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David Wayne Perkins (born 1951) is an American rock and R&B guitarist, singer, songwriter and session musician. According to a 2017 feature about him on the Alabama website AL.com, he is "arguably the greatest guitarist Alabama ever produced."[1]

Perkins may be best known for his work with The Rolling Stones, who almost brought him into the band. However, he has contributed his skills to a long roster of high-profile artists, including Bob Marley and Joni Mitchell.

Early life and family

[edit]

Perkins was born in Birmingham, Alabama. He is the oldest of six children, a brother and four sisters. Both of his parents sang and played guitar. Perkins taught himself to play at age 12.[1]

Music career

[edit]

Early years as a session guitarist

[edit]

At 15, Perkins played his first gig as a session musician, in Bob Grove's Prestige Recording Studio in Birmingham. At 16, he left school and started performing in local bands and released singles with a band called the Vikings with Charles Nettles.[1]

In 1968, drummer Jasper Guarino helped Perkins land a steady job as a session guitarist in a studio owned by Quin Ivy called "Quinvy's" in Muscle Shoals. Perkins was salaried at $100 a week. This led to work at Muscle Shoals Sound Studio with such names as David Porter and the Soul Children, Dave Crawford and Brad Shapiro, Dee Dee Warwick, Ronnie Milsap, Joe Cocker, Leon Russell, Jimmy Cliff, Jim Capaldi, Steve Winwood and Marlin Greene.[1]

During his time at Muscle Shoals, Perkins was asked to join Lynyrd Skynyrd. Even though that band's lead singer, Ronnie Van Zant, was a very close friend, Perkins did not take the offer, though he came close. He later said, "They didn't need me and I had a lot of other stuff coming my way."[1]

With Smith Perkins Smith

[edit]

Perkins left session work to form a band called Smith Perkins Smith, which recorded an album released in 1972. Chris Blackwell signed the trio to Island Records and they became the label's first American act.[1] The group toured in England with Free,[1] as well as Fairport Convention, Argent, Uriah Heep, Family, and Vinegar Joe with Robert Palmer.[citation needed]

With the Wailers

[edit]

While in London, Perkins had been working on the second Smith Perkins Smith album at Island's Basing Street recording studios when Chris Blackwell stopped him. "He said there was a Wailer project he wanted me to play on" – Catch a Fire, the 1973 album by Bob Marley and the Wailers, which went platinum.[2] Perkins provided lead guitar overdubs on three tracks on Catch a Fire: "Concrete Jungle," "Stir It Up," and "Baby We've Got a Date." "His contributions to the pioneering LP weren't actually mentioned on the original liner notes — indeed most listeners assumed they were hearing Peter Tosh — but Perkins received credit later."[3]

With Joni Mitchell

[edit]

Mitchell's 1974 album Court and Spark has often been called a "classic" or "masterpiece." Perkins was an ingredient in the musical backdrop for her songs. Sounds magazine cited his "oh-so-beautiful guitar work" on "Car on a Hill".[4] Perkins later recalled using James Burton's signature pink paisley Telecaster for that recording. He and Mitchell also were involved romantically for a time.[5]

With Leon Russell

[edit]

When Perkins returned to the United States, he played with Leon Russell for two years, in the Shelter People Band and the Gap Band.[5] During this time, he became friends with superstar guitarist Eric Clapton.[1]

With the Rolling Stones

[edit]

Clapton arranged for Perkins to audition with The Rolling Stones.[6] As a result, Perkins was one of several guitarists hired to play on the album Black and Blue.[7][8] The credits for the album list Perkins appearing on three tracks: "Hand of Fate" (which includes his guitar solo), "Memory Motel," and "Fool to Cry." "Worried About You" (also including a guitar solo) was also recorded during these sessions but was not released until 1981 on Tattoo You.

