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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


Please email me at Info@Bmansbluesreport.com

Wednesday, September 17, 2014

Stony Plain Records Signs Blues Hall of Famer Billy Boy Arnold & Will Release His New CD on October 21; "The Blues Soul of Billy Boy Arnold" Was Produced by Duke Robillard & Features an All-Star Backing Band


Stony Plain Records Signs Blues Hall of Famer Billy Boy Arnold & Will Release His New CD on October 21

Legendary Chicago Blues Harmonica Player’s New Album, The Blues Soul of Billy Boy Arnold, Was Produced by Duke Robillard & Features an All-Star Backing Band

EDMONTON, AB – Stony Plain Records announces the signing of legendary Chicago blues harmonica master Billy Boy Arnold, and will release his new CD, The Blues Soul of Billy Boy Arnold, on October 21. Produced by Duke Robillard, Arnold’s new CD showcases his talents as a songwriter, singer and harmonica player, backed by an all-star cast of musicians, including the Roomful of Blues horns. This is Arnold’s second album for Stony Plain, joining his highly-acclaimed 2001 release for the label, Boogie 'n' Shuffle, also produced by Robillard.

Inducted into the Blues Hall of Fame in 2013, Arnold ably demonstrates his credentials on this scintillating set that showcases a number of original songs, as well as compositions from Joe Tex (“A Mother’s Prayer”), Ted Taylor (“You Give Me Nothing to Go On”), B.B. King (“Worried Dream”), Chuck Berry (“Nadine”) and Oscar Brown Junior/Nat Adderley (“Work Song”). As its title indicates, The Blues Soul of Billy Boy Arnold emphasizes the soulful side of the Chicago blues master that’s always been a part of his repertoire. His own songs have been covered over the years by a diverse group of artists that includes everyone from Bo Diddley and David Bowie to The Yardbirds and The Blasters.

“Billy Boy Arnold’s talent as a songwriter, singer, harp master and blues historian is still in full swing here,” says Duke Robillard. “On this album, he demonstrates his flair and love for many different facets of the blues. This recording is surely a remarkable achievement.” About the recording sessions, Billy Boy Arnold adds, “I would like to thank Duke for his outstanding guitar performances and all the great musicians that made this project a success.”

William “Billy Boy” Arnold was born in Chicago in 1935 and became enamored with the blues he heard on jukeboxes, especially the sound of blues harmonica players such as John Lee “Sonny Boy” Williamson. One afternoon accompanied by his childhood friends, he knocked on Sonny Boy’s door and they were invited in the house. Williamson played for the boys, and that moment started a spark in Billy Boy’s heart. Before long, he was playing harp in Bo Diddley’s band and played on Bo’s “I’m a Man,” one of the classic recordings of Chicago blues.

During some spare time with Bo in the studio for the “I’m a Man” sessions, Billy Boy got a chance to record his own song, “You Got to Love Me,” which kick-started his solo career. A number of his own classic Chicago blues songs followed, including “I Wish You Would,” which has since been recorded by a long list of artists such as The Yardbirds, John Hammond and David Bowie. His singles for Chicago’s Vee Jay label from the 1950s have become highly-prized collectables.

“The chance to work with Billy Boy on this project was something I jumped on without a moment’s thought,’ writes Duke Robillard in the album’s liner notes. “Billy wanted to record an album full of songs that he had always loved, in a few different genres. These 14 songs include some Billy Boy originals, early R&B songs, blues/jazz standards and some ‘60s and ‘70s rare soul gems.”

All bear the unmistakable stamp of The Blues Soul of Billy Boy Arnold

Roots Blues Traveler Markus James Releases New Album, "Head for the Hills," Recorded in North Mississippi, on October 28th

Roots Blues Traveler Markus James Releases New Album, Head for the Hills, Recorded in North Mississippi, on October 28th

“first one’s free
and the last one kills
time to head for the hills”

GRATON, CA – Firenze Records announces an October 28th release date for Markus James’ new album, Head for the Hills. Recorded in Holly Springs, Como, Senatobia and Luxahoma, Mississippi, as well as in Northern California, Head for the Hills showcases Markus James on vocals, electric slide, 3 string cigar box, gourd banjo, slide dulcimer, acoustic guitar, harmonica, beatbox, and a snakeskin-covered 1- string diddley bow. He’s backed by a “who’s who” of North Mississippi Hill Country drummers including Kinney Kimbrough (son of Junior Kimbrough), Calvin Jackson (R.L. Burnside, Junior Kimbrough,  Deep Blues film), Aubrey “Bill” Turner (Otha Turner), and R.L. Boyce (Jessie Mae Hemphill).  Also appearing is drummer Marlon Green, who was the last drummer to record and tour with the legendary John Lee Hooker, and who is currently accompanying James live (recent appearances include Montreal International Jazz Festival, Telluride Blues & Brews Festival). 

