How 'Smiley' got his nickname

Jim "Smiley" Lewis, left, got his nickname
when he was in the popular local band Home Sweet.
Other members of the early 1970's group were Marc Maga,
Dave Cass and Jim Reno.

By STEVE SEYMOUR

From the beginning of the genre, blues musicians have been tagged with such monikers as "Slim," "Blind" or "Big."

The late bluesman Jim D. Lewis, a native of Escanaba, had a nickname too.

Well- versed in rock, country, rockabilly and blues, the 57-year old Lewis died in 2005 after a four-decades long career.

The singer, songwriter and guitarist was known early on as "Louie," not a stretch considering his last name.

Born in Escanaba, where his parents owned a small grocery store, Lewis graduated from Holy Name High School in 1966.

First a drummer, the young musician performed in various bands, including Beat, Inc., the Trolls, Johnny Evil and the Spirits, Lexington Project, Electric Grandmother, Tongue and Lectric Mudd.

Lewis was still known as "Louie" on a concert poster promoting a solo performance at the Escanaba Junior High School Auditorium on Wednesday, Dec. 16, 1970.

By the early 1970s, however, some friends and fans began making the transition to calling him "Smiley."

Musician Marc Maga, frontman for the Billy Shears Band and a former Hermansville resident, says he knows how Lewis got the new label.

"It's a little known fact that I gave Jimmy his nickname 'Smiley,'" Maga told me.

Maga said he and Lewis were in the popular local band called Home Sweet.

"We were learning the song 'I Hear You Knocking,' by Dave Edmunds," Maga said.

The British rocker and leader of the band Rockpile enjoyed his only Top Ten hit with the song in 1971.

About a minute into Edmunds' single, the singer name-checks Fats Domino, Smiley Lewis, Chuck Berry and Huey Smith.

Home Sweet, which also included Dave Cass and Jim Reno, referenced the same musicians in their version of the classic song.

"I started calling him 'Smiley' and it stuck," Maga related. Years later, with the nickname firmly established, the Escanaba native even fronted a band called the Smiley Lewis Blues Combo.

"I Hear You Knocking" was originally a No. 2 rhythm and blues hit for a New Orleans-based musician called Smiley Lewis, back in 1955.

Huey "Piano" Smith can be heard playing a memorable keyboard solo on the recording.

Television star Gale Storm of "My Little Margie" fame also recorded the song in 1955 with her version reaching No. 2 on the pop chart.

Possessing a powerful singing voice, Lewis was born in DeQuincy, Louisiana in 1913 and given the name Overton Amos Lemons.

He died in 1966, never achieving the commercial success he deserved.

Now considered an R&B standard, "I Hear You Knocking" was composed by Pearl King and producer Dave Bartholomew, who also served as a songwriting partner to Fats Domino.

Domino, of course, came upon his nickname by virtue of his size, whereas his parents preferred the name Antoine.

As Fats Domino, he registered 65 chart hits between 1955 and 1964, including "Blueberry Hill," "I'm Walkin'" and "Blue Monday."

It seems the arsenal of many R&B and blues performers had room for a descriptive tag.

Take "Slim," for instance. There's Slim Harpo, Harmonica Slim and Magic Slim. How about Bumble Bee Slim, Lightnin' Slim or Memphis Slim. Don't forget Guitar Slim and Guitar Slim Jr.

"Little" is popular, too. Take Little Milton, Little Walter or Little Jimmy King.

Sightless musicians have had a significant impact. Let's count the achievements of Blind Lemon Jefferson, Blind Willie McTell and Blind Blake.

Need religion? Call on Rev. Gary Davis, Rev. Al Green or Rev. Solomon Burke.

Feeling poorly? Visit Dr. John, Dr. Ross or Doc Pomus.

Like something on the larger side? Think about Big Bill Broonzy, Big Joe Turner or Big Joe Williams. Or consider the ladies: Big Mama Thornton, Big Maybelle or Big Time Sarah.

A number of musicians put their home state and a bit of a spelling test in their name: M-i-s-s-i-s-s-i-p-p-i John Hurt, Mississippi Fred McDowell and Mississippi Joe Calicott.

