Blue Music Magazine, The Last Shot Got Him Review

SCOTT AINSLIE
The Last Shot Got Him/Cattail Music

cd cover: The Last Shot Got HimBrattleboro, Vermont-native Scott Ainslie is a country bluesman of the highest order. Armed with only his superb voice and a 1930s era Gibson L-50 archtop acoustic, Ainslie deftly weavs his way through these fourteen tracks that include one original (“Late Last Night”) along with outstanding renditions of songs by Mississippi John Hurt, Robert Johnson, Irving Berlin, Oliver Wallace & Ned Washington, Reverend Gary Davis, Fats Waller, and Yip Harburg & Harold Arlen.

At times on The Last Shot Got Him, Ainslie’s sound will remind listeners of the great acoustic bluesman, Keb’ Mo’. But make no mistake, Ainslie is his own man and makes no concession of trying to emulate Keb’ Mo’. It is only their style and delivery that parallels one another’s.

Ainslie has a love for the song crafting of Mississippi John Hurt, and it is these songs that he chooses to cover most frequently. On the album opener, Ainslie enlists a fretless gourd banjo to recreate the vibe and humor of Hurt’s “The First Shot Missed Him.” Other standouts include the masterfully picked and sung “Avalon Blues,” the high steppin’ jaunt of “Let The Mermaids Flirt With Me,” the uplifting “Sally Whiskey,” the sweetly executed “Honey, Right Away,” the sunny “Monday Morning Blues,” the expressive “Late Last Night,” and the beautifully performed “Over The Rainbow.”

Scott Ainslie is a veteran touring pro who is frequently found performing in venues up and down the East Coast. With a warm, affable persona, and a wealth of musical knowledge, I highly recommend checking him out when he comes to a town near you. You won’t be sorry.

Brian M. Owens
   Blues Music Magazine, Issue Number Seven

Last Shot Got Him: Jazz & Blues Report Review 8/2015

cd cover: The Last Shot Got Him

“The Last Shot Got Him” is a project by Vermont singer/songwriter, guitarist/historian Scott Ainslie that was put together over the love of an instrument. The guitar in question was a unique 1934 Gibson archtop, which a friend played for Ainslie.

The material on the disc all dates from 1928-1941 with the exception of the Ainslie original “Late Last Night” from 2008, which is based on the Russian invasion of the country Georgia. That tune, though, has the feel of one from the 1930’s and blends in with the rest of the material.

While a lot of “The Last Shot Got Him” are blues tunes per se, some like Irving Berlin’s “Say It Isn’t So” (made famous by Sippie Wallace) have more Broadway in their roots. Delightful is the remake of “When I See An Elephant Fly” from the 1941 Walt Disney movie “Dumbo.” Included are Robert Johnson’s “Cross Road Blues” (or, as you Cream fans know it, “Crossroads”) and Johnson’s “Love In Vain.”

Closing out the proceedings is a heartfelt version of “Over The Rainbow” from “The Wizard Of Oz.” While it won’t make anyone forget Judy Garland (to tell the truth, nor Livingston Taylor’s stab at it), it is great hearing this magical tune (which the stupid suits at MGM almost left out of the flick until saner, smarter voices prevailed).

Mostly done with just Ainslie’s voice & the acoustic guitar (exceptions being the banjo added on “First Shot Missed Him” & “Honey Right Away),” it boils down to if you like old time country blues, you are really going to like “The Last Shot Got Him.”

Jazz & Blues Report, Now In Our 41st Year, July/August 2015 Issue

It’s Gonna Rain – The Louisiana Connection

It’s been ten years.

In June of 2005, blues singer and guitarist Scott Ainslie wrote his remarkable song, “It’s Gonna Rain.” A rhythm and blues song about love lost in southern Louisiana, it was a poetic and lyric evocation of the culture where “people drag themselves to the graveyard,” as Ainslie often says, “and dance their way home.”

