Josh Hoyer (Soul/R&B Artist, NBC's The Voice) Releases New EP - Impacting Feb 5th, 2018

"Hoyer sang with fire and exuded a natural joy." - Rolling Stone New EP - 'The End of the Night' Josh Hoyer

Hello Bman! On Friday, January 26th, international recording and touring artist Josh Hoyer (Silver Street Records) released 'The End of the Night', a three song EP and the first new music from Hoyer since his 2017 appearance on NBC's The Voice. 'The End of the Night' is the result of a writing collaboration between Hoyer, veteran Nashville songwriter Jay Knowles (Harry Connick Jr, Blake Shelton), and producer Jon Coleman, Trace Adkins' band leader and producer. The writing sessions produced three songs; the grooving Soul number “The End of The Night”, Country-Rock anthem “Big Love”, and Soul-Pop tune “Rosario”. In addition to Hoyer’s powerful vocals, featured on the EP are some of Nashville’s most in-demand session musicians, including Kenny Greenberg (guitars), Luis Espaillat (bass), Greg Morrow (drums), Jon Coleman (piano and B3), Doug Moffet (saxophone), Quentin Ware (trumpet), and Marion Grace (background vocals).   'The End of the Night'  is Hoyer's first release since Josh's appearance on Season 12 of NBC's The Voice earlier this year. Viewers around the country took note of the soulful vocals emanating from the man that Adam Levine called a "badass," and Rolling Stone described as an artist who "sang with fire and exuded a natural joy."  Hoyer's appearances on The Voice received over 2 million views on YouTube. The new EP is a prelude to Hoyer's next full-length studio album to be recorded this spring and released in Europe in August on Silver Street Records. The release will be followed by a 6-week European tour this fall, and a US release in early 2019. 'The End of the Night' Listen on Soundcloud 320kbps MP3 Downloads from Dropbox Listen on Spotify www.joshhoyer.com

"They Call Me Mud" CD Coming from Mud Morganfield on March 9 via Severn Records

They Call Me Mud CD Coming from Mud Morganfield on March 9 via Severn Records

Blues Singer and Son of Legendary Muddy Waters Steps Out on New Album Recorded in Chicago with All-Star Cast

ANNAPOLIS, MD – Severn Records announces a March 9 release date for They Call Me Mud, the new CD from singer Mud Morganfield, son of the legendary blues icon, Muddy Waters. Produced by Mud Morganfield and Rick Kreher (who also plays guitar on the CD), They Call Me Mud was recorded at Joyride Studios in in Mud’s Chicago hometown. Mud penned 10 of the album’s 12 songs, with two others coming from his illustrious father’s catalog, “Howling Wolf” and “Can’t Get No Grinding.”

A stellar cast of Chicago area musicians adds some authentic, downhome blues touches to the recording, including Billy Flynn on guitar, Studebaker John on harmonica and backing vocals, Sumito Ariyo Ariyoshi on piano, E.G. McDaniel on bass and Melvin “Pookie Stix” Carlisle on drums.  Special guests include Billy Branch on harmonica, Mike Wheeler on guitar and Mud’s daughter Lashunda Williams, who joins her dad on a loving duet, ‘Who Loves You,’ where Mud gets to stretch out on some of his R&B grooves. There’s also a horn section featured on several tunes, and Mud, himself, plays bass on three tracks.     

“I think it’s the some of the best work I’ve ever done yet,” Mud Morganfield proclaims about the new disc. “I feel that with the variety of material I have on here, people will get a chance to hear the other sides of my music: everything from soul and R&B to jazz and, of course, blues. I got to play bass on three songs, too, and I’m so proud to a have my youngest daughter, Lashunda, sing with me on this album. She’s a natural, too, and regularly sings gospel at home.”   

