FREQUENTLY ASKED QUESTIONS
UNFINISHED BUSINESS: THE LIFE & TIMES OF DANNY GATTON
THE WASHINGTON POST ONCE CALLED DANNY "THE GREATEST GUITAR PLAYER YOU NEVER HEARD." WHY IS THAT? T
Start with the phenomenal chops honed on the '50s and '60s teen club scene, when he didn't hunker down at home with other people's records. Then look at the musicality and melody that sets Danny apart from the copycats.
Depending on his mood, Danny could confine himself to a 30-second solo on a vocal track ("Ugly Man": REDNECK JAZZ), or vamp for 16 minutes into the stratrosphere ("Blues Newberg": IN CONCERT 9/9/94). He knew what any situation required, an important skill for any guitar player.
WHAT MAKES DANNY GREAT?
His absorption of styles (blues, country, jazz, and rockabilly), and willingness to mix them -- often in the same song, as he did on "Comin' Home" (REDNECK JAZZ). The track opens as a fast blues, restated as a funkier shuffle, and capped by a countrified solo. Such magic defines Danny's compositional chops.
WHAT STYLES DID DANNY DO BEST, AND HOW DID HIS BACKGROUND INFLUENCE IT?
Country and jazz remained the keystone of Danny's style throughout his career (because you must follow the melody when soloing). But Danny made it his business to absorb all types of music. He felt equally at home reeling off rockabilly nuggets like "Ubangi Stomp," or Charlie Christian's "7 Come 11."
The influence of Danny's birthplace (Washington, D.C) cannot be overemphasized enough. The Southerners who moved there after World War II brought country music with them, while their children dove headfirst into rock 'n' roll. Combine the genres, and you can see how D.C.'s roots music scene started. For further reference, read Chapter 2: "Danny And Roy At The Crossroads", and Chapter 5: "American Music (And It's Mine)."
WHAT MADE YOU WRITE A BOOK ABOUT DANNY?
My April 1999 VINTAGE GUITAR cover story really got things rolling, and provided my book's title. However, I wanted more time to explore the issues that my article raised.
I'd read Danny's ROLLING STONE obituary after his death in 1994, and wondered aloud: "How'd such a major player get so overlooked?" I figured that Danny would offer a perfect example for VINTAGE GUITAR readers about how music is made, but didn't foresee anything more.
My feelings changed after I began logging untold hours on the phone with Danny's longtime friend Jay Monterose; his pickup guru, Joe Barden; bassist John Previti; and drummer Dave Elliott. Once I talked with them, I realized a deeper story lay behind my article.
Sounds cut-and-dried? Not so. The biggest problem lay in documenting the lesser-known moments in Danny's career, because people's memories tend fade after 20 or 30 years. Rummaging those bygone UNICORN TIMES stories helped immensely: so did nontraditional avenues like Tom Principato's '84 calendar, which proved handy for fleshing out the finer points of the BLAZING TELECASTERS era.
SOUNDS GREAT! HOW CAN I GET A COPY?
For a personalized one-of-a-kind, autographed copy, see my eBay page: biggreenfrog2002. Copies are also available from all the other usual online suspects, such as amazon.com...but if you a keepsake from the man who wrote it, my page is the place to go.
DOES YOUR BOOK'S TITLE ("UNFINISHED BUSINESS") REFLECT YOUR FEELING THAT DANNY DIDN'T GET THE RESPECT THAT HE DESERVED?
Yes, but I wanted to underscore another important point: Danny's legacy remains a reference point for today's players, too. His name crops up in surprising places. As Gin Blossoms guitarist Jesse Valenzuela mentioned during our VINTAGE GUITAR interview (7/15/03), he used to watch Danny's video, STRICTLY RHYTHM GUITAR (Hot Licks)..."just for entertainment."
Elsewhere, Johnny Hiland is the most overtly Gatton-influenced guitarist working among today's players. For other relevant snapshots, see Chapter 15 ("The Legacy").
WHO WERE DANNY'S PEERS, AND HOW DOES HIS STYLE COMPARE TO OTHER PLAYERS?
First, Danny listened to saxophonists or organists as often as he did to guitarists. Why? He wanted to emulate their tones and give his sound another dimension. Danny's late friend, Dick Heintze, played a crucial part in that quest.
