Roy Gaines

Roy Gaines was born August 12, 1937 in Waskom, Texas. His family moved to Houston when he was six. He is the brother of sax player Grady Gaines At an early age Roy Gaines first began playing piano in the style of Nat King Cole. He became friendly with other local musicians such as Clarence Hollimon and Johnny Copeland. In his teens he switched to the guitar and began playing clubs throughout the Houston area. He met his hero T-Bone Walker in 1951, and even backed T-Bone on stage when he was fourteen. He then moved to Los Angeles and joined Roy Milton's band. But by the time he was sixteen he moved to Houston and made his solo debut with an obscure release on Chart Records out of Miami. But when he came to the attention of Bill Harvey, leader of Duke and Peacock Record's house band things started to happen. With that band Gaines was featured on various releases by Big Mama Thorton, Jr. Parker ("Driving Me Mad") and Bobby "Blue" Bland ("It's My Life Baby" & "Woke Up Screaming") in 1955.

Following this gig Roy began working with Chuck Willis in New York City and recorded with Willis for Atlantic Records. During this time he signed, under his own name, with RCA Victor's Groove subsidiary label. Gaines released two albums in 1956. In 1957 it was Deluxe Records. Back to RCA in 1958. And the sixties saw only two releases on the small Del-Fi and Uni labels. Chuck Willis died in 1958 and Roy continued his session work. Other early sessions included "Essential Jimmy Rushing" in 1954. And 1957's "Blues Wail: Coleman Hawkins Plays the Blues". He also worked with the Jazz Crusaders (later known simply as the Crusaders) appearing on two LPs in 1961. In 1966 Gaines returned to Los Angeles and joined the Ray Charles big band. While with the band he wrote "No Use Cryin'" for Ray's hit album "Crying Time".

By the seventies Gaines was again in demand, making many public appearances either solo or with the Crusaders (1978). He continued as session musician working with artists like Aretha Franklin, Della Reese, the Supremes. He was featured on Stevie Wonder's landmark album album "My Cherie Amour", Milt Buckner's "Green Onions" (1975) and Albert King's "Albert" (1976). He also continued to work with T-Bone Walker until Walker's death in 1975. Roy was part of Harry Belafonte's Las Vegas show in 1976. He toured Central and South America with the Supremes in 1976, and the U.S. with Diana Ross in 1977. When Gaines returned to L.A. he was once more in constant demand. This included movie and television work with Quincy Jones. In 1982 he released the classic "Gainelining". Roy wrote "Don't Make Me No Never Mind" for the movie "The Color Purple" (1985), played on the session, and had a cameo role in the film itself but it wasn't until 1996 that he released another solo album, which was the independent "Lucile Works For Me". He followed this with a disc on JSP, a T-Bone Walker tribute album for Groove Note, one for Severn.

Album Discography

"Superman" (Black & Blue 1975)

*** Originally recorded in France and released on vinyl by Black and Blue in late 70s. Featuring Milt Buckner on Hammond organ, Panama Francis on drums, Gene Conners on trombone and Roy on guitar and vocals .Gaines’ admiration of the great T-Bone Walker is on display here. The instrumentals "Superman" and "Happy Birthday Blues" (both in two takes) are perhaps the centerpiece of this release as Gaines noodles like T-Bone with a jazz bent. (He also does Wes Montgomery's "Bumpin' At Sunset"). Gaines also has a gritty blues voice as proven on Lightnin’ Hopkins’ “Once I Was A Gambler.” and the self-penned "Got The Boogie".

