Michele D'Amour and the Love Dealers - Lost Nights at the Leopard Lounge - New Release review

I just had the opportunity to review the most recent release, Lost Nights at the Leopard Lounge, from Michele D'Amour and the Love Dealers and it's versatile contemporary blues selection. Opening with shuffle track, No Good, Michele leads the way on vocal backed by Patrick McDanel on bass, Ryan Higgins on guitar and Rennie Bishop on drums. Bringing down the tempo, Trouble is a solid track with some of D'Amour's best vocals on the release. Higgins plays sweet guitar lines over the warm bass lines of McDanel and drums of Rick Bowen. With real nice guitar riffs and trem vibrato by Higgins, a cool Latin rhythm by Bowen and a nice bass line by McDanel, Leopard Lounge has great feel. Another slower blues number, All I Do Is Work, has a pop edge and with the addition of organ, and solid guitar lines by Higgins, makes this track another strong contender on the release. Blue As Blue Can Get has a great bass line and a somewhat Brazilian feel... let's say a bluesy bossa nova. Blues rocker, Last Man Standing, has a classic rock feel along the lines of Fleetwood Mac. The strong bass playing of McDanel and cool soloing by Higgins gives the track a thicker edge. Wrapping the release is shuffle track, Black Cat Boogie, with a cool walking bass line, clever lyrics and a jazzy solo from Higgins. A cool closer for a nice release.

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Lost Cause Records artist: Clint Morgan - Scofflaw - New release review

I just had the opportunity to review the newest release, Scofflaw, from Clint Morgan and it's a winding road of interesting passages. With an intro of children singing This Little Light of Mine, this release covers gospel, blues and country styles. Waco almost smells of John Wayne with a heavy bottom by bassist Dave Roe and Jerry Roe on drums and with Clint Morgan on piano and vocal with raggedy nice guitar by Kenny Vaughan. Early rocker, Wild One maintains a lot of it's country flavor but rips with some nice guitar and piano work and Morgan's vocals are perfect. I Got A Gun is an easy country rocker with Jonathan Yudkin on violin with Morgan painting a cool lyrical story. I Don't Know Where To Turn is a cool boogie woogie track with real nice piano work backing Morgan's duet with Diunna Greenleaf on lead vocals. Dripping country, Vaughan lays out some real nice guitar work on the bluesy track. Eastham Farm has a lot of Johnny Cash in style balanced by nice harp work by Jim Hoke, additional rich vocals by Greenleaf and just the right touch of horns. Country flavored, D.B. Cooper Blues, is right down the middle pre pop country with solid vocals, piano and guitar work. Very strong. David Allen Coe's, I Love Robbing Banks gets a fresh coat of paint with a really hot sax solo and tight drums. Morgan is very comfortable in singing this kind of music along with his piano, sounds like he was born to do it. A Johnny Cash flavored, Bad Man Blues, has the solid acoustic guitar/bass vamp, tight little snare riffs and even steel guitar riffs giving this track it's classic sound. Love it! Boogie track, Thief In The Night, has the droning bass line and low key vocals setting up nicely for a pretty nice guitar score. Bob Dylan/Johnny Cash penned, Wanted Man has the sounds of a prison cam song with effective drum stomp and backing acoustic slide. Morgan's vocals nicely score on the Johnny cash connection and violin and electric guitar work add nicely to the fabric of the tune. The Face In The Mirror is a nicely introspective track with a subtly blistering guitar solo by Vaughan. Two stepper, A Sackful Of Cash, is high energy with a carnival of sounds but with great piano work, sexy sax and flashy country style guitar riffs. Very cool! Bessie Smith's Send Me To The 'Lectric Chair holds that New Orleans blues sound with the rolling piano, bluesy guitar and wailing clarinet, making it one of my favorite tracks on the release. Old hymn, Softly And Tenderly, Jesus is Calling is a duet with Maria Muldaur, handled with the utmost respect backed by piano, mandolin, guitar and dobro. Very nice. I Done Made It Up In My Mind, a spiritual number written by Muldaur, is nicely performed featuring Muldaur on lead vocals. Morgan's secondary vocals are clean and uplifting and his piano and organ work is top notch. The release is closed with an alternate take of I Got A Gun. Gritty and full of western, this is a n appropriate closer for a really western release...dig the guitar effects! This is a really interesting release and make certain you check the liner notes which is plastered with outlaw photos (one in a wooden box) and notorious characters of all kinds.