Heintze played Hammond B-3 organ and piano with Danny (and his late rival, Roy Buchanan) from the mid- to late '60s, which they mostly spent in supper club jazz bands. Danny rated Dick the only musician who could ever beat him in a jam session. (Heintze died of Lou Gehrig's Disease in 1981.)
For other influences, start with Les Paul (creator of the guitar bearing his name). Danny devoted his preteen life working out Les's guitar style and recording approach, which surely came in handy for his legendary studio marathons (Chapter 1, "From Anacostia To Uptown").
Washington, D.C. rival Roy Buchanan inspired Danny to explore different guitar amps and tones. Roy's use of the Telecaster also persuaded Danny to make that guitar his weapon of choice (as I explain in Chapter 4, "The '53 Tele And The Fender Pickup Man").
On the jazz front, the late Charlie Christian (Benny Goodman's guitarist in the 1940s) and Lenny Breau (who worked from the '50s to the '80s) gave Danny insights on harmonic theory, as well as how to set up a solo.
WHAT ARE DANNY'S ESSENTIAL ALBUMS?
Start with REDNECK JAZZ (1978), where Danny came of age as a guitar stylist and bandleader. Then check out REDNECK JAZZ EXPLOSION: RECORDED LIVE DECEMBER 31, 1978, for a juicy snapshot of Danny's abilities in that arena.
Of the later-period stuff, check out UNFINISHED BUSINESS (1987), and 88 ELMIRA ST. (1991, his Grammy-nominated major label debut; both show a mature player in command of his powers. Jazz buffs will likely prefer RELENTLESS (1994), the last album Danny completed during his lifetime.
Not sure where to start? PORTRAITS (1998) -- the live and studio compilation assembled by Ed Eastridge -- makes a terrific introduction. The live medley of "7 Come 11," "Linus & Lucy" (the "Peanuts" theme) and "Orange Blossom Special" show Danny at the top of his game, and should not be missed!. Ed has reactivated his Big Mo label to reissue Danny's music: for more info, visit www.bigmo.com.
WHY DO ARTISTS LIKE DANNY HAVE TROUBLE GETTING RECOGNIZED?
Rock 'n' roll has been never been kind to instrumentalists since the '60s surf era (except one-offs like "Dueling Banjos," "Classical Gas" or the discofied "Beethoven's Fifth"). If you want airplay, you need a three-minute vocal track.
Even today's jam bands accept that reality to widen their audience (as Blues Traveler did, with "Runaround"). Danny was acutely aware of the problem, as shown by his sardonic self-description to his friends as "a short, fat guy who don't sing."
That said, Danny's well-documented aversion to touring -- and even the most basic shownmanship gestures -- narrowed his chances of reaching the mass audience. Like any artist of his caliber, he wouldn't have minded a major hit, but on his own terms. Did he have all the ingredients he needed? See Chapters 12 ("88 Elmira Street") and 13 ("Cruisin' Deuces") for my discussion of this point.
WHAT DO PEOPLE WANT TO KNOW ABOUT DANNY'S LIFE?
"Why did Danny kill himself?" I always get this question at interviews and signings; needless to say, the answer is a complicated one. Relevant factors include the loss of his close friend Billy Windsor to a heart attack on January 5, 1994; a long-term propensity for depression; and a persistent numbness in his left arm that he feared would permanently impair his ability. Chapter 14 ("October 14 And The Aftermath") explores what happened on that terrible day at Danny's farm in southern rural Maryland.
WHAT DO PEOPLE NEED TO KNOW?
He was a loving husband and father who spent his life straddling the gap between hopes for success and the realities of pursuing it. But he doggedly hung onto his artistry, which is no small achievement in today's market-driven, consensus-dominated music business.
He remains a compelling figure: as many of my sources told me, few people felt they could approach his virtuosity, but everyone knew where to reach. For that alone, he deserves our vote. his formidable talent and legacy is the icing on the cake.
DANNY GATTON FAQS
WHAT FOLKS ARE SAYING ABOUT UNFINISHED BUSINESS
VIC McCULLOUGH (Ireland: 8/27/07 email)
hi Ralph. I've just come across reading about your book about Danny Gatton. It sounds fantastic. I had the greatest privilige playing with Danny for 1 hour one night (around 1982 or so). I was playing guitar with the Johnny Seaton band [managed by Billy Poore], and Danny turned my whole head around. I had first heard him in N C in The Cats Cradle in Chapel Hill. and that was that for me. He really blew my mind forever, and i chatted to him that night for half hour, and would have chatted to him all night, but he was dragged off to a party somewhere. Anyhows, that's about it. I look forward to reading your book. Thanks for bringing it out.