Some of the biggest stars in blues are barely known by their birth names. Muddy Waters was born McKinley Morganfield and Howlin' Wolf was first known as Chester Burnett, for example.

B. B. King, born in Berclair, Miss. on Sept. 16, 1925, has worn his nickname well.

You know B. B. for "The Thrill Is Gone," dozens of classic albums and countless live appearances around the world for over the last six decades.

Today he's the world's most famous blues star, recognized as the "King of the Blues."

He was named Riley after an uncle who disappeared as a child. The name was originally spelled Rileigh. King wasn't given a middle name, just the initial B.

In the years after World War II, King found himself working at WDIA in Memphis, a powerful 50,000 watt radio station broadcasting programming for black listeners. King drew inspiration from their extensive library of blues and jazz recordings.

King wrote about the era in his autobiography, "Blues All Around Me."

"All the deejays had nicknames, so they started calling me the Beale Street Blues Boy. That was three B's, and it was a mouthful. Soon I was getting letters to just the Blues Boy. From Blues Boy it was shortened to Bee Bee, and then B. B. Close friends clipped it off to just B."

Nicknames can tell revealing stories, whether they're about B. B. King, Escanaba's Jim "Smiley" Lewis, or dozens of other blues performers.

Songs recall Fitzgerald tragedy

Gordon Lightfoot's "Wreck of the Edmund Fitzgerald"
still evokes strong emotions in people who remember when
the ore carrier sank in 1975, claiming the lives of all
29 crewmen.

By STEVE SEYMOUR

Gordon Lightfoot's "Wreck of the Edmund Fitzgerald" may the greatest song about the greatest maritime mystery on the Great Lakes, but it wasn't the first one.

Millions remember Lightfoot's tribute song, which first charted on Aug. 28, 1976, nine months after the giant ore carrier sank on Nov. 10, 1975 with the loss of all 29 crew members.

Fewer may recall "Twenty-Nine More Men," by Charlie Frederick, an earlier salute to the crew of the doomed vessel.

A native of West Virgina, Frederick learned to love music after his mother gave him a guitar when he was 12 years old.

By the mid 1970s, Frederick was living in Minnesota where he worked as an assistant professor at the Duluth campus of the University of Minnesota.

He spent time watching freighters, such as the Fitz, which on this ill-fated trip was transporting 26,000 tons of taconite from the mines of Minnesota to a steel mill on Zug Island, near Detroit.

Frederick's ears immediately perked up when he heard news that the 729-foot Fitz had sunk about 17 miles from Whitefish Bay during a vicious Lake Superior gale.

The carrier suffered under winds reaching 80 miles an hour and waves up to 25 feet high, before descending to its watery grave.

"I followed the events as they were being reported by television reporters. I was simply overwhelmed by the news," Frederick said.

The Detroit News reported the story under the banner headline: "Freighter sinks; crew of 29 is hunted in Lake Superior."

"Over the next three days, I began writing the song, which would later be recorded in Nashville," the musician explained.

Frederick composed and performed "Twenty-Nine More Men," which he gave a country-music treatment.

"Great Lakes storms are wild and mean; they've conquered men before," he sang.

While Frederick wrote a moving tribute to the victims of the Fitzgerald tragedy, his song paled in comparison to the impact of Lightfoot's track.

"Wreck of the Edmund Fitzgerald" spent 21 weeks on the pop music chart in the fall of 1976, including two weeks at No. 2. It was kept from the top spot by Rod Stewart's "Tonight's the Night."

Lightfoot's majestic song stirred people's emotions and has remained a staple on radio.

The song was nominated for a Grammy as Song of the Year, but lost to "I Write the Songs," by Barry Manilow.

Over the years other acts have interpreted Lightfoot's classic tune.

Indianapolis-based Simon Barr Sinister recorded a heavy-metal version which made the playlist at a number of stations in the Great Lakes area, including WIMK-FM in Iron Mountain.

The band consisted of Donnie Saint Thomas (lead vocals, keyboards), Richie Wilkerson (electric and acoustic guitars, vocals), Bo (bass) and Dan "Taz" Devlin (drums, percussion, vocals).