In the album’s liner notes, co-producer Rick Kreher recalls how he found out about Mud and finally got a chance to meet and become friends with the big man. “About a dozen years ago or so, I heard that a son of Muddy Waters was popping up at clubs on the Westside of Chicago and sitting in for a couple of tunes. A few weeks later, a Chicago blues club was having their annual musicians Christmas luncheon and there was this guy who certainly looked like Muddy. As soon as I introduced myself and he began to talk, I knew without a doubt that this was Muddy’s son. No one could have that deep baritone voice and as soon as he gave that little ‘chuckle’ that Muddy always did, I was convinced. Since that first meeting, we have become great friends and have worked together on many musical endeavors. Mud Morganfield has grown into a superstar on the blues circuit. Certainly, there will be comparisons to his dad, but that can be expected and rightly so. Mud comes as close to the Muddy experience as one can get. He will always pay tribute to his dad with the Chicago blues ensemble sound that Muddy created. But, Mud was also brought up musically in the ‘70s and ‘80s when soul, Motown and R&B ruled the world. Mud played bass and performed with bands playing the hits of that era. This, along with his blues pedigree, has influenced Mud’s own songwriting skills, which are constantly evolving.”

They Call Me Mud is Morganfield’s third album for Severn Records. Son of the Seventh Son (2012) was the first recording that brought Mud into the blues limelight. Mud wrote most of the songs on that album, which was nominated for numerous blues awards and received rave reviews around the world. His last album, For Pops (2014), a tribute to his dad that featured harmonica great Kim Wilson, was showcased on National Public Radio and garnered a Blues Music Award nomination for Traditional Album of the Year.

Rick Kreher describes the music on the new disc as “a blues buffet, with something for everyone. We have a new signature song, ‘They Call Me Mud,’ a hard hitting funky blues with Mud growling it on home. Some rockin’ blues with Studebaker John on harp and Mike Wheeler on guitar going toe-to-toe on ‘“Who’s Fooling Who?’ We have a couple of Chicago blues stompers, ‘Walkin’ Cane’ and ‘Rough Around the Edge;’ a great minor blues, ‘48 Days,’ with Billy Flynn channeling the great Jimmy Johnson on guitar; a Stax groove on ‘Oh Yeah;’ and Mike Wheeler again getting funky on ‘24 Hours.’

“Then, to honor his dad once again we have Muddy’s slide guitar blues, ‘Howlin’ Wolf,’ and the roaring shuffle, ‘Can’t Get No Grindin’,’ where everyone takes a solo turn. And finally, a jazzy instrumental, ‘Mud’s Groove,’ featuring the great Billy Branch on harp. This was the kind of song that blues bands would play before the star of the show would appear to get them into the groove. This song is a perfect finale to a CD that showcases Mud’s take on the blues.”

They Call Me Mud – Track Listing

1) They Call Me Mud   

2)  48 Days

3)  Cheatin’ is Cheatin’  

4)  Who’s Fooling Who?  

5) Howling Wolf  

6)  24 Hours 

7)  Who Loves You 

8)  Oh Yeah

9)  Can’t Get No Grindin’  

10) Rough Around the Edge

11) Walkin’ Cane   

12)  Mud’s Groove

Pioneer Productions artist: Lex Grey and the Urban Pioneers - Usual Suspects - New Release Review

I just had the opportunity to review the most recent release, Usual Suspects, from Lex Grey and the Urban Pioneers and it's solid. Opening with title track, Usual Suspects, power vocalist, Lex Grey blends a reggae beat with overdriven guitars and rock drama to create a unique sound. Backed by Vic Mix on guitars, Kala Updike on bass,Walter Tates Jr. on sax, and John Holland on drums, this band shows versatility. Country rocker, Chow Down, has a driving rock rhythm by Mix and Brian Dewan on piano and accordion, a romping bass line by Per Berquist but with just a touch of country. Blues ballad, Dirty Secret has a lot of the power and style of Big Brother and the SF blues rock style thanks not only to Grey's vocals but Dewan, Holland and Updike. Sonny Boy Williamson style blues rocker SRV is really pumped up with rock power by a grinding guitar line by Mix and frantic sax work by Walter Tates Jr. Boogie rocker, My Jellyroll has a great bottom thanks to Updike and Holland with garage style vocals and smoky harp by Rick Surrano Sr. on harp. Wrapping the release is Latin flavored, Renegade Heart. With it's solid bass line by Updike, sax work by Tates and the cool addition of Foggy Otis on ukulele, capped by a slick guitar solo by Mix, this is a nice closer to an interesting 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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Steve Sainas - simple as this - New Release Review

