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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!
I just received the most recent release, Live In NYC, from Lance Lopez and it's explosive. Opening with with boogie rocker, Come Back Home, guitarist/vocalist, Lance Lopez really gets the place hopping with Chris Reddan on drums and Mike Nunno on bass. With his steady, heavy handed blues rock guitar work this track rips. Lopez's aggressive guitar tone on On Hard Time, shows that he means business. With fluid blues riffs, overdriven rhythm guitar tone, solid bass work and tight drums, this is prime rock! Get Out And Walk, has a great opening riff bringing to mind Humble Pie at their best. You like the classic rock style when blues was king. This is it. Lopez avoids the temptation to overplay and with his excellent rock voice, Lopez has the stuff to balance his ripping guitar leads and Reddan and Nunno are not left behind. Super! Traveling Riverside Blues has a powerful lumbering swagger with strong vocals and drone double stops not unlike ZZ Top or Johnny Winter. At nearly 8 minutes, this is an excellent rocker with hot blues guitar riffs that absolutely kicks ass! Lowdown Ways is down and dirty, the way we like our blues (think "My Own Fault"). This track kick in at over 11 minutes so sit back and have some cold beverage ready cause it will make you sweat! Tell The Truth is a straight forward rocker with a super double timed bass riff and scorching guitar lead. Not Humble Pie but definite influences. I really like this style. Terrific! Wrapping the release is rocker El Paso Sugar, with it's Piedmont style blues intro played on electric guitar. The track develops into a swaggering butt kicker with an almost James Dewar feel. This release shows just how powerful Lopez and his band are and put them high on my see for 2016 list! Excellent!
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”
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I just received the newest release, Anybody Listening Part 2: Dialogues, from Cecile Doo-Kingue and it's quite interesting. Opening with Riot and Revolution, a western flavored rocker, D-K leads on vocals and guitar with backing by Malika Tirolien (vocals), Fredy V (bass) and Anthony Pageot (drums). D-K's guitar style is aggressive and imaginative. Very cool! Sweet Talkin' Devil is a bottom heavy rocker with tight guitar punctuation. Title track, Anybody Listening, has a super groove with a soft jazzy delivery. Cedric Dind-Lavoie joins on bass and Daniel "DJ" Joseph adds cool guitar riffs to an already funky cool track. Very nice! Little Bit is a bright, poppy track with Nadia Bashalani and Wayne Tennant on backing vocals. D-K lays out a stiff, in your face guitar solo nicely contrasting this light laid track. Six Letters is an easy paced ballad with nicely articulated ballad featuring JC Doo-Kingue on dobro and Jesse Padgett on banjo. Simple and tight. Thankful is a very strong radio track with a great melody. D-K's lead vocals are tight and vocal backing by Kim Richardson and Alan Prater balance nicely with acoustic the guitar work and nicely stylized electric guitar soloing. Pure Entertainment has a super driving bass line and light fingered acoustic guitar solo by D-K and an jazz/show tune feel with solid vocals by D-K, Tennant and Bashani. Very cool! Animal Kingdom has a great walking bass line by Dind-Lavoie and a boogie rhythm on guitar by D-K. Her vocals in concert with Richardson and Prater and snappy drumming by Pageot sets this up nicely for a slick electric guitar solo by D-K. Very nice! Bloodstained Vodka is a modern down and dirty blues track on basic acoustic guitar. The nicest showcase for D-K's vocals and with hand claps for percussion and only warm backing vocals by Pierre Desmarais, a very strong track. Faith is a strong rocker with a rock solid bottom and memorable melody. D-K cuts loose with an expressive electric guitar solo giving this track a hot kick. Nice! Sunshine Lady has a marching New Orleans drum beat, soul backing vocals by Fredy and Tirolien and another adventurous electric guitar solo by D-K making this a strong contender for best track. Wrapping the release is Jimi Hendrix's Manic Depression. This is no cover but a super remake with a jammed up bottom with bass by D-K and drums by Pageot. Solid understated guitar work by D-K works nicely with the track and clean delivery on vocal makes this a super wrapper.
