Donald “Duck” Dunn

By James Porter

“We had a band powerful enuff to turn goat piss into gasoline.”

That was one of Duck Dunn’s speaking roles in the movie The Blues Brothers. He was talking about the latter-day band that he played in with Steve Cropper, the Bar-Kays’ Willie Hall, Memphis Slim’s guitarist Matt “Guitar” Murphy, and, among others, singing actors John Belushi and Dan Aykroyd. But he could have been talking about the band that made him famous—Booker T & the MGs—and made twice as much sense.

Donald “Duck” Dunn, the lynchpin of numerous sessions during the first decade of Stax Records, died May 13, 2012 in his sleep in a hotel in Tokyo, aged 70.

Dunn wasn’t with Booker T & the MGs from the beginning—that’s Lewie Steinberg’s bass you hear on 1962’s “Green Onions”—but, with all due respect to Steinberg, Dunn was in the classic lineup from 1964-71 (and all reunions thereafter). During this period, not only did you hear Dunn providing serious bottom for “Hip-Hug-Her,” “Time Is Tight,” “Hang ‘Em High” and “Melting Pot,” but when the Stax hit machine really started to take off, you could hear him in full force on hits by Otis Redding, Carla Thomas, Eddie Floyd, Sam & Dave, Albert King, and various other luminaries at Soulsville USA (as the marquee outside Stax read). After 1969, the MGs started doing less and less sessions at the label as a younger crew called the Bar-Kays slowly took over. Dunn’s bass skills were legendary enough that he had no trouble picking up outside work, with Muddy Waters, Bob Dylan, Elvis Presley, Jerry Lee Lewis and others. While he didn’t quite have the high profile that his bandmates Booker T Jones and Steve Cropper did (both of whom also had reputations as producers, as well as issuing the occasional solo record), Dunn was still clearly in the mix.

(more…)

Pretty Things live ’67… and the Valiant Little Tailor

By Mike Stax

The Pretty Things may not have been the most commercially successful band of the ‘60s, but at street level, around the world, they had more influence and credibility than many of their more popular contemporaries. One band who formed in homage to the Pretties is Valiant Little Tailor, a short-lived outfit from Wuppertal, in the North Rhine-Westphalia region of Germany, a band so obscure they don’t even rate a mention in Hans-Jurgen Klitch’s definitive German Beat book, Shakin’ All Over.

Valiant Little Tailor, 1967. L to R: Michael Müller, Uli Schmidt, Klaus Meier.

(more…)

WILD ABOUT YOU!

WILD ABOUT YOU! The Sixties Beat Explosion in Australia and New Zealand by Ian D Marks and Ian McIntyre (Verse Chorus Press, US; 2010; 352 pages)

For decades I was fascinated by, but short on information about, the ephemeral Australian band the Black Diamonds, ever since I somehow snagged a copy of their mind-boggling, double-sided classic 45, “See the Way”/”I Want, Need, Love You” in an auction. Then last year I stumbled on a bootleg DVD containing actual videos of both songs, set amid crashing waves. And now there’s an entire chapter on the small-town New South Wales band in this gem of a book. (Now if I could get hold of the Diamonds’ second single…)

The book’s subtitle pinpoints its subject matter, which it surveys in 35 chapters on 35 bands. First-hand recollections from band members are the rule, with expert authorial interjections to provide context, so you get not only a musical chronicle but a cultural immersion—even more valuable for readers who didn’t grow up in ’60s Oz or NZ and know little about the youth cults, official harassment, and showbiz exploitation that challenged the bands.

Not every antipodean ’60s band of note is covered; omissions, such as Larry’s Rebels or MPD Ltd, lean a little toward the pop side. A few of the acts in the book achieved homeland pop success—the Easybeats, the Twilights, the Masters Apprentices, Ray Columbus. But most of the others—the Throb, the Bitter Lemons, the Mystrys, and the Others themselves—struggled briefly, left a record or two, and dissolved.

This handsome paperback, replete with terrific photos, discographies, and listings for anthologies containing the records discussed, makes a fitting memorial for these undersung heroes and is indispensable for anyone with an interest in one of the planet’s most exciting ’60s scenes. (Ken Barnes)

From UGLY THINGS #32 (Fall/Winter 2011)