“After my Nightbird album came out in 2003, I started getting offers to go out and play, and one of them was from the University of Southern Mississippi in Hattiesburg,” recalls Markus James. “I went down there with one African musician and the reaction we received was so great, and I noticed that nobody was asking questions about the connection between traditional West African music and Blues; the people there just dug the music and they let us know.  After that, I started traveling more and more to Mississippi and meeting musicians there, and I was especially drawn to some of the old-school drummers of North Mississippi.” 
After performing in Mali, West Africa one year, James had an epiphany about the connections between what he’d heard there and some of the North Mississippi Hill Country music he saw and heard in the film made from Robert Palmer’s classic book, Deep Blues. “I came back to the US, saw the Deep Blues film, and was amazed to see the exact same thing that I had just seen in the sand dunes outside Timbuktu: three drummers and a guy playing what they call a cane flute.  It was just such an obvious connection between the musical traditions I had been immersed in in West Africa and some of the traditional music in North Mississippi.  I was on my way back to Mississippi, this time to perform in Oxford at Ole Miss, and this whole process led me to seek out, record and eventually start performing with some of these great drummers.  Traditionally, in North Mississippi, like in West Africa, music is part of life; it’s not just some ephemeral entertainment like a song on the radio, and these guys also do other things like farming, construction, making white lightnin, etc.  They are not slick session players who work in studios in a city. So, having recorded in all kinds of rough environments in West Africa, I felt right at home setting up mics on a porch, hanging mics from barn rafters, in a carport, and just rolling; and this seemed perfectly normal to them as well. 
“I must have watched the first part of the Deep Blues movie (about North Mississippi) a hundred times; and when I found myself playing with Calvin Jackson in Sherman Cooper’s potato barn in Como, it was like a dream come true. How this all came to pass is a long story.  I had befriended the late, great Jessie Mae Hemphill and visited her several times in Senatobia.  She loved the film I had made, (Timbuktoubab) and the African instruments we were playing. We had a great time hanging out and singing together. Jessie Mae told me about what she knew of the Africans in her family and about traveling and playing with her grandfather, Sid Hemphill, who is documented in the Library of Congress.  Jessie Mae and I were preparing to record together in her trailer, but when I showed up the last time she was on her way to her final resting place.”
James had similar encounters with many of the drummers who’d wind up on his new CD. Kinney Kimbrough had stayed at James’ place in Northern California when he was on tour with another band.   They had started recording then, and later in Como, and yet again in Holly Springs, when Markus stayed with Kinney’s family and they recorded in his open-air carport. James and Kimbrough have gone on to perform live as a duo (Beale Street Music Festival, Sonoma County Blues Festival), and Kinney appears in several videos from the new album. Markus also recorded with Aubrey “Bill” Turner and R.L. Boyce, both of whom were mainstays of fife and drum music in North Mississippi.
“I have recorded a lot of things with these drummers over the last eight years” says James. “The music on this album includes some of these recordings that work with the theme of the album. One of the highlights of this recording process was when I reached Calvin.  After talking for a while and telling him I was also doing some acoustic things now with my gourd banjo, he suggested he could hambone, so I drove out to his family property in Luxahoma, where we recorded on his sister’s porch, with him hamboning while I played gourd banjo and cigar box.  He also said buckets, pots and pans were the first things he had played when he was a kid, so we found two five gallon buckets and recorded with him playing those on the porch.  (The sound of feet stomping on the porch was awesome).   Each of these drummers has special unique qualities, but they are all connected to the rich musical traditions of Hill Country Music.  This is different from Delta Music and it’s not for me to try to explain what that’s about, but I feel that the differences are profound.  The Hill Country is a beautiful place, with lots of trees and shade, somewhere you would want to be, especially if you found yourself in the sweltering Delta or in the big city and out of luck.”

