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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, July 6, 2016

ARTIST SPOTLIGHT: DYLAN WICKENS & THE GRAND NATURALS





Listen/Share "Rock Bottom" on Soundcloud 

Hi Lo-Fi is available on Radio Submit, iTunes and dylanwickens.ca









True to the spirit of power trios of the sixties, Dylan Wickens & The Grand Naturals immediately grab the listener by the ears with their unapologetic take on the blues, by choosing to colour outside the lines with fuzzed up guitars and bass and melodic, hook-heavy vocal lines.  Raw, real, modern and traditional; it’s that paradox which defines the sound of these three world-class musicians that have come together to record the aptly titled, Hi Lo-Fi. Released on May 6, 2016, Hi Lo-Fi has been getting positive reviews from critics around the world and extensive airplay throughout Canada. 

Here's what some of the reviewers are saying about Hi Lo-Fi

“Canadian guitarist/vocalist/songwriter Wickens presides over a tough and tasty trio sound, his blues chops melding well with his songwriting smarts.  The overall vibe here smacks strongly of classic British blues and Mr. Wickens’ vocals frequently evoke a Cream-era Jack Bruce.  Axework is varied and solid throughout and the song list sports airplay-worthy tracks including “Rock Bottom”, “Foolish Heart” and “Fall Apart”. - The Roots Music Report   

“…a varied collection which demonstrates well the tricky art of blues power trio playing, maintaining energy without relying on out-and-out volume. Wickens’s soulful vocal impresses across all eleven tracks, on occasions its anxious edge reminiscent of Paul Rodgers.” - Blues and More Again  

“Hi Lo-Fi, the wonderfully bluesy sophomore release from Dylan Wickens and The Grand Naturals is a delightful listen...This is an album I could listen to all day long.  Hi Lo-Fi is a sure-fire winner.” - Phillycheeze's Rock and Blues Reviews

Their debut recording Tattoo Black was released in 2010 to critical acclaim and extensive airplay on commercial and campus radio, CBC, Stingray and blues programs, quickly establishing themselves as one of the most original and exciting bands in the genre. Featuring Dylan Wickens on guitars and vocals, Al Webster (Jeff Healey, Colin James, Long John Baldry) on drums, and Dennis Pinhorn  (Downchild, Danny Brooks, The Last Waltz Tribute) on bass, this trio has created an album that is tremendous in sound and quality. Wickens’ guitar work transitions between visceral, stinging slide and soulful blues/rock with the combination of the two helping to define the band's sound as both raw and real but contemplative, while his vocals are gritty and fervent with a “Clapton like growl and urgency” (Blinded By Sound).  As a songwriter, Wickens composes well crafted and meaningful songs that often have a melodic twist at the end - a nod to the freestyle playing of 60s power trios.

In addition to Wickens’ guitar prowess, bassist Dennis Pinhorn locks in the grooves with his thunderous, fuzzed out Fender bass while drummer Al Webster holds it all together with subtle yet powerful drumming, choosing his moments to shine with flurries of brilliance. The 9 tracks on Hi Lo-Fi feature compelling lyrics on topics such as desperation, revenge, love, and lust and each is ripe with substantial hooks and melodies as if there were songs within the songs. 

“The making of Hi Lo-Fi came about very slowly until it was time to track it - at that point, I committed completely to a sound that has been rattling about in my head for years - one that is as the name says, both hi and lo-fi all at once”, says Wickens.

This long awaited sophomore release from one of Canada's most imaginative trios follows in the tradition of heavy, 1960’s psychedelic blues/rock and influenced by Doyle Bramhall II, Jimi Hendrix, The Black Keys, and Gary Clark Jr. is best dialed up to 11.
dylanwickens.ca 


RIYL: Big Sugar, Doyle Bramhall II, The Black Keys, Cream

Hi Lo-Fi Track List

1. Foolish Heart 3:41      
2. Love & Lust 5:03
3. Run Sister 3:51         
4. Calamity Jane 4:41
5. Fall Apart 3:43                 
6. She’s Back In Town 3:54
7. Your Other Man 3:44
8. Rock Bottom 4:35
9. In My Time Of Dying (Live) 4:13