Named after the main antagonist in the 1960's cartoon show "Underdog," the group has released two extended play discs and a full-length CD.

"Advance CD" was issued in 1995, "Unmastered" was released in 1997, while the 13-track "Simon Barr Sinister" appeared in 2003.

Knowing what their fans wanted to hear, all three compact discs contained the group's hard-rock arrangement of "Wreck of the Edmund Fitzgerald."

Portland Oregon's Dandy Warhols, on the other hand, recorded a notable version on their "Come On Feel the Dandy Warhols" album.

Lightfoot's classic narrative has special meaning to the band since lead singer Courtney Taylor-Taylor was a cousin to 37-year-old Michael E. Armagost, who died in the sinking.

A resident of Iron River, Wis., Armagost was third mate on the Fitz, which was named after a Milwaukee ship builder.

The Dandy Warhols recorded a second, psychedelic version of "Wreck of the Edmund Fitzgerald" for their "Black Album."

Canadian band Clay recorded their take on the song for their debut full-length album, "Marigolds & Zenia."

Fellow Canadians the Tragically Hip played the number in an encore in Cleveland, although it isn't on any of their albums. Located on Lake Erie, Cleveland was the home base of the Oglebay Norton Co., Columbia Transportation Division, which operated the Fitz.

An act called Brigid's Cross even recorded a Celtic version of Lightfoot's masterpiece.

Virginia-born musician Tony Rice has issued a 17-track compilation of Lightfoot material, including an acoustic "Wreck of the Edmund Fitzgerald," complete with his trademark bluegrass pickin'.

Lightfoot's original 5-minute and 30-second recording was first included on his "Summertime Dream" album.

The record featured Gordon Lightfoot (lead vocals, 12- and six-string guitar), Terry Clements (lead acoustic and electric guitars), Rick Haynes (bass), Pee Wee Charles (steel guitar) and Barry Keane (drums and percussion).

Lightfoot was born in 1938 in Orillia, Ontario, Canada and began showing his musical abilities at an early age.

He first recorded for the Chateau label in 1962 and signed to Reprise Records in 1970. The folk singer's only American No. 1 hit was "Sundown" on June 29, 1974.

"Wreck of the Edmund Fitzgerald," meanwhile, reached its sales and airplay peak about the time of the first anniversary of the tragedy in 1976.

Now immortalized, Lightfoot's words continue to echo across the years.

"The legend lives on from the Chippewa on down, of the big lake they call Gitche Gumee...."

Fame eluded rock band Up

Rock band the Up issued their first 45 rpm
single, "Just Like an Aborigine," in 1970. Although
they shared the stage with the MC5, the Stooges and
other well-known groups, fame eluded them.

By STEVE SEYMOUR

Pals with the Motor City 5 (MC5) and the Stooges, Michigan rock band the Up didn't achieve the acclaim their cohorts did.

Although they played at the same 1968 concert which earned recording contracts for their two fellow bands, the Up weren't signed.

Formed in Detroit, the Up consisted of Frank Bach (originally Franklin Dedenbach), lead vocals; Bob Rasmussen, lead guitar; Gary Rasmussen, bass; and Vic Peraino, drums.

The band performed regularly at Grande Ballroom, owned by Russ Gibb, where Bach had served as announcer and stage manager.

Early on in their career, the Up played songs by British Invasion groups such as the Kinks and Yardbirds, but they greatly admired the MC5.

Gibb worked with political activist and MC5 manager John Sinclair to book rock acts into his venue, located at 8952 Grand River Ave. in Detroit.

Sinclair's brother Dave served as the Up's manager and booked one of their earliest gigs at the Grande on Saturday, July 22, 1967 where they opened for Tim Buckley and the Shaggs.

Coincidentally, as rock fans were making their way home after the show, Detroit's 1967 race riots began with a police raid on an after-hours bar.

In the aftermath of the violence, the Up abandoned the city for Ann Arbor in the spring of 1968.

Along with John Sinclair and his Trans-Love Energies commune, the Up moved to 1520 Hill Street, near the University of Michigan.

Drummer Peraino didn't make the move and was replaced by Scott Bailey.