In his memoir Life, Keith Richards said that Perkins was very nearly asked to replace Mick Taylor in the Stones. "We liked Perkins a lot. He was a lovely player...[but] it wasn't so much the playing, when it came down to it. It came down to the fact that Ronnie (Ron Wood) was English!"[9]

Subsequent endeavors

[edit]

Following this, Perkins joined the Alabama Power Band (formed by his brother Dale), which became Crimson Tide and recorded two albums.[1]

In Nashville, Perkins wrote music for Catdaddy Music and co-wrote soundtracks with Emmy Award winning composer/producer/remixer Richard Wolf for films including The Karate Kid Part II and Back to School.[citation needed]

Perkins later formed the band Problem Child with Robert Nix and Rick Christian, and played bass with Lonnie Mack.[citation needed]

During his long career, Perkins played session guitar with artists including Leon Russell, Joe Cocker, Steve Winwood, Jim Capaldi, David Porter,[10] Ben Atkins, the Alabama State Troupers, Michael Bolton, Angela Bofill, the Everly Brothers, the Oak Ridge Boys, Billy Ray Cyrus, Ray Reach and many others.[11] In 1995, Perkins recorded his first solo album, Mendo Hotel.[7] In 2005, he released his latest, Ramblin' Heart.

Later life

[edit]

Some time later, Wayne Perkins was diagnosed with multiple brain tumors. He was treated, but occasionally suffers from crippling headaches. He retired to Argo, where he lives with his brother.[1]

Discography

[edit]
  • 1971 Hills of Indiana Lonnie Mack ; Living by the Days Don Nix ; Lovejoy Albert King; Mary Called Jeanie Greene; Ronnie Milsap Ronnie Milsap
  • 1972 Alabama State Troupers Road Show Alabama State Troupers; Dinnertime Alex Taylor; Catch a Fire Bob Marley & The Wailers; John David Souther John David Souther; Raised on Records P.F. Sloan; Smith Perkins Smith Smith Perkins Smith; Smokestack Lighting Mike Harrison; Stories We Could Tell The Everly Brothers; Tiptoe Past the Dragon Marlin Greene
  • 1973 Catch a Fire, Bob Marley and the Wailers. Lead guitar overdubs on "Concrete Jungle", "Stir It Up", and "Baby We've Got a Date"
  • 1973 Last Stage for Silverworld Kenny Young; October Claire Hamill
  • 1974 Court and Spark, Joni Mitchell; Hobos Heroes & Street Corner Clowns Don Nix; Monkey Grip Bill Wyman
  • 1975 Michael Bolotin, Michael Bolton (released under Bolton's birth name)
  • 1976 As Long as You Love Me, Mickey Thomas; Black and Blue, The Rolling Stones; Diggin' It, Dunn & Rubini; Glass Heart, Allan Rich
  • 1978 Levon Helm Levon Helm; Skynyrd's First and...Last Lynyrd Skynyrd
  • 1979 Next Song Is... Keith Herman
  • 1980 I Had to Say It Millie Jackson; McGuinn-Hillman Roger McGuinn with Chris Hillman; Storm Windows John Prine
  • 1981 Gimme You Billy Burnette; Mean Streets McGuinn & Hillman; Plain from the Heart Delbert McClinton; Reunion Jerry Jeff Walker; Tattoo You The Rolling Stones
  • 1982 Night After Night Steve Cropper; No Fun Aloud Glenn Frey; Old Enough Lou Ann Barton
  • 1983 American Made The Oak Ridge Boys; E.S.P. (Extra Sexual Persuasion) Millie Jackson
  • 1984 Greatest Hits, Vol. 2 The Oak Ridge Boys
  • 1985 Home Again The Everly Brothers; Step on Out The Oak Ridge Boys
  • 1986 Back to School Original Soundtrack
  • 1991 Early Years Michael Bolton; Loner Prince Phillip Mitchell
  • 1992 Songs of Freedom Bob Marley & The Wailers
  • 1993 Mr. President Ray Reach and Various Artists. A song, produced by Ray Reach, performed by Alabama talent, benefitting the homeless in the Birmingham, Alabama area. Artists and studios who donated their time and efforts to make this record include: choral students from Jefferson County schools, Chuck Leavell (Keyboards), Charlie Hayward (Bass), Chuck Tilley (Drums), Kelley O'Nell (Saxophone), Wayne Perkins (Guitar), Front Row Productions and Airwave Productions Group.
  • 1993 Jump Back: The Best of the Rolling Stones 1971–1993 The Rolling Stones; Ultimate Collection Albert King
  • 1994 Classics, Vol. 2: Plain from the Heart Delbert McClinton; Classics, Volume 1 Delbert McClinton; Heartaches & Harmonies [Box Set] The Everly Brothers
  • 1995 Mendo Hotel Wayne Perkins; Soul Children – Best of Two Worlds The Soul Children
  • 1996 So I Can Love You-Untouched The Emotions
  • 1997 Count On Me James Clark, Produced by Ray Reach
  • 1998 At Home in Muscle Shoals Bobby Womack; House Rent Party Various Artists; Skynyrd's First: The Complete Muscle Shoals Album Lynyrd Skynyrd
  • 2001 Catch a Fire [Bonus Tracks] Bob Marley & The Wailers; Catch a Fire [Deluxe Edition] Bob Marley & The Wailers; Jealous Kind/Plain from the Heart Delbert McClinton
  • 2002 Forty Licks The Rolling Stones; Patchouli Ben Atkins
  • 2003 Babylon by Bus/Catch a Fire/Burnin' [Deluxe Editions] Bob Marley; Rockin' Memphis: 1960s-1970s, Vol. 1 Various Artists; Thyrty: The 30th Anniversary Collection Lynyrd Skynyrd; Uprising/Kaya/Catch a Fire [Deluxe Editions] Bob Marley; Every Little Lie Ken Valdez
  • 2005 Even More Good Whiskey: A Collection of Contemporary Various Artists; Greatest Hits Lynyrd Skynyrd; Levon Helm [Bonus Track] Levon Helm; Ramblin' Heart Wayne Perkins
  • 2006 Monkey Grip [Bonus Tracks] Bill Wyman; Ronnie Milsap [Bonus Track] Ronnie Milsap; Stax Profiles Albert King