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”
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I just received the newest release, Coulda Shoulda Woulda, from Holly Golightly and the Brokoffs and it's a lot of fun. Opening with Heaven Buy and Buy, a catchy pumped up rocker with teammate Holly and Lawyer Dave on vocal and Jeff Walls on guitar. Super opener. Apartment 34 has a clever tango twist trademark lead vocals, with seductive piano, warm keys and backing acoustic guitar. Nicely done! Title track, Coulda Shoulda Woulda, has a pop/punk feel with a touch of surf. What's not to like...really! Lawyer Dave takes the lead vocal on Jump in the River with it's 3/4 time. This track is so well constructed with organ, tambourine, guitar, drums and vocals it has a solid life of it's own. With Holly's backing vocals and flailing guitar work, this track really sails. Jackhammer has a "waltz"/carousel feel and beautifully understated vocals by Holly make this one of my favorites on the release. Caressed by rich backing vocals and complimented by percussion, piano and guitar it's unmistakably cool! Marijuana, The Devil's Flower, recorded in the 50's by the mysterious Mr Sunshine has a gospel feel and tight bluegrass accompaniment including banjo and fiddle. With Holly on lead vocal, Little Mule has a nice rock swing with live farm animals for effects behind really loose guitar riffs and trembend vibrato. Excellent! Vocal ballad, What He Does, is really nice, featuring Holly on lead and acoustic guitar backing and acoustic slide guitar accents. This track has nice radio appeal across numerous genre. The Emperor's dance craze track, Karate, gets a straight up cover by Holly and Dave and will certainly get the audience jazzed when they perform it live. Loads of fun! Lonesome Grave is a particularly strong rural country duet featuring Holly and Dave. With pure country style instruments (banjo, washboard, fiddle) this track is simply cool! No Judgement Day has a distinct, rockin' country feel with ruggedly blended vocals and instrumentals. Not too flashy, just right! Wrapping the release is a smooth as silk, Christmas Is A Lie, with holiday theme, chimes and crushing lyrics. This is a solid finisher for a really strong release.
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”
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Forty Below Records Sets February 26 Release Date for Vinyl LP Version of Find a Way to Care Album from British Blues Godfather John Mayall
New March Tour Dates Announced
LOS
ANGELES, CA – Forty Below Records has announced a February 26 release
date for the vinyl LP version of the latest album from legendary blues
artist, John Mayall, Find a Way to Care, which follows its
critically-acclaimed CD launch in September, 2015. John Mayall and his
band have scheduled a series of U.S. tour dates starting in early March
to help kick-off the LP’s debut.
To watch the video trailer premiere of the making of the Find a Way to Care album:
Since its release on CD, the reviews of Find a Way to Care have been universally glowing: “Find a Way to Care represents another soulful mile marker on John Mayall’s incredible life journey into the blues” – Living Blues;
“The Godfather of British Blues” has been experiencing a true artistic
and career renaissance lately and the revival continues with the release
of the brilliant new studio album, Find a Way to Care” – Relix Magazine; “A blues traditionalist at heart and a gambler by nature, Find a Way to Care proves that John Mayall still has a few musical tricks up his sleeve.” – Blues Music Magazine.
Produced by John Mayall (who also did the graphic design and artwork for the album) and Forty Below’s Eric Corne, Find a Way to Care was
recorded at the House of Blues Studio in Encino, California. In
addition to Mayall (vocals, piano, Hammond organ, Wurlitzer, clavinet,
guitar and harmonica), featured on the sessions are Rocky Athas (lead
and rhythm guitar), Greg Rzab (bass) and Jay Davenport (drums), who
collectively are now into their seventh year as John’s band. The group
is also augmented by a horn section on several tracks.
About
the new album, Eric Corne says, “I really wanted to feature John's
keyboard playing on this record. He’s truly one of the most lyrical,
economical and underrated keyboardists around. We also wanted to change
things up a bit after the success of A Special Life and
the addition of a horn section on several tracks was a really fun way to
do that. As good as the last album was, I think this one is even
better.”
The even-dozen tracks on Find a Way to Care include
a scintillating group of new songs and savvy covers of “Mother in Law
Blues” (Don Robey), “The River’s Invitation” (Percy Mayfield), “I Feel
So Bad”(Lightnin’ Hopkins), “Long Distance Call” (Muddy Waters), “I Want
All My Money Back” (Lee Baker) and Drifting Blues” (Charles Brown).
About his choice of cover songs on the new album, Mayall says, “Every
time I make an album, I always feel I owe it to my fans to come up with
fresh and varied interpretations of the blues. With this in mind, I
chose an assemblage of songs that includes perhaps some slightly
lesser-known bluesmen, and that all had either different beats or
special instrumental treatments. I also found three songs that would be
further enhanced by the addition of horns.”
Added
to the mix are original songs that always feature Mayall’s take on the
current human condition, as well as universal truths. “As always, I draw
from my own experiences and thoughts about things in my life so that
from album to album I create on ongoing musical diary of my life,” he
explains. “The blues never lets me down!”