The Up returned to the Grande on Saturday, Sept. 2, 1968 to perform on a bill with the Amboy Dukes, featuring Ted Nugent, and the MC5.

On Sunday, Sept. 22, 1968, they joined with the MC5 and the "Psychedelic" Stooges at the Union Ballroom on the university campus in support of a children's community school. It was at this show that representatives from Elektra Records decided to offer recording contracts to the MC5 and the Stooges, featuring vocalist Iggy Pop.

Although the signings boosted Michigan's counterculture, John Sinclair, who founded the radical White Panthers, became a target of the "establishment."

Sinclair was found guilty of possessing two marijuana "joints" on July 25, 1969 and three days later was sentenced to ten years in prison by Judge Robert J. Columbo.

Even before Sinclair was convicted, the Eastown Theater in Detroit hosted a "Salute to John Sinclair" on Sunday, July 13, 1969. Entertainment included the MC5, Stooges and the Up.

The Grande Ballroom was the location for a "Free John Sinclair" benefit held on Saturday and Sunday, Jan. 24 & 25, 1970. Taking the stage were the SRC, MC5, the Up and the Stooges.

The Up finally released their first 45 rpm single in 1970, produced by Dave Sinclair.

Recorded "underground" in Ann Arbor, "Just Like an Aborigine," an original group composition, was issued as Sundance 22190 in April.

Bach sang the song's urgent message: "Let's put an end to this destruction, what we need is a new revolution." Bob Rasmussen added a high-energy guitar break to the track.

The disc boasted a sleeve picturing the Up on one side and an utopian statement from Sinclair, then a self-described "Prisoner of War, Marquette Prison," on the reverse.

"'Just Like an Aborigine' is the song of the post-Western cultural (human) revolution, which is to say the song of our lives," Sinclair wrote.

"I haven't heard the music on this record, I just know the words, and I know the band like I know my own brother, in fact these men are my brothers and they are your brothers too," the imprisoned Sinclair noted.

The record's flipside, "Hassan I Sabbah," was recorded and mixed at SRC Studios in Ann Arbor.

Another group effort, the song is about a band of assassins living in the hills above a city in Persia in ancient times. When the rulers would mistreat the people, Hassan and his men would swoop down and defend the community.

Although the Up moved away from Detroit, they continued to perform at the Grande, which featured many well-known acts, including the Who, Pink Floyd, Grateful Dead and Janis Joplin.

When Joplin died of a drug overdose on Oct. 4, 1970 at the age of 27, Bach, the Up's singer, was devastated.

He expressed himself in a poem, "It Just Can't Be," which also lamented the drug-related deaths of Jimi Hendrix and Al "Blind Owl" Wilson of Canned Heat.

The poem's title came from a line in "I Need a Man to Love," which Joplin recorded with Big Brother and the Holding Company.

The Up continued to work for Sinclair's cause, performing at the Grande with Detroit, featuring Mitch Ryder, and Commander Cody on Wednesday, Sept. 15, 1971. The concert/dance was a benefit for the John Sinclair Freedom Fund.

Then on Sept. 20, the Up traveled to Morgan Sound in Ypsilanti to mix a new song for release as a single.

"Free John Now," contained lyrics urging authorities to release Sinclair. "All the people smoke marijuana, we can't let them push us around," Bach sang.

The disc's flipside, titled "Prayer for John Sinclair," was a spoken word piece by poet Allen Ginsberg. The two recordings were issued as Rainbow 22191.

Efforts to free Sinclair reached a peak with a well-publicized rally on Dec. 10, 1971 at the University of Michigan's Crisler Arena.

An estimated 15,000 people attended the affair which also featured a rare appearance by John Lennon and Yoko Ono. John & Yoko, backed by David Peel and the Lower East Side, performed Lennon's "John Sinclair" for the crowd.

Joining the Lennons were Commander Cody, Bob Seger, the Up and radical figures Jerry Rubin, Rennie Davis and Bobby Seale.

The Up came armed with complementary copies of "Free John Now" to distribute to the assembled masses.

Just three days later, Sinclair was released from Marquette Branch Prison on a motion from the Michigan Supreme Court, which declared the state's marijuana law invalid. Sinclair served 29 months of his term.

