Danny Gatton - Hot Rod Guitar: The Danny Gatton Anthology
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CD Details
Artist: Danny GattonEdition: Music CD
CD Release Date: 1999-04-20
Music Label: Rhino / Wea
Soundtracks:
Music CD 1
- Honeysuckle Rose
- Harlem Nocturne
- After Hours
- Redneck Jazz
- Sax Fifth Avenue
- Canadian Sunset (Live)
- Love My Baby (Live)
- Lappin It Up
- Notchco Blues
- Funky Mama
- Elmira St. Boogie
- Blues Newburg
- Quiet Village
- Dolly's Ditty
- One For Lenny
- Funhouse
- So Good
- Sun Medley (Mystery Train/My Baby Left Me/That's All Right)
- Cruisin' Deuce
- Broadway
- Gearheads
- Kindred Spirits
- Poinciana
- Red Label
- Gold Rush
- Busboy
- Linus & Lucy/Orange Blossom Medley (Live)
Music reviews of Hot Rod Guitar: The Danny Gatton Anthology
Music Review: WHAT I LEARNED FROM LEE RITENOUR:
Rating: 5 Stars
I was introduced to the music of DANNY GATTON by Larry Rosen (better known to his friends as F'n Lelly.) In 1994, F'n Lelly (himself a pretty good guitarist in an L.A. Blues band at the time) recorded a cassette for me which he titled, "LITTLE GUITAR DITTIES : LELLY'S FAVORITES." It contained 3 Danny Gatton tracks including the '93 version of HARLEM NOCTURNE, which knocked me out! All these years later, the incredible playing of Gatton still amazes and satisfies. He was one of the most technically proficient musicians to ever sling a six-string; and the most versatile, which more than anything accounts for his relative obscurity.
In 1978, I was on the set of a Lee's Sportswear commercial which featured the renowned Jazz guitarist, LEE RITENOUR. I happened to be standing nearby when he spoke to another musician about this new inventive guitarist named EDDIE VAN HALEN who had just arrived on the scene. In demonstrating Eddie's "tapping" technique, Ritenour whipped off a perfect Van Halenesque solo. My jaw dropped! I was an 18-year-old "Rock 'N' Roll Actor" at the time (a silly phrase I had coined for myself to describe my attitude as a performer) and I was heavily into Rock music back then. I later struck up a conversation with Ritenour and asked him what he thought of several other Rock guitarists who were popular at the time. I was surprised to hear him say, "They're all good."
The proverbial "lightbulb" above my head lit up that day. It occurred to me that usually very little difference in technical facility separates the artists of any medium at the highest levels of professionalism. The greatest artists achieve legendary status and eternal fame not so much on their technical ability, but based on their innovations and/or stylistic approach.
It's not because VAN GOGH was the greatest painter of his time that his works now sell for millions of dollars. He had a style all his own : landscapes composed of brilliant colors applied to the canvas as if in an emotional rage! Nearly every EDWARD HOPPER painting conveys a sense of lonely isolation. That was HIS style. As an actor, JAMES DEAN said that in one hand he had Marlon Brando saying "f*** you!" and in the other he had Montgomery Clift saying "help me!" This approach in combination with a fertile imagination made him an eternal silver screen legend. For a long time, Big Band leader, GLENN MILLER sought to capture the unique "sound" he heard in his mind. In putting together arrangements, he eventually stumbled upon it. By using a clarinet or alto sax in tandem with four other saxes, doubling an octave above the lead, he created the Glenn Miller Sound that made his music instantly recognizable thereafter. JIMI HENDRIX was a good player, but Danny Gatton could have played circles around him, and so could many other guitarists who came later. But Hendrix created a whole new sonic palette within the Rock music framework, and that's why he's fondly remembered today.
DANNY GATTON was a technically GREAT player who excelled at every musical genre. This compilation is a heartfelt guitar potpourri. Whether plugging in the incandescent candles on a midnight romance (SAX FIFTH AVENUE), kick-starting a heart with unbridled electricity (NOTCHCO BLUES), exploring Jazz Avenues at dusk (KINDRED SPIRITS), or rocking your car during the dark rides (FUNHOUSE), Gatton displays both muscularity and sensitivity. His playing was first-class; never maudlin or affected. He may have sacrificed a musical composition to hotdogging once in awhile (ORANGE BLOSSOM MEDLEY), but hey, even that was enjoyable! A couple of reviewers seem to think that "music" is defined by lightning runs over the frets. Well GATTON displays hyperspace speed when he wants to, but if that's all you're interested in, you will miss the shimmering gorgeousness of delicate pieces like CANADIAN SUNSET and POINCIANA. As a person's taste in music matures, they come to discover that speed does not even register on the list of essential elements. A fine illustration of what I'm referring to can be found in the great (Jazzy) Blues guitar album, 'GOOD HANDS' by DANNY CARON, which I recently reviewed here on the Amazon website.
Releasing his first eclectic album for Elektra, and pondering the direction of his future recordings, GATTON said, "I can't afford to get shelved. It all depends on the public whims." This may account for his anonymity. Other than his prodigiously developed technique and mind-warping speed, GATTON did not have an immediately recognizable signature sound, a unique personal style (heck, even Tom Scholz of Boston had that!) and he was not the pioneer of any guitar innovations. If widespread fame was what he sought, perhaps he should have mined for his own musical "voice" - public whims be damned.
Nevertheless, if you want to experience the playing of a true six-string master in a variety of settings with some world class accompaniment, then you'll be thrilled by this 2 disc set. Purchase 'HOT ROD GUITAR' (along with Danny Caron's aforementioned 'GOOD HANDS'); you won't regret it. You can trust me; I've never lied to you before have I? And be sure to tell 'em that Stephen and F'n Lelly sent you!
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