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Polly O'Keary and The Rhythm Method - Compass - New Release Review

I just received the newest release, Compass, from Polly O'Keary & the Rhythm Method and it's powerful. Opening with Fool's Gold, kind of a funky Whiskey Train or Come To Papa style track with thick female vocals from O'Keary and cool wahwah enriched guitar work from Clint " Seattle Slim" Nonnemaker. Summer has a light poppy sound with a twist of country. Tommy Cook is tight on drums but to my ear it's O'Keary on bass that makes this track special. Nothing Left To Say has a 60's soundtrack sound highlighted by Spanish horn work from Greg Lyons (trumpet) and Mike West on sax. Slick surf guitar work from Nonnemaker is actually quite cool. Your Honor is an R&B style track featuring some of the best vocal work from O'Keary. Nonnemaker lays down some really nice melodic phrases on guitar making for a nice package. Harder Than It Has To Be has a shuffle feel with Arthur Migliazza rolling keys and Nonnemaker again stepping up for a cool solo. Stop, Train is a blues rocker with a tight beat and a real nice bass line. Certainly the meatiest track on the release, Nonnemaker, Cook and O'Keary make this track musically tight and solid. How The Mighty Fall is a radio style track with a symmetrical construction and catchy melody. Nonnemaker steps up with another crisp guitar solo on this track breaking the basic symmetry with a Latin flair. Losing You Again is a slow ballad with breathy lyrics. A nice openness is created on this track and Nonnemaker plays simple but clean melodic guitar lead. You Get Me High again features the strong bass riffs of O'Keary with a cool funk beat. Lyons and West are back on horns, almost capturing a "War" like sound. Certainly one of my favorite tracks on the release, this track has a strong feel and the vocals are hot! Another cool solo from Nonnemaker over the funk sets it off nicely. Ouch! Wrapping the track with soul ballad, Let Me Be Kind, O'Keary reinforces the strength of the band as a unit and her own leadership as a bassist and lead singer. Nonnemaker definitely carries his weight with another nicely placed guitar riff, never overplayed but strong. Vocals on this track actually approach gospel as the track builds giving it real power. Nice job!

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Hard Garden Music artist: Hard Garden - Blue Yonder - New Release Review

I just received the new release (January 7, 2014), Blue Yonder, from Hard Garden and they are putting their own contemporary spin on the blues. Opening with I Feel Evil, a shuffle track with cool harp by Michael Wilde and vocals by Son Jack Jr. Son House's Depot Blues get a bit more of a light upbeat rock tempo but still holding onto blues roots. Hey Now Mary has a definite hill country blues sound with authentic style fingering. And simple rhythmic percussion. Cool track. Papa's In The Juke Joint maintains the primitive guitar sound but with a more modern drum rhythm. Vocals on this track have a modern spoken rhythm and slide guitar and harp give it a fuller dynamic. A cool electric guitar solo on this track is also particularly interesting. I Can Tell goes full force into a "smooth" Latin rhythm. This track has the most potential for airplay on the release. The Valley has a different vocal style from the rest of the release and actually puts me in mind of "Secret Agent Man meets Death Don't Have No Mercy". Very cool. Dangerous takes a hard turn into electronica styling with rock undertones. Flailing slide work on this track is particularly cool. Pour Me Another is an interesting blues melody on guitar with light percussion and spoken story along the lines of a modern Savoy Brown from the 70's. Cool Track with interesting harp work from Wilde. Maximum Insecurity has a club beat with traces of blues and hints to Parchment Farm. Showtime is a cool mix with blues roots but with modern percussion and mix vocals. Guitar and harp riffs throughout add width but it's the cool sax on this track that makes it slick. Wrapping with Dangerous, remixed by Tim Scudder, a definite dance mix is lead by a relentless bass kick drum beat and electronic sounds. With loops and additions of vocals and sounds this is an interesting track to complete a daring blues geared effort.

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Powertrain - Four Day Creep

Powertrain effectively meshes the diverse influences of its members to create their unique blend of melodic metal, classic rock and power pop. The music stirs memories of the classic guitar and Hammond-driven hard rock of Deep Purple and Uriah Heep, the airy prog of Pink Floyd, the 80’s power metal of Dio and Iron Maiden, or the modern feel and moodiness of Alice In Chains. Though their diverse rock sound is not easy to pigeonhole into any one genre, Powertrain is consistently defined by their strong musicianship and tight, melodic songwriting. Powertrain can trace its roots back to Heir Apparent’s European tour in the fall of 2006, which featured a touring lineup that included bassist Bobby Ferkovich, drummer Jeffrey McCormack, and Op Sakiya on keys. Shortly after that tour concluded, McCormack and Ferkovich joined Dead Prjct, a solo endeavor of Fifth Angel lead guitarist Kendall Bechtel. Dead Prjct proved to be short-lived however, and Ferkovich and Sakiya again banded together along with shredder John Jaunese and recorded several songs with The John Jaunese Group that would be featured on various shred guitar compilation CDs. In the summer of 2008, Bobby and Op found themselves without a band, and with a handful of demos they wanted to record. Bobby called up old friend Kendall Bechtel to see if he was interested in working on them, and Bechtel agreed. Kendall provided a much-needed spark, and would end up writing all the lyrics, vocal lines and guitar parts. As the recordings progressed in Sakiya’s SonicOp Studios and the songs began to gel, the three musicians began to realize that together they had a chemistry and collaborative atmoshphere in the studio that was very creative, and just a lot of fun. It was a no-brainer decision that a band shoud be formed, and Powertrain was born. The reworked demos became the “Will To Power” EP, which was released in April 2009 and spawned a minor internet radio hit in “I’m Alive”. The band immediately dove into recording a full-length follow-up, and eventually released the “Tracks” album in October 2010. For the recording of its second full-length album, Powertrain has once again engaged the services of McCormack to handle the drum duties. The new album, titled “Off The Rails”, is slated to be released in the spring of 2012.