Find a Way to Care comes
following an especially exciting year-long period of great music from
Mayall that included the 2014 release of his first studio album in five
years, A Special Life, and the April, 2015, release of John Mayall’s Bluesbreakers – Live in 1967 (Never Before Heard Live Performances).
The live album was a critically-lauded archival recording of one of the
best of his Bluesbreakers band lineups that featured Mayall, as well as
Peter Green (lead guitar), John McVie (bass) and Mick Fleetwood
(drums). It showcased a band that was together for only a scant three
months, yet created a lasting legacy, made an immense impact on music
and led to the formation of one of the most acclaimed groups of all-time
when Green, McVie and Fleetwood left to form Fleetwood Mac.
For
over 50 years, John Mayall has served as a pioneer of blues music,
rightly earning him the title, “The Godfather of British Blues.” In
2013, John signed with producer Eric Corne’s label, Forty Below Records,
and the three albums released since continue to raise Mayall’s
recognition as a true pioneer and innovator in blues and roots music. He
continues to perform extensively both in the USA and abroad, and has an
ambitious touring schedule in place for the rest of the summer and fall
that was booked by Monterey International Artists (www.montereyinternational.net).
“This
record has a lot of relationship heartache, missteps, and some
confusion. I think it’s about searching for something via someone.”-
Tasha Taylor
Ruf Records recording artist Tasha Taylor has always carried the torch for Soul and Blues. Now, with her dazzling third album, Honey For The Biscuit,set
for an March 18 release, the US singer/songwriter/musician unveils
thirteen new songs that push her beloved genre into the spotlight. “I’m
carrying on the next generation of rhythm, blues, and soul,” says Tasha.
“Bridging the gap between one generation and another; it’s my family
business – as well as my passion.”
As
the daughter of R&B trailblazer and Stax giant Johnnie Taylor,
Tasha’s genealogy is auspicious. And yet, while lesser talents might
trade on that hallowed surname, Honey For The Biscuitis
a personal statement bearing her unique thumbprint. “I started writing
this record three years ago,” recalls the singer/producer, “and I wrote
most of the songs on my guitar.
Recorded
in LA, Tasha was joined in the studio by a core all-star band. Tasha
(Vocals, guitar, percussion), Nathan Watts (bass), John Notto (guitar),
Jon Taylor (guitar), Don Wyatt (piano/organ), Munjungo Jackson
(percussion) with the following on drums; Gerry Brown, Ronald Bruner, and Stanley Randolph. Then to round it out, a full brass section with Jamelle Williams, Matthew DeMeritt, and Lemar Buillary to make Honey For The Biscuit a thrilling reboot of the great American genres, taking in the soul, funk and every shade of blue.
“I always bring a soul element,” notes Tasha, “and this record also has
a touch of Nashville, which was a new thing for me to explore. Three
songs were written with Tom Hambridge and Richard Flemming, (“Leave Dog
Alone,” “How Long” and “Weatherman”) and overall this record has more of
my blues side exposed, from subject matter to musicianship. It also
inspires some dancing, so be ready for that!”
Special
songs dovetail with special guests. There are the light-footed guitar
lick and gang chants of “Family Tree” (featuring Keb’ Mo’). The
handclaps and doo-wop refrain of Little Miss Suzie (Robert Randolph
guesting on lap steel). The full-throttle, funky ode to a cheating man
on “Leave That Dog Alone” (Samantha Fish supplying fiery guitar/vocals).
The brassy belt of “Same Old Thing” (Tommy Castro at the microphone)
makes Tasha smile, “I got very lucky and got some great friends to play,
nice honey for my record.”
Even
amongst that blues royalty, it’s Tasha’s neck-tingling vocal that
demands top billing, her raw delivery digging to the emotional depths.
The lyric sheet, meanwhile, opens up her diary from a period of
upheaval. “It’s been nice looking back on what is essentially a snapshot
of my life,” she admits, “and realizing what you can learn from your
experiences. There’s a lot of testimonials about dealing with and
searching for stuff, about love, lust, and life. I think I’ve come
through a lot of stuff when I hear this record, and I’m glad to have
those lessons in my pocket.”
It’d
take more than a broken heart to break her stride. Flick through her
backstory and it’s clear that Tasha hasn’t just inherited her father’s
talent, but also his tireless work ethic. Though raised in Dallas,
Texas, her de facto childhood home was the tour bus. “I didn’t have a
lot in common with other kids’ family lives,” she reflects. “On the
road, that’s where I grew up. It was a very different job for one’s dad
to have, but I learned the most from watching him on stage from the
wings.”