By this time, the Up's days were numbered.

They performed one of their last gigs at the newly opened Columbus, Ohio, branch of the Agora Theater on Sept. 26, 1972. A number of the songs they played were taped, including the originals "Together," and "Never Say Die," as well as "Train Kept A-Rollin'," written by Tiny Bradshaw, but made famous by the Yardbirds.

Those live tracks, songs from their two 45s and other rare recordings were finally issued on compact disc in 1995 when John Sinclair's Total Energy Records released "Killer Up! 1969-1972."

Their songs are just as raw, just as revolutionary, just as thought-provoking as anything recorded by the MC5 or the Stooges.

Unlike their comrades, however, the Up had to wait decades for an album's worth of material to appear.

The story of the Up is one worth noting, reflective of the tumultuous era in which it emerged.

Their retrospective CD, meanwhile, has fallen out of print.

Jones still integral to Foreigner

Guitarist Mick Jones, 65, showed his chops
during a Foreigner show at the Island Resort and
Casino.

By STEVE SEYMOUR

Foreigner charged through a pair of hits-filled shows during a recent Upper Peninsula stop, relying heavily on the lead guitar work of founding member Mick Jones.

The popular rock band performed the concerts at Island Resort and Casino's showroom in Harris on Feb. 26 and 27.

The 65-year-old Jones is the only member of the original band still performing with the group, founded in 1976.

Fans know Jones is not to be confused with a musician of the same name who served as lead guitarist of the Clash, a British punk band.

Besides Jones, the current line-up consists of Kelly Hansen (lead vocals), Thom Gimbel (rhythm guitar, keyboards, sax and flute), Jeff Pilson (bass), Michael Bluestein (piano) and Brian Tichy (drums).


From left: Pilson, Bluestein, Hansen, Jones, Tichy and Gimbel.

Hansen was formerly frontman for Hurricane, while Pilson played bass for heavy metal bands Dokken and Dio.

Originally comprised of a sextet of British and American musicians, Foreigner was signed by Atlantic Records.

The combo has sold an estimated 70 million albums worldwide and registered 14 Top 40 singles in the United States from 1977 through 1988.

While the band has had numerous personnel changes over the years, including the departure of lead singer and songwriter Lou Gramm, the local audience didn't seem to mind.

Foreigner launched their program with the rocker "Double Vision," a No. 2 hit for the group in the fall of 1978.

Singer Hansen pranced around the stage in Mick Jagger-like fashion, giving the song an extra measure of energy.

Jones delivered several awe-inspiring lead guitar solos during "Head Games," drawing cheers from the audience. "That guy can really play," one fan remarked.

"Head Games" gained heavy airplay in late 1979 and propelled sales of the album of the same name.

Hansen told the crowd the band flew in from New York City amid bad weather to make the Friday gig. Not surprisingly "Cold As Ice" was slotted next on the setlist.

Jones played the distinctive opening keyboard notes.

The 48-year-old Hansen, meanwhile, climbed through a row of seats in the middle section of the theater, high-fiving fans.

Much of the audience stood to applaud the performance.

Foreigner followed with the power ballad "Blue Morning, Blue Day," which reached No. 15 in the early months of 1979. Jones impressed the crowd with another outstanding guitar solo.

The ballad "Waiting for a Girl Like You" came next. The song was a gigantic hit for the group, registering at No. 2 for 10 weeks, but failing to reach the top spot.

The band followed with another ballad, "When It Comes to Love." The number was included on their most recent album, "Can't Slow Down," which was released only at Wal-Mart in the fall of 2009.

Foreigner picked up the pace again with a thunderous take on "Dirty White Boy," the audience singing along. Tichy's drumming was especially effective on the song, originally a hit from in 1979.

The 41-year-old Tichy frequently tossed his drumsticks into the air while playing, rarely failing to catch them on the way down.

Jones introduced "Starrider," which he co-wrote for the group's first album. The guitarist also assumed lead vocals for the song which included suitably spacey use of Foreigner's elaborate light show. Gimbel added a touch of flute to the proceedings.

"Starrider" actually failed as the group's second single but worked impressively in the context of a live show.