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Mississippi Woman - Key Francis

Born & raised in Seattle, Key grew up exploring the great world of the Pacific Northwest during a time when the old Indian totems still stood tall and proud, when the powerful Indian spirit still breathed freely in nature. One can hear this presence in Key's guitar tone, resonating beyond the mundane. Key's work ethic developed during the summers he spent on a large wheat and cattle ranch. As a child he had to feed the pigs, which were bigger than he was. Later he drove heavy farm equipment and fought brush fires. Key's rite of initiation into manhood came via the Marine Core. Based at El Toro, Key became exposed to the vibrant music scene in and around Los Angeles. This was the era when R & B dominated the radio and jazz was at its peak. Sam Cook, the sounds of Motown, and Ray Charles filled the air. He heard Miles Davis, John Coltrane, Dave Brubeck, Sonny Rolands, and Charles Mingus, all live in their prime. This era segued wayed in to psychedelic blues ripping on the electric guitar. These great guitar players exploded onto the scene and Key found himself once again immersed in the sound. Now he heard Albert Collins, Albert King, BB King, and Buddy Guy. The inspiration to pick up the guitar came after hearing Buddy Guy in concert. That experience began the long and tenacious process of mastering his craft. His first experiences as a singer/songwriter and guitar player were playing between the Robert Cray's sets. While developing his music, Key worked as a cross country truck driver, a railroad brakeman, a commercial pilot, and entrepreneur ventures such as running a bus up and down the West Coast. The now infamous Green Tortoise eventually bought the business. He also raced cars.

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Sandy Key Music artist: Jim Allchin - Q.E.D. - New Release Review

I just received the newest release (September 10, 2013), Q. E. D. from Jim Allchin and it's really quite remarkable. Opening with Stop and Go, a Chuck Berry meets Foghat rocking and rompin boogie track, Allchin continues where he left off on his last release, Overclocked, with flawless screaming guitar riffs. On Gettin Old, a swing blues, Brooke Lizotte adds subtle key work to the bottom and Allchin effectively uses volume swells to punctuate his guitar solos. Organ solos by Lizotte and horn work by New York Brass punch up the track. On Chime Blues, a bluesy ballad, Allchin sets the mood with creamy chords and Ben Smith plays crisp drum basics. A funky Latin style lead carves a path and Allchin really lets the dog out. With warm guitar tones and Allchin plays a very clean instrumental track. Reap What You Sow is a contemporary rock boogie with scorching hot guitar riffs and tight rhythm section as a backer. A likely track for radio airplay. Mycle Wastman sings really sweet lead on Trust Me, a soulful blues track back by heavy horns and some of the tastiest lush tones put down by Allchin to date. Lizotte really digs in on the piano on this track with horns blazing making this one of the best tracks on the release. Another instrumental, Thinking of You has a very introspective feel in a quiet jazz ballad vein. Allchin keeps his tone rich and solid playing really beautifully articulated lead lines. Another swing style track, Trash, has a great groove. Allchin, although not likely not to break away as lead vocalist of another band, does a good job on this track and the orchestration of this track is top notch. Runnin Away is a moderate boogie with a light touch. Tried and True is is a cool driving boogie with ripping guitar riffs. A walking bass line by Dan Dean drives this track along and Allchin once again shows great chops on his axe. Drownin, a down and lonely blues track, shows Allchin demonstrating influences by a number of the masters of blues guitar. If you love that Stormy Monday ... I Can't Quit You... Blues Deluxe style blues, this is your ticket. Really super job! On R&B style Come On Home, Allchin deos some of his best vocal work and dons acoustic guitar for a easy blues ballad giving the horns a chance to play Dixiland style soloing... excellent! Wrapping the release is No Way Out, a fast moving Latin style number with supple nylon string guitar work juxtaposed against hot electric riffs backed by Cuban style horns. Each release brings a new sense of what to expect from Allchin. He has put out two fine releases and I'm already looking forward to the next.

