swamp fox on a record that provides plenty of what one tune aptly calls “Back Porch Therapy.” The Heroines manages to tweak your libido and save your soul, magically, at once. ”
By Michael Ross.
On “The Heroines,” Tony Joe White, the swamp fox, rides high again. Two of the tracks are songs from his excellent 2001 effort “The Beginning.” “Ice Cream Man” sounds as excellent as when it rode into my personal top ten in 2001! The new version has a more full band sound and pours on the smoking White guitar. “Rich Woman Blues” is another excellent track that smolders with White’s growl-sing blues groove, “Got a telephone call this morning, My baby wrecked her Mercedes Benz, she totaled out her Mercedes Benz, I said long as you’re alright baby, that’s all that matters, let them tow the thing on in.” One of my favorites is the duet with Jessi Colter, “Fireflies in the Storm” with its searing slow burn, “Out of the shadows the wildness begins, we wait for morning & darkness moves in, but there’s a light that keeps shining warm like fireflies in the storm.” “Chaos Boogie” is a great rocking TJW track that sets your toe to tapping. The duets with Shelby Lynne, Lucinda Williams, Emmylou Harris, and Tony Joe’s daughter Michelle are all excellent. The set begins & ends with two brief guitar instrumentals. “The Heroines” continues Tony Joe White’s artistic peak, some 30 albums into his career. Enjoy!
By  Lee Armstrong.
Tony Joe White- Vocals, Guitar
David Ralicke- Saxophone, Trombone
Jessi Colter- Vocals, Guitar
Carson Whitsett- Hammond B-3 Organ
Jack Bruno- Drums
Marc Cohen- Drums
Jennifer Lynn Young- Fiddle, Cello
Michael Bolger- Trumpet
Michelle White- Vocals, Guitar
Steve Forrest- Bass Guitar
Emmylou Harris, Lucinda Williams, Shelby Lynne
01. Gabriella 1:49
02. Can’t Go Back Home(with Shelby Lynne) 4:23
03. Ice Cream Man 4:28
04. Closing In On The Fire(with Lucinda Williams) 4:29
05. Back Porch Therapy 4:17
06. Playa Del Carmen Nights(with Michelle White) 4:37
07. Wild Wolf Calling(with Emmylou Harris) 4:08
08. Rich Woman Blues 4:56
09. Robbin’ My Honeycomb 5:10
10. Fireflies In The Storm(with Jessi Colter) 4:18
11. Chaos Boogie 5:38
12. Gabriella’s Affair 1:26

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Tony Joe WHITE – Deep Cuts 2008

Posted in BLUES, Tony Joe WHITE on November 18, 2010 by whoisthemonk

Tony Joe WHITE – Deep Cuts 2008


There’s no way to say the following delicately: Tony Joe White has a lot of soul for a white guy. Deep Cuts (released June 10 by R.E.D. Distribution) fuses a dark breed of funk and blues, his voice channeling a rougher Leonard Cohen and a gentler, more relaxed Isaac Hayes. Cutting his teeth in the ’70s opening for CCR and in the ’90s opening for Clapton, White has formulated his own amalgam of blues-infused funk. White calls his brand of music swampy blues. The description makes sense with the music’s buzzing guitars and thick porridge of a rhythm section. White’s compositions seem to wail on and on, ever stirring the dark funk mass accrued.

White made Deep Cuts with his son Jody, showcasing his classic songs in an updated format with both digital and live percussion. He also added strings and organ to his signature guitar sound. “As the Crow Flies,” one of the highlights of the disc, follows a loose, winding groove. The constant cowbell blends into the stew of percussion, hypnotizing the listener into a deep neck-nodding spell. When listening to this particular track, anyone who was at one time un-hip or awkward becomes suddenly cool, calm and collected. No one can be dorky while listening to this groove. The bassline and flow of the piece is reminiscent of Jimi Hendrix’s “Voodoo Child,” with even White’s vocals sounding at times Hendrix-esque. The track fades into “Willie and Laura Mae Jones,” another brooding selection that continues the hypnosis.