I just had the opportunity to review the most recent release, simple as this, from Steve Sainas and it's calming. Opening with title track, Simple as This, Sainas accompanies his own vocals on acoustic guitar. Simple and clean. With a more deliberate rock feel, Sainas is joined by Kelly Stodola on drums and Chad Matthews on bass for solid track, Why Do We Fall. I really like this track with it's warm melody and reassuring bottom. Another of my favorites on the release is Your Light Will Shine On, with solid vocals, a nice melody and strong rhythm. My Darkest Days Are Gone presents my favorite vocals on the release supported by a warm melody and clean acoustic backing. Wrapping the release is springy, Everything's Gonna Be Alright, with it's comforting lyrics and cool melody. This is a sure departure from Sainas' blues band, Mud Dog but a solid solo effort.

  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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SBS Records artist: Michelle Malone - Slings & Arrows - New release review

I just had the opportunity to review the newest release, Slings & Arrows, from Michelle Malone and it's a tight rocker. Opening with Hooker style boogie, Just Getting Started, leader Malone shows her flex vocally and lays down some real nice slide to get this party rolling. Excellent opener! Backed by Doug Kees on guitar, Robby Handley on bass, Christopher Burroughs on drums, and Trish land on percussion, Love Yourself has a really nice funky rhythm and again, nice fat slide guitar. Beast's Boogie uses acoustic guitar and harmonica against vocal and stiff legged bass drum to create a cool, Led Zep kind of powerful acoustic blues. Very cool. With Shawn Mullins joining on vocal on Otis Redding's I've Been Loving You Too Long, Malone lays down a real nice reverb saturated remake of this classic R&B track. Driving boogie, Fox and the Hound, has classic boogie rock lines and again, Malone whips out her slide and lays it open. Who doesn't love slide boogie! Another track with a super Led Zep reference via acoustic mandolin and power bottom is Civil War. mind you, this doesn't sound like Led Zep. It's just a great reference point for the roots of this music. Very nice. Wrapping the release is Boxing Gloves, a slightly country flavored blues rocker with possibly the strongest radio oriented track on the release. With tight drumming, bluesy vocals and nice slide, this is a solid closer for a real 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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Ruf Records artist: Bernard Allison - Let It Go - New Release Review

I just had the opportunity to review the most recent release (February 2, 2018), Let It Go, from Bernard Allison and it's quite good. Opening with Cruisin For A Bluesin, Allison is strutting tall with solid vocals, tight guitar riffs and a solid back up band featuring John T. McGhee on rhythm guitar, George Moye on bass, and Mario Dawson on drums. With a funky feel, Backdoor Man is a cool track. Allison has great vocal phrasing and his slide work if fresh and greasy. Another track with a springy beat is Night Train with super tight drums from Dawson and a super groove. Well paced vocals by Allison and nicely stylized blues riffs give the track a strong overall presence. With a low slung jazz vibe, Jose Ned James on sax and Allison on vocal and guitar balance nicely on a cool cross radio track. Sure footed and lumbering, Leave Your Ego has a heavy bottom and smart guitar reinforcement. Allison really gets to grips with his guitar on this one laying down some real nice fiery riffs. Excellent! On Elmore James styled Blues Party, Allison continues to open up more on guitar and his vocals are spot on. One of my favorite tracks on the release is You're Gonna Need Me, a slower paced blues number with a solid bass line. Allison is at his best when he sitting back, singing the blues and throwing hot riffs and this is it. Very nice. Wrapping the release is Castle, a quiet acoustic ballad featuring Allison on guitar and vocal. A strong closer for a super 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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Ruf Records artist: Jane Lee Hooker - Spiritus - New Release Review