Background
Markus James has been recording and performing original, blues-based music with traditional West African musicians since 1994, when he first made his way to Niafunke, the northern Mali village that was home to the legendary African bluesman Ali Farka Toure. His five critically-acclaimed Mali-based albums have been warmly received all over the world and he had tracks included on two European compilation sets that also featured Robert Plant, Ali Farka Toure, and Tinariwen,  among others.  His work with three traditional Malian music masters was the subject of the award-winning documentary film, Timbuktoubab, which was seen on PBS stations around the U.S. His last album, Snakeskin Violin, featured collaborations with trance groove hunters and a shaman in Mali, as well as Calvin Jackson in Mississippi, traveling Tamasheks in California and African Diaspora musicians in the U.S. Featured on NPR’s “All Things Considered,” the album also drew rave reviews from Billboard, Living Blues and the “House of Blues Radio Hour,among many others. 
To get a taste of the excitement, click on this link to watch the video for “Just Say Yes:” http://www.youtube.com/watch?v=KYaCwbErJnE

Delmark Records artist: Linsey Alexander - Come Back Baby - New Release Review

I just received the newest release, Come Back Baby, from Linsey Alexander and it is full of grooving R&B Blues flavor! Opening with Little Bit Of Soap, a BB King style track with Bill McFarland (trombone), Chris Neal (tenor sax) and Ryan Nyther (trumpet), Alexander takes the lead on vocal as well as guitar shared with Breezy Rodio. High stepper Booze and Blues is driven by a nice bass line from Greg McDaniel and Roosevelt Purifoy weighs in with a sweet organ solo. Slow blues number, I Got A Woman, finds Alexander at his best with powerful vocals and searing guitar solos. Pooky Styx plays a nice simple contrast on drums as Alexander wails on. Very Nice! Come Back Baby is solid soul and Alexander is surrounded by horns. A very cool radio track with a nice melody and light airy guitar work. Harmonica wiz, Billy Branch, joins on Call My Wife, a classic Chicago style track. Branch's featured work on this track as well as simple, soulful guitar riffs from Alexander makes it one of my favorites from the release. Led off my a cool feel and solid snap of Styx, Things Done Changed is another of my favorites on the release. A head bobbing beat and solid horn work behind Alexander complimented by a nice electric piano solo from Purifoy and Alexander make this another track that stands head and shoulders above. Easy swing track Can't Drink, Can't Sleep, Can't Eat again features the masterful work of Branch on harp. Alexander takes an easy but effective ride on the fretboard for a little punch. Quick paced R&B track, Booty Call, is pure and simple with pop hooks and Alexander leading the way with relentless guitar lead. Too Old To Be A New Fool is another slow blues track with nicely articulated guitar work. Alexander really hits his stride on vocals on this track and again joined by Branch, this track instrumentally is tops. Very nice! Snowing In Chicago is a smooth R&B track with steamy guitar work complimenting Alexander's cool vocals. Another radio track for sure. Willie Dixon's I Can't Quit You Baby, is not a direct copy of Dixon (or Rush/Led Zep for that matter) so I find it a bit more interesting as an interpretation. Alexander does the track justice, singing in a much more rich blues styling playing guitar call and response to his own vocals. Purifoy's keyboard work on this track is particularly effective at keeping it tight. Alexander's guitar solo on this track is also one of his richer interpretations on this release. Funky Feeling is...well funky. With a R&B strut and cool horn work adding accents, this is a cool track. Chris Neal steps up with a really nice tenor solo and of course Alexander smokes the fretboard as well. Easy blues loper, Goin' Out Walkin', wraps the track. A bright keyboard solo from Purifoy and a relaxed guitar solo from Alexander take this release home.

  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”

 

Tuesday, September 16, 2014

Hurricane Ruth - Born On The River - New Release Review

I just received the newest release, Born On The River, from Hurricane Ruth. A powerful vocalist, Ruth is backed but David Lumsden on guitar, Gary Davis on bass and Jim Engel on drums. Opening with title track, Born On The River, Lumsden creates a wah wah effect with guitar and Ruth sings with a lot of sting. Make Love To Me opens with a modified Elmore James by Lumsden and with Davis create a heavy bottom for Ruth's vocals. Lumsden throws out some fine guitar riffs and Engel holds tight on the bottom. A simple 12 bar this track hits it hard. Blues Rocker Slow Burn has a trace of Voodoo Chile making it instantly cool with a nice bass riff but with an almost metal grind. Lumsden does take a nice guitar ride on this track bringing it to the blues via rock styling. One of my favorite tracks on the release. Blues ballad The Walls is an interesting track with light traces of Robin Trower with sonic guitar work. Ruth's vocals have a different sensitivity making this the overall best track on the release. Cool guitar soloing by Lumsden is pure icing on this track. Boogie track, Dance, Dance, Norma Jean has so much Rattle and Roll in it you'd swear it was cut in a shack in a small Texas town. Do you know what I'm talkin' bout? Money Train has a stiff strut with stiff reinforcement from Engel. I really like Lumsden's aggressive guitar attack on this track in particular. Slim Harpo influenced track Cold Day In Hell crafts a cool track on a James Brown beat. A smooth laid back guitar solo by Lumsden shows his versatility and Ruth shines as bright on this track as any. Big Helen has a real funky beat but believe it or not it reminds me of a Frank Zappa track. With it's visual imagery it's a pretty cool track. Again Lumsden steps up with a nice guitar solo making for a completely entertaining track. Work It opens with a straight up guitar riff but I really like the tone (just saying). A straight forward rocker, Ruth is riding the wave like Jim Dandy. With a lot of kick this track has a lot of southern spunk. Whiskey Chute, another rocker has a distinctive Boxcar Willie feel with a solid Rock and roll feel. Wrapping the release is Real Good Woman, a solid blues rocker. With swagger and saturated guitar leads, this track sews it all together.