“Soul Francisco” sounds like it could be the backing track to a Busta Rhymes rap, with Tony Joe White taking role of grandfather. Instead, White moans and whispers along with the minor-key chord progression, utilizing some of the grittiest guitar work possible. He takes on a sinister Barry White persona with the soul of a hard-living old man and the sexiness of a low baritone. Throughout his mumbles and groans, White never stops churning the swampy groove.
By Sarah Moore.
Deep Cuts is Tony Joe White’s 21st album, and after 40 some years of delivering a delightfully skewed, greasy, swamp-soaked Louisiana pop view to the world, it’s amazing that more people don’t know about this guy. Oh, he’s well known and respected in some quarters, and his hit “Polk Salad Annie” from 1969 bubbles up from time to time on the oldies stations, but White has pretty much spent his whole career flying just beneath the commercial radar. It would be nice to say that this album, which updates White’s sound with beats and loops provided by his son Jody White, will change all that, but the truth is, it won’t. White’s baritone voice, while still effective in spots, is a ragged, hoarse shell of its former self and nothing included in this set is going to bring the world to his doorstep. Not that there isn’t a lot to like about Deep Cuts — White’s funky, biting guitar work is all over it, and that’s a good thing, particularly on the deep swell groove of “Swamp Water,” which sounds thick enough to swim in forever. At the other end of the spectrum, “Homemade Ice Cream” is a joyous, summer-filled harmonica work out that seems as fresh and welcome as wind-dried laundry. White revisits two of his older songs, too, “Willie and Laura Mae Jones” from 1969’s Black and White and “High Sheriff (Of Calhoun Parrish)” from 1970’s Tony Joe, but unfortunately neither particularly benefits from a new approach, and Deep Cuts ends up being somehow less than it might have been because of it. But it’s nice to hear that gritty, vital guitar tone of White’s again. The world could never possibly get enough of that.
By Steve Leggett, All Music Guide.
Top notch release from a swamp rock original. A modern touch added to a few of his classics. Similar to but not quite as over-the-top as the studio craft exhibited on RL Burnside’s last releases on Fat Possum. “Purists” like to whine & bitch. But what’s the problem with a deserving artist making some money by molding his music perhaps to attract a younger listener brought up in a ProTools world, especially when the music doesn’t lose it’s essential groove or identity? If you don’t like it, listen to the old records
and shut up.
By Rico.
Revered as one of the originators of swamp rock, Tony Joe White has recast a number of his classic songs on Deep Cuts, proving that time has no jurisdiction over funky. His signature groove, starting from his 1969 hit “Polk Salad Annie,” is what he uses to paint a vivid picture of the world he experienced growing up, where poverty provided unity between otherwise divided races and bad-news women were sometimes too good to pass up. Tony Joe cut the tracks with his son Jody providing a rich palette of beats and loops, utilizing both digital and live drums, strings, organs, and the unmistakable timbre of his guitar. White’s time-worn baritone is positively haunting, like a restless spirit conjured by the funk that was always the core of his music. As a collective work, Deep Cuts portrays the complications of living on the cusp of impending danger, be it an encounter with a brutal country sheriff or a poisonous snake through the eyes of a master songwriter who has seen and lived all of it. Deep Cuts not only updates a cache of classic songs for a contemporary audience, it reframes them, revisiting his timeless imagery in a new, modern context. With Deep Cuts,Tony Joe reveals that there is still plenty to be gleaned from his irresistible, timeless groove.
Tony Joe White- Guitar, Vocals
David Henry- Cello
Peter Hyrka- Violin
Ollie Marland- Piano
Tyson Rogers- Piano, Keyboards
Earle Simmons- Bass
Paul Slivka- Bass
Jeff Hale- Drums
Paul Griffith- Drums
01. Set The Hook 2:10
02. As The Crow Flies 6:15
03. Willie and Laura Mae Jones 6:56
04. Soul Francisco 6:50
05. Run With The Bulls 2:54
06. High Sheriff Of Calhoun Parrish 6:08
07. Aspen, Colorado 5:36
08. Homemade Ice Cream 5:43
09. Swamp Water 2:42
10. Roosevelt and Ira Lee 6:28

