What makes this release particularly notable is that it was released shortly before pianist Johnnie Johnson’s death on April 13, 2005. It is likely the last recorded material released with Johnnie’s blessing and active participation. The title reflects the fact it was released when Johnnie was eighty years old.
Johnnie laid claim to being the “father of rock ‘n’ roll,” a claim there is a good deal of support for. Johnnie, of course, called upon unknown guitarist Chuck Berry as a last minute replacement for an ill band member on New Year’s Eve 1952, and the rest is history. Johnnie’s band quickly became Chuck’s band. The two played together for twenty years, authoring many of the songs that form the foundation of rock and roll.
Johnnie later was Albert King’s band leader and played with a Who’s Who of blues and rock musicians. He was inducted into the Rock and Roll Hall of Fame in 2001. While he spent most of his career as a sideman to the famous (or to become famous) before working as a bus driver for the aged in St. Louis, his career experience a revival as a result of the 1986 film Chuck Berry: Hail! Hail! Rock ‘n’ Roll which highlighted Johnnie. Johnnie toured in his later years and released five prior albums, starting in 1987 with Blue Hand Johnnie.
Johnnie Be Eighty And Still Be Bad was recorded at the end of 2004. It was a “live” recording, the entire band being in the studio and playing at the same time. The band includes: Johnnie on piano: Rich McDonough on Guitar; Gus Thurston on bass; Joe Pastor on drums, Larry Thurston on vocals on five of the six tracks and Victor Johnson doing vocals on the remaining track.
All of the tracks of this somewhat short release (32:25) are originals written for this release. The producer, Jeff Alexander, penned the lyrics to all of the cuts. Johnnie, Jeff and Rich McDonough did all the music. The tracks were designed to feature Johnnie’s piano playing, and succeed at that. The cuts range from fast to slow paced blues, and show off Johnnie’s trademark chord and glissandos style. Especially considering they were apparently written in short order just for this product, the tracks hold up very well. Many seem destined for cover. One – The Blues Don’t Knock – is particularly good and may become something of a standard.
This is a meritorious release, even without considering it is probably the last work of a legend. Given that it is Johnnie’s swan song, it is an important release. For more information see: www.cousinmoemusic.com.
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