AKU VALTA
RAPALA VMC CORPORATION: Finland (12/26/06 email)
Dear Ralph,
I just finished your fantastic book of the guitarist of all guitarists. Congratulations. If there was a Rock Pulitzer, you should have won it.
JIM MOODY (From 3/19/06 email)
Reading that book (along with a few other events) brought me back to what I love about music. Between (what seemed to be) his true lack of comprehension of the business, his pure musical mastery, and perhaps some emotional issues that might have brought on his untimely end, there was a man that could have gone a lot farther and could have taken all of us with him.
It was a very healthy reminder that it's not all about money. It's not about connecting with new folk that might be influential. It's not about how marketable this "thing" will be. It's about the music. It's about the vibe that you and the musicians you're working with at that gig, that particular moment, are projecting towards the crowd. It's about the love and respect you operate with on-stage towards your bandmates and towards your crowd.
...Thank you for the hard work you did on the book. It opened my eyes and answered a lot of questions I had. I was nowhere near where I am now, and far from happy when I started it. I've read it twice and preparing to start a third time. I can't thank you enough for the hard work you've done. This one goes right next to the Stevie Ray biography.
MICHAEL WINTERS: (9/05/05 email)
Ralph,
Just finished your Danny Gatton book. Enjoyed it!
I used to see Danny Gatton play all the time back in the 70s and 80s.
There was a bar called "My Friends House" next to Al's Auto Transmission, at the corner of Piney Branch and Univ. Blvd. Saw Danny play with the Fat Boys. They played all these Elvis numbers, Rockabilly stuff. Cover charge was $2 back then!
Another place was "The Pub" at Univ. of Md. They took one of the dining halls and had live bands with cheap beer.
Well, your book brought back great memories of seeing Danny play.
Michael Winters (Silver Spring, MD)
STEVE GLOS (6/1/05 email)
I just finished the book, and was so overwhelmed I had to get in touch with you -- thanks for making this a labor of love and a fitting documentary of a troubled genius.
My introduction to Danny's fabulous guitar playing came in 1981 from the Robert Gordon ARE YOU GONNA BE THE ONE? LP. I've been in the record business for almost 30 years now, and was the National Marketing Director for the Chicago-based distributor of Big Mo -- never physically met Ed and Dixie Eastridge, but had the pleasure of many phone conversations with them.
In 1993 I finally did get a chance to meet and talk for a while with Danny at a music festival in Rockford, Illinois during the CRUISIN' DEUCES tour.
Needless to say I treasure those few moments like you wouldn't believe.
There was a paragraph you wrote on the very last page of text that really made me want to contact you:
"One of the hardest things for any artist to accept -- and for the public to understand -- is how many factors fall outside anyone's control. No matter how talented the artist, a certain amount of luck and timing are crucial in determining if the big time is only a phone call away or eternally out of reach..."
For all of my experience in the industry, Ralph, truer words were never spoken or written. I don't know how many times, when talking about the music business with friends or other musicians, I have elaborated on just that phenomenon. It truly explains why every major city (and small-town America, as well, I'm sure) has its unbelievably talented musicians who slog through their local and regional gigs, have been doing them for years, and will continue to do so without any or little recognition. And it is REALITY -- something that many folks are reluctant to believe.
My advice to young musicians has always been, "Just play -- and keep on playing. You can't set a timeline on how your success is going to happen, IF it's going to happen...".
If I had a nickel for every time a label head, manager or financial backer asked me. "What do we need to do to make everything happen?" (like I had the magic wand), I'd be retired and living in the Bahamas by now.
Congratulations on an extremely well-written book and continued success.
Steve Glos (Wheeling, IL)
CATHI NORTON (5/21/05 email)
Here's what I can say about that book.
I ran across it in the bookstore some time ago. Fact of business -- my husband saw it first. He's a huge Telecaster nut. After years of playing/performing hard, we both just hung it up (for the most part) and scaled back to occasional performingŠmy husband (Stuart) especially. But you probably know enough about guitar players to know that it's not something that "lets" you go. He saw this book on Gatton (who he already much admired) and as soon as his back was turned, I bought it and gave it to him for Christmas.