I just had the opportunity to review the most recent release, Spiritus, from Jane Lee Hooker and it's smoking! Opening with How Ya Doin?, Hooker opens up where they left off on their hot release, No B! back in 2016. Dana "Danger" Athens is upfront with a powerful voice and Tracy "Hightop" Almazan and Tina "T-Bone" Gorin create a sense of Thin Lizzy while Melissa "Cool Whip" Houston on drums and "Hail Mary" Zadroga on bass give you flashbacks to Van Halen. Powerful is the word. With the poise of Free, Gimme That is a solid blues rocker... oh yeah...with cow bell! Blues ballad, Later On shows a more subtle side of Athens' vocals and Almazan and Gorin's guitar tones are round and mellow. Blending Hound Dog Taylor with a modern garage rock feel gives you a hot rocking version of Lightning Hopkins' Black Rat. Excellent! Clean blues ballad, How Bright the Moon is a real spin featuring Athens on piano and total blues sincerity for one of the best tracks on the release. It doesn't have the frenzy of most (and I like frenzy) and it doesn't have the rawness of many (and I like rawness) but it is a really nice track showing what this band can do in the pure blues ballad arena. Very cool. Bobby Blues Bland's Turn On Your Love Light is a fusion of tandem (Allman like) guitar leads, Greatful Dead like jamming and of course Bland's own energy, spun into a modern blues rocker. Very cool. Wrapping the release is The Breeze, a smooth, blues (mostly) instrumental giving the gang a good chance to stretch instrumentally. Athen's lays down some of her most emotional vocals on the release here making it a perfect conclusion to another strong release by the band.

  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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VizzTone Label Group artist: Little G Weevil - Something Poppin' - New Release Review

I just had the opportunity to review the most recent release, Something Poppin', from Little G Weevil and it's really different. Opening with high energy rocker, Here I Come Knocking, Little G leads the way on vocal and guitar, joined by Daniel Harper on drums, Marton Pfeff on bass, Laci Borsodi on rhythm guitar, Matyas Premecz on keys, and Danny Del Toro on harp. Very cool. With a distinctive R&B feel, title track, Something Poppin' shows a slinky side with thick vocals by Little G and cool backing vocals by Rebeka Easley Ellis and Sharika Allen Brown on backing vocals. With cool guitar riffs and a solid bass line, this is a cool track. Really cool R&B track, When You Want Me To Deal With This, is one of my favorites on the release featuring super vocals by Little G and a strong bass line by Pfeff. Premecz's key work sparkles and Little G lays in some real nice guitar riffs. You Can't Say Nothing has a real nice instrumental interlude featuring a cool exchange between Little G on guitar and Premecz on keys. Curtis Mayfield's Pusherman gets a nice redo with some trademark riffs and even wah wah. Little G's voice is quite different from Mayfield's so this track has a different feel. Crawling is another pseudo rocker with a heavy dose of R&B drawing thoughts of The Ides of March.  Wrapping the release is raw rocker, Top Model with a simple driven beat and garage style guitar riffs.   Little G lays out his best guitar riffs on this one for a dynamic closer. 