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 Sorry... no new video but a video just the same

Wide Willie Productions artist: CD Woodbury Band - Monday Night! - New Release Review

I just received the newest release, Monday Night!, from CD Woodbury and its quite good! Opening with upbeat shuffle tune The Blues keep me Right Here, Woodbury wastes no time establishing firm footing as a solid vocalist and band leader. Chris Kliemann plays some really tasty keys on this track and sets the table for a healthy helping of Woodbury's guitar chops. Mean Jenny brings to mind an old Johnny Winter song with a rocky, New Orleans style blues track. Again Kliemann plays effortlessly on the keys complimenting Woodbury on vocal, Don Montana on drums and Mike Fish on bass. Been So Long is a hard driving, bass laden, boogie with Mike Marinig on sax. Title track, Monday Night! is built around a funky groove and really hot horn a'la Bourbon Street by Marinig. Pawn Shop is the guitar fans oasis with absolutely scorching guitar work by Woodbury on a basic 12 bar format. Definitely one not to be missed. Ring-A-Ding is a swing blues with sax and boogie piano. Top rate vocals, sax, keys and guitar make this one of the top tracks on the release. Burn The Bridge is a smokin' funky dance number with really cool horn and guitar work. SauBall Blues is a midtempo jazz/blues excursion. There are some really nice instrumental components on this track making it another track so different from the rest but a very nice addition as well as conclusion to a seriously nice release.

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Reggie Miles

An award winning songwriter, composer, recording and performance artist who turns trash into musical treasure with his homemade Frankenstein 'Nobro' resophonic guitars, constructed from recycled garage sale junk and who has gained multinational media attention via recent compositions like, "Wall Street Bail Out Blues". A virtuoso in the musical folk art of bowing melodies with a hand saw. "One of the best in the world". Major industry recording collaborations continue to garner fans and worldwide recognition. Featured in a half dozen film and video projects across the US, on the recordings of more than a dozen Northwest artists, in addition to 21 self produced recordings since 1995.  




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Sunday Morning - Mark Riley

After 7+ years with Lil’ Bill & the Blue Notes, Mark decided to branch out on his own. The result is the Mark Riley Trio - formed in 2003. Their eclectic mix of music has been a hit ever since. Mark, Howard & Marty have been playing music for a combined total of 120+ years.....Mostly in the Pacific Northwest, but at times all over the U.S.






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People, Hell and Angels - Jimi Hendrix - New Release Review - Guest review - Ellisjames

The bottom line is ‘Is it real and does it make you happy?’ To me, the answer is a decidedly “Yes” to both. The bottom line is ‘Is it real and does it make you happy?’ To me, the answer is a decidedly enthusiastic, ‘Yes’, to both. I was shopping locally at a music store and was taken aback at how few new and used Blues LPs were in stock when compared to the vast number LPs of Rock, Rap, Jazz and other genres. Yeah, OK, I get it. The demise of physical format music continues to be predicted. Purchase of listening rights to “cloud” and down-load content continues to grow. With that said, if vinyl is outdated and only making a somewhat of a comeback in a small segment of the music fan market, I simply ask, where in the hell are the Blues records, CDs and other media that no one seems to want? A brief conversation with an employee reminded me that I resided in Phoenix, AZ rather than NYC, Chicago, Memphis, Saint Louis or other more likely markets. None the less, I heard a noise that piqued my interest. Was he attempting to up-sell me? What was this Blues that I heard? Why did I not recognize it? Upon inquiry I learned that what I heard was the Elmore James song, ‘Bleeding Heart’ from the ‘new’ Hendrix release, ‘People, Hell and Angels’. After purchase, listening and review I can flatly say that I like it! This release pleases me in as much as it contains stripped-down Hendrix with hints of the Blues and tracks which have been heard before in less honest or truncated fashion. I do not pretend to be nor present myself as the know-it-all Hendrix aficionado yet trust myself when I hear things that I like. This CD makes me happy. Other reviewers have disparaged and dissected this release and have concluded that it is not a must have addition to any collection is not a five-star effort. I agree that it is not as polished and over produced as ‘Building the Perfect Beast’ nor as complicated as Miles Davis’s ‘Live at the Fillmore East.’ Maybe those are two reasons why I like it. Perhaps we have become so tainted and self-righteous that we have forgotten just where much of our current influences have come. ‘Hear My Train A Comin’ has been criticized as having been previously released yet stands proud just as presented in this set. The lyrical content within Bleeding Heart touches me as much does the playing. Blues, you want to talk blues? ‘Rhythm and Blues’ blended with soulful saxophone in addition to guitar performance that would be, and is, naturally found in just about any Buddy Guy, Mike Bloomfield (and Buddy Miles) or Stevie Ray Vaughn release. I heard one friend complain that ‘other people’ are singing in these Hendrix songs. Lonnie Youngblood adds soul and flavor to the mix (Let Me Move You) as does Albert Allen (Mojo Man) with Billy Cox in backup on ‘Earth Blues’. Complaining that Jimi shared the mic bothers me as much as knowing that Carlos Santana hires singers and sticks to playing his instrument. ‘Easy Blues’ is anything but, exhibiting the more typical driving Hendrix dental drill picking style countered and complimented by pleasing Jazz-like runs. This cut is a lesson in the Bass and drums providing foundation and holding the cut together. ‘Crash Landing’ is admittedly easy to skip given multiple listenings based more on the lyrical content and my personal preference than the instrumental performance. ‘Inside Out’ and ‘Hey Gypsy Boy’ have their moments but don’t overly excite this tainted and spoiled reviewer. We are reminded that these recordings were captured in 1968-69, not last week. I feel like I am criticizing the choice of stone for Moses’ tablets. Speaking of stone, ‘Mojo Man’ shows hints of bedrock influence on the Memphis horn and soul fusion genre yet to come. The Buddy Miles drumming connection to Mike Bloomfield is not forgotten. Definite Electric Flag and sniffs of Doctor John reside. ‘Villanova Junction Blues,’ to me, remains a knock out. This cut remains classic Hendrix no matter how often you have heard it before in other releases. Stevie Ray Vaughn’s later releases are absolutely derived from this mother lode. Is this collection real? Yes. Does this collection make me happy? Absolutely! Will this CD change my life or determine my future? No, I’m a realist. I’ve learned to enjoy things for what they are. Come on people, this is Hendrix without posthumous over-dubs and session players! With respect to the family, I suggest this release as a recommended buy.