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Tony Joe WHITE – Continued 1969

Posted in BLUES, Tony Joe WHITE on November 16, 2010 by whoisthemonk

Tony Joe WHITE – Continued 1969
SLP 18133


Continued was the second album released by Tony Joe White. It was released on Monument Records and contained the single Roosevelt and Ira Lee It was recorded at Monument Studios, Nashville and Lyn-Lou Studios, Memphis in 1969. It was produced by Billy Swan and engineered by Tommy Strong and Mort Thomasson.

The album was re-released on by Movieplay/Intermusic from Portugal in 1993 with a different cover and another title (Roosevelt And Ira Lee). In 1997 it was rereleased by Warner Brothers containing two additional songs – “Watching The Trains Go By” (by Dewey Oldham and Wallace Pennington) and “Old Man Willis” (by Tony Joe White himself) was the second single. “Old Man Willis” was later re-recorded for the album.

The album contained the track “Rainy Night In Georgia” popularized by R&B vocalist Brook Benton in 1970. It reached #4 on the Pop Singles and #2 on the Adult Contemporary charts, respectively. The RIAA certified the single gold for sales of one million copies. In 2004, it was ranked #498 on the List of Rolling Stone’s 500 Greatest Songs of All Time.

The song has been covered by a number of musicians, including Ray Charles, Otis Rush, Randy Crawford, Tennessee Ernie Ford, Amos Garrett, Hank Williams, Jr., Shelby Lynne, John Holt, by the duet of Conway Twitty and Sam Moore, Aaron Neville, and reggae band The Gladiators. Most recently indie folk-rock band Hem released a cover on No Word from Tom (2006). Australian band Ross Hanniford Trio recorded a cover of the song on their 1994 album. Interestingly, David Ruffin recorded a cover version of the song the same year as Benton, however, Motown for unknown reasons did not release the album. A dance version was recorded by Boozoo Bajou in 2006.
I have a soft spot for down-to-earth guys, for the kind that would rather stay in the shades than in the center of attention, except for when it’s showtime of course. Oh, I bet it’s a blast to meet self-conscious stars like David Bowie or Beyoncé, brain-drained zombies like Ozzy or flat-out pricks like (insert your pick), but nothing beats the type you can still have a beer with, despite the success, fame and money. In early 1994, I was lucky enough to meet Rory Gallagher (he sadly died a year later) and I’ll never forget how surprised and delighted he was to meet a few people, how ordinary he was, too, like the guy next door you wanna have a beer with. Anyway, I saw Tony Joe White play live two years ago (with no less than Solomon Burke as support act – what a bill!) and he immediately reminded me of those moments with Gallagher. Like the Irish guy, White was and is all about the music, not about the image, the flash or whatever else. He just sat there on his chair, playing one groovy blues after another, shyly accepting the applause and giving his all. It’s the same with his albums: even though almost all of the albums that I heard have their misfires or uneven moments, they’re always songs coming from the gut, delivered with warmth and honesty. I’ve never heard his debut (never found it, basically, and I rarely order albums), but the songs from that album I’m familiar with (“Polk Salad Annie” and “Soul Francisco”) couldv’ fit on this album as well, which is – I presume – a continuation of the first album. There’s nothing particularly astonishing or flashy about this album, so if you’re in for intricate compositions and fret wankery, you’ll have to get your kicks elsewhere. On the other hand, if you think that
By Guy Peters.
Tony Joe White- Guitar, Hamonica
Mike Utley- Organ
Tommy McClure- Bass
Sammy Creason- Drums
James Milhart- Drums
A1. Elements And Things
A2. Roosevelt And Ira Lee (Night Of The Mossacin)
A3. Woodpecker
A4. Rainy Night In Georgia
A5. For Le Ann
B1. Old Man Willis
B2. Woman With Soul
B3. I Want You
B4. I Thought I Knew You Well
B5. The Migrant

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