The rocking "Feels Like the First Time" followed. The number was the first tune Jones ever wrote and became a No. 4 hit when issued as the debut Foreigner single in 1977.

Another Jones-penned song followed as the band attacked "Urgent," a No. 4 smash in 1981. The studio version featured a sax solo by famed R&B performer Jr. Walker, famous for "Shotgun" and "What Does It Take (To Win Your Love)."

For the concert version, Gimbel recreated Walker's blazing solo, dropping to his knees at center stage for emphasis. Fan cheered.

Pianist Bluestein and Tichy enjoyed some time in the spotlight prior to the band's take on "Juke Box Hero." A few lines from Led Zeppelin's "Whole Lotta Love" were tossed in for good measure.

The Zep tune was added to Foreigner's setlist in 2005 when Jason Bonham, son of Led Zeppelin's John Bonham, convinced Jones to reform the band.
The young Bonham also drummed for Foreigner before quitting in 2008.

Foreigner saved their greatest achievement for the encore. They pulled out all the stops for the gospel-flavored "I Want To Know What Love Is," a track on the "Agent Provocateur" album, released in 1984.

The original recording featured the New Jersey Mass Choir and Jennifer Holliday on backing vocals.

In concert, fans sang along as Jones played keyboards on the chart-topping number he composed.

The concert ended in rocking style with the band performing "Hot Blooded," a broadcast staple from 1977.

Equally adept at singing ballads or wailing on rockers, the charismatic Hansen kept the audience's attention throughout the evening.

In addition, Pilson moved about the stage adding his energetic bass playing to the show.

Needless to say, the Foreigner show concentrated on their radio-friendly hits which were performed in a high-energy atmosphere.

Despite an enviable list of recognizable material, Foreigner issued just nine studio albums since their self-titled debut LP appeared in 1977.

In fact, all but two of the evening's songs came from Foreigner's first four albums: "Foreigner," "Double Vision," "Head Games" and "4."

Somehow, Atlantic Records has marketed Foreigner material into 11 different greatest hits packages over the years, the most recent being a two CD set entitled "No End In Sight: The Very Best of Foreigner."

While Foreigner's "hit" period is clearly in the past, Jones proved on stage that he can still rock with the best of 'em.

As the group's 35th anniversary approaches, Foreigner continues to evolve as a viable concert attraction with Mick Jones confidently at the helm.

Hammond charms blues crowd

Veteran bluesman John Hammond entertained fans at
the Terrace Bay Inn on Feb. 25 during an event sponsored
by Blues for a Cause to benefit the Delta County Cancer
Alliance.

By STEVE SEYMOUR

John Hammond wove stories and songs into an intriguing personal history of his life in the blues during a Feb. 25 concert in the Upper Peninsula.

The bluesman played before 150 fans at Gladstone's Terrace Bay Inn at an event organized by Blues for a Cause, with proceeds benefiting the Delta County Cancer Alliance.

Working without a setlist, Hammond performed blues classics and original material dating from his self-titled 1962 debut album on Vanguard Records to "Rough & Tough," a 15-track compact disc released by Chesky Records in 2009.

Born in New York City, and raised by his mother after his parents split-up, Hammond discovered the blues in the late 1950s.

He tours extensively from his New Jersey base, and has worked to keep the songs of blues pioneers in the public consciousness.

With a catalog of more than three-dozen studio albums, Hammond told the crowd: "I've got a whole bunch of songs, so I'm just going to play what I feel like."

Armed with an acoustic guitar and harmonica, Hammond opened with "I'm Just Your Fool." The song was written by Little Walter Jacobs, widely regarded as the greatest harp player to emerge from Chicago in the postwar era and a great influence on Hammond.

Eyes clinched, Hammond seemed to channel the spirit of Jacobs, who died after a street fight in 1968 at the age of 37.

Next, Hammond turned to "Heartache Blues," a selection he wrote for the compact disc "Push Comes to Shove," issued in 2007.

"I got an ache in my heart, as sad as I can be," Hammond lamented, adding some mournful harmonica to the mix.

Hammond told the audience about being moved as a teenager by music he heard late at night on powerful Nashville radio station WLAC. Harking back to those years, he played "The Mean Old Lonesome Train."