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Ruf Records artist: Ghalia & Mama's Boys - Let The Demons Out - New Release Review

I just had the opportunity to review the most recent release, Let The Demons Out, from Ghalia & Mama's Boys. Yes, this is Johnny Mastro's Mama's Boys. Opening with  4AM Fried Chicken, a driving rock n roller, Ghalia Vauthier has that natural rockin vocal style and Mastro really rides tight on harp with Smokehouse Brown on guitar, Dean Zucchero on bass and Rob Lee on drums and percussion. Super opener. Press That Trigger is a cool track with traces of SB Williamson and Alvin Lee with a pinch of the Pretenders. Mastro's harp shows solid tone and Smokehouse's guitar riffs are sparse but cool. Blending a little contemporary styling into delta style blues, Addicition is a cool, mostly primitive blues track with Ghalia on vocal and slide guitar with only the basics of percussion by Lee and Mastro's harp filling the air. Very spatial. A great rocking boogie, All The Good Things is really infectious (like a boogie should be). Vauthier really winds it up vocally and Zucchero bass line sets up perfectly for Brown's British blues style guitar attack. Excellent. Vauthier really works, Little Willie John's I'm Shaking putting in a lot of emotion and Brown's guitar riffs are perfect. Shuffle track, Waiting has traditional Chicago blues bones with a nice solo by Mastro and shared vocal lead between Vauthier and Mastro. The killer on this track is Brown's smoking slide work. Stand back! See That Man Alone is a real nice blues based rocker with a heavy bottom. Very nice. Wrapping the release is Hiccup Boogie, a real John Lee Hooker style boogie with super pace. Vauthier sets the line vocally but it's Zucchero, Brown and Lee who deliver the goods on this cooker with maestro fanning the flames on harp. Super closer.

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Nina Simone's first recordings, 'Mood Indigo: The Complete Bethlehem Sessions,' coming Feb. 9 from BMG.