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Sumpin' Jumpin - Bumps Blackwell

Robert "Bumps" Blackwell (May 23, 1918 – March 9, 1985) was an American songwriter, arranger, and record producer, best known for his work overseeing the early hits of Little Richard, as well as grooming Ray Charles, Quincy Jones, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams, and Sly and the Family Stone at the start of their music careers. He should not be confused with another songwriter: Otis Blackwell. Born Robert Alexander Blackwell in Seattle, Washington, he led a jazz group in the late 1940s that included pianist Ray Charles and trumpeter Quincy Jones. He moved to Hollywood, California to continue studying composition, but he instead took a job at Art Rupe's Specialty Records as an arranger and producer. He worked with Sam Cooke, Larry Williams, Lloyd Price and Guitar Slim, as well as producing Little Richard's rise to stardom in 1955. In addition to producing Little Richard's breakthrough hit "Tutti Frutti" following hearing him sing the song in the studio, Blackwell also produced Little Richard's other mid-50s hits, co-writing some as them as well, including: "Long Tall Sally"; "Good Golly Miss Molly"; "Ready Teddy"; and "Rip It Up". They all quickly became rock and roll standards, and have subsequently been covered by hundreds of artists including Elvis Presley, The Beatles and Creedence Clearwater Revival. He also produced Sam Cooke's hit "You Send Me". Blackwell left Specialty in 1957, taking Sam Cooke with him to Keen Records. He was the West Coast A&R director for Mercury Records from 1959 to 1963, and produced Little Richard's gospel recordings for that label. He became Richard's manager and continued to work with him into the 1970s. In 1981 Blackwell produced some songs for Bob Dylan's album, Shot of Love, including the title track. Blackwell died at his home in Hacienda Heights in Whittier, California in 1985 of pneumonia

 If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Blues is in the House - Stacy Jones Band

WA Blues Society’s 2009 BB Award Winner “BEST NEW BAND” SJB continues to blow fans away with their high-energy, genre bending performances. Amazing vocals, incredible musicianship, outstanding songwriting and powerful, dynamic arrangements – it’s easy to understand why Stacy and her band are captivating the crowds and gathering new fans at each event they perform. Stacy Jones not only impresses with a vocal richness beyond her years but is also a top-notch harmonica player as well as playing keyboards and acoustic guitar. The entertaining trio of Rick Bowen (drums), Tom Jones (bass) and Jeff Menteer (guitar) provides the foundation for a strong ensemble sound and the band’s obvious joy of making music together is contagious. In 2009 The Stacy Jones Band took the Seattle music scene by storm, playing over 115 gigs & festivals as well as winning the Best New Band award from The Washington State Blues Society. The band released a limited edition CD Live at the Triple Door, in September2009 The Stacy Jones Band’s first full length CD “Long Time Comin” was released in January 2010 and continues to receive strong airplay and is now in its second pressing. 2011 looks promising for this Northwest favorite. May 2010 Stacy Jones is award the Best Female vocalist award from The Washington Blues Society. Nov 2011 the band released "No Need to Spell It Out," on Critical Sun Recordings. The 4th full length album was Produced by Bubba Jones and recorded at Contact Create Studios-Snohomish. 2012 the album was nominated for NW recording of the year by the Washington Blues Society. Dec 2011 Jeff Menteer released "The Nature of My Dreams," his first solo album featuring memebers of SJB ,produced by Jeff Menteer and Tom Jones. June 1.2012 release Live And Untapped. captured May 2011 at the Untapped Blues and Brews festival,Showcasing the strengths and depth of the whole group, the set was recorded by Jazz Stream mobile and mixed at Studio Litho in Seattle by Floyd Reitsma (Pearl Jam-Dave Mathews) and mastered by Ed Brooks at RFI.