"Gainelining" (Red Lightnin' 1982)

*** 1/2 Strong record featuring band members of the Crusaders: Andy Clark (keyboards), Barry Finnerty (rhythm guitar), Keith Jones (bass), Jim Copley (drums). Instead of Side A & Side B for this LP Roy opted for "Funkin' It Uptown Side" and "Bring It All Back Home Side". While the "Funkin'" side is funkier it's not exactly funk but funkified blues. "Low Down & Funky" is a prime example- a killer groove. Isaac Scott's "First Rule Of Cheating" has a sly, insinuating groove with choppy guitar licks. Can you guess what the first rule is? "Don't get caught!" sings Roy. This "side" also features Jimmy Reed's "Baby What You Want Me To Do" & Al Duncan's "It's Too Late Brother" (featuring a terrific fast fingered guitar solo). Side B, um, I mean "Back Home" side features the just as "funky" "Hell Of A Night Tonight" with Roy laying down a jivey monologue not that far removed from 80's rap. "Short Haired Woman" is a more basic blues template with bass up in the mix and Roy sayin' he don't want no woman "if her hair ain't no longer than mine". There's also a couple Texas blues shuffles including "Okie Dokie Stomp". Certainly one of the better blues efforts of the early 80s.

"Going Home To See Mama" (Roy Gaines 1988)

N/R LP-only all-instrumental tribute to his boyhood idols, Charlie Christian, T-Bone Walker, Clarence "Gatemouth" Brown and Wes Montgomery.

"Lucille Work With Me" (Black Gold 1996)

** Hit and miss outing with Roy spreading out on various styles like Van Morrison-like soul jazz on "She Came On Time" replete with a female chorus and soft electric piano and a loungey medley of soul songs called "Hold On To What You Got". Seriously he sounds like he's crooning in a small karaoke bar in the middle of nowhere. This is not the hard drivin' blues you'd expect from the "Guitar Superman". Fortunately we do get some with the groovy "Low Down & Funky" (a reprise from his "Gainelining" lp), plus the clever title cut where "Lucille" leaves B.B. King and is making noise for Roy now! Also, "Southern Woman" is a spartan harmonica and guitar blues with some much needed grit compared to the cheesy production on "Big Fine Woman" or on the wimpy pop number "Make Our Dreams Come True". After hearing his blistering work on his next three albums this one now seems like a head scratcher. Even more iffy is that Roy is nude on the cover covered only by his guitar!

"Bluesman For Life" (JSP 1998)

**** 1/2 Finally the "Blues Guitar Superman" gives us an undeniably great contemporary blues record worthy of his talents. Wonderfully produced by bluesman Jimmy Morello (who also wrote 8 of the 11 songs), this disc smokes all the way through. On the pounding title track Roy announces: "I ain't gonna sell out brother/I'll be a bluesman for life!" and it's clear Roy brought a machete to the knife fight on this one. Along with Roy's cracklin' leads Johnny Viau and Troy Jennings blast some powerful sax fills. Actually, the rest of the band deserves mention: John Marx on rhythm guitar, Tom Mahon on piano, Rick Reed on bass and Paul Fasulo on the skins. The band really cooks on the swingin' shuffles "Roy Jumps The Gator" and "Lulu Mae". Because of his guitar skills Gaines is often overlooked as a singer but his gritty, soulful performances on the slow swaying "You Went Back On Your Word" and "You're Gonna Wish I Had Stayed" should easily correct that. The lowdown and funky "Sweet Pig Porker" is one of the more interesting cuts with Roy having fun with double entendres ("Making bacon down below") with vocal phrasing ala Elvis Presley. There's not even a mediocre track to be found here. Easily one of the best albums of 1998.

"I Got The T-Bone Walker Blues" (Groove Note 1999)

**** I'm sure Roy would be the first to admit there'd be no Roy Gaines had there been no T-Bone Walker. Of course that could be said of most electric blues guitarists. Gaines also has the distinction of playing with Walker and he obviously learned a lot. This record is remarkable in how Gaines completely captures the sound, style and spirit of Walker's classic recordings. Backed by a full band featuring the rhythm section from Rod Piazza's "Mighty Flyers" band (Steve Mugalian on drums, Bill Stuve on bass), plus tenor sax by Clifford Solomon and George Parker, Will Miller on trumpet and Andy Kaulkin on piano, Gaines nails T-Bone's "Stormy Monday", "T-Bone Shuffle", "The Hustle Is On" and "T-Bone Blues". He also throws in Hank Williams' "Honky Tonk Blues" as T-Bone would do it. The only drawback is it's too dead on right! Gaines naturally sounds a lot like Walker vocally but thankfully does not strain to sound exactly like him.