  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”

 

Monday, September 15, 2014

Big Legal Mess release: The Soul of Designer Records - New Release review

I just received the newest release, The Soul Of Designer Records from Big Legal Mess and to say that it is terrific doesn't really do it justice! Packaged like an old 33rpm record (only nicer) this 4 cd set containing over 100 tracks is really off of the hook. Featuring bands such as The Gospel Songbirds, The Dynamic Hughes Singers, The Melody Kings, Twilight Singers, Sensational Family Singers, The Shaw Singers, Soul Singers of Detroit, MI; Echoes of Glory, Alberta Powell, Laura Bradley & the Famous South Land Singers, Jubilee Hummingbirds, The Fantastic Alphonzo Thomas, E.L. Burtis, O'Neal & The Dean Brothers, The Mighty Blytheville Aires, Harps of David, Golden Five, Golden Travelers, Rev. Leon Hamner and Holy City Travelers, Evelyn McGlown & George Shields, The Southland Singers, Sensational Spirit Consolators, The Memphis Spiritual Four, The Silver Leaf Harmonizers, Joe Townsend, Canton Spirituals Silver trumpets, Barnes Singers, of Earl, AR; Rev. Houston Potts Jr. & Sister Mary Pride, Christian All Stars of Akron, OH; Genessee Gospel Travelers, The Mosby Singers of East St. Louis, Illinois and the Wandering Five. The liner notes, a full three pages of narration of the history of how these recordings came about by Michael Hurtt. Another 4 pages of narration is dedicated to Style Wooten who was the man behind the recordings, an additional three pages to band bios and a number of really cool large photos of these talented groups. These recordings are so raw and so alive that it's incredible that it has surfaced as a singular package. I will just say if you have ever loved primitive blues, funk, boogaloo, soul, R&B or spiritual music; unless you are just a taster... you will really love this. I'm sorry that I can't go into some type of description on a song by song basis but this is just great stuff. Each track different from the next. Find a copy, put the music on, kick back and groove!  

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”

 

Sunday, September 14, 2014

Joe Sample, Crusaders Pianist, Dies at 75

Joe Sample, who became a jazz star in the 1960s as the pianist with the Jazz Crusaders and an even bigger star a decade later when he began playing electric keyboards and the group simplified its name to the Crusaders, died on Friday in Houston. He was 75.
The cause was mesothelioma, said his manager, Patrick Rains.
The Jazz Crusaders, who played the muscular, bluesy variation on bebop known as hard bop, had their roots in Houston, where Mr. Sample, the tenor saxophonist Wilton Felder and the drummer Nesbert Hooper (better known by the self-explanatory first name Stix) began performing together as the Swingsters while in high school.
Mr. Sample met the trombonist Wayne Henderson at Texas Southern University and added him, the bassist Henry Wilson and the flutist Hubert Laws — who would soon achieve considerable fame on his own — to the group, which changed its name to the Modern Jazz Sextet.
The band worked in the Houston area for several years but did not have much success until Mr. Sample, Mr. Felder, Mr. Hooper and Mr. Henderson moved to Los Angeles and changed their name to the Jazz Crusaders, a reference to the drummer Art Blakey’s seminal hard-bop ensemble, the Jazz Messengers. Their first album, “Freedom Sound,” released on the Pacific Jazz label in 1961, sold well, and they recorded prolifically for the rest of the decade, with all four members contributing compositions, while performing to enthusiastic audiences and critical praise.
In the early 1970s, as the audience for jazz declined, the band underwent yet another name change, this one signifying a change in musical direction. Augmenting their sound with electric guitar and electric bass, with Mr. Sample playing mostly electric keyboards, the Jazz Crusaders became the Crusaders. Their first album under that name, “Crusaders 1,” featuring four compositions by Mr. Sample, was released on the Blue Thumb label in 1972.
With a funkier sound, a new emphasis on danceable rhythms and the addition of pop songs by the Beatles and others to their repertoire, the Crusaders displeased many critics but greatly expanded their audience.
For Mr. Sample, plugging in was not a big step. He had been fascinated by the electric piano since he saw Ray Charles playing one on television in the mid-1950s, and he had owned one since 1963. Nor did he have any problem crossing musical boundaries: Growing up in Houston he had listened to and enjoyed all kinds of music, including blues and country.
“Unfortunately, in this country, there’s a lot of prejudice against the various forms of music,” Mr. Sample told The Los Angeles Times in 1985. “The jazz people hate the blues, the blues people hate rock, and the rock people hate jazz. But how can anyone hate music? We tend to not hate any form of music, so we blend it all together. And consequently, we’re always finding ourselves in big trouble with everybody.”
They didn’t find themselves in much trouble with the record-buying public. The Crusaders had numerous hit albums and one Top 40 single, “Street Life,” which reached No. 36 on the Billboard pop chart in 1979. Mr. Sample wrote the music and Will Jennings wrote the lyrics, which were sung by Randy Crawford.