Upcoming performances

July 9 - Lighthouse Blues Festival, Kincardine, ON

July 17 - Waterloo Region Museum Concert Series, Kitchener, ON

July 29/30 - Lavigne Tavern, Lavigne ON

August 5 - Kitchener Blues Festival - The Berlin, Kitchener ON

August 7 - Kitchener Blues Festival - MainStage, Kitchener, ON

August 27 - Donnelly's Pub, Thorold, ON

August 28 - Bay City Music Hall, Hamilton, ON

September 17 - The Boathouse Victoria Park, Kitchener, ON


Dylan Wickens is available for interviews and station IDs. 

For more information, hi-res photos or promo copies of Hi Lo-Fi contact 
Sarah French Publicity



Underworld Records artist: Sammy Eubanks - Sugar Me - New Release Review

I just received the newest release, Sugar Me, from Sammy Eubanks, and it's got a definite southern link. Opening with It's All Blues To Me, Sammy Eubanks, singer/guitarist, leads the charge with a track that is of Charlie Daniels and Tinsley Ellis. Country styling and rock overtones, this is a cool opener. Stop That Grinnin has a super blues drive, Elmore James style, with particularly cool work from Eubanks, Matt Hauer and Bob Britt and strong piano riffs from Reese Wynans. Darren Theriault handles the bass and Chris Kimmerer the drums. Very cool. Blues All Mornin' has a real cool bass line and really sweet lead guitar work by Eubanks. Wynans' organ work is nicely saturated giving the track nice girth. Willie Dixon's I Just Wanna Make Love To You has a great boogie beat, sounding more like contemporary Foghat than original Dixon but I really like it... I mean...who doesn't love a boogie. Eubanks' vocals and slide work both shine on this track, making it one of my favorites on the release. Latin influenced, My Baby's Gone, has just the right mix of blues and rock, giving it a cool beach sound. Scott Saunders contributes keys on this track and Eubanks' guitar work is crisp and cool. Title track, Sugar Me, has a raspy guitar vamp giving the track a great edge. Clean guitar soloing over the top gives the track sting. Cool track! Excellent blues track, No Excuse For The Blues has a cool boogie woogie undertone and a strong strait forward drive by Wynans on piano sets the bar for Eubanks' lead solos. It's My Life Baby has a real nice upbeat stab by Kimmerer played against Theriault's bass line sets a terrific platform for solos by Wynans and Eubanks. Very cool! Opening with a Keith Richards like riff, I'm Gonna Leave You, is a rockin' closer. With strong bass lines from Theriault and a grinding guitar riff, Eubanks' vocals and guitar soloing work nicely to sum up this solid release.

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Tuesday, July 5, 2016

Alpha Sun Records artist: Bridget Kelly Band - Outta The Blues - New Release Review

I just received the newest release, Outta The Blues, from the Bridget Kelly Band and it's a cool rocking blues party. Opening with Gonna Stay Here, a blues rock shuffle based loosely on Statesboro Blues. Featuring Bridget Kelly on lead vocal, Alex Klausner on drums, Mark Armbrecht on bass and Tim Fik on guitar, this is a solid opener. Digging into deeper blues, Spellbound, features Fik showing some of his prize riffs, making you sweat and with Kelly's warm vocals this is one of my favorite tracks on the release. With nice rhythm guitar work under a clean guitar opener, If You See My Baby, has a Doobies feel making is quite a danceable rocker. Fik shows his SRV side with some hot fanning guitar riffs. Shuffle track, Sweet River Blues, may be one of Kelly's best vocal outings on the release with pure blues feel. Very nice! Baltimore Woes has a more contemporary rock feel with Stevie Nicks like phrasing. Fik's stylistic soloing on this track is very nice as is the bass runs by Armbrecht. Dancin' With The Blues is a straight up blues rocker with solid vocals and guitar refrain. Dangerous Man has an easy driving beat with a cool guitar line augmented by tight drumming by Klausner. Willie Dixon style, Up and Gone/Smokestack Lightning is a real nice rumble with Kelly leading the charge with aggressive vocals. The band is tight and Fik's slide work slick. Very nice! Lonely Night In June is a cool R&B style track with feelings of Christine McVie and Etta James. Fik's sensitive guitar melodies are nicely crafted. A cool bluesy track, this one should see strong airplay. When The Nighttime Comes has a cool BB King meets SRV feel with Fik on lead vocals. This track has a gritty sound that stands it apart in a good way. Driving ricker, Hard Times In The City, has a very memorable melody and strong guitar undertones. Blues shuffle, Double Crossed, is a free wheeling take on a traditional blues standard. Fik's guitar riffs are loose and energetic and Kelly's vocals are solids. Wrapping the release is Rocket to the Moon with a funky edge. Nice bluesy vocals, a strong bass line, solid guitar riffs and tight drumming sum it up.