The down-home country blues number was written by Lightnin' Slim, a master of Louisiana-style blues.

Finishing that song, Hammond switched to his National steel guitar, manufactured in 1935. "This was the loudest guitar you could buy before the electric guitar wiped it out," Hammond told the audience.

He then demonstrated his expertise on the instrument with "Walkin' Blues" and "Come On In My Kitchen."

Both songs were written by legendary Robert Johnson, who died on Aug. 16, 1938, apparently poisoned by a jealous husband.

Hammond was so taken with the mythic figure that he recorded an entire album of Johnson material, including his two concert selections, for Vanguard Records in 2003.

Actually, Hammond discovered Johnson's music as a young man and taped "Crossroads Blues" for his eponymous first album.

In fact, Hammond's father, a talent scout and producer for Columbia Records, launched a futile attempt to sign Johnson for a "From Spiritual to Swing" concert at Carnegie Hall on Dec. 23, 1938, but the bluesman was already deceased.

Hammond returned with an original song, "You Know That's Cold," another track from the "Push Comes to Shove" CD.

Delving into the past, Hammond told the audience about picking-up an album of country blues on the Folkways label in 1957 and discovering such blues greats as Leroy Carr, Blind Boy Fuller and Blind Willie McTell.

Hammond played a medley of McTell songs, including "Love Changing Blues," in tribute.

Explaining he knew 400 songs early in his career, Hammond said he never felt the need to compose his own material. "A few years ago, my wife Marla said: 'Why don't you write a few songs for your next album? Maybe you could make some extra money.' Before you know it, I'd written eight songs."

Returning to his acoustic guitar, Hammond then performed one of them, "Come To Find Out," which was included on the 2005 CD "In Your Arms Again."

Recalling his early years as a student at Antioch College in Yellow Springs, Ohio, Hammond said he discovered "school wasn't the best place for me."

Consequently, he left for Chicago where he met Michael Bloomfield, one of the first white guitarists to make a mark in the blues. Bloomfield took Hammond to Maxwell Street, then a blues mecca, to see Sleepy John Estes and harmonica player Hammie Nixon perform.

Hammond supported the story with Estes' "Someday Baby Blues."

Continuing, Hammond recounted seeing Sonny Boy Williamson II, another great Windy City harp player, perform at Silvio's. Williamson didn't appear on stage with his band, but from a table, surrounded by three women. "I was mightily impressed," Hammond said, before playing Williamson's "Fattening Frogs For Snakes."

Saluting another legendary Chicago bluesman, Hammond performed a number by Jimmy Rogers, "That's Alright." Hammond, who played with many blues greats, recalled touring Canada with Rogers.

Now 67, Hammond followed with the first song he ever wrote, "Slick Crown Vic." The song is about the 1955 automobile he owned as a 19-year-old aspiring bluesman in Los Angeles.

Hammond recognized another influential blues figure with "One Kind Favor," by Blind Lemon Jefferson. Also known as "See That My Grave is Kept Clean," Hammond recorded the tune on his first LP and taped another version with the Blind Boys of Alabama years later.

Giving a tip of the hat to Big Joe Williams, Hammond played his National steel guitar for "Drop Down Mama." Hammond related that in exchange for driving him to gigs around Chicago, Williams let him play harmonica at the shows.

Hammond then revisited his most recent CD for "It Hurts Me Too," a track penned by Tampa Red, also known as Hudson Whittaker.

Next, Hammond played "I Wish You Would," by Chicago harpist Billy Boy Arnold. Hammond recorded the song for his 1976 album, "Solo."

Hammond closed the show with "No One Can Forgive Me But My Baby," written by Tom Waits. The track is from the album "I've Got Love If You Want It." In 2001, Hammond released "Wicked Grin," an entire album of Waits' songs which proved to be a very successful collaboration.

With his expressive vocals, powerful, yet precise guitar-playing and evocative harmonica fills, Hammond commanded the audience's attention throughout the evening.

They rewarded him with a standing ovation.

After the concert, Hammond signed autographs and casually chatted with fans, showing why he's a tireless spokesman for the blues, on-stage and off.