By the time “Street Life” was recorded, Mr. Henderson had left the Crusaders to pursue a career as a producer. Mr. Hooper left in 1983. Mr. Sample and Mr. Felder continued to work together for a while, but by the late 1980s Mr. Sample was focusing on his solo career, which had begun with the 1969 trio album “Fancy Dance” and included mellow pop-jazz records like “Carmel” (1979).
His later albums included the unaccompanied “Soul Shadows” (2008). His last album, “Children of the Sun,” is to be released this fall.
He also maintained a busy career as a studio musician. Among the albums on which his keyboard work can be heard are Marvin Gaye’s “What’s Going On,” Joni Mitchell’s “Court and Spark” and “The Hissing of Summer Lawns,” Tina Turner’s “Private Dancer,” Steely Dan’s “Aja” and “Gaucho,” and several recordings by B. B. King.
His music has been sampled on numerous hip-hop records, most notably Tupac Shakur’s “Dear Mama.”
Joseph Leslie Sample was born on Feb. 1, 1939, in Houston, the fourth of five siblings, and began playing piano when he was 5. His survivors include his wife, Yolanda; his son, Nicklas, a jazz bassist with whom he occasionally performed; three stepsons, Jamerson III, Justin and Jordan Berry; six grandchildren; and a sister, Julia Goolsby.
Mr. Sample’s fellow Crusader Mr. Henderson died in April.
In recent years, Mr. Sample had worked with a reunited version of the Crusaders and led an ensemble called the Creole Joe Band, whose music was steeped in the lively Louisiana style known as zydeco. At his death he had been collaborating with Jonatha Brooke and Marc Mantell on a musical, “Quadroon,” which had a reading in July at the Ensemble Theater in Houston.  
 
Emma G. Fitzsimmons contributed reporting.

Saturday, September 13, 2014

Hornbuckle Competing in Denver Blues Challenge for IBC




Pictured: Michael Hornbuckle


   HORNBUCKLE COMPETING AT "DENVER BLUES CHALLENGE"
     CHANCE TO GO TO IBC'S IN MEMPHIS - SUNDAY, SEPT. 21





  (DENVER, CO) - Hornbuckle, "Denver's First Family of the Blues" fronted by guitarist-vocalist Michael Hornbuckle, competes at the Denver Blues Challenge, presented by the Mile High Blues Society, Sunday, September 21, at Ziggie's Live Music, 4923 W. 38th Ave. 2 p.m. Info: http://milehighbluessociety.com/Winner advances to the 2015 International Blues Challenge competition in Memphis, January 20-24. 



  WHAT THE MEDIA IS SAYING ABOUT HORNBUCKLE'S  "VIRTUE & VICE"


  Virtue & Vice is the title of Hornbuckle's recently-released album, which is quickly gaining critic's acclaim. They recently celebrated twenty years together as a band.


"Hornbuckle's sound is fresh and interesting...these guys have managed to find a way to give the blues a mainstream, pop-driven sound, while at the same time staying true to their bluesy roots. The songs themselves are nothing short of excellent."       
                                     ROCK OVER AMERICA

"Not since ZZ Top and Stevie Ray Vaughn has there been a band that could wind a mean bar room boogie and bring the blues home like the Hornbuckle Brothers. One of the best new independently produced albums of the year."
                                                  XOMBIEWOOF MAGAZINE

"Spearheaded by Michael's smooth, soulful voice (a la Paul Rodgers in Tonality), the quartet presents a thoroughly sophisticated product right down to the subtle instrumentation that makes "Beautiful Rain," "Angels, Addicts, Poets & Thieves," and "Beautiful Rain" sound so rich."
                                   MUSIC CONNECTION

     In discussing their new album, Brian Hornbuckle says, "On “Virtue and Vice” we try and cover a lot of ground; sixteen songs of memories, love, lust, protest and personal discovery. We really tried to infuse as many influences as possible while still keeping continuity from song to song. We did some reggae in “Complicated”, funk in “Slave to the Benjamins,” a Latin feel on “Moment In Time” and a 70’s rock feel in “Ride Away”. All of it injected with the blues since that is still the main language we speak musically."








