Vintage Guitar - July 2018 - open - 99

Esquire photo courtesy of Bullock Museum. Headstock: Ricardo Ainslie.

Don Robey to help Brown get signed
to Aladdin Records, then soon after
create a label - Peacock Records - to
showcase Brown's songs and playing
on guitar, fiddle, and harmonica.
They scored a chart hit in '49
with "Mary Is Fine"/"My Time
Is Expensive." Brown never took
to being called a blues artist; his
work was a mix of traditional blues,
country, jazz, bayou, R&B, calypso,
polkas, and other forms. His legacy as
an elite post-war guitarist - and his
impact on generations of players - came
thanks to instrumentals like "Boogie
Uproar," "Gate Walks to Board," and
"Okie Dokie Stomp," which charted
in '54 and arguably provides the best
demonstration of his style.
In '66, Brown led the band on "The
!!!! Beat," a syndicated TV show filmed
in Dallas but hosted by famed WLAC
(Nashville) disc jockey Hoss Allen.
He then moved to Nashville, where he
recorded several country singles and
became a fixture on "Hee Haw," playing alongside Roy Clark and various
country artists.
In the '70s, he became popular in
Europe. He recorded with two French
labels, toured 12 times, and became
a U.S. Department of State music
ambassador. In '79, he played a sixweek/44-date tour of the USSR.
Back home in the '80s, he recorded
with Rounder and Alligator, won a Grammy
in '83 for Alright
Again! and played
nearly 300 shows
each year. Along
the way, he won
eight W.C. Handy
Awards. In '99, he
was inducted to the
Blues Hall of Fame.
Brown was 81 years
old when he passed
away in 2005.
Much of Joh n
"Toad" Andrews'
music a l education in t he
early '60s der ived f rom
f requent ing
"battle of the
guitars" jams
at Club Ebony, in Houston's T hird
Ward. There,
he'd watch guys

"[Gatemouth] asked, 'Where'd you
get that?' and I told him about H&H
Music and how Red Novak told me
he'd played it." - John Andrews
like Brown and Albert Collins "cut
heads."
"Those two were especially interesting because they
picked with their
thumb and fingers,
played in open
turnings with a
clamp (capo), and
both played Fenders," Andrews said.
Blues lore says it
was Gatemouth who
turned Collins away
from the Epiphone
he used fronting the
Rhythm Rockers to
the single-pickup
solidbody that
would help him
earn the nickname "Master
of the Telecaster."
By
the
e a rl y ' 70 s ,

Andrews had spent more than a decade
playing in bands when, in the midst of
a stint with his band, Mother Earth, at

Gatemouth's signature on
the back of the headstock,
from the 1991 encounter with
John and Jake Andrews.
July 2018

99

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Table of Contents for the Digital Edition of Vintage Guitar - July 2018 - open

Contents
Vintage Guitar - July 2018 - open - Cover
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