For
a period, Tasha seemed bound to a different road, as she moved north to
study drama at Boston University, before taking featured roles in hit
TV shows including “Ugly Betty” and “House”. It’s a
parallel career that continues to thrive, but the music in her DNA could
not be denied, so Tasha went on to compose original soundtracks for
shows like “Men In Trees” and “Lipstick Jungle”, before making ripples with her solo debut, 2008’s Revival.
Three years later, that album was followed up by Taylormade:
a whip-smart set of Tasha’s self-penned material that tipped its hat to
her late father with a spring-heeled cover of “Who’s Makin’ Love.”
“He
was an inspiration and a special talent,” she reflects. “I remember
being on the road with my dad and if I was worn-out or sick, he’d say,
‘You don’t have to sing if you don’t feel good – or you can be a
trouper.' I guess I always choose to be a trouper.” True to Taylor Snr’s
advice and example, Tasha has earned an international reputation for
high-velocity shows that leave it all on the stage and lift her
audiences above their troubles. “It’s very high-energy and deep
emotion,” she explains. “Onstage, I feel the soul of the music, and I
put my everything into my performances because of that. I love to see
the audience connecting to the emotion of the music.” In 2016, Tasha
hits stages across Europe and America armed with Honey For The Biscuit:
the third breakout record that realizes her potential spreads the word
about the genre she has always championed and carries that magical
surname into a bold new age. “If one person leaves with a new favorite
song,” she considers, “then I’m happy…”
I just received the newest release, Gristle to Gold from Randy McAllister and it has a lot of soul. Opening with The Kid With the Really Old Soul, McAllister on lead vocals and harp is joined by Rob Dewan on guitar, Matt Higgins on bass, Maya Van Nuys on fiddle, Kevin Shermerhorn on drums and Andrea Wallace on backing vocals for a real R&B style rocker. The Push really shows the strength of McAllister's vocals and features solid vocal backing from Wallace. I particularly like Dewan's guitar work on this track. Something That Don't Cost A Dime has solid R&B roots with gospel fusion reinforced by the driving bass lines of Higgins and backing vocals by Wallace. Crappy Food, No Sleep, A Van and A Bunch Of Songs actually puts me in mind of Golden Earring in blue. With punctuation by McAllister on harp and backing vocals by Benita Aterberry-Burns, this track gets rockin'. I'm Like A Boomerang is one of my favorite tracks on the release with solid R&B feel and a strong melody. Very nice! Boogie track, You Lit The Dynamite, McAllister shares lead vocals with Arterberry-Burns and with Mike Morgan on bass, and Eric Smith on drums, Dewan rips a real nice guitar solo. Someone's Been There is a quiet ballad, primarily McAllister on vocal and Carson Wagner on keys. This track is well written and nicely performed. Bowling Pin is a fun, rolling train, gospel spirited track with flaming slide and driving organ by Wagner. Glass Half Full has it's R&B style reinforced nicely by Steve Howard on trumpet and Jeff Robbins on sax. With it's sassy rhythm, A Whole Lot Of Nothing gets you twisting in your seat and Dewan rips of a pretty nice solo over retro style vocals by McAllister and Aterberry-Burns on vocals. Hey Hooker has a swinging R&B style with strong lead and backing vocals. With some playful guitar and keyboard solo's this track rocks. Wrapping the release is Ninja Bout Cha, a funky rocker with some excellent slide riffs by Dewan and a cool organ side. This track has Zappa meets Allmans meets Edgar Winter. Pretty cool closer.