   

                                www.hornbucklemusic.com
               https://www.facebook.com/pages/Hornbuckle


Rock Over America - CD Review
All Access Magazine - Interview
Xombiewoof - CD Review

Friday, September 12, 2014

Stony Plain Records artist: Duke Robillard Band - Calling All Blues - New Release Review

I just received the newest release (September 23, 2014), Calling All Blues, from the Duke Robillard Band and it has a fresh feel. Opening with Down In Mexico, Robillard takes the lead on vocal on this track with a dose of Memphis rhythm. Bruce Bears has the keys covered and Rich Lataille, Mark Earley and Doug Woolverton add some nice horn work. On boogie track I'm Gonna Quit My Baby, Bears leads the way on piano and the track which actually reminds me of a Neil Young song. Svengali is a very rudimentary track with very cool stumble drums by Mark Teixeira and and slide work by Robillard. With a lot of the traits of early blues this is one of my favorites on the release. Blues Beyond The Call Of Duty features Sunny Crownover on lead vocals and has that polished blues/jazz feel that Robillard has really made as his trademark. Well conceived and executed guitar work by Robillard as well as cool bass riffs by Brad Hallen. Very nice! Emphasis On Memphis has a definite R&B feel with solid horn work and vocal harmonies. Confusion Blues finds Bruce Bears at the mic accompanying himself on piano for a cool jazz feel. I always love Bears' piano styling and this track does a nice job showing it off. Robillard lays down one of the nicest guitar solos on the release creating a very nice groove. Motor Trouble has a Willie Dixon feel and with paired vocals from Robillard this track has a real honest feel. Robillard keeps the riffs less polished and Bears simple giving the track a real gutsy feel. Very cool! Nasty Guitar features Robillard and Crownover sharing the lead vocal duet. With a slow cocky strut the track is highlighted by a cool bass riff by Hallen and a primarily an overdriven guitar sound. Robillard does clean the sound up to clear for his solo but returns to a grinding sound overall. On Temptation, the band has a swampy feel with swirling trumpet, electric piano, and guitar riffs creating a kind of dark ambiance over the funky drumming of Teixeira. Robillard lays down a really nice guitar solo on this track as well as Dr John like vocals making it another of my favorite tracks on the release. Wrapping the release is Carter Brothers tune, She's So Fine. With 60's style guitar riffs and horn backing this track almost transports you back into the 60's. Cool finish to a cool release.

 “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

 Here's a recent performance by Robillard:


Thursday, September 11, 2014

Drew Nelson - The Other Side - New release review

I just received the newest release, The Other Side, from Drew Nelson and it's quite interesting. Opening with Seven Days, a country influenced blues number, Nelson shows his Dylanesque vocals backed by some of the sweetest slide melodic to be heard in a while. Nelson who plays guitar is backed by Matt Sobb on drums, Steve Marriner on bass, baritone guitar, harmonica, keys and guitar. Make It Right has a little bit of a Jimmy Reed feel with Marriner on harp and keys. There is really a lot going on here instrumentally here and I really like it! On Reggae flavored Stick Around you get a pseudo island feel ... a cool pop track. On Bird On A Wire, is given a real country flavor with nice steel guitar adornment by John Steele. One More Chance is an excellent Chicago style blues with super harp and key demonstrations by Marriner. Nelson does some of his best vocals on this smokin' track. Step back and hear Muddy Waters come alive on slide! Nice! Valentine has a bit of that spaghetti western feel with acoustically altered slide work and rugged vocals making this another strong track. Drifting Away is a C&W styled ballad with cool guitar effects which hits a niche which I personally feel is being neglected on a national basis. This is a nicely constructed and executed track again featuring Steele on pedal guitar. Please Come Home has a bit of new Orleans flair but not stepping out with the big horns. Marriner again steps up on keys and harp warming the track substantially. Did You Ever? is an easy paced ballad featuring a full throated sax solo from Steve Trecarien. Icing the track is a nicely articulated guitar solo in blues ballad style. Get It is a definite rocker, pitting Nelson's vocals against Marriner on slide and harp. Excellent! Wrapping the track is title track, The Other Side, a quiet folk ballad. Ken Kanwisher brings a warm cello interpretation to the track adding substantial warmth.

 “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here

This track is not from the release but is a flavor of Nelson's work.