Six weeks later Hurricane Katrina hit. It scraped the Gulf Coast clean. The levees failed in New Orleans, inundating the Lower 9th Ward and creating a modern day diaspora out of the city that has only partially been reversed. That was ten years ago this August.

Overnight, without changing a word, “It’s Gonna Rain” became a song – not about losing somebody – but about losing a city.

“And for my money,” Ainslie says, “one of the coolest cities in the world. A place where people follow the band down the street in what they all the ‘Second Line;’ where people don’t just tolerate differences – they celebrate them! New Orleans has always given America more than its taken. This song is for them.”

Playing with Branford Marsalis and Joey Calderazzo in a benefit performance for the North Carolina Symphony in Raleigh three years ago, “It’s Gonna Rain” brought the house down. For Marsalis, born near Bayou Teche, a native of Breaux Bridge, raised in the music of New Orleans, the song was a natural fit.

“Playing that particular song with Branford and Joey was a dream come true for me. I’d spent years working and making lifelong friends in Breaux Bridge and Lafayette, LA,” Ainslie says. “I was channeling that when I wrote the song: the Spanish Moss hanging in the Live Oaks, the cotton wood trees, the smell of the rain on the streets. It’s all there.

“I just didn’t know how much the meaning of the song would shift when the levees failed in New Orleans – levees that repair money had been appropriated for by the Clinton Administration. The George W. Bush administration wouldn’t release the funds. There were something like 143 editorials in the Times-Picayune in the years before Katrina hit, begging the Federal government to release the money to repair those levees.”

Expressing a sentiment with which devotees of the blockbuster cable TV series Treme (on the post-Katrina Lower 9th ) will be familiar, Ainslie quietly notes, “This wasn’t a natural disaster. The worst of the storm had past when the levees failed. This was an unwitting, but very real political assassination of a largely black, democratic city. Call it what it was.”

And Ainslie’s latest CD, The Last Shot Got Him (Fall-2014), is entirely recorded on a little arch top 1934 Gibson from Louisiana.

“The guitar came to me from Linda Handelsman, a fine composer, arranger and musician who lived in Lafayette at the time. I played three chords on it and it sounded more like Robert Johnson’s recordings than any other instrument I had ever touched. It was made when Johnson was 23.

“The voice of this little Louisiana guitar was perfectly suited to the music of its time. So, I let it choose the songs for The Last Shot Got Him: Mississippi John Hurt, Robert Johnson, Rev. Gary Davis, as well as Yip Harburg and Harold Arlen, Irving Berlin, and Fats Waller. It’s a lovely instrument,” Ainslie says, “that came to me from one of my favorite places in the world.”

“Without planning it, I’ve become sort of an informal ambassador, an advocate for New Orleans and south Louisiana. I have friends who left and went back, as well as friends who left and won’t ever go back. The 2005 hurricanes, then the Deep Water Horizon explosion and Gulf oil spill have kept the troubles of Louisiana close at hand for me.”

Ainslie says, “Keeping all this in mind, I raise my voice and sing the blues.”

The Feral Crow

cd cover: the feral crow by scott ainslie©1999, Scott Ainslie

I’m gonna blow off the top of this mountain
And fill up the valley below.
Before we get done, the dust will block out the sun
And we’ll peel back the layers of coal. Continue Reading

Exit 178

cd cover: the feral crow by scott ainslie©1997, Scott Ainslie. All rights
reserved.

I found you burying your face, like a boy who cries:
Ragdoll legs and broken arms, one shoe off and one shoe on.
Rain trickles inside the collar: Yellow slicker, 3:00 a.m.
Silent, skewed and thickening—-I touch your shadow with my hand. Continue Reading

Dust My Broom

cd cover: thunders mouth by Scott Ainslie(Robert Johnson)

I’m gonna get up in the mornin’ – I believe I’ll dust my broom.
I’m gonna get up in the mornin’ – I believe I’ll dust my broom.
Girlfriend, that man you been lovin’, tell him he can have my room. Continue Reading

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