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Monday, July 4, 2016

Allen Toussaint – American Tunes - New Release Review - Stilladog - Guest Writer


On 4th of July, America’s birthday, we review American Tunes...  the last, and posthumously released, album by one of the USA’s most influential, diverse, and loved musicians, composers, and musical luminaries, the late.

This album finds Toussaint many times alone at his piano. When he is accompanied it is often sparse but with impeccable precision.   As his persona requires, all the accompanists are top notch musicians in their own right.

A man well known for his own compositions, American Tunes instead features Toussaint’s unique interpretations of other people’s American music.  Many are well known classics from his hometown, New Orleans.  

The album starts off with Delores’ Boyfriend with Toussaint alone at the piano doing what I call a “sportin’ parlor ragtime blues.”  It sounds and smells like pure New Orleans, and is the first of only 2 cuts on the album written by Toussaint himself.

The second track, Viper’s Drag,  is an old Fats Waller tune also in the ragtime vein.  Accompanied only by drummer Jay Bellerose and upright bassist David Piltch, Allen seems to just be having fun with this one.

Confessin’ (That I Love You), a jazz standard from the 1930s comes next.  This tune was popularized by Louis Armstrong.  I don’t think I’ve ever heard someone so comfortable in front of a keyboard as Allen is on this number.  There’s a mighty tasty little bass solo by David Piltch in this one too!

Next is a familiar song by another New Orleans legend, Professor Longhair’s Mardi Gras in New Orleans.Showcasing Toussaint again alone at the piano this tune is done at a much slower tempo than usual. As such, it yields an elegant version of this party tune.

This is followed by Lotus Blossom, a song written by Duke Ellington’s keyboardist, Billy Strayhan.  Naturally it was popularized by the Ellington Orchestra back in the 1950s.  Again at ease with an old jazz standard, the notes just flow like water down a lazy stream.

Another jazz standard, this one from the 1960s, Waltz For Debby is the next up.   A tune by Bill Evans originally recorded in 1961 is very tastefully done by just the trio.

But we’re back solidly in the Crescent City with a solo rendition of Earl King’s Big Chief which was popularized by Professor Longhair.

Then comes my favorite tune on the album, and they bring out extra instrumentation for this one. Duke Ellington’s Rocks In My Bed!  Guitar part by Bill Frisel lincluding a wonderful slide solo is complemented by absolutely magnificent vocals by Rhiannon Giddens (Carolina Chocolate Drops).

Danza, Op. 33 (Louis Moreau Gottschalk) showcases the diversity of Toussaint’s virtuosity.  A classical number that combines polka music with Caribbean rhythms it just seems a perfect fit for displaying the broad range of styles that influenced Toussaint’s songwriting.

Another Professor Longhair tune, Hey Little Girl, injects some more fun into the session as only the good Professor could do.  It is followed by the Earl “Fatha” Hines theme song, Rosetta.  Few people have been more integral to the development of jazz music than Earl Hines and this rendition gives him his due.

A second Ellington song, Come Sunday again features Rhiannon Giddens on vocals.  (Before I read the liner notes I thought it was Catherine Russell).

The other Toussaint original included here is an instrumental version of Southern Nights made famous by Glen Campbell. The album concludes aptly with American Tune by Paul Simon with Toussaint on vocals.