Wednesday, September 10, 2014

Bluesman Tim Gartland releases Million Stars






TIM GARTLAND
MILLION STARS



New Release From Triple-Threat Bluesman Tim Gartland

Tim Gartland doesn't like to play loud.

He likes to hear himself and the musicians around him, and wants his audience to be able to take in the subtleties of the music, the lyrics, the tones.  I suspect he may even want them to be able to share a word of appreciation between his well-penned verses.  For a blues musician, particularly a harmonica player, this is rare.  Trust me on this, I know.

Singer/songwriter/harp player Tim Gartland is a rare breed, indeed. After being bitten by the blues bug at a Muddy Waters show as a young teenager in Ohio, he soon found himself in Chicago, playing harmonica with the likes of Bo Diddley, Carey Bell, Big Jack Johnson and Pinetop Perkins. Tim became increasingly interested in songwriting, and began writing melodic songs with relevant lyrics and elegant, funny turns of phrase.

Tim moved to Boston in 1991, where he became a well-respected player in the burgeoning Boston blues scene.  He became a founding member, lead vocalist and harmonica player for popular group The Porch Rockers, who released three CDs.  In 1998, he was a finalist in the Boston Blues Challenge.  In 2011 Tim wrote and published an instructional book entitled, "The Talking Harmonica," and launched a teaching career, becoming the first harmonica instructor at the prestigious Winchester Community School.

Tim embarked on his solo recording career with the 2011 release of the critically acclaimed "Looking Into the Sun".

Tim became a skilled harmonica player fairly quickly. And somewhere along the way, he became a first-rate singer and songwriter with a supple baritone and a very specific idea about how his songs should sound.  On MILLION STARS, Tim is surrounded with exactly the right musicians and producer/engineer to bring his vision to life. Tim's organ/piano player and songwriting partner, Tom West, has long been regarded as a key player (pun unavoidable, sorry) on the Boston scene, gracing stages and recordings with Susan Tedeschi, Peter Wolf, and many more. Producer/engineer/guitarist Chris Rival has been the hands and ears behing some of the best-sounding, most soulful recordings to come out of the Boston area — including Paul Rishell and Annie Raines, Peter Wolf, Susan Tedeschi and many more.  Drummer Forrest Padgett (Charlie Musselwhite) and bassist Paul Justice are well-respected longtime staples on the scene.

One of the first things to strike the listener about MILLION STARS is the sonority of the performance and the production;  nothing is fighting for sonic space, the instruments and voice nestle comfortably together so your feel like you're in the room with them, and glad to be there. The players are all tasty and relaxed, which lets them cover a variety of grooves and feels — mid-tempo shuffle, funky R&B, strutting "Exile on Main Street" era Stones, driving down-tempo blues, haunting ballads — and bring them all under the same umbrealla.

Then you start absorbing the lyrics, which are real-world meaningful, funny, ironic and clever.  The bouncy opener "Let Me Keep the Dog" (also the first radio single) puts the spoils of a broken relationship into perspective, while "Mess Me Up" states "I could use some attention/from someone with bad intentions", and the title track has the classic line, "If you'd just extract our head from your behind / you'd see a million stars that can shine."  "I Should Have Cared Less" is a heartbreaking ballad worthy of an aritst like John Hiatt.

A fine harp player, Gartland keeps it concise, then stretches out and nails it in a few different harp positions when the song calls for it.  He favors an acoustic sounding, undistorted tone on most of the tracks, though he does occasionally pay homage to his Chicago influences, particularly the intrumental "Tippin' Time" and the straight ahead blues "I Can Add".

It is my distinct pleasure to introduce you to Tim Gartland.

                    — Richard Rosenblatt, VizzTone label group/Vizzable Music



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Malaco Records artist: Grady Champion - Bootleg Whiskey - New Release Review