He read it without a break, and an amazing thing happened. He started building a custom Tele with a wizard guitar tech we know, and broke back into playing. It took nine months to build the guitar, and in that time, he got his hands on just about everything Gatton ever put out. I read the book as well, because I was so inspired by the change in Stuart.
To say we are both big fans of Gatton is to put it more than mildly. I very much appreciate your work on the book, and would be delighted to recommend it (and Gatton's work) to anyone. As an artist, his story is particularly painful and a reminder (or wake up to anyone who didn't previously know) of what a hard road music can be when music is your life and passion...yet what a thing of artistry and beauty. I expect Gatton will be inspiring and re-inspiring people for a long time to come, and not a little of that is due to you.
DICK SHURMAN (JUKE BLUES):(12/11/03 email to author)
I thought it was an excellent read...and it motivated me to pull out a lot of Danny's recordings and listen again, which is one of my main tests of a good music biography...a good book helps people remember for him for what he accomplished and not just how he ended his life.
GENE HAUENSTEIN (9/14/03 email to author)
Hello Mr. Heibutzki,
Thanks for a great read! Received the book yesterday and finished it this morning. I've been a big fan of Danny for years. I only saw him play once as I live in Arizona. I caught his Scottsdale, AZ gig. Before the show I found his tour bus and he was very gracious signing a large poster of himself. My friend Mike is a guitar player but couldn't make it as he had to work. Danny signed his poster, "Mike, Thanks for teaching me all those great licks! Danny Gatton. He was very down to earth and of course the show smoked! Another guitar player (professional -- 35 years playing) went with me and was actually peeved! Why? Because he said Danny was so good that it made him want to quit!
PEDRO SERA-LEYVA (9/10/03 email to author)
Dear Mr. Heibutzki,
I just finished reading your book, "Unfinished Business, The Life and Times Of Danny Gatton", less than 10 minutes ago and felt compelled to write you regarding the book.
First, thank you so much for making the effort to write this book and doing such an exceptional job with what I can only assume was a monumental task. It took me a couple of tries and a month to get through it not because of any flaw with the book but because, emotionally, it was a little tough for me at first. Lot's of memories that I have been avoiding since Danny died.
However, on many levels, your book is a total joy in it's recollections of Danny's gigs, many of which I was fortunate enough to have attended, many of which I was fortunate enough to be on stage with him and learn. Danny was a stand up guy and always had a kind word of encouragement for everyone he met. I cannot emphasize enough how loved and respected he was.
Your portrayal of the DC music scene left me waxing nostalgic for a time I sincerely miss. As well, all the familiar references and people in your book made me feel as if I were sitting down with some buddies after a gig and talking over old times. I miss them all, especially Evan Johns and yes, even Billy Poore. Two of the most interesting guys on the face of the planet. Evan needs a book of his own someday. The Huck Finn of American music.
Without going into great detail, I was present at many of the scenes depicted in your book. Though I was not as close to Danny as many of the people mentioned in your book (but much closer than others), I considered Danny a friend and somewhat of a mentor. And, it wasn't until recently when Jim Cavanaugh, in fine "spirits" called me to give me a piece of his mind for my negligence as a friend, that I was made aware of how much a friend Danny considered me.
In that, I am humbled and privileged.
I struck up a friendship with Danny when I was with Evan Johns & The H-Bombs through The Johnny Seaton Band and when my band, Pink & Black did shows with him. I wish that I had had the opportunity to speak to you as you were writing your book. I feel confident I could have provided you with further insight...
Well, I think I've gone on more than I wanted. Please forgive my melodrama....
Again, thanks for the book and best of luck in all your future endeavors.
Sincerely, Pedro Sera-Leyva Washington, DC
FROM THE TELEMASTER ARCHIVES:
The long-awaited biography, "Unfinished Business: The Life & Times of Danny Gatton" by Ralph Heibutzki (Backbeat Books) has finally been released. 290 pages about Danny, expanded from Ralph's cover story for Vintage Guitar. Covers all phases of his life and legacy. I can't say it included all the details I would have wanted to see, but the author does a good job given the editorial restrictions, and in light of the fact that some sources declined to be interviewed for the book. It is definitely a good read. He is also kind enough to include a review of this little site (which made my year). Thanks, Ralph!