They say after Hurricane Katrina that, perhaps out of necessity, Allen Toussaint took to performing live and touring much more.  It is also said that his performances were often totally unscripted.  He would sit down at the piano and play whatever was in his head or his heart that day.  Since he could play damn near anything, these shows were quite a treat! And so it is that this album seems to be a collection of Allen Toussaint’s favorite songs.  American Tunes.
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Sunday, July 3, 2016

Cleopatra Records artist: Eric Gales - A Night On The Sunset Street - New Release Review - CD/DVD

I just received the newest release (July 8, 2016), A Night On The Sunset Strip, from Eric Gales, and it's really strong. Opening with Make It There, Gales and crew are FUNKY! Backed by Cesar Oviedo on bass who's emphasis is additive and percussive and Nicholas Hayes, who's drumming is crisp and direct this band is tight and spontaneous. Gales, of course, has the mic, playing a green/gold metallic Strat and his soloing is absolutely fluid. This man can throw down 50 note runs barely moving is gingers. Great opener. On modified boogie track, The Change In Me, Oviedo sets a solid boogie bass line but this track has some changes in mind. With effective use of rim shots and snappy jazz turns by Hayes and classy chords by Gales, this track is adventurous. Gales slowly builds dynamics using light bursts of fire but ultimately exploding into full out speed riffs, but not without returning to the jazzy chords and light touch to close. An interview with Gales is interjected between tracks and his honest and informative dialogue adds nicely to the film. Gales wife, Ladonna Gales and cousin, Tyrone Thomas Jr. join the band onstage with rich vocal work on jazz influenced rocker, Block The Sun. Gales vocals on this track really take it in an interesting direction with soulful, bluesy phrasing and the blend is really interesting. His guitar playing is inspired, fast and intense. Very nice. Heavily R&B influenced The Open Road, keeps the playing light and free with nicely blended vocals and a stern kick drum. Using synthetic processing at times, Gales shows his precise, expressive guitar riffs in a most understated manner. This man is have fun and not just blasting it in your face. Nicely done. Boogaloo style instrumental, Sea Of Bad Blood, takes some really interesting jazz turns with Gales playing a lot of rhythm guitar and adding lush jazz chords. Gales leaves the stage giving Oviedo and Hayes free rein to play a nicely progressive jam. Gales returns to the stage for a really lush wrap. Very nice. Instrumental, Swamp erupts a as a rockin jam with everybody at full overdrive. Hard driving and aggressive, this track rocks. Rejoining Gales are Ladonna and Tyrone as well as well as Dylan Wiggins on keys for modern neo soul track, 1019. With it's funky bottom and super key work, Gales and troupe really are visiting Johnny Guitar Watson territory. I really like this track with it's funky interplay between the bottom and Gales vocal and his blues rock guitar work. Excellent! Digging up country roots but with heavy blues and rock influence, Good For Sumthin' openings with a very traditional vamp. Developing this track with funky overtones and heavy bottom, this track has a great groove. Wrapping the release is Jagger/Richards track, Miss You. Raphael Saadiq joins on bass for this final number giving it just a bit more soul and jazz than the original. Gales takes pride in showing off some real nice chords abefore breaking into a real expressive speed blues solo. Strong conclusion to a super concert.

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Friday, July 1, 2016

Relaunch of the Squirrel Nut Zippers - 2016 Concert Tour - Marquee Theatre Tempe, Arizona - Review

I saw the "New" Squirrel Nut Zippers last night and the show was wild. I had mentioned to a few friends that I was going to see the Squirrel Nut Zippers last night and they either looked at me with a puzzled look or they knew exactly what I was talking about. What the hell is a Squirrel Nut Zipper... well, that I can tell you.       Jimbo says, "Nut Zippers" is a southern term for a variety of old bootleg moonshine, and the band's name comes from a newspaper account which related the story of a highly intoxicated man who climbed a tree one night, refusing to come down even after authorities arrived. The article's headline read: "Squirrel Nut Zipper."     Now what does that have to do with a band and who are they? This band is absolute energy with as much animation as a 30's cartoon and as crazy wild as a drunk squirrel. Mathus is a terrific performer and this band of high level New Orleans style jazz musicians put as much energy into entertaining as they do playing their respective instruments... and that is a bunch!