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”
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I just received the newest release, Angels Sing The Blues featuring performances by Liz Mandeville, Mary Lane, Al Short, Shirley Johnson and Johnny Drummer and it's cool! Opening with Al "Guitar" Short on the Johnny Guitar Watson track, A Real Mother For Ya, backed by Johnny Drummer on keys, Walter Scott on rhythm guitar, Anthony Palmer on lead guitar, Kenny Hampton on bass, Tino Cortes on drums this release starts off with a kicking funk. Danny O'Connor takes the mic on Cold Women With Warm Hearts and a rolling James Brown rhythm driven by O'Connor's own bass lead. Very nice! Johnny Drummer is up next and a slick guitar intro by Palmer opens Gonna Sell My Cadillac, Buy Myself A Mule. This track has a great feel with extended guitar work by Palmer and Drummers vocals are tight, complimented by his own harp work. Slowing it down a bit, Drummer leads a low slung groove in easy style. Palmer steps up with some real nice riffs on this track giving it a real bluesy feel. R&B style track, Get Your Lovin' Where You Spend Your Time, features Shirley Johnson on lead vocals and she takes command. Compact guitar riffs and simple phrasing makes this track a solid radio contender. Mary lane takes center stage on Just As Grown As You and with a solid 12 bar rhythm and prominent keys from Drummer delivers a stike right down the alley. On Ride In Your Automobile, Lane gets the band involved with backing vocals from Mike Pappas and Alvin Short for a cool driver. Drummer is back up front on Rockin' In The Juke Joint and this is a cool rumble. Shirley Johnson is back up front on I'm Gonna Find Me A Lover, a high stepping R&B track with some of her best vocals on the release. Hamptons bass work on this track stand out nicely with compliments by Palmer. Again on Unchain My Heart, Johnson takes total control with thick, rich, vocals. Drummer's organ work on this track sets up just the right amount of tension, along with a slick guitar solo from Palmer, making this one of the strongest tracks on the release. Mary Lane really grinds out a classic on You Can Have My Husband, Please Don't Mess With My Man. With solid organ backing, nice bass work from Hampton and tight drums from Cortes, Palmer rips a real nice solo on this one. Very nice! Liz Mandeville takes center stage on Use What You Got and she gets hot and sassy. This is a hot track with heavy overtones and a sweet guitar riffs. Continuing with I Just Want To Make Love To You, Mandeville really works it and Drummer's harp and organ add nicely with hot guitar riffs from Palmer. Very cool! On John Prine classic, Angel From Montgomery, Mandeville, Lane and Johnson team up for a solid soulful rendition supported by Amber McMillan and Taniesha Brock on backing vocal and John Elwood Migliaccio and Scott Harper on sax. Very smooth. Wrapping the release is a funky, Run A Red Light, with plucky guitar and bass riffs and Mary Lane showing her stuff just one more time.
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”
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I just received the newest release, Memphis Blue: Sweet, Strong, & Tight from Barbara Blue and it's got soul. Opening with J McShann's Hands Off, a rumbling R&B style track Barbara Blue gets it rolling taking the lead on vocal, and backed by Bobby Rush on harp, Jason Yasinsky on trombone, Joe Spake on bari sax, Lannie McMillan on sax, Marc Franklin on trumpet, David Smith on bass, Michael Tols on guitar, Rev Charles Hodges on B3, Lester Snell on whirlitzer and Steve Potts on drums. On No Time To Cry, Barbara gets a nice Kid Wilson swampy feel and with Ronnie Earl on guitar and backed by Shontelle Norman and Sharisse Norman on vocals, it's on of my favorites on the release. Two stepper, Rudy's Blues has real nice trumpet work from Dedrick Davis and a snappy beat, courtesy of Potts. Voodoo Woman has a real nice bass groove set in place by Smith and The Royal Horns punch up the track. Cody Dickinson adds washboard and Sonny Barbato spices it up with accordion. Bluesy Me & Jesus is another of my favorite tracks with a gospel feel. Barbato's piano work on this track and Hodges B3 work really set the stage for Barbara's soulful vocals. Rolling Up On Me has a cool Memphis funk feel, low on horns but high on B3. Nice phrasing by Blue and a tight guitar solo from Earl makes this the radio track to follow. Very nice! R&B track, Love Is After Me, has a real drive and The Royal Horns really punch it nicely. Backing vocals from the Norman's give it super warmth. Coat & Hat has a real Tex Mex feel and a sleeper track on the release featuring solid vocals and cool accordion work from Barbato. Title track, Sweet, Strong, & Tight, has a cool sway and tight horns from Royal horns punching the back. Spake's Bari work, Steve Graham on trombone and Bobby Rush back on harp give this track real texture. Another R&B track, I'm Gonna Tear Your Playhouse Down, is another solid radio contender. With it's killer melody and smooth horn work, very nice. SuperBlues has a cook funkified rock back beat and a cool harp solo from Rush. Driving bass work from Smith sets the tone. Memphis Stomp has super horn vamp and Barbara kicks the vocals up a notch supported by Hodges on B3. Wrapping the release is 800 Mile Blues, a really stripped down blues number featuring Ronnie Earl on guitar and Blue on vocal. Excellent closer.
