#tulsa sound

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Mural Process

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Mural Process

[paulmusicblog]

J. J. Cale Influences: A Quiet Revolution in Blues and Beyond

Blues fans know J. J. Cale as a musical enigma—a man whose understated style reshaped entire genres. Yet, many casual listeners might not even realize how far his influence extends. How does someone so soft-spoken and private leave such an indelible mark? Let’s dig into the rich tapestry of Cale’s inspirations and his subsequent impact on music.

The Roots of J. J. Cale’s Style

Cale didn’t just happen—his sound was built on the shoulders of giants. Growing up in Tulsa, Oklahoma, Cale soaked in the sounds of legends like Chet Atkins, Les Paul, and Chuck Berry. The fingerprints of these trailblazers are all over his unique, laid-back style. According to his biography, Atkins’ fingerpicking and Les Paul’s innovations with electric guitar recording deeply resonated with young Cale.

Rock and roll was another bedrock. “My first influences were Scotty Moore and Elvis Presley,” Cale was quoted as saying. It’s easy to see how the rockabilly swagger of Presley’s guitarist, Scotty Moore, seeped into Cale’s DNA. He blended these diverse elements into something entirely his own—a subtle form of storytelling carried by bluesy riffs and an effortless drawl.

The Birth of The Tulsa Sound

J. J. Cale didn’t just develop a style; he helped define the “Tulsa Sound.” This unique genre blended blues, rockabilly, and jazz, underpinned by a relaxed, almost hypnotic tempo. It was music that didn’t demand to be listened to—it invited you in quietly, like an old friend. Tulsa musicians like Leon Russell were right there with him, crafting this sound that would grow to have a global reach.

The Tulsa Sound wasn’t loud or flashy, but its easygoing charm resonated deeply with artists looking to strip their work back to the essentials. Cale’s track “After Midnight,” later made famous by Eric Clapton, is a perfect example of the genre’s minimalist appeal.

His Influence on the Greats: More Than Clapton

We’ve all heard about Eric Clapton covering Cale’s songs, most famously “After Midnight” and “Cocaine.” But Clapton wasn’t the only one. Neil Young even said once, “When I listen to J. J. Cale, I’m listening to the best.” High praise from a man known for doing his own thing.

Mark Knopfler of Dire Straits? Another big fan. In fact, Knopfler once stated that without Cale’s influence, he wouldn’t be the guitarist he is today. According to this American Blues Scene article, even Waylon Jennings leaned into Cale’s ethos for his outlaw country vibes.

Cale’s reach extended beyond just individual performers. His approach—stripping music down and focusing solely on the groove and melody—has influenced everything from modern blues to alternative rock. He made restraint an art form, and artists across genres took notice.

The Mysterious Songwriter and Performer

One of the most intriguing things about Cale is how he managed to have such a massive impact while dodging the spotlight. The man seemed to loathe fame. Even when Clapton’s covers boosted his profile, he stayed behind the scenes, living a quiet life. In fact, a fantastic retrospective from uDiscover Music calls him one of the most influential yet least acknowledged blues innovators.

Cale’s humility allowed his music to shine without the distraction of rock-star theatrics. If anything, his low profile may have made his songs more accessible—sprawling across genres and enabling countless artists to interpret them without the weight of his personality hanging over the work.

Key Tracks That Tell the Story

If you’re new to J. J. Cale, here’s where to start:

“After Midnight” – The understated groove that Clapton turned into a global hit. This was Cale’s first big break.

“Cocaine” – Another Clapton-covered gem. The simplicity of the chord structure combined with that gritty bluesy edge is quintessential Cale.

“Magnolia” – A bittersweet ballad that highlights his softer side.

“Call Me the Breeze” – Later covered by Lynyrd Skynyrd, this track captures the laid-back, roll-with-it nature of the Tulsa Sound.

Each of these tracks carries the DNA of Cale’s influences while also showcasing his singular touch.

The Legacy Lives On

J. J. Cale’s music is alive today, whether fans realize it or not. His less-is-more approach and commitment to authenticity continue to resonate. You hear Cale every time a song strips down to little more than a beat and a melody. Every time a solo feels more whispered than shouted.

Discover more about how his legacy intertwines with music history by visiting resources like Tripping Out on J. J. Cale, which digs into how artists from Clapton to Taj Mahal owe him so much.

Conclusion: Why Cale’s Influence Matters

J. J. Cale didn’t shout—he whispered. And somehow, the world noticed. His music has a way of sneaking up on you and sticking around long after. Maybe it’s the honesty, the restraint, or just that understated groove. Whatever it is, it’s clear his influence hasn’t gone anywhere. In fact, it’s embedded in the very foundation of modern blues and rock.

If you’ve never spent an evening with J. J. Cale’s music, now’s the time. Pour a drink, hit play, and let the Tulsa Sound find its way into your heart. You’ll see why the greats call him the best.

By Paul Whatley | COMO News and Radio

Photo take from J.J. Cale’s Facebook page.

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354: Leon Russell // Hank Wilson's Back, Vol. I

Hank Wilson's Back, Vol. I Leon Russell 1973, Shelter

Leon Russell’s Hank Wilson’s Back Vol. I ends with a sudden burst of hysterical laughter, which is usually what I feel Leon’s doing at my expense when I listen to his records, but Hank is a pretty straight affair. We’re looking at 13 classic bluegrass and country standards, most such obvious choices that it would be a real challenge to record one of the thousand best versions of a given song, let alone a newly definitive one. None of these are that, but the record’s a breezy listen. Russell was a prolific session player before his songwriting career took off, and he puts together an all-star crew of sidemen, including J.J. Cale, Billy Byrd, and members of the Wrecking Crew, Nashville Cats, and Muscle Shoals Rhythm Section. (Plus a sleeve design by Eve Babitz!) This’ll shock, but they sound pretty good.

The more reverent arrangements (mostly on side one) are nice but not necessarily thrilling. When Russell and company give a swampier Tulsa Sound read though, you’re in for a ball. The credits to his rollicking take on Jimmie Driftwood’s “The Battle of New Orleans” list no less than six guitar players, and you can hear all of them putting in work: crunching riffs, high sitar-like accents, even a spacy steel guitar bridge. We get a nice take on Leon Payne’s “Lost Highway” too, Russell singing like he’s got a wad of chew stuffed in his cheek, the whole track bobbing along like R. Crumb’s “Keep on Truckin’” guy. Russell’s not bad on the ballads either: there’s a splendid version of “Am I That Easy to Forget” that compares well to Gram Parsons’ work from the same year on Grievous Angel.

If I were rating the record, I’d say side one is a respectable 3/5, and side two a strong 4/5—so split the difference and call it a 3.5, well worth a grab for fans of great country-western musicianship and appreciators of the ‘70s Russell/Cale/Clapton sound.

354/365

[hannibal-or-maybe-just-rex]

J.J. (John Weldon) Cale, 1938 - 2013

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Leon Russell -  cg photography

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RIP Dwight Twilley

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J.J. Cale - Ridin' Home

J.J. Cale - Ridin' Home -1973- Really (album) I'm sittin' on this train And I'm ridin' home, ridin' home I'm sittin' on this train And I'm ridin' home, ridin...

This is my guitar master. Enjoy the groove.

Charlie McCoy - harmonica 

John Weldon Cale - voice, bass, piano, drums & guitars