Lonnie Mack Albums (13)
What The Critics Say
Still on the Move is a somewhat revised and expanded version of the 1992 Ace CD compilation Lonnie on the Move, which was itself a slightly revised reissue of a mid-'70s double-LP compilation album of 1960s Fraternity recordings. It's "somewhat revised" because it actually eliminates two tracks from Lonnie on the Move, "Soul Express" and "Jam and Butter." That's because those are actually different titles for the same recording, and also because that recording appears under its proper name, "The Freeze," on another Mack anthology on Ace, Memphis Wham! Still on the Move also adds a bunch of tracks that haven't been included on reissue comps before, among them sides from rare mid-'60s Fraternity singles and five previously unreleased alternate takes. Determining what previously appeared where is a complicated enough exercise to make you wish, actually, that you didn't even know about those other compilations. What's important is that, when combined with the other two Mack Ace CD anthologies, From Nashville to Memphis and Memphis Wham!, Still on the Move provides all the 1960s Mack Fraternity recordings you could possibly want. What's more important is that this is very good rock-R&B-country-soul, not quite as good as his best 1960s Fraternity stuff (as heard on the Memphis Wham! comp), but not far off that mark. His idiosyncratic vibrato guitar is consistently excellent, and the material (whether instrumental or vocal) is frankly much more varied and interesting than those of many other artists from the time who were working the same territory. "Wildwood Flower" sounds like a more even-tempered Link Wray, "Snow on the Mountain" is a first-class overlooked blue-eyed soul cooker from 1967, and the overdone "Money" gets a very cool minor-keyed interpretation. His singing is good enough to make you wish that he'd sung more often, and indeed some cuts, like "I Found a Love," sound suspiciously like they were meant to have lead vocals but never got overdubbed with them, as they have full backup vocal choruses. On the other hand, instrumental workouts like "Stand By Me" bring a fresh interpretation to such standards that wouldn't have been possible if they'd included vocals. ~ Richie Unterberger, All Music Guide
'Roadhouses & Dance Halls'
Release Date 3/27/2001
Tracks 10
Label Sony
See Album Tracklist and Review
'Attack of the Killer V: Live'
Release Date 1/1/1989
Tracks 8
Label Alligator
See Album Tracklist and Review
What The Critics Say
Cut in front of an appreciative throng at FitzGerald's in suburban Chicago, Mack cuts loose the way he so often does in concert, sticking almost exclusively to his Alligator-era tunes ("Satisfy Suzie," "Cincinnati Jail," the tortured soul ballad "Stop") and never looking too far backwards. ~ Bill Dahl, All Music Guide
What The Critics Say
Lonnie's second album for Alligator was even better than his first. From the blazing fretboard work on "Camp Washington Chili" to the sing along rocking goofiness of "Buffalo Women" to the calming stillness of "A Song I Haven't Sung, " this remains one of Mack's finest studio efforts. ~ Cub Koda, All Music Guide
What The Critics Say
Co-produced by Stevie Ray Vaughn, this was Lonnie's ticket back to the show after a few years on the sidelines. To say it was an inspired date would be putting it mildly. With his batteries recharged, Mack was in peak form, playing and singing better than ever. A major highlight is an inspired duet between Stevie and Lonnie on "Wham (Double Whammy)," going toe to toe for several exciting choruses. ~ Cub Koda, All Music Guide
'Lonnie Mack with Pismo'
Release Date 1/1/1978
Tracks 10
Label Capitol
See Album Tracklist and Review
What The Critics Say
Country-rock (mostly) from the versatile and unpredictable master picker. Pismo's members included bassist Tim Drummond and keyboardist Stan Szelest (frequent Mack cohorts), while Troy Seals, Graham Nash, and David Lindley contributed to the product as well. The unabashed rockers "Lucy" and "Rock and Roll like We Used To" have some life in them... ~ Bill Dahl, All Music Guide
What The Critics Say
The third and last album that Lonnie Mack recorded for Sundazed in his brief stint with the label in the late '60s and early '70s, The Hills of Indiana must have surprised quite a few listeners familiar with his earlier work. There were little of the blues-rock-R&B-oriented guitar fireworks that many of his earlier recordings had boasted. In contrast, it was a pretty laid-back affair with plenty of roots rock, country-rock, and early-'70s singer/songwriter influences. Steel guitar and fiddle augmented the usual rock lineup, string and horn arrangements were devised by Norbert Putnam (who played bass on much of the record), and there were liberal touches of gospel in the songwriting, singing, and occasional background vocals. The set was divided between collaborative compositions between Mack and Don Nix (who sang lead vocal on "Three Angels") and covers of songs by Carole King, Bob Dylan, Mickey Newbury, Bill Monroe, and others. As with many early-'70s records -- including those of another early rock & roll guitar pioneer, Link Wray -- the influence of the Band's dignified Americana is substantial. At times it sounds a little like the Band crossed with some of early Elton John's most American-influenced material, perhaps with a pinch of John Fogerty. While this type of stuff might not be Mack's forte, actually it's quite respectable, if low-key, and sung with endearing, earnest conviction. ~ Richie Unterberger, All Music Guide
What The Critics Say
Lonnie Mack cut his first album, The Wham of That Memphis Man, in 1963 after his instrumental version of Chuck Berry's "Memphis" became an unexpected hit. In 1970, after Mack had recorded a pair of fine albums for Elektra Records, the label had Bruce Botnick remix the debut album in stereo and they reissued it under the title For Collectors Only. Regardless of the name, Mack's first album is a soulful stew of hot guitar picking and blue-eyed blues wailing that finds a comfortable and satisfying middle ground between country, R&B, and rock & roll. Mack's rough, blazing guitar tone and high-speed picking steal the show on numbers like "Wham," "Chicken Pickin'," and "Bounce," but Mack was more than just a flashy guitarist; his versions of "Where There's a Will There's a Way," "I'll Keep You Happy," and "Further on Down the Road" show he was a top-rank white soul shouter, and he could write a great tune when he felt like it, as "Why" and a clutch of inspired instrumentals on this LP make clear. Mack had a tight and sympathetic band for these sessions (including Ron Grayson on drums and Wayne Bullock on bass), and the performances are soulful and in-the-pocket throughout, giving Mack plenty of room to strut his stuff with all the support he needed. Cut at a time when an album usually featured a couple hit singles and a bunch of padding, The Wham of That Memphis Man/For Collectors Only is surprisingly satisfying stuff, an early triumph in white-boy blues with a truly superior guitarist and singer in the spotlight. ~ Mark Deming, All Music Guide
What The Critics Say
With a passel of familiar faces in the cast (ex-James Brown bassist Tim Drummond, pianist Dumpy Rice, harpist Rusty York), the reclusive Mack rocks up some memorable dusties his way -- the Falcons' "I Found a Love," and Bobby Bland's "Share Your Love with Me," Little Walter's "My Babe," and Jimmy Reed's chestnut "Baby What You Want Me to Do," along with his own "Gotta Be an Answer." ~ Bill Dahl, All Music Guide