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”
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I just received the newest release, Some Call It Freedom (some call it the blues), from RB Stone and it's quite good. Opening with Hill Country Stomp, a hard driving boogie, RB Stone drives this track hard with a great lead riff and solid vocals. Joined by Terrance Houston on drums Stone really gets rockin' with grinding slide and harp work. Excellent opener! A bit more laid back and with a little funk, title track, Some Call It Freedom has a real cool groove. Stone again hits the slide but this time with more polish, Larry Van Loon on keys and a more contemporary sound. 35 Miles To Mobile is a piano driven track with a real rock bottom. I like Stone's guitar tone on rhythm and his slide sound is fat as it gets. Randy Coleman adds a solid bottom for yet another strong track. YoYo Lover has a light Cajun rhythm and cool piano riffs from Van Loon and Stone plays a more melodic guitar and harp solos making this the more prominent radio track to this point. Straight up rocker, Mind Your Bizzness has a great beat and cool melody. Van Loon takes off on B3 but the format is solid radio rock and should hit the radio hard. Very nice! Another Thief is a great blues rocker with raw RL Burnside roots and fat slide work by Stone making this one of my favorite tracks on the release. Nickajack has a real country flavor with an almost banjo pick sound. With it's rudimentary sound and military execution, this is a clean, super instrumental. Another boogie, You Don't Want Me, sets a great JL Hooker kind of pace with Stone kicking it out! Cigar box guitar never sounded so nice! Won't Stop Rockin' has the simplicity of a 60's rocker with JLL style piano work from Van Loon. Freewheelin' slide work and harp riffs by Stone really drive this one home. Excellent! Too Slim Langford joins on Weapons Of Mass Persuasion adding his own excellent slide work to the repertoire. A low slung blues track with heavy slide and hot harp...what else could you want? Wrapping the release is Standin' On Top Of The World, a contemporary rocker with a lot of pep. Austin Young joins on lead guitar and each of the band members gets his chance to show his chops. With it's simple lyric and catchy this track should see cross genre airplay.
This really is an exceptional release and one you should check out!
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”
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I just received the newest release, Tryin' To Make You Understand: Remastered, by Walkin' Cane Mark. Opening with Howlin' Wolf's Somebody's Walking/Somebody's In My Home, Mark wastes no time diving into the gritty blues. Kirk Hawley's guitar tones is great and Mark's vocals are a great match for his harp work on this super bluesy opener. Written with the help of Junior Wells, Tryin' To Make You Understand is classic Chicago with signature Wells phrasing. Arizona Woman, written by Chico Chism, is simple and bluesy with harp, vocal and slide guitar. JJ Cale's Rock and Roll Records keeps a stripped down Cale intention with only lightly delivered vocals and prominent harp over acoustic guitar. Ellada Ellada has a great Latin beat backed by John Rumbaugh on drums and Brenden McBride on bass. Tom T. Hall's That's How I Got To Memphis is a great song and Mark keeps it simple and clean. Very nice. Hot Chicago track, Let Me In While You Can, is my favorite track on the release with a traditional Muddy Waters feel. With warm harp tones and stinging guitar riffs, this is the blues. Another rambler, (I'm A) Freight Train, has great blues spirit and nice harp and guitar riffs. Very cool! Take Me Back To Bergen is a laid back track with a blues harp/mandolin jam format. The Devil's At My Door is another of my favorites with a super melody a Guy/Wells sense and a swampy overall feel. Ocean Full Of Women has a M Waters feel with a rock update and solid harp work. Wrapping the release is Eddie's Boogie written for Mark's son. Clean harp work over a solid 12 bar blues proved a nice closer for this cool release.
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”
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BONAMASSA EVOLVES AS BLUES-ROCK MUSICIAN WITH NEW ALBUM “BLUES OF DESPERATION”
RELEASED WORLDWIDE ON FRIDAY 25th MARCH 2016
GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces today that his brand new studio solo album, Blues Of Desperation (Provogue), will be released 25th March 2016.
Like his previous solo disc, 2014’s Top 10 Billboard hit Different Shades of Blue,
the new album features all-original material, and it sees the maverick
superstar guitarist, singer and songwriter tossing away the rule book
as he continues to reinvent and redefine the blues-rock genre like no
other artist working today.
“I want people to hear my evolution as a blues-rock musician,”
says Bonamassa, “somebody who isn’t resting on accomplishments and who
is always pushing forward and thinking about how music can evolve and
stay relevant.”
The writing sessions for Blues Of Desperation took Bonamassa back to Nashville, where he’d composed Different Shades of Blue,
to work with some of Music City’s top tunesmiths, people like James
House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.