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Wayne Perkins

View on Grokipedia
from Grokipedia
Wayne Perkins (born 1951) is an American guitarist, songwriter, and session musician from , widely regarded as one of the state's most accomplished rock guitarists for his versatile playing style and collaborations with major artists during the 1970s and beyond. Born into a musical family in Birmingham, Perkins began playing guitar at age 12, drawing influences from , , and , and soon dropped out of high school to pursue music professionally. In the early 1970s, he gained prominence through session work at Muscle Shoals Sound Studios, contributing to recordings by artists such as , , and , including guitar parts on early by the latter, such as "" and "Down South Jukin'," later released on their 1978 album . Perkins' career peaked with high-profile collaborations, including lead guitar on three tracks—"Hand of Fate," "Memory Motel," and "Fool to Cry"—from ' 1976 album , for which he received a gold record, as well as "Worried About You" on their 1981 release . He also added distinctive guitar overdubs to Bob Marley's 1973 album , enhancing tracks like "Concrete Jungle," and played on Joni Mitchell's 1974 album . Other notable sessions include work with , , , , and the soundtrack for (1986). In the late 1970s, Perkins toured with and joined the band Alabama Power Band (later renamed Crimson Tide), recording two albums for in 1978 and 1979, though they achieved modest commercial success. He released his only solo album, Mendo Hotel, in 1996, showcasing his songwriting and vocal talents. Despite health challenges, including a 2017 of multiple tumors that limited his touring, Perkins has continued to perform locally and was hospitalized briefly in late 2024. His life and contributions were documented in the 2024 film Nobody Really Knows Me: A Rock and Roll Journey, directed by Tommy V. Wier, which premiered in November 2024 at the to an audience of nearly 300 and aired on in February 2025, highlighting his underrecognized legacy, his 2024 induction into the Birmingham Record Collectors Music Hall of Fame, and efforts to induct him into the Alabama Music Hall of Fame.