I just received the newest release, Bootleg Whiskey, from Grady Champion and it's an interesting blend of R&B, Blues, Soul and Gospel. Opening with Beg, Borrow, Steal; Champion has his harp on point and Taylor Scott is hitting it hot on guitar. With a twist of country and rock, this blues number is fast paced and nicely crafted to feature Champion's skills on harp. Bootleg Whiskey has a definite R&B feel with warm backing vocals from Darrell Luster, Ray Braswell and William Purvis. Addition of horns by Kimble Funches on trumpet, Micah Brown on sax, and William Brown on Trombone add additional depth to a very cool track. Don't Waste My Time takes a definite turn to the blues featuring Champion laying down some nice vocals with strong horn support. Home Alone maintains that horn feel but with a funkier groove. David Hood plucks a nice bass line driving the track and Champion alternates between vocal lead and harp echo and solos with a smooth feel. Ten Dollars has a real nice laid back feel and Champion put out some of the finest vocals on the release. A full horn sound punching the vocals and and Forrest Gordon setting the line on drums punctuates this as one of my favorite tracks on the release. South Side oozes R&B and Champion really captures the "South Side" feel. William Purvis on keys and Michael Thomas on B3 fill out the track nicely and backing vocals are perfect. Who Dat has that "special feel" bringing Al Green to mind. I love Al Green so his basic sound is a great start for anything. JJ Thames adds lush backing vocal on this track and Castro Coleman adds some cool guitar riffs. Very nice! I Tripped And Fell In Love has an easy R&B groove with Vick Allen and Sonya Allen adding really nice backing vocals to a solid front line vocal from Champion. Mr. Right is an easy going soul infused pop track. It has a smooth melody and a cool hook. Wrapping the release is White Boy With The Blues, having a really solid gospel like backing from The Crowns Of Joy (singing richly including Amazing Grace). Champion speaks the story as The Crowns carry the vocal melody and Clayton Ivey on warm enriched key work. Very nice!

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Tuesday, September 9, 2014

8 Ball Aitken Bound For Texas & Australia

8 BALL AITKEN NOMINATED AGAIN… TOURING AGAIN… AND NEEDING YOUR HELP TO RECORD

 
Hi Folks,

Nashville is like a big bubbling hot-tub full of fun ideas. This year, I have written 12 of the most barn-raising bad-a$$ songs that I have ever pointed a guitar at.

I’m in the corner pocket, beyond the 8 Ball, and laying them down soon in the studio, working with some top Nashville session musicians.

Here’s a taste of one of the new songs on the NEW RAINBOW FLAME GUITAR... Birthday present from the best fans in the world.

http://youtu.be/SX43mvGC9q4

Now, this is where it gets exciting. YOU CAN BE A PART OF IT! We are offering some wild’n’crazy cool incentives to everybody who contributes as a crowd-sourcing co-producer (Yes! That’s your official title!) If you’ve ever wanted to be in the music industry, this is your big opportunity.

First of all, for the Aussies, we can offer tax-deductibility for donations via an umbrella organisation; but with this arrangement, we aren’t allowed to offer incentives. Please PM us for info.

Easier still is simply to donate via PayPal (from anywhere in the world), direct deposit to our bank (USA or Australia), or in cash at a gig. Just contact us for all the details!

All contributions under $200 get a heartfelt ‘thank you’ in the album credits (your name in lights!) For $300, I will name you personally in the lyrics of a special “thank you” song (written and recorded after the album release), and I’ll send you a copy of that new song on CD and MP3. Your contribution of $500 will turn you into a character in one of my cartoon music videos.

Your contribution of $1000 gets your name and cartoon portrait (with me) on a special-edition T-shirt… plus ten of these T-shirts for you to share with your friends. If you choose to contribute $2000, you can appear personally in one of my live music videos (BYO transportation to the film shoot.) You’ll be famous… on TV around the world!

For $3000, I will set your words or ideas to music -- you pick the theme! You can make this song about anybody or anything (for a fantastic birthday gift, wedding present, wedding PROPOSAL, Christmas, Valentine’s Day, anniversary, or special occasion gift). I’ll record this song exclusively for you, and give it to you as a CD single and an MP3. I’ll also give you a framed copy of the CD, dedicated to you and signed by me.

A $4000 contribution puts you and 3 friends (4 people all up, exclusively your choices) plus myself into a cartoon music video for one of my new songs.

And for $5000, I will bring my band to your house (or wherever you like), and we will set up and play a 4 hour show for you and your friends. Best of all, YOU get to pick our song-list (as long as all the songs come from any of my 7 albums.)



FROM THE ROAD

I played a crazy good gig at Loretta Lynn’s Ranch on my way to Texas. Now I am in the Lone Star State, with 7 gigs down and 7 more to go rocking my new (best birthday present ever from my fans!) ‘RAINBOW FLAME’ guitar. You have got to see the video above!

Tomorrow night I will be doing my best to blow all swampulation devices on Texas legend and gentleman’s gentleman Ray Wylie Hubbard’s “Roots & Branches of Americana” radio show. It all happens live from Gruene, Texas and can be heard world wide on KNBT Radio.

I recently received a letter with a prestigious nomination for an AUSTRALIAN INDEPENDENT COUNTRY MUSIC AWARD (Male Artist of The Year)! Please cheer from the sidelines if you can’t jump the fence.

I am looking forward to my HUGE Australian tour starting in October and riding that mechanical-kangaroo through for four months of solid action.

See TOUR DATES

Thank you,

8 Ball Aitken & Bird Jensen

Copyright © 2014 8 Ball Aitken, All rights reserved.