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Jesus Just Left Chicago - David Brewer

David Brewer. Big? Yeah! Intimidating? Maybe. Dull? Never! And definitely talented. All those years of playing blues rooms have accomplished a very good thing. They’ve created a seasoned player with a sly knack for catchy songwriting, monster guitar chops and near genre-perfect banged-up vocals. Brewer’s been living the life of a bluesman for 40 years. Although he was born and still lives in Seattle, his mom is from Florida and his dad is from Tennessee. He went to high school in Hawaii with Gabby Pahinui’s kids. He’s part Seminole and very proud of his American Indian heritage. After a tour in Vietnam, in 1969, he made his way back to Seattle via Texas. Once back, he toured for 2 ½ years with Albert Collins. David first toured Europe in 95’ and 96’, he's been doing his solo show overseas for the past four years.. He’s won The Washington Blues Society’s awards for “Best Guitar Player” and “Best Songwriter” several times. He weathered good times and bad and shared the stage with some of the biggest names in the blues. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Stainless Steel Toilet - The Muddy Sons

The Muddy Sons were created when a South bound train out of Chicago collided with a North bound train out of Mississippi. Not literally, of course, but that's the intensity you can expect from this brandnew two-man band whose members are anything but new to the blues. The Muddy Sons are comprised of Madman Sam, an intense songwriter / singer / guitarist from Portland, and Jeff "Drummerboy" Hayes , a drummer from Seattle with many years experience playing drums for all types of blues and roots music bands. Both Sam and Jeff draw heavy influence from the deep past of traditional blues while keeping a firm grasp on the present and future of today's music. They deliver intense performances with a strong emphasis on good songwriting that keeps their audiences truly captivated. If you ever wondered what it would have been like if those old acoustic blues guys had gotten their hands on electric guitars, Madman Sam may be your answer. Sam has spent the last 20 years as a solo acoustic blues musician playing some of the rawest, most original delta-style blues since Son House. His acoustic guitar playing is hard and rhythmic like the country blues of the early 1900s, yet full of 1940s and 50s Chicago style lead guitar playing as well. Now, after 20 years, he has taken that acoustic playing strength and applied it to electric guitar for a truly unique, finger-picked electric guitar style. Madman Sam's vocals are loud, powerful, and seriously attention grabbing. Sam learned to sing the blues by listening to music made by people who were around before microphones even existed...and it shows. His powerful singing style combined with his intense and often humorous lyrics, often draw people in from outside the venue, just to see what the hell is going on! Madman Sam has released 4 solo albums of original material to date: Back On My Feet Again (1994), Madman Blues (1998), I Feel So Evil (2010), and the 2011 Muddy Award Nominated CD Nothing In The Clouds But Rain (2011). He also represented the Cascade Blues Association in the 2012 international Blues Challenge as a solo act. The dynamic drumming style of Jeff Hayes, also known as Drummerboy, fits well with any style of blues whether it be early 1900s delta style, or the more modern rhythm and blues styles of later years. His versatility as a drummer works perfectly with Madman Sam's often odd-rhythm style of playing that tends to have a fluctuating feel and tempo. Jeff's ability to listen to, feel, and grow with the music as it's played helps to give their music that unique organic flavor that makes it stand out as something truly different. The multi-award winning drummer has been featured on dozens of recordings, with almost as many bands, not only as a drummer, but as a singer / songwriter as well. He has traveled the world to play music and has played with some of the best talent in the industry, at some of the greatest venues and festivals. His current personal project, Drummerboy: A Revolution in Roots Music is a regular live show featuring a rotating cast of some of the best musicians the Pacific Northwest and beyond has to offer. Madman Sam and Jeff Hayes met at the 2011 Waterfront Blues Festival after Sam's solo acoustic performance and spoke briefly about their mutual love for old delta blues. Over the next several months they had the chance to play together a handful of times and were thrilled with the results. Sam was very impressed with Jeff's range of drumming and extra impressed that he seemed to have the same crazy personality type as him. Nine months after their first meeting the Muddy Sons were born, offering a whole new look at traditional blues, breathing fresh air into that old raw sound. The result is a Chicago flavored delta blues that is intended to be music for today, not a history lesson. On July 4th, 2012 The Muddy Sons won the Cascade Blues Association's Journey to Mermphis Competition as the solo/duo entries and will be representing the association in the Blues Foundation's International Blues Challenge in January/February of 2013. If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Dolly Dagger - Jimi Hendrix

How do you do a tribute to one of the most inventive guitar players that ever lived? You just lay it out there and enjoy!