Early life

Family and upbringing

David Wayne Perkins was born in 1951 in Chalkville, a suburb of . As the oldest of six children in a working-class family during the post-World War II era in the South, he grew up in a modest home near Center Point, where racial tensions under figures like limited access to downtown Birmingham during his early years (1957–1963). His siblings included a , Dale Perkins—15 months his junior and a skilled drummer—who later became his co-resident, along with four sisters. Perkins' family provided a rich musical environment that shaped his early exposure to diverse genres. Both parents were accomplished guitarists; his father played in the styles of country pioneer and blues-influenced yodeler , while his mother favored R&B artists like and . This home-based musicality, combined with neighborhood gatherings, introduced young Wayne to , blues, and related sounds, fostering his innate interest in the instrument from an early age. The family's circumstances in Birmingham's industrial landscape offered proximity to the region's burgeoning local music scene, even as childhood relocations remained confined to the greater area. These experiences heightened Perkins' awareness of Southern musical traditions, setting the stage for his self-taught guitar proficiency by age 12.

Musical beginnings

Wayne Perkins began playing the guitar around age 6 in his family's musical household in , becoming self-taught and proficient by age 12 using a basic acoustic instrument. His early influences stemmed from his parents' record collections and local radio broadcasts, which exposed him to a mix of country artists like and from his father, as well as R&B performers such as and favored by his mother. By his early teens, Perkins drew inspiration from guitarists including , , and , whose styles shaped his foundational techniques during informal jam sessions at neighborhood bluegrass gatherings. At age 14, Perkins joined his first band, The Colours, followed by at age 15, performing covers of rock and R&B hits at high school dances and local parties in Birmingham garages and small venues while attending E.B. Erwin High School. These amateur experiences honed his adaptability on , blending rock tracks with Southern R&B sounds heard on regional radio stations. At age 16, after dropping out of high school due to his growing commitment to music, he continued with —later known as The Rigbys—where he played alongside Charles Nettles, contributing to live shows in Birmingham clubs and releasing early singles with original material. During these teenage years, Perkins experimented with guitar techniques, including the development of his slide playing using bottleneck slides, which emerged from self-directed practice amid the vibrant local scene. He also began early songwriting efforts, collaborating with Nettles on compositions for that reflected the raw energy of rock and regional influences, bridging his amateur phase toward broader musical horizons without entering professional studios. Local broadcasts from nearby areas, including emerging recordings tied to the Muscle Shoals region, further fueled his appreciation for the area's distinctive soul-infused sound during this formative period.

Music career

Early session work

Perkins entered the professional music scene as a teenager in Alabama, securing his first paid studio gigs around age 15 in 1966 at Bob Grove’s Prestige Recording Studio in Birmingham. By early 1968, at age 16, he transitioned to Quinvy Studio in Sheffield, where he was hired by owner Quin Ivy for $100 a week as a session guitarist, contributing to recordings in the burgeoning Muscle Shoals area. This role marked his immersion into the local studio ecosystem, where he worked alongside established players and honed his craft on sessions for emerging R&B and rock acts. In 1969, at age 18, Perkins moved to , becoming one of the "Swampers"—the tight-knit group of house musicians known for their versatile, soul-infused sound—and took over duties after Eddie Hinton's departure. His early credits included contributions to tracks by , as well as sessions with local artists like , , and , capturing the raw energy of Southern R&B and rock crossover. These anonymous roles exposed him to high-pressure environments, where he quickly adapted to and multi-tracking techniques across genres, often studying stacks of records to master styles like Duane Allman's phrasing before auditions. Building on his self-taught foundation, Perkins' technical proficiency in these settings emphasized quick adaptation and inventive solos using instruments like his and . By the early 1970s, his reputation in the Shoals led to broader opportunities, culminating in a 1972 move to at age 21, where founder signed him after hearing his Muscle Shoals work, opening doors to international exposure.