Support your local bookseller and go buy this book.
hi Ralph. I've just come across reading about your book about Danny Gatton. It sounds fantastic. I had the greatest privilige playing with Danny for 1 hour one night (around 1982 or so). I was playing guitar with the Johnny Seaton band [managed by Billy Poore], and Danny turned my whole head around. I had first heard him in N C in The Cats Cradle in Chapel Hill. and that was that for me. He really blew my mind forever, and i chatted to him that night for half hour, and would have chatted to him all night, but he was dragged off to a party somewhere. Anyhows, that's about it. I look forward to reading your book. Thanks for bringing it out.
AKU VALTA
RAPALA VMC CORPORATION: Finland (12/26/06 email)
Dear Ralph,
I just finished your fantastic book of the guitarist of all guitarists. Congratulations. If there was a Rock Pulitzer, you should have won it.
JIM MOODY (From 3/19/06 email)
Reading that book (along with a few other events) brought me back to what I love about music. Between (what seemed to be) his true lack of comprehension of the business, his pure musical mastery, and perhaps some emotional issues that might have brought on his untimely end, there was a man that could have gone a lot farther and could have taken all of us with him.
It was a very healthy reminder that it's not all about money. It's not about connecting with new folk that might be influential. It's not about how marketable this "thing" will be. It's about the music. It's about the vibe that you and the musicians you're working with at that gig, that particular moment, are projecting towards the crowd. It's about the love and respect you operate with on-stage towards your bandmates and towards your crowd.
...Thank you for the hard work you did on the book. It opened my eyes and answered a lot of questions I had. I was nowhere near where I am now, and far from happy when I started it. I've read it twice and preparing to start a third time. I can't thank you enough for the hard work you've done. This one goes right next to the Stevie Ray biography.
MICHAEL WINTERS: (9/05/05 email)
Ralph,
Just finished your Danny Gatton book. Enjoyed it!
I used to see Danny Gatton play all the time back in the 70s and 80s.
There was a bar called "My Friends House" next to Al's Auto Transmission, at the corner of Piney Branch and Univ. Blvd. Saw Danny play with the Fat Boys. They played all these Elvis numbers, Rockabilly stuff. Cover charge was $2 back then!
Another place was "The Pub" at Univ. of Md. They took one of the dining halls and had live bands with cheap beer.
Well, your book brought back great memories of seeing Danny play.
Michael Winters (Silver Spring, MD)
STEVE GLOS (6/1/05 email)
I just finished the book, and was so overwhelmed I had to get in touch with you -- thanks for making this a labor of love and a fitting documentary of a troubled genius.
My introduction to Danny's fabulous guitar playing came in 1981 from the Robert Gordon ARE YOU GONNA BE THE ONE? LP. I've been in the record business for almost 30 years now, and was the National Marketing Director for the Chicago-based distributor of Big Mo -- never physically met Ed and Dixie Eastridge, but had the pleasure of many phone conversations with them.
In 1993 I finally did get a chance to meet and talk for a while with Danny at a music festival in Rockford, Illinois during the CRUISIN' DEUCES tour.
Needless to say I treasure those few moments like you wouldn't believe.
There was a paragraph you wrote on the very last page of text that really made me want to contact you:
"One of the hardest things for any artist to accept -- and for the public to understand -- is how many factors fall outside anyone's control. No matter how talented the artist, a certain amount of luck and timing are crucial in determining if the big time is only a phone call away or eternally out of reach..."
For all of my experience in the industry, Ralph, truer words were never spoken or written. I don't know how many times, when talking about the music business with friends or other musicians, I have elaborated on just that phenomenon. It truly explains why every major city (and small-town America, as well, I'm sure) has its unbelievably talented musicians who slog through their local and regional gigs, have been doing them for years, and will continue to do so without any or little recognition. And it is REALITY -- something that many folks are reluctant to believe.
My advice to young musicians has always been, "Just play -- and keep on playing. You can't set a timeline on how your success is going to happen, IF it's going to happen...".
If I had a nickel for every time a label head, manager or financial backer asked me. "What do we need to do to make everything happen?" (like I had the magic wand), I'd be retired and living in the Bahamas by now.
Congratulations on an extremely well-written book and continued success.
Steve Glos (Wheeling, IL)
CATHI NORTON (5/21/05 email)
Here's what I can say about that book.
I ran across it in the bookstore some time ago. Fact of business -- my husband saw it first. He's a huge Telecaster nut. After years of playing/performing hard, we both just hung it up (for the most part) and scaled back to occasional performingŠmy husband (Stuart) especially. But you probably know enough about guitar players to know that it's not something that "lets" you go. He saw this book on Gatton (who he already much admired) and as soon as his back was turned, I bought it and gave it to him for Christmas.