Anyone who reads my blog regularly knows that I have really become intoxicated with the music of Mississippi native, Jimbo Mathus, since first seeing him with Buddy Guy in the early 2000's. Mathus first formed the Squirrel Nut Zippers in the 90's with Mathus' now ex wife, Katharine Whalen, along with Tom Maxwell, Chris Phillips, Don Raleigh and Ken Mosher. Due to other projects and the breakup of Jimbo and Whalen, the project had gone idle. I've got to tell you I'd never seen a SNZ show nor had I ever really heard their music except in passing one weekend about 10 years ago. When I saw that they were playing in town and that Jimbo was leading the pack, I decided to check it out. The new lineup is Jimbo Mathus — vocals, guitar, slide guitar, tenor banjo, trombone, piano; Chris Phillips — percussion, contraption kit, drums; Ingrid Lucia — vocals; Tamara Nicholai — bass; Justin Carr aka Dr. Sick - fiddle, banjo and saw; Charlie Halloran — trombone; Kevin Louis; Dave Boswell; Henry Westmoreland - saxophone; Kris Takorski on keys; and Kevin O'Donell.

 This was a packed house of people who mostly knew every word of every song. They weren't obnoxious singing over top of the band but it was apparent when the lead vocalist would step back from the mic that the crowd picked up the  slack. Jimbo Mathus is the ultimate showman and blows out every bit of energy that he has on stage. Comes dressed in a wool band suit,  in dark burgundy, complete with gold trim  with a full vest and terrific boots and a derby and a wild black and white striped shirt. This outfit looks like it was bought right off of the back of a musician from the Preservation Hall Jazz Band (sans the policeman's style bill hat). Ingrid Lucia is dressed in a period black dress with a lacy "flounce" and openings down to the waist. This show is pure vaudeville with Jimbo taking every opportunity to throw sly one liners in the very brief moments between songs and the music is punk. I mean high energy, raw and irreverent! I managed to get the play list so here it is:

1) Good Enough For Grandad
2) Club Limbo
3) Put A Lid On It
4) Got My Own Thing Now
5) Blue Angel
6) La Fitte's
7) It Ain't You
8) Suits  (video below)
9) Ghost of Stephen Foster
10) My Drag
11) Wished For You
12) Prince Nez
13) Bad Businessman
14) --- Hell
15) Memphis Exorcism
16) Plenty More

They also played a 2 song encore consisting of:

17) Bedlam Ballroom
18) I Found A New Baby

One of my favorites of the evening was the last song of the set, Plenty More, with lyrics like "They say all the boys are monsters, All the girls are whores, So when you lose the one you love,There's always plenty more". Mathus, who delivers the song with such sincerity, gleans in joy  with his eyes wide (Think Mantan Moreland , almost bugging)

Mantan Moreleand
and a mischievous grin revealing his famous gold tooth on delivering the punch line.

Mathus, the primary writer for all of the band's material is a veritable jukebox of musical knowledge, able to play in most any style. Last night I saw him playing with rich jazz chords and rag time strumming as well as neatly articulated riffs and fluid jazz runs.  Lucia's voice is solid yet unusual, adding to the band's "tricks" and complimenting their strengths. Each of the horn players took a number of solo's bringing out the flavor of New Orleans embedded deep in the roots of this band and Carr's strength on fiddle both in bowing and plucking is a showcase of it's own. He also strums it like a banjo, thumps it for impact and lets not forget his featured saw playing. Yes, this band has it all.

With a remastered twentieth anniversary edition of Hot slated for release July 29 on Hollywood Records and a reunion tour to follow, Billboard is exclusively debuting "The Puffer," a never-before-released bonus track written with the late Stacy Guess. The song, which is named for an old steam train, has a Duke Ellington feel and is "kind of a creepy and very typical Zippers," says Mathus.