Smith Perkins Smith

Smith Perkins Smith was formed in 1972 by guitarist Wayne Perkins alongside brothers Steve Smith and Tim Smith, marking Perkins' transition from session work to leading his own group. The trio, operating in a format with Perkins on and vocals, Steve Smith handling keyboards, guitar, and vocals, and Tim Smith on bass and vocals, quickly caught the attention of founder . As the first American band signed to the British label, they secured a deal that brought them to to record, impressed by their southern rock-infused sound blending folk, , and psychedelic elements. The band's self-titled debut album, Smith Perkins Smith, was released later that year on (ILPS 9198 in the UK, SW 9317 in the US), showcasing Perkins' versatile guitar work—including acoustic, electric, and slide styles—alongside his contributions as a co-writer and vocalist. Produced at with additional members like drummer Roger Hawkins and bassist on select tracks, the record featured introspective songs that highlighted Perkins' melodic phrasing and emotional delivery. Notable tracks such as "Dark End of the Street," a cover reimagined with Perkins' distinctive , and the original "Say No More" (co-written by Perkins and Tim Smith), exemplified his emerging style of weaving bluesy leads with harmonious vocals in a compact trio setting. Following the album's release, Smith Perkins Smith toured extensively in the UK and Europe, opening for prominent acts including Free, , Uriah Heep, and , which helped build their reputation among rock audiences despite limited commercial success. Perkins' multi-instrumental prowess shone live, where he often switched between guitars while contributing harmonies, solidifying the band's tight, road-tested dynamic. However, after sessions for a second album in stalled—ultimately remaining unreleased—the group disbanded in 1973, with Perkins returning to the to resume session work. This brief but formative venture positioned Perkins as a sought-after guitarist, bridging his band experience with high-profile collaborations.

Key collaborations

In the mid-1970s, Wayne Perkins transitioned from his band experiences, including a brief stint with Smith Perkins Smith, to becoming a sought-after session , working extensively in and U.S. studios such as Island's Basing Street and in . This period marked his rise to international prominence, where he contributed to high-profile albums across rock, , and folk genres, often traveling between the U.K. and America for sessions. Perkins' signature style featured fluid slide and work that blended rock's intensity with R&B grooves and rhythms, allowing him to adapt seamlessly to diverse artists. In 1973, he overdubbed guitar parts on & The Wailers' at Island Studios in , adding wah-wah and slide elements to tracks like "Stir It Up" and "Concrete Jungle," which infused the sound with rock accessibility and helped propel the album's global success. That same year into 1974, Perkins collaborated with on , providing guitar on "Car on the Hill", where his improvisational solos complemented her intricate arrangements with a bluesy edge. By 1975, Perkins' versatility led to sessions with for , where he delivered emotive leads on "Hand of Fate," "," and "," enhancing the album's eclectic mix with his heart-driven slide work that later appeared on . These contributions often featured spontaneous, melodic solos that elevated key tracks into enduring hits, defining moments on the records. His networking through was pivotal; label head , impressed by Perkins' Muscle Shoals pedigree, recruited him for London work in 1973, fostering repeated invitations from producers for subsequent projects with Island-affiliated acts and beyond. This connection solidified his status, leading to ongoing calls for his unique guitar voice in elite sessions through 1976.