He read it without a break, and an amazing thing happened. He started building a custom Tele with a wizard guitar tech we know, and broke back into playing. It took nine months to build the guitar, and in that time, he got his hands on just about everything Gatton ever put out. I read the book as well, because I was so inspired by the change in Stuart.
To say we are both big fans of Gatton is to put it more than mildly. I very much appreciate your work on the book, and would be delighted to recommend it (and Gatton's work) to anyone. As an artist, his story is particularly painful and a reminder (or wake up to anyone who didn't previously know) of what a hard road music can be when music is your life and passion...yet what a thing of artistry and beauty. I expect Gatton will be inspiring and re-inspiring people for a long time to come, and not a little of that is due to you.
DICK SHURMAN (JUKE BLUES):(12/11/03 email to author)
I thought it was an excellent read...and it motivated me to pull out a lot of Danny's recordings and listen again, which is one of my main tests of a good music biography...a good book helps people remember for him for what he accomplished and not just how he ended his life.
GENE HAUENSTEIN (9/14/03 email to author)
Hello Mr. Heibutzki,
Thanks for a great read! Received the book yesterday and finished it this morning. I've been a big fan of Danny for years. I only saw him play once as I live in Arizona. I caught his Scottsdale, AZ gig. Before the show I found his tour bus and he was very gracious signing a large poster of himself. My friend Mike is a guitar player but couldn't make it as he had to work. Danny signed his poster, "Mike, Thanks for teaching me all those great licks! Danny Gatton. He was very down to earth and of course the show smoked! Another guitar player (professional -- 35 years playing) went with me and was actually peeved! Why? Because he said Danny was so good that it made him want to quit!
PEDRO SERA-LEYVA (9/10/03 email to author)
Dear Mr. Heibutzki,
I just finished reading your book, "Unfinished Business, The Life and Times Of Danny Gatton", less than 10 minutes ago and felt compelled to write you regarding the book.
First, thank you so much for making the effort to write this book and doing such an exceptional job with what I can only assume was a monumental task. It took me a couple of tries and a month to get through it not because of any flaw with the book but because, emotionally, it was a little tough for me at first. Lot's of memories that I have been avoiding since Danny died.
However, on many levels, your book is a total joy in it's recollections of Danny's gigs, many of which I was fortunate enough to have attended, many of which I was fortunate enough to be on stage with him and learn. Danny was a stand up guy and always had a kind word of encouragement for everyone he met. I cannot emphasize enough how loved and respected he was.
Your portrayal of the DC music scene left me waxing nostalgic for a time I sincerely miss. As well, all the familiar references and people in your book made me feel as if I were sitting down with some buddies after a gig and talking over old times. I miss them all, especially Evan Johns and yes, even Billy Poore. Two of the most interesting guys on the face of the planet. Evan needs a book of his own someday. The Huck Finn of American music.
Without going into great detail, I was present at many of the scenes depicted in your book. Though I was not as close to Danny as many of the people mentioned in your book (but much closer than others), I considered Danny a friend and somewhat of a mentor. And, it wasn't until recently when Jim Cavanaugh, in fine "spirits" called me to give me a piece of his mind for my negligence as a friend, that I was made aware of how much a friend Danny considered me.
In that, I am humbled and privileged.
I struck up a friendship with Danny when I was with Evan Johns & The H-Bombs through The Johnny Seaton Band and when my band, Pink & Black did shows with him. I wish that I had had the opportunity to speak to you as you were writing your book. I feel confident I could have provided you with further insight...
Well, I think I've gone on more than I wanted. Please forgive my melodrama....
Again, thanks for the book and best of luck in all your future endeavors.
Sincerely, Pedro Sera-Leyva Washington, DC
FROM THE TELEMASTER ARCHIVES:
The long-awaited biography, "Unfinished Business: The Life & Times of Danny Gatton" by Ralph Heibutzki (Backbeat Books) has finally been released. 290 pages about Danny, expanded from Ralph's cover story for Vintage Guitar. Covers all phases of his life and legacy. I can't say it included all the details I would have wanted to see, but the author does a good job given the editorial restrictions, and in light of the fact that some sources declined to be interviewed for the book. It is definitely a good read. He is also kind enough to include a review of this little site (which made my year). Thanks, Ralph!
Support your local bookseller and go buy this book.