“These are some of the best guys in the business,” Bonamassa
raves. "Lyrically, you’ll hear the proverbial trains, mountains, valleys
and other blues references about heartbreak and loneliness, but there
are also some poignant moments about getting away from the stressful,
crazy demands of life and losing yourself with your special someone. I
think anybody will be able to relate.”
Bonamassa and his long-time producer Kevin Shirley
(Led Zeppelin, Iron Maiden, Journey) convened at Nashville’s Grand
Victor Sound Studios (formerly known as RCA Studio A), and during an
intense, five-day period they recorded 11 galvanizing songs with a
crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.
Of his decade-long collaboration with Shirley, Bonamassa says, “I
can explain our relationship with one word – ‘trust.’ I completely
trust in Kevin and his musical promptings. He pushes my musical ability
by challenging me to not just rest on my laurels or settle for ‘good.’
He expects more out of the other musicians as well and will not hold
back when he sees us falling back into our usual routine.”
“Which sometimes calls for unorthodox measures”, says Shirley,
who admits that his idea of augmenting Bonamassa’s usual recording band
with second drummer Morrow was engineered to “ruffle Joe’s feathers.”
“I wanted him to work a little harder, like in his early years,” he
says, “so I brought in an additional drummer, just to throw the cat
amongst the pigeons.” Of the results, Shirley raves, “Recording Blues Of Desperation is one of the most exciting recording projects I've done. What a joyful noise we made!”
Photo Credit: Laurence Harvey
Blues of Desperation is Bonamassa’s most
powerfully diverse and boldly realized album yet, with the material
ranging from the gutsy, gritty blues call to arms of This Train (Joe’s guitar is set to “rude” throughout) to the elegant yet emotionally shattering ballad What I’ve Known For A Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low,
on which Bonamassa’s voice rises up majestically to meet Barnes, McRae
and Tippins in gospel-like rapture. And then there’s the bleary,
tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch go green with envy.
For details of Joe’s upcoming March 2016 UK tour dates click HERE.
KING
MUD (FEATURING LEFT LANE CRUISER'S FREDDY J IV & BLACK DIAMOND
HEAVIES' VAN CAMPBELL) TO RELEASE THEIR DEBUT STUDIO ALBUM "VICTORY MOTEL SESSIONS" FEB. 5TH VIA ALIVE NATURALSOUND RECORDS!
King Mud is Van Campbell from the Black Diamond Heavies and Freddy J IV
from Left Lane Cruiser. They joined forces in Los Angeles for a
marathon session that gave birth to an album of hard blues, blue-eyed
soul, heavy rock and feedback - Victory Motel Sessions.
They’re also joined by Radio Moscow’s guitar extraordinaire Parker Griggs
on a couple of indelible rockers. In addition to their eight original
tracks, King Mud also turn in rousing covers of both Wilko Johnson’s
“Keep It Out Of Sight” and The Troggs’ “I Can Only Give You Everything.”
If you dig the bands these musicians come from you’ll love this record!
King Mud’s Victory Motel Sessions will be available February 5th on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.
KING MUD's Freddy J IV and Van Campbell (photo: Robert Matheu)
“The band's crunchy chords and sound that's deep rooted in blues rock can be heard on the song we're premiering in
the form of 'Back It Up.' Channeling vintage Mississippi blues, the
song may sound simple, but if you listen deep, you can hear a couple of
musicians kicking back and having a great time.” - PURE VOLUME
"Blues don’t come any deeper, any harder, any sleazier, or any better than this." - MAD MACKEREL
"Left Lane Cruiser and Black Diamond Heavies men team up for King Mud. Result = dirty blues" - MAXIMUM VOLUME MUSIC
I just received the most recent release, Everything Comes With A Price, from Trudy Lynn and it's quite enjoyable. Opening with blues swinger, I'm Gonna Latch On, Lynn immediately establishes why she has been nominated for the BMA Koko Taylor award for female vocalist in 2015 and 2016. Harp man Steve Krase hits the harp square on adding cool riffs and The Mighty Org lays down some really nice guitar riffs as well. Slinky blues number, Fat Daddy, has a great groove and super harp riff, backed by Randy Wall on keys, Paul Lil Buck Senegal on lead guitar and Terry Dry on bass. Lynn has a great swagger on Everything Comes With A Price and Krase is right there to match her on harp. Wall's keys add nicely on this track in particular and Lil Buck sets a great groove of his own on guitar. Very nice! Wall plays a most excellent solo on Yesterday I Was Lonely, a slow blues number and Lynn digs deepp for some of her most heartfelt vocals on the release. Super! My Alley Boogie, has a great New Orleans funk with great piano work by wall and tight harp work from Krase. Excellent track. Rocker, Just A Little Kiss, features a real nice bass line by Terry Dry and James Henry on lead guitar rips it up real nice. Messin' Around With The Blues has a really nice slow blues pace with a Stormy Monday feel. With Rock Romano on bass, sparkling piano work from Wall and Krase trading the spotlight with Lynn this is on of my favorite tracks on the release. Boogie Woogie track, Let My Daddy Do That, hits a real nice stride with Lynn's authoritative vocals, a hot bass line from Dry, The Mighty Org on guitar and Wall hitting the 88's hard. Very nice! Ella Johnson's Blues has a real nice feel with just the right feel from Wall under the melody. Henry adds his own signature guitar riffs giving the track sting. Very cool! Wrapping the release is Living Humble, a cool track with a spiritual feel. Backing vocals and bright piano work nicely support Lynn's vocals making this a super closer.