Near-misses with major bands

In the early 1970s, Wayne Perkins contributed guitar to early demos recorded by Lynyrd Skynyrd at Muscle Shoals Sound Studio, including tracks later released on the band's 1978 posthumous compilation Skynyrd's First and... Last, such as "Preacher's Daughter" and "Down South Jukin'". These sessions, dating back to around 1973, led to a close friendship between Perkins and lead singer Ronnie Van Zant, who personally invited him to join the band full-time on July 5, 1975, after a concert at Birmingham's Rickwood Field, even offering him an Ovation guitar as an incentive. Despite the honor, Perkins declined the permanent role, citing the band's existing trio of guitarists—Allen Collins, Gary Rossington, and Ed King—as limiting opportunities for individual shine, along with his other session commitments and concerns about the rigors of constant touring. He later reflected on a premonition about the band's future, which tragically materialized in their 1977 plane crash. Perkins' profile rose further in 1975 when he auditioned for the Rolling Stones in , , following Mick Taylor's departure the previous year; the band had rented a local theater for tryouts, where Perkins performed under a spotlight with and present, while and evaluated his stage presence and "look" without initial conversation. Richards, already familiar with Perkins' reggae-inflected playing from Bob Marley's , and Jagger both expressed strong approval of his talent and style—Jagger even noting similarities to Taylor—but ultimately passed due to a preference for an English in Ron Wood. Impressed nonetheless, the Stones invited Perkins to contribute to their sessions, providing a temporary slot during the transitional period; he lived with Richards, co-wrote elements of songs, and recorded key parts for tracks like "Hand of Fate," "," and "," some of which carried over to later tours and albums. Following his 1973 overdubs on —where his wah-wah and on songs like "Concrete Jungle" and "" helped bridge with rock audiences—Perkins was considered for a spot in ' touring band around 1976, as president relayed Marley's direct request to include him after hearing the mixes. However, Perkins chose to maintain his flexibility, prioritizing diverse freelance opportunities over the commitments of full-time touring with the group. These high-profile near-misses with , the , and the Wailers elevated Perkins' reputation among rock and elites, solidifying his niche as a versatile whose contributions shaped landmark recordings without tying him to a single band's identity.

Solo and later projects

In the 1980s, Perkins shifted focus toward songwriting for film soundtracks, co-writing the track "Let Me At 'Em" with Richard Wolf for (1986), performed by . He also contributed to soundtracks for (1986), (1987), and Police Academy 2: Their First Assignment (1985), blending his rock and R&B influences into cinematic contexts. During the 1990s, Perkins recorded his debut solo album, Mendo Hotel, released in 1995 on RCG Records, featuring original blues-rock compositions such as "Big Stratocaster"—a tribute to —and "Little Girl Eyes." The album, recorded at 315 Beale Street Studios in Memphis, emphasized themes of personal reflection and healing, drawing from Perkins' experiences in . He also made guest appearances with artists including , for whom he played bass, and participated in regional tours across the American South, performing with lesser-known acts in venues from to . Perkins returned to in the 1990s, motivated by his father's battle with , which prompted a reconnection with amid his own emerging challenges. In 2005, he released his second solo album, Ramblin' Heart, on Bandwidth Records, a collection of autobiographical songs exploring his life's journeys, including tracks like the title song and covers such as "Just Dropped In (To See What Condition My Condition Was In)." These later endeavors highlighted Perkins' enduring commitment to blues-rock songwriting and performance, often in intimate Southern settings.

Personal life

Health challenges

Several years prior to 2017, Wayne Perkins was diagnosed with multiple brain tumors, which significantly affected his health and professional life. Following treatment, he experienced ongoing symptoms including crippling headaches, leading to a lengthy recovery period. These health issues forced him to retire from touring around 2005, after the release of his album Ramblin' Heart, as the demands of became unsustainable. The tumors and subsequent treatments marked a turning point in Perkins' career, resulting in reduced musical output and a shift toward occasional rather than extensive studio or live performances. Despite these challenges, he continued to engage with music on a limited basis from his residence in , . Perkins' health struggles persisted into later years, culminating in a hospitalization in November 2024 during the premiere of the documentary Nobody Really Knows Me: A Rock and Roll Journey, which highlighted his enduring issues at age 73.

Later years and residence

In the , Perkins returned to permanently to care for his father, who was battling . He settled in , a small community east of Birmingham, where he continues to reside as of 2025. At age 74, Perkins lives a quiet, reflective life in a shared with his brother Dale, an IT technician, emphasizing family proximity and personal downtime. Perkins' daily routines revolve around a low-key existence, including occasional guitar playing on good days and nurturing connections within the Birmingham area's music community. He maintains strong local ties, as evidenced by community events in 2024 that drew close to 300 friends and supporters from the east Birmingham region, many of whom grew up alongside his musical journey, despite his occasional absences due to health management. This supportive network underscores his enduring role in the area, even amid a retirement focused on recovery and simplicity. As the eldest of six siblings in a musically inclined family—with one brother and four sisters—Perkins has long assumed a caregiving position, a pattern that began with his father's illness and persists in his shared living arrangement with Dale. He briefly references ongoing management of prior treatments, which influence his pace but do not overshadow his commitment to family dynamics and a serene home life.