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician and singer-songwriter. He is widely considered to be the greatest electric guitarist in music history and one of the most influential musicians of his era despite his mainstream exposure being limited to four years. He achieved fame in the United States following his 1967 performance at the Monterey Pop Festival after initial success in Europe with his group The Jimi Hendrix Experience. Later, he headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. He favored raw overdriven amplifiers with high gain and treble and was instrumental in developing the previously undesirable technique of guitar amplifier feedback. Hendrix helped to popularize use of the wah-wah pedal in mainstream rock, which he often used to deliver tonal exaggerations in his solos, particularly with high bends, complex guitar playing, and use of legato. Hendrix was a pioneer in experimentation with stereophonic phasing effects in rock music recordings. He was influenced by electric blues artists such as B.B. King, Muddy Waters, Howlin' Wolf, Albert King and Elmore James, surf rock guitarist Dick Dale, rhythm and blues and soul guitarists Curtis Mayfield and Steve Cropper, and the jazz guitarist Wes Montgomery. Hendrix began dressing and wearing a moustache like Little Richard when he performed and recorded in his band from March 1, 1964, through to the spring of 1965. In 1966, he stated, "I want to do with my guitar what Little Richard does with his voice". Hendrix won several prestigious rock music awards during his lifetime, and many more posthumously. The Jimi Hendrix Experience was inducted into the US Rock and Roll Hall of Fame in 1992. The award's biography noted that Jimi Hendrix "expanded the range and vocabulary of the electric guitar into areas no musician had ever ventured before. His boundless drive, technical ability and creative application of such effects as wah-wah and distortion forever transformed the sound of rock and roll." Hendrix was inducted into the UK Music Hall of Fame in 2005. An English Heritage blue plaque was erected to identify his former residence on Brook Street, London, in September 1997. A star for Hendrix on the Hollywood Walk of Fame was dedicated on November 14, 1991 at 6627 Hollywood Boulevard. In 2005, his debut US album, Are You Experienced, was one of 50 recordings added that year to the United States National Recording Registry to "be preserved for all time" in the Library of Congress as "part of the nation's audio legacy." Rolling Stone named Hendrix the top guitarist on its list of the 100 greatest guitarists of all-time in 2003 If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Blues Is In The House - Stacy Jones Band

Stacy Jones has had the opportunity to share her cut-loose harp riffs and sultry chops with some of the most well known blues musicians around. Born and raised in Seattle, Stacy began playing the piano at four years old. At seven she picked up the guitar and at eight her father, Tom, started bringing her up on stage to sing Hank Williams tunes with his band -- she hasn't been able to stay away from the stage since. Stacy met up with Beth Wulff at fourteen and that's when she was truly introduced to the blues. At sixteen she started learning how to rip on the harmonica and became a regular at The Scarlet Tree blues jams where she met Annieville and had the opportunity to trade riffs with Alice Stuart, Mark Dufresnes (Roomful of Blues), Mark Whitman, Dave Conant and many other incredible musicians. A few years later Stacy got the opportunity to play with "The Seattle Blues" headed by Tim Sherman and John Hodgkin. This experience opened several doors for her and after meeting Ray Hartman, the former bass player with Dick Powell (Little Bill and the Blues Notes), they gathered several astounding musicians and formed "The Stacy Jones Band". Stacy then had the opportunity to play with the "Highway 99 Blues AllStars" with Randy Oxford, Jerry Lee Davidson, Virginia Klemens, John Lee, Hod Rod, and Steve Sarkowsky. As well as being The Hwy 99 house band they performed at the 2005 Bumbershoot Festival opening for Sonny Landreth and Buckwheat Zydeco. Stacy performed for the last two years as Stacy Jones and the Wolf Tones with Beth and Jim Wulff, Jeff Menteer and her father Tom Jones. The group produced an all original CD consisting of 11 tunes. Stacy has also had the recent opportunity to share the stage with Elvin Bishop, several members of his band, Scott Sutherland and Mike Emerson of the Tommy Castro Band, Bobby Murray and Dave Mathews of Etta James' Roots Band, and The John Nemeth Band on the Legendary Rhythm and Blues Cruise
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Skinny Woman - Son Jack Jr. & Michael Wilde

Son Jack Jr & Michael Wilde are an award winning traditional blues duo based out of Seattle, WA. Neither are strangers to the music industry, counting 30+ years of touring and recording experience between them, both in the US and Europe. They released their first joint album (“Walk The Talk”) in September 2010 and have received widespread and regular national airplay peaking at #2 Picks To Click on XM/Sirius Radio and hit #49 on the National Roots Music blues).