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”
For added exposure - Blues World Wide Group "LIKE"
Famed Rocker/Bluesman
Joe King Carrasco
Releases His Latest "Chiliando"
Crowd pleasing showman Joe King
Carrasco releases "Chiliando"
Enter one Joe King Carrasco. As
songwriter Joe Whiting penned and still sings, “Plays in the sun where
the Red River flows”. Yep, that’s Joe. Allow me to digress
for a quick moment: it’s interesting to note that Joe’s body of work
spans decades but yet this is not an artist stuck in the past, this
is a man that continues to please audiences in a big way. Joe's
music is as fresh today as it was then. In fact Joe's latest
release on the Anacaonda label “Chiliando” is receiving
tremendous reviews. Here’s an excerpt of what writer Grant Britt
has to say about "Chiliando" - “but there's not much chillin'
going on here. Everything is balls to the wall, cactus juice-fueled, good
time jump up and down party music.” - No Depression Magazine. UK
music reviewer Allan Jones pens this in Uncut Magazine: "Joe
King Carrasco has been making great music since 1979's 'Tex-Mex
Rock-Roll'. 'Chiliando' is his 24th and one if not his best.
Speaker-shredding highlight is 'My Ding Dong Daddy Don't Daddy No Mo'
"
This is just too cool!
Check out these titles!
About Joe’s music…. When listening to a Joe King Carrasco CD
you can actually feel the youthful influences of the groups Question Mark
& The Mysterians andThe Ventures to name just two of them. There is a
decisive organ sound that is fully reminiscent of the addictive keyboard
solo in “96 Tears” and Joe’s guitar playing is as crisp and clear as The
Ventures are known to have delivered on “Pipeline or Wipe Out”. But
influences aside, beyond this reminiscent reminder there lies Joe’s
signature south of the border sound that permeates a Joe King Carrasco
recording. Plus, his new release "Chiliando" is the most
rock oriented CD Joe has recorded to date. Less organ, more
guitar. The sound is incredible. No wonder so many music
festivals and large venues around the world want Joe to return.
When you add his stage presence with this unique south of the border
sound it just makes sense. Check out Joe’s latest release….First a
few words from the man himself, “Chiliando, a Cuban slang word for
“Chillin’ Out”, is about how I survived the Mexican Drug War which
started in 2006, about the same time I moved to Mexico. Many of
these songs were written sitting at military check points out in the
Mexican deserts (where there was often a 50 caliber machine gun pointing
down at me) during my trips from Jalisco to Laredo with my 3 Jack Russell
Terriers – resulting in Rock’n’Roll Blues songs with Mexican slang from
the dark side of Fiesta -- while trying to figure out if they were
Federales or Bandidos” -- Joe King Carrasco
“Chiliando” features Joe King Carrasco on
lead vocals and guitar. Joe’s band, Los Side FX, features Albert
Besteiro on guitar, Vince Mejia on drums, and on bass Chuggy
Hernandez. Guest performers on ‘Chiliando’ include Carmelo Torres
(Los Lonely Boys) on percussion, Rick Del Castillo (The Del Castillo
Band, Robert Rodriguez) on guitar, Leeann Atherton on backing vocals,
David DeLaGarza (La Mafia) on piano, Michael Ramos(The Bodeans, Patty
Griffin, Paul Simon, Los Lonely Boys) on B3 Organ and Alex Ruiz (Chingon,
Robert Rodriguez) on gritos and whistles.
