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Stephen Stills once said that the “one thing blues ain’t is funny.” Obviously Mr. Stills has never sat in on an evening with John Lisi who, along with his band DeltaFUNK, has made a career of turning the pitfalls of everyday life into funky-bluesy-body-shakin’ music that just makes a person feel better. Hailed as one of the best guitarists in Louisiana by Offbeat magazine—quite a compliment in a state known for its musicians—John marries his sometimes humorous, sometimes serious lyrics with a guitar that can cry the blues one minute and break out the funk the next.
Originally from New Jersey and influenced by the roots music that was popular in his hometown, John began writing songs before he could play his first chord on a guitar. But it was when he first saw a replay of Woodstock that the direction of his life became charted. He watched in awe as Jimi Hendrix, Pete Townsend and Alvin Lee wailed on their guitars with unbelievable technique. Already proficient on the trumpet, the young musician knew then that he wanted to learn to play music like that.
By the time he was 13 years old, John had made his way to Florida and was fronting a band of much older musicians, honing the skill that would later become his trademark. Then it was on to Los Angeles, where stints with blues, funk, rockabilly swing, reggae, rock and even metal bands would lead to the montage of genres that defines his music today. He also spent time in television studios doing guitar work for popular shows such as L.A. Law and Quantum Leap.
After a few years performing on stages across the United States, Europe and Mexico, John made New Orleans home and soon found himself playing with legends such as Big Chief Monk Boudreaux, Raful and Kenny Neal, Rockin’ Tabby Thomas, Henry Gray, Big Joe Turner (Elvis Presley’s bass guitarist), Galactic, Big Luther Kent and Tab Benoit. Amidst a plethora of talent, the young man made a name for himself through his offbeat portrayals of life, the honesty ringing from his sultry voice and his ability to make his fingers fly over a Dobro, mandolin, steel guitar or Stratocaster as the mood took him.
In a city so filled with blues musicians, John stood out as authentic because his twist on the blues was so adventurous. Mixed with a bit of funk, a little country and some good ol’ rock ’n‘ roll riffs, then combined with lyrics that laughed at life, the songs that usually came to him while he was driving began to attract a following, and the crowds began singing along to his originals. His onstage presence and incredible guitar playing completed the package. All that was left was to put a few of those songs on a CD or two.
John’s evolution as a musician is evident through his recordings. His first, Blues for Chloe, features more traditional blues. Funk: Language of New Orleans Volume 8 begins to show the versatility that would later become his signature, but this CD only hints at his true capabilities. On the last two, Can Ya Dig It? and the recently released Dead Cat Bounce, John comes into his own as he explores the realms of possibility, not only with his guitar, but with his lyrics and voice as well.
Currently, John plays more than 200 dates per year and is working on his next CD, which promises further exploration of ways through which to mingle stunning guitar riffs with blues and funk to create music that is just downright fun.
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