Tom Ball & Kenny Sultan Biography by Char Ham
Although Tom Ball and Kenny Sultan are categorized as part of the acoustic blues revival period, reminiscent of Sonny Terry & Brownie McGhee, they inject fun themes into their repertoire, whether it's "No Money, No Honey," "Your Shoes Don't Fit," "Chicken a la Blues," "Your Mind Is in the Gutter," or "My Last Meal." Sultan's introduction to blues was via his brother's T-Bone Walker and Muddy Waters records, which he had brought back to California after a stint in Chicago. Sultan and his brother were regulars at the famed Los Angeles folk/blues club the Ash Grove, where they watched and met Lightnin' Hopkins, John Lee Hooker, and Sonny Terry. During Sultan's teen years, he played electric guitar in garage-style rock bands, then moved to Santa Barbara to attend the university and earn a degree in black studies.
Ball, too, was a regular at the Ash Grove, although the two never met there. Inspired by the '60s folk revival, he took up guitar at age 11, then three years later learned to play harmonica. From there, he played in Chicago-style blues bands. In 1978, he moved to Santa Barbara; a short time later, Ball noticed an ad for a gig where Sultan was playing blues and ragtime guitar. Ironically, Ball was nearby playing in a rock band, and asked his then-girlfriend (now wife) to take notes and observe Sultan. When her notes read, "He's got a great sense of humor, and he plays Gary Davis and Blind Blake, and he's a great guitarist and likes to drink beer," Ball knew he had to met Sultan. Immediately a partnership was forged, and they've been together since 1979.
Bloodshot Eyes
Their acoustic styles of blues, ragtime, and folk are like tossing fruit in a blender and creating a tasty, nutritious drink. In 1983, they released Who Drank My Beer? Moving over to the Flying Fish label, they released Bloodshot Eyes (1986), Too Much Fun (1990), and Filthy Rich (1993). Fleshing out their careers, they perform studio work, such as Levis 501 radio jingles; Ball played and sang in the Eddie Murphy movie The Distinguished Gentlemen. Another aspect of their careers is writing instructional books, such as Sultan's Introduction to Blues Guitar and Acoustic Blues Guitar, and Ball's Blues Harmonica. Ball released a solo album in 1996, Guitar Music, employing diverse styles from Bach to Blind Blake. That same year, Ball & Sultan released Double Vision, continuing what they love and know best: blues with a funny bone.
Tom Ball & Kenny Sultan – Confusion
Label:
Sonyatone – ST-1006
Format:
Vinyl, LP, Album, Stereo
Country:
US
Released:
1981
Genre:
Blues, Folk, World, & Country
Style:
A1 Confusion
Composed By – Brownie McGhee
2:55
A2 Tater Pie
Composed By – Sonny Terry
3:05
A3 Buck Dance
Composed By – Rev. Gary Davis
2:02
A4 Greyhound Blues
Composed By – Tom Ball (3)
3:00
A5 My Blue Belle
Composed By – Theodore Morse
Lyrics By – Edward Madden
1:46
A6 Five Long Years
Composed By – Eddie Boyd
5:19
B1 My Gal
Composed By – Traditional
3:43
B2 Wing And A Prayer
Composed By – Traditional
2:56
B3 Changed The Lock
Composed By – Traditional
3:55
B4 Dallas Rag/Harlem Rag
Composed By – Tom Turpin, Traditional
2:47
B5 Outskirts Of Town
Composed By – Casey Bill Weldon
4:26
B6 Can't Remember
Composed By – Tom Ball & Kenny Sultan
2:40
Design – Susan Mockenhaupt
Engineer – Peter Feldmann
Mastered By – Bob Gore
Photography – Larry Sultan
"Confusion", "Greyhound Blues", "Changed The Lock", and "Wing And A Prayer" recorded at Sonyatone Records, Santa Barbara, California, Sept 1980. Produced by Peter Feldmann.
"Outskirts Of Town" recorded at Contemporary Records, Los Angeles, California, Oct 1979. Produced by John Koenig. Used by permission.
All other selections recorded live in concert at Wimbledon Tavern, Santa Barbara, California, summer 1980. Produced by Peter Feldman.
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.