"New Frontier Lover" (Severn 2000)

**** Now on Severn Records Roy unleashes another excellent Texas blues n' soul platter with a full horns and a flawless rhythm section. The title cut is a stomping, funky, rolling blues with some braggadocio from Roy set in pioneer times. The song was written with Rick Masten. He and Gaines composed the song (along with "Hind Ends & Elbows") in 1963 when Gaines was in Monterey Peninsula College. Gaines rewrote the song for inclusion here. Meanwhile, former manager Audrey Williams (widow of Hank) gave Roy perhaps the centerpiece this album, "The World's Biggest Fool". Roy's singing is on display here. Rewriting the song in the blues format he tears into it like a starving man into a steak. Later Roy's got the slow blues in a bar drinking "whiskey, wine and beer" because his woman dumped him for a "Texas Millionaire". As that song fades the pumping "Double Dealin' Woman" begins with Roy shedding his broken heart and talking tough to what may as well be the same chick. The song also features a ripping guitar solo. Another Grade A track is "W.C. Handy Sang The Blues", a tribute to the legend who is credited as the father of blues music.

Roy Gaines & Mitsuyoshi Azuma "Guitar Clashers From Tokyo" (P-Vine 2000)

*** Curious session recorded with Japanese blues artist Mitsuyoshi Azuma during Roy's tour of Japan is mostly instrumentals featuring lots of crisp blues jamming from both men. Azuma's hoarse vocals are also better than expected on "Drinkin' Fool". Roy takes the mic on "Tokyo Woman" and "I'm Your Thing Shaker". Gaines fans will be pleasantly surprised.

"In The House: Live At Lucerne Vo. 4" (Crosscut 2002)

**** This is Volume 4 in an excellent series of "Live At Lucerne Blues Festival" CDs on Crosscut Records. Roy Gaines is a tremendous singer and a legendary guitarist..dubbed the "Blues Guitar Superman" by some. This live set includes 7 numbers not included on his studio albums! Such as "Wolfman", "Standing Up For Women's Rights", "Too Many Men", "New Orleans", "Petrol For Yer Tank", etc..It also includes smokin' versions of his own "Southern Woman", "Lucille Works For Me", "W.C. Handy Sang The Blues", & "Hind Ends & Elbows". Sure the playing is great, but what seals the deal is the pristine sound quality of this recording. Bravo! This is a must for true blues lovers. The band includes Billy Haynes on bass, Chad Wright on drums, Troy Jennings on baritone sax & Johnny Viau on tenor sax.

"The First TB Album" (Black Gold 2003)

** 1/2 The "TB" stands for "Total Blues" and Gaines' intent was to lay down a basic blues record with no frills. That he did and there's some cookin' moments like "Chicken Shack Boogie", "Every Saturday Night" & "Switcheroo" but there's also too many hoary covers like "Boom Boom" and "C.C. Rider" and "Baby Please Don't Go" . It's like hearing a good blues band at your local bar rather than the real Roy Gaines. Since Gaines can and has done so much better you'll pop this in your cd player once in a while hoping for that magic but it just disappears on the shelf when you put it back.

"Rock-A-Billy Boogie Woogie Blues Man" (Roy Gaines 2005)

*** Collection of Gaines' 1950's rock-a-billy and jump-blues boogie woogie tracks including "Skippy Is A Sissy", "Dee Dat Dee Dum Dum", "Isabella" and the original version of "Gainesville". The legendary King Curtis can be heard here as well.