It's a great honor to be able to [inspire other artists]. What you do in this business, your whole thing is givin' stuff away. But that makes you feel good, makes you feel like you've really done something.” ~ Lonnie Mack

One hundred years from now, when the history of electric guitar-driven music is finally written, Lonnie Mack will stand among its heroes. Lonnie was never a household name, but his tone, technique, and fearless fusion of styles laid the groundwork for many, including some of his more famous friends. Eric Clapton, Jeff Beck, Jimmy Page, Stevie Ray Vaughan, Duane Allman, Dicky Betts, Neil Young, and Danny Gatton are among the many that have said as much. The thing is, Lonnie just didn’t play the guitar, he redefined what it could do.

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Born in 1941 in West Harrison, Indiana, the son of sharecroppers, Lonnie grew up on the banks of the Ohio River and began playing guitar at the age of seven, after his mother taught him a few chords. It wasn’t long before he was playing bluegrass in the family band. At home, they would listen to The Grand Ol’ Opry in the evening, and then Lonnie would spin the dial to the rhythm and blues of WLAC when the rest of the family went to bed. He became a fan of rhythm and blues and gospel music, and at the age of 10, began learning how to play Robert Johnson style guitar. He soon merged that with country style fingerpicking to create his own sound. As he grew into his teens, he honed his singing and playing, and by the age of 14, had dropped out of school, and armed with a fake ID, was playing regularly in clubs and roadhouses.

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He became a session man for the Cincinnatti-based Fraternity label by the early 1960s, and played behind Hank Ballard, James Brown, and Freddie King. In 1963, he recorded an instrumental version of Chuck Berry’s “Memphis,” not realizing it had been released until he heard it on the radio. “Memphis” hit the Top 5 nationally and sold over a million copies. That record, along with its B-Side “Wham!” introduced Lonnie’s signature style—lightning‑fast flatpicking, tremolo‑bar effects, and melodic solos. His use of the Gibson Flying V and the Bigsby vibrato arm (thereafter called a “Whammy” bar), set the blueprint, and galvanized generations of guitar players all over the world. Today, his debut album, The Wham of That Memphis Man!, is considered one of The 100 Best Rock ’n’ Roll Records of All Time.

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While best known for his instrumental prowess, Lonnie was also a powerful singer. His ability to alternate between soaring gospel-tinged vocals and red-hot guitar work made him truly unique. In 1968, a Rolling Stone feature revived interest in Lonnie, and with Fraternity out of the picture, he signed to Elektra, for whom he recorded three albums—Glad I’m in the Band (1969), Whatever’s Right (1969) and The Hills of Indiana (1971)—all of which emphasized vocals over guitar work. Despite modest success, Lonnie grew disenchanted, and eventually withdrew from national attention, spending much of the 1970s playing in local clubs, fishing, and living in rural Indiana.

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Lonnie’s major comeback came in the mid‑1980s after moving to Texas at Stevie Ray Vaughan’s urging. In 1985, he released Strike Like Lightning on Alligator Records, co‑produced by, and featuring Vaughan on several tracks. The album reignited his career, and he toured widely with guest appearances by Keith Richards, Ron Wood, Ry Cooder, and Vaughan; drawing attention from Bob Dylan, Mick Jagger, Paul Simon, Eddie Van Halen, and others. He performed at Carnegie Hall alongside Albert Collins and Roy Buchanan later that year.‍

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Second Sight (1986) Roadhouses & Dance Halls (1988), and Live! Attack of the Killer V (1990) followed, and then after more than a decade on the road, Lonnie mostly retired from touring, though he continued writing. All in all, Lonnie recorded a total of 11 solo albums. In 2001 he was inducted into the International Guitar Hall Of Fame and in 2005, The Rockabilly Hall Of Fame. Lonnie passed in 2016.

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Live in Louisville 1992 is the first commercial release of archival material since Lonnie's death in 2016.

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Photo by Ebet Roberts.

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