Legacy

Recognition and honors

In 2017, AL.com profiled Perkins as "arguably the greatest guitarist Alabama ever produced," emphasizing his extensive session work with icons like and that defined his enduring legacy in rock and R&B. Perkins' contributions to the Rolling Stones' 1976 album earned him specific praise in ' 2010 memoir , where Richards described him as "a lovely player" whose style closely mirrored Mick Taylor's, noting the band's strong consideration of him as a potential replacement. This near-miss with the Stones has been revisited in rock histories, including a 2025 Mixdown magazine feature on auditionees, which highlighted Perkins' audition in and his distinctive sessions as a pivotal "what if" moment in the band's evolution. Efforts to induct Perkins into the Music Hall of Fame have persisted, with advocates arguing in 2022 that no uninducted Alabama musician deserves recognition more for his role in shaping global rock sounds, though he remained ineligible or unchosen as of that time. As of November 2025, efforts continue, including a new induction application submitted in December 2024, though Perkins has not yet been inducted.

Recent projects and tributes

In 2024, the documentary Nobody Really Knows Me: A Rock and Roll Journey, directed by Tommy V. Wier, premiered at the Steiner Auditorium of the on November 17, focusing on Perkins' career as a and studio guitarist for artists including , , and . The film later aired on on February 13, 2025, highlighting Perkins' contributions to from the and . Perkins was unable to attend the premiere due to hospitalization for ongoing health issues. Later in 2024, the Wayne Perkins Music Legacy Project was initiated by Glynn “Cowboy” Wilson to preserve and promote Perkins' work, featuring a dedicated website, an active Facebook group for fans, and a YouTube channel that shares previously unheard demo tapes digitized from archival MP3s. The project also includes a GoFundMe campaign to fund a comprehensive discography and an upcoming book on Perkins' life and recordings. In 2025, the project advanced with ongoing interviews embedded in video content for the forthcoming book and confirmation of archival copyrights for Perkins' songs at the Library of Congress, where registrations were researched and cataloged in June, enabling their inclusion in online playlists. These efforts have fostered community engagement, including fan-hosted screenings of the documentary and an online revival through the Facebook group and YouTube channel, where enthusiasts share and discuss rare material from Perkins' career.

Recordings

Solo discography

Wayne Perkins' solo discography is limited to two independent studio albums, both showcasing his blues-rock sensibilities, original songwriting, and signature work developed over decades as a . His debut solo effort, Mendo Hotel, appeared in 1995 on RCG Records. Featuring 12 tracks of blues-rock, the self-produced album was recorded partly in studios like Prairie Sun in Cotati and Digital Audio Productions in Fairfield, drawing from Perkins' experiences on the road. The title track, "Mendo Hotel," stands out as a reflective piece on transient life and personal healing, inspired by Perkins' motorcycle journeys through Northern 's redwood forests—a metaphor for mending one's spirit amid life's uncertainties. Other highlights include "Big Stratocaster," a nod to his instrument of choice, and covers like "Just Dropped In (To See What Condition My Condition Was In)," blending rock energy with introspective lyrics. Perkins' second and most recent solo album, Ramblin' Heart, was issued in 2005 by Bandwidth Records. Comprising 10 tracks that revisit and expand on earlier material, it includes originals like the title song "Ramblin' Heart" alongside covers such as Jimmy Cliff's and Furry Lewis' "Goin' to Brownsville." The album delves into autobiographical themes of isolation and perseverance, echoing sentiments in songs that capture his elusive in the music world. Beyond these releases, Perkins maintains a collection of unreleased demos from the through the , including early compositions and home recordings, which are beginning to emerge through the Wayne Perkins Music Legacy Project launched in 2024 to document and distribute his broader catalog.