REDISCOVER THE REMARKABLE FIRST RECORDINGS OF ROCK & ROLL HALL OF FAME INDUCTEE NINA SIMONE ON MOOD INDIGO: THE COMPLETE BETHLEHEM SESSIONS 2018 marks the 60th anniversary of these recordings made  for Simone’s landmark debut album Little Girl Blue. LOS ANGELES, Calif. — Nina Simone was only 25 years old in 1958 when she entered Beltone Studios in midtown Manhattan for a one-day recording session for her debut album, Little Girl Blue, on Bethlehem Records. The 14 songs she recorded that day reveal just how well developed Simone’s sound — her powerhouse vocals, her classically-trained piano-playing, her inventive, genre-blind arrangements, and her dynamic personality — already was. Bethlehem, a small and financially faltering jazz label, picked 11 tracks for Little Girl Blue. This unheralded debut yielded Simone’s biggest hit, a cover of the Gershwins’ “Porgy (I Loves You, Porgy),” as well as her last one, “My Baby Just Cares for Me,” which charted in 1987 after being used in a TV commercial.  By the time “Porgy (I Loves You, Porgy)” was moving up the charts, Simone had moved on to larger and financially stronger Colpix Records. Wanting to capitalize on Simone’s hit, Bethlehem made the most of their Simone material. On Nina Simone and Her Friends, they placed “Porgy’ and the three songs left off of Little Girl Lost (“He’s Got the Whole World in His Hands,” “African Mailman,” and “For All We Know”) with songs by her label-mates Chris Connor and Carmen McRae. Between 1959-62, Bethlehem also put out six singles utilizing all of their Simone tracks. To commemorate the 60th anniversary of these recordings, BMG/Bethlehem now has compiled these singles together as Mood Indigo: The Complete Bethlehem Sessions, due out on February 9, 2019.  The 14-track CD version of Mood Indigo follows the chronology of Bethlehem’s single releases, starting with the first A-side “Porgy (I Loves You, Porgy)” and ending with the last A-side, “My Baby Just Cares Me.” The collection contains an alternative take of “He’s Got the Whole World in His Hands,” as well as seven single-only tracks that previously have only been available on the original 45s. The LP version, pressed in standard black and limited edition blue vinyl, holds 12 tracks plus a bonus 7" replica of Simone’s first single, “Porgy (I Loves You, Porgy)” backed with “Love Me or Leave Me.”  The Bethlehem Sessions displays a young Nina Simone confidently putting her distinctive stamp on the set of jazz numbers and Broadway tunes. She prefaces Rodgers & Hart’s “Little Girl Blue” with a bit of “Good King Wenceslas" and drops a Bach-like interlude into the hot jazz “Love Me or Leave Me.” Although this was her first album, Simone had written in her contract that she could chose the album’s musical direction, and she chose songs she was familiar with from playing in clubs. The session featured Simone performing either solo on piano or backed by bassist Jimmy Bond and drummer Al “Tootie” Heath, two then-young jazz players who went on to lengthy careers.  Mood Indigo’s liner notes include a new interview with Heath, who recalls the one-day session with Simone. “She sat at the piano and sang, and that was that … Nina was already Nina by then. She had her sound together — It was quite different. Her piano playing was something I had never heard before because it wasn’t typical jazz or it wasn’t typical classical. It was Nina Simone, it was her stuff.” Heath’s insightful interview is just part of the enlightening liner notes. Penned by Ashley Kahn, the author of the books Kind of Blue and A Love Supreme, the liner notes provide an excellent history on the making of Little Girl Lost, which was filled with its complications, much like the Simone itself. This year not only marks the 60th anniversary of the Bethlehem Sessions, but it will also see Nina Simone being inducted into the Rock & Roll Hall of Fame, on April 14. Simone, who would have turned 85 on February 21st, has never disappeared from the public’s eye since she passed away in 2003. Recent years saw the release of two documentaries about her: The Amazing Nina Simone and What Happened, Miss Simone, the latter a 2016 Academy Award nominee for Best Documentary Feature. What Happened, Miss Simone also is the name of Alan Light’s well-received 2016 biography. Simone’s music continues to appear on TV and movie soundtracks (her tune "Take Care of Business” was used in the closing credits of 2015’s The Man From U.N.C.L.E. film). Musicians, moreover, have long cited Simone as an influence. The song “Plain Gold Ring,” which is on Mood Indigo, has been covered by White Magic, Nick Cave, and Kimbra, while Simone’s version of “Little Girl Lost” inspired renditions by the likes of Janis Joplin, Diana Ross, and Diana Krall.  Simone’s career was as eclectic as her music. After leaving Bethlehem, she recorded for the Colpix, Phillips, and RCA labels, releasing more than 25 albums from 1959-1974. She continued to cover standards and pop songs, from Screaming Jay Hawkins’ “I Put a Spell on You” to the Bee Gees’ “To Love Somebody”; from the traditional “Children, Go Where I Send Thee” to the original version of “Don’t Let Me Be Misunderstood.” Starting in the mid-’60s, her music turned more political, highlighted by such memorable tunes as “Sinnerman,” “To Be Young, Gifted, and Black,” “Strange Fruit,” "I Wish I Knew How It Would Feel To Be Free," and “Mississippi Goddam.” The last 30 years of her life, Simone led a more peripatetic expatriate existence. She continued to perform live (especially overseas) but recorded only sporadically.  Just as Simone travelled the world, she also traveled down many musical roads. Mood Indigo, however, captures Simone at an incandescent moment — when her sound held both a complexity of style and a purity of youth. LP TRACKLIST SIDE ONE:  1 Little Girl Blue  2 He Needs Me  3 Don’t Smoke In Bed  4 African Mailman  5 Mood Indigo  6 Central Park Blues SIDE TWO  7 For All We Know  8 Good Bait  9 You’ll Never Walk Alone  10 Plain Gold Ring  11 He’s Got The Whole World In His Hands (Alternate Take)  12 My Baby Just Cares For Me ★ Also includes 7" single featuring “Porgy (I Loves You, Porgy)” b/w “Love Me Or Leave Me”  Pre-Order Links: Barnes & Noble Exclusive Blue Vinyl  smarturl.it/NinaSimoneBN CD & Standard Black Vinyl smarturl.it/NinaSimoneCDLP # # #