‘Blues Jumped The Rabbit’ is Williamson’s Latest Single
By DONNA BALANCIA
James Williamson believes that change is energizing.
“I like to collaborate with different people and this was a great opportunity,” said Williamson of his newest work with multi-talented musician Petra Haden, on their single called “Blues Jumped The Rabbit.”
“Blues Jumped The Rabbit,” taken literally on Williamson and Haden’s cover art, is believed to be originally recorded in 1926 as “Rabbit Foot Blues.” It received a new turn in 1970 by Bob Dylan collaborator Karen Dalton. The B-side of Williamson’s new vinyl is another interesting find, “Last Kind Words.” The single is out on iTunes and will be available on seven inch vinyl on August 19th.
Collaboration is the key for Williamson, a prominent player with Iggy and the Stooges, who says working with new people has been a great experience for him over the last few years.
Williamson’s become somewhat of a talent scout in the few years since the release of the last Iggy and the Stooges album, Ready to Die, in 2013. He seeks out collaborators, traveling around to find musicians that are suited for certain projects. Williamson is exacting about the talent he uses on his projects.
In most music lovers’ books, Williamson had already accomplished more than the average superhuman: He’s the co-creator of arguably the most revered American rock anthem of all time, “Search and Destroy.” As a member of Iggy and the Stooges, he basically introduced an entirely new guitar sound to music and lived a parallel life as an accomplished computer engineer and family man.
As for his music, there is more to Williamson than his vast work in the world of punk. With “Blues Jumped The Rabbit,” he puts out an interesting collaboration with violinist and vocalist Haden that has a unique bluesy feel and has a purpose.
The Charity Factor
“The fact of the matter is nobody buys records anyway,” Williamson said. “If we can get people to be aware of these charities, it’s great, it brings awareness of great causes.”
The money raised from the sale of the vinyl single goes towards the Tazzy Animal Rescue Fund in Burbank.
Williamson was impressed with Petra’s work on The Who Sell Out and he asked a Stooges pal for an introduction.
“I was so impressed with her, and then I found out Mike Watt knows her,” Williamson said. “I started using her on different things. I had her to something on Ready to Die. I liked her work on Ready to Die so much, she would do backing vocals and violin, I thought, she’s so good and so versatile I always though she should have a lead vocal.”
Historically, “Blues Jumped The Rabbit,” is an important song, recorded several times over the course of the 1900s.
As for the literal adaptation of the blues on the album cover, it came from an idea James had a while back.
“I saw this picture of a model with a rabbit on her head,” he laughed. “So I floated the idea by my artistic director, photographer Heather Harris, and she came up with the blue rabbit. It’s different.”
Re-Licked and Lisa Kekaula
Williamson’s made some other impressive moves into the collaborative world of independent musicianship.
He and Lisa Kekaula of the Bellrays released a single called “I Love My Tutu,” a release that benefits Project, Hawai’i, for homeless children in Hawaii, where Williamson lives part of the year. Kekaula was a prominent player in Williamson’s Re-Licked project.
Last year, Williamson released the album Re-Licked, bringing together alternative A-Listers in an award-winning one-off concert at The Bootleg in Los Angeles. He met with many musicians before finalizing the lineup for his Re-Licked recording.
Williamson relies on another Re-Licked musician, Joe Cardamone of Valley Recording for his projects. And Williamson’s son, Jamie, is also getting into music more and more — he was also involved in the collaboration with Kekaula. Williamson hinted that another single would be coming soon, this one an up-tempo original tune that he wrote with a young musician.
The award-winning computer engineer, who was honored in Washington, D.C., last year by the American National Standards Institute, Williamson has been realistic about his music career. There were times when it was not easy. And he balanced the unpredictable music business by starting a successful engineering career.
Though he thinks it’s even harder to make it in music today, relationships and persistence matter, Williamson says.
“The only game these days is playing live,” he said. “And of course live requires you to have enough recognition to get a gig … or at least get a break. In that sense it’s always been that way, however, no promotor wants to risk their money on an unknown because they’re in it to make money.
“But that said, the best avenue is to somehow get into an opening slot for free or whatever and kick some serious butt, such that the audience wants you back and the promoter takes notice. That’s the old school way, and it works, if you can survive long enough.”