Selected session contributions

Perkins provided lead guitar overdubs on ' breakthrough album (1973, ), contributing to tracks such as "Concrete Jungle," "," and "Baby We've Got a Date (Rock It Baby)." On Joni Mitchell's (1974, Asylum Records), he played slide guitar on "Car on a Hill." Perkins collaborated with Leon Russell across various albums and tours in the 1970s, including lead guitar lines during the (1975, Shelter Records) tour and sessions for Leon Russell and the Shelter People (1971, Shelter Records). He featured prominently on the Rolling Stones' Black and Blue (1976, ), playing lead guitar on multiple tracks including "Fool to Cry" and "Hand of Fate," as well as on "." Perkins also supplied guitar overdubs for the band's Tattoo You (1981, ), drawing from earlier jam sessions. Perkins contributed guitar to Lynyrd Skynyrd's 1973 album (Pronounced 'Lĕh-'nérd 'Skin-'nérd), including "" and "Down South Jukin'." Among other notable session work, Perkins contributed guitar to ' projects in the ; however, a full catalog remains partial due to numerous uncredited contributions throughout his career.

References

  1. https://www.al.com/entertainment/2017/10/rolling_stones_bob_marley.html
  2. https://www.pbs.org/video/nobody-really-knows-me-aveg6m/
  3. https://www.newamericanjournal.net/2024/11/nobody-really-knows-me-a-rock-and-roll-journey/
  4. http://www.birminghamrecord.com/brc/newsletter-for-august-2024/
  5. https://www.bhamwiki.com/w/Wayne_Perkins
  6. http://swampland.com/articles/view/title:wayne_perkins
  7. http://www.birminghamrecord.com/brc/hall_of_fame/wayne-perkins/
  8. https://garagehangover.com/vikings-come-on-and-love-me/
  9. https://www.classicrockhistory.com/an-interview-with-session-guitar-legend-wayne-perkins/
  10. https://www.newamericanjournal.net/2025/01/wayne-perkins-a-ramblin-heart/
  11. https://www.southernmusicresearch.org/items/show/2254
  12. https://www.worldradiohistory.com/Archive-All-Music/Billboard/70s/1972/BB-1972-07-22.pdf
  13. https://www.discogs.com/master/454873-Smith-Perkins-Smith-Smith-Perkins-Smith
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  20. https://www.imdb.com/title/tt0091326/soundtrack/
  21. https://www.allmusic.com/album/mendo-hotel-mw0000188245
  22. https://www.discogs.com/release/8096772-Wayne-Perkins-Mendo-Hotel
  23. https://www.discogs.com/release/13541441-Wayne-Perkins-Ramblin-Heart
  24. https://www.allmusic.com/album/ramblin-heart-mw0000702358
  25. https://www.cahabanewmedia.com/nobody-really-knows-me.html
  26. https://mixdownmag.com.au/features/12-guitar-heroes-who-almost-joined-the-rolling-stones/
  27. https://www.al.com/life/2022/08/alabama-music-hall-of-fame-8-deserving-acts-and-when-theyre-eligible.html
  28. https://www.facebook.com/groups/wayneperkins/posts/1688078471741854/
  29. https://www.facebook.com/events/847650394101399/
  30. https://aptv.org/apt-news/nobody-really-knows-me/
  31. https://www.gofundme.com/f/support-wayne-perkins-musical-legacy
  32. https://www.facebook.com/groups/wayneperkins/posts/1815444779005222/
  33. https://www.facebook.com/groups/wayneperkins/posts/1688058535077181/
  34. https://www.bobmarley.com/release/catch-a-fire-1973/
  35. https://www.wayne-perkins.com/index.html
  36. https://www.udiscovermusic.com/stories/the-rolling-stones-fool-to-cry-feature/
  37. https://www.bluescenter.com/2017/11/04/wayne-perkins-alabamas-forgotten-guitar-master/
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