Listen to Unreleased "Puffer" Jimbo also notes that he's working on new material in the Squirrel Nut Zipper motif so likely we will be looking for a new release altogether in the near future!


SQUIRREL NUT ZIPPERS - 2016 TOUR DATES



Date

CityVenueTickets
6/29/2016 Tucson, AZ RialtoBuy Tickets
6/30/2016 Tempe, AZ MarqueeBuy Tickets
7/1/2016 Flagstaff, AZ OprheumBuy Tickets
7/2/2016 Las Vegas, NV The Downtown Grand
7/3/2016 Park City, UT Deer Valley ResortBuy Tickets
7/9/2016 Montreal Jazz Festival MétropolisBuy Tickets
7/30/2016 New Orleans, LATipitina'sBuy Tickets
8/31/2016San Diego, CABelly Up TavernBuy Tickets
9/1/2016Los Angeles, CATeragram BallroomBuy Tickets
9/2/2016 Tuolumne, CAStrawberry Music FestivalBuy Tickets
9/3/2016 Sausalito, CA Sausalito Arts FestivalBuy Tickets
9/19/2016 Nashville, TN City Winery (Two Shows)Buy Tickets
9/22/2016 Atlanta, GA City Winery (Two Shows)Buy Tickets
10/18/2016 Alexandria, VA The BirchmereBuy Tickets
10/23/2016 Black Mountain, NC LEAF Festival Buy Tickets
11/11/2016 Cape May, NJ Exit Zero Jazz Festival Buy Tickets
11/12/2016 Englewood, NJ Bergen Performing Arts Center Buy Tickets


Jimbo Mathus is a regular southern gentleman, a great musician and songwriter,  a real card, and appears to be humbled and appreciative of every single face in the crowd and every clap of the hand.
I am extremely happy that I made the choice to go see this esoteric band of gypsies weave their magic. They are a fun group of talented musicians and their show is an absolute blast!

Bravo!


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Provogue Records artist: Walter Trout - Alive In Amsterdam - New Release Review

I just had the opportunity to review the newest release, Alive In Amsterdam from Walter Trout and it is a powerhouse! It's good to have Walter back and he is ALIVE! Opening with Sonny Boy Williamson's, Help Me, Trout is literally exploding out through his fingers with new life. Setting down the groove is Johnny Griparic on bass, Sammy Avila on B3 and Michael Leasure on drums. Avila takes an extended solo on keys leading up to a ripping solo by Trout on this vibrant cover. Excellent! On rocker, I'm Back, this band is full of energy led by Leasure's driving drum work and Trout's relentless guitar riffs. Very nice! Slow blues ballad, Say Goodbye To The Blues, Trout dedicates this track to BB King. At 10 minutes plus, a very nice extended jam with tight rhythm and extensive guitar work, this track is hot. Rocker, Omaha, is drum heavy with great drive. Trout's work is signature but he has a different flare when playing rock than blues. Very nice. With a little bit of added funk, son, Jon Trout, joins the band. Father and son rip it up nicely and Avila's B3 work rides nicely over a tight rhythm section. Please Take Me Home is always a crown favorite with a strong melody and some of Trout's best vocals. Backing vocals in this mix are particularly warm and Trout's riffs fluid and vibrant. BB King's Rock Me Baby has a nice, low slung saunter and Trout and Jon trade off on guitar riffs. Jon's got some pretty good riffs so it's cool to see dad give him a leg up. Clocking in over 9 minutes, this is a guitar fiesta. Blues ballad, Marie's Mood, is a super track to build tension before the big send off at the end. Extremely emotional playing by both Trout and Avila. Very nice. John lee Hooker's, Serve's Me Right To Suffer, is one of my favorites with strong dynamics between vocal and instrumentation putting me in mind of the great Alvin Lee's style. A cool drum solo by Leasure gives the track a heavy kick and works the crowd to a frenzy before Trout brings the band back on track with machine gun like riffs. Wrapping the release is encore track, Love That We Once Knew, a melodic track with a solid bottom and strong guitar riffs. This appears to be a crowd favorite, enticing full crowd participation. A great closer.


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