The duo’s spirited and energetic acoustic performances are what set them apart, and live shows have been described as “intoxicating, intense, exciting experiences”. “We play blues in the way we believe it was intended to sound back in the day, meaning rough and ready dance music, if you know what I mean”. Theirrepertoire consists of predominantly original material but also pays respect to a carefully chosen set of covers by the likes of Charley Patton, Mississippi Fred McDowell, Big Bill Broonzy, RL Burnside and Tommy Johnson among others. “The songs we choose to cover are those that personally connect with us. When you come to a show you’re guaranteed a good time. However, we’re not your typical weekend party band, so if you’re looking for “Mustang Sally” we’re probably not gonna make your night”. However, this approach seems to work as evidenced by the reaction of many at their live shows where dancing is common, and many would say, unavoidable.

The duo is much in demand and has performed at every major venue in Washington and Oregon. Some of the highlights to date include sharing the stage with Charlie Musselwhite, Magic Slim, Coco Montoya, Sonny Landreth and Candye Kane. They appeared at Portland’s Waterfront Blues Festival in 2009 and again in 2010. As if that wasn’t enough, they also earned the right to compete at the International Blues Challenge semi-finals in Memphis, TN in 2009 and 2010. In February 2012, they had the honor to travel to St Louis to open for Chuck Berry.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Underworld Records/Blind Raccoon artist: Tim "Too Slim" Langford - Broken Halo - New Release Review

I just received Broken Halo, the newest solo release from Tim Langford. Langford, best known as the guitar player with the Taildraggers, has put together a very interesting solo project using acoustic guitar, dobro, tenor Uke and harmonica along with electric bass and electronic drums. The recording opens with the very haunting La Llorona, an original song based upon a Hispanic legend of a woman who drowns her children to be with the man she loves, only to be rejected. She ultimately commits suicide and prevented from entering heaven, forced to walk the earth in search of her children. This is a great song.Particularly nice slide work. Shaking A Cup is a light acoustic boogie tribute to the homeless in the street. Cool guitar riffs throughout. You Hide It Well is a straight up acoustic blues tune with slide dobro. Princeville Serenade is another acoustic duet with uke and slide dobro. Langford seems to have a great formula for pulling strong melody and feeling from this pairing of instruments. North Dakota Girl is a cool blues along the lines of how David Bromberg plays the blues, with feeling and a touch of humor... and strong pickin'. Real nice tune. Long Tall Black Cat is possibly the most "authentic" (traditional) blues track on the cd. I like it quite well. Langford has a strong voice and has great control of his slide. This 11 track cd of original work is some of the strongest work that I have heard from Langford and a few of the tunes are classic keepers. Check this one out!

 If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE” Although this video is quite different than the cd, I liked it and wanted to put a video here. I could not find any of Tim's current cd available for viewing.

Sumpin' Jumpin - Bumps Blackwell

Robert "Bumps" Blackwell (May 23, 1918 – March 9, 1985) was an American songwriter, arranger, and record producer, best known for his work overseeing the early hits of Little Richard, as well as grooming Ray Charles, Quincy Jones, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams, and Sly and the Family Stone at the start of their music careers. He should not be confused with another songwriter: Otis Blackwell.
Born Robert Alexander Blackwell in Seattle, Washington, he led a jazz group in the late 1940s that included pianist Ray Charles and trumpeter Quincy Jones. He moved to Hollywood, California to continue study composition, but he instead took a job at Art Rupe's Specialty Records as an arranger and producer. He worked with Larry Williams, Lloyd Price and Guitar Slim, as well as producing Little Richard's rise to stardom in 1955.

In addition to producing Little Richard's breakthrough hit "Tutti Frutti" following hearing him sing the song in the studio, Blackwell also produced Little Richard's other mid-50s hits, co-writing some as them as well, including: "Long Tall Sally"; "Good Golly Miss Molly"; "Ready Teddy"; and "Rip It Up". They all quickly became rock and roll standards, and have subsequently been covered by hundreds of artists including Elvis Presley, The Beatles and Creedence Clearwater Revival.

He also produced Sam Cooke's hit "You Send Me". Blackwell left Specialty in 1957, taking Sam Cooke with him to Keen Records. He was the West Coast A&R director for Mercury Records from 1959 to 1963, and produced Little Richard's gospel recordings for that label. He became Richard's manager and continued to work with him into the 1970s.

In 1981 Blackwell produced some songs for Bob Dylan's album, Shot of Love, including the title track.

Blackwell died at his home in Hacienda Heights in Whittier, California in 1985 of pneumonia.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”