THE FABULOUS THUNDERBIRDS - STRUCK DOWN BY THE BLUES

Kim Wilson, the charismatic frontman and harmonica virtuoso of the Fabulous Thunderbirds, has been a driving force in the blues and rock scenes for now fifty years. Known for his dynamic stage presence and soulful, gritty voice, he has not only led the T-Birds to international acclaim but has also carved out a distinguished solo career. His dedication to preserving the blues tradition while infusing it with contemporary energy has earned him a reputation as one of the genre’s most influential and respected figures. Blues Matters caught up with him at his home in California via technology to discuss his career and the new T-Birds release, Struck Down.

“I was a musician when I was nine years old a trombone player and a kind of a guitarist. I didn’t ever enjoy reading music unfortunately. But I had a good sound on the trombone, and my parents encouraged me to take music lessons. I was in third grade and then I wanted to be an

athlete, so that kind of went out the window! I remember taking private lessons when I was in fifth grade, then I had this fantastic teacher. He got me into sports, and I was into sports until I was seventeen. Then I picked up the harmonica and started getting into blues music with all of my friends in high school and, that was it, I was hooked.”

“I started playing with all the old guys, Eddie Taylor, Pee Wee Crayton. Johnny Shines and Albert Collins to name but a few. There was a guy named High Tide Harris. Eddie Taylor was a big influence and friend. I knew Eddie back up until he died, he was really a wonderful person. I remember this guy booked this show, thinking I was going to not play, and that was going to be the end of my career. It was early on, I was nineteen years old, maybe twenty. Eddie Taylor liked me, he called off all these songs that I kind of knew already, I think it impressed him. The next time Eddie came back, the guy didn’t hire me, so I went in. I had my amp in the car. I went in and said, hey, Eddie, how you doing? He said Where’s your stuff. I said I’m not on this show. He said, oh, yes, you are, that was the beginning just like they were all kind of beginnings. Albert Collins was a dear, dear friend of mine, and, uh. Hi. Tide Harris, I knew him. I don’t even know if he’s alive anymore. He would be in Japan and, Luther Tucker, he came to Austin, we had a band back in the early 70s.

So, I query, did life on the road take a toll?:

“Everybody was imbibing to the max at that time! We had fun, you know! But I had to give up the booze ,it was killing me, I’ve been sober for thirty-six years. I was tired and I already had mine and yours and everybody else’s drink! I did some stupid stuff, I remember falling off the stage with Big Walter, Eddie, Sunnyland Slim and Hubert Sumlin. Eddie was one of those guys that would carry on a conversation that had left off six months ago in Chicago. So were in Austin, and he started up again. So, I said I’m just gonna drink and listen to you guys. So, I guess Big Walter saw me out there, messed up, and he called me up. So, first thing that happened was I ran into his amp, the

I’ve Got Eyes: “This is kind of like a two beat, like the song The Hunter kind of thing, but a little faster.”

What You Do To Me: “That’s like a classic T-Bird track. We push the envelope a bit.”

“The beautiful thing about this CD album is the sound. Shelly Yakus, the mixer, is ‘the guy.’ My manager, Glen Parrish, knew him and insisted, ‘I gotta call this guy.’ Shelly emphasized mixing with emotion, transforming my all-analogue experience into a stunning modern digital recording. It’s really the best record we’ve ever made, in my opinion, especially as far as the modern stuff goes. I collaborated with Steve Strongman for this record. That was a stipulation of the record label Stony Plain Records, a Canadian label. I brought him down here from Canada. We were in my house for three days writing, we got five songs in three days. He came back for another three days. We got twelve. So, I guess there was a chemistry between us, we ended up writing seventeen songs. We kept ten. The only cover is, Memphis Minnie’s, Nothing In Rambling. That’s the one with myself, Bonnie Rait, Keb Mo, and Mick Fleetwood on.”

Do you have a songwriting process?:

“We both came in prepared, right, I have a bunch of stuff. He had a bunch of stuff, and we both kind of buffed out what the other guy had. I had the song Struck Down already and Payback Time. I had done a couple of versions of that. I recorded it one time on a self-released record. But, you know, no one ever heard it! He came in with a bunch of stuff, like the song. Don’t Make No Sense.

It was very much a collaboration. I was very thrilled that he enjoyed working with me and I enjoyed working with him. I’ve written with Steve Jordan and Danny Kortchmar, who are great writers. You know, it’s when you can bounce something off somebody else, that’s when you really get the best out of yourself. Bob Welch was a huge part of this he played piano, he played organ, he played guitar. All these guys are just unbelievable musicians. Johnny Moeller, incredible guitarist. Rudy Albin, he played with Brother Jack McDuff for six years. The young guy on the bass, Steve Kirsty just unbelievable musicianship. Unbelievable. The beautiful thing about them is that they’re happy to be there. You know, there’s not any kind of egos.”

Any future hopes?:

“Just keep doing what I’m doing. Just keep writing and recording a lot of different stuff. I may do some traditional stuff again and more original songs. Maybe even bring a horn section sometime.”

For further info see website: fabulousthunderbirds.com