I just had the opportunity to review the most recent release, Stone Cold , from Russ Green , and it's a driving blues rocker. Opening with Lint Redux , you are immediately in the middle of a swampy blues with modern effects. With a firm foot stomp by Felix Pollard on drums and Vic Jackson on bass Russ Green on harmonica and vocals really has the earthy feel. Giles Corey on slide gives the track great grease and Green's harp work is strong. Excellent opener. 12 Feet of Water opens with a terrific harmonica aria before grinding into a super drum driven romp. With the feel that I can only describe as Hill Country , Green delivers such soulful vocals, comforted by Joe Monroe on keys, this track just grabs you. Green's harmonica is like a shuddering wind blowing through you with the thumping bass of Vic Jackson and Vince Agwada on guitar. Excellent! Easy going shuffle, Nobody Knows has a smooth, supple melody with backing acoustic guitar, minimal drum work and melodic ha...
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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!
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Chicago-Based
Blues/Roots Guitarist Voo Davis Creates a Midnight Mist on His New CD,
Coming April 28 on Butter & Bacon Records, with Bonus Video
Included
CHICAGO, IL – Guitarist/singer Voo Davis announces an April
28 release date for Midnight Mist, the third CD from this talented
musician whose musical sound gumbo encompasses the roots of blues, with
additional flavorings from Americana and jam band spices. Produced byDavis and recorded in organic analog sound at Bogalusa, Louisiana’s
Studio in the Country, Midnight Mist includes a bonus video of
“Riverside Blues,” filmed in and around Clarksdale, Mississippi, that perfectly
captures the spirit of the new music on the album. To watch the video for the
song, which Davis directed and edited:
“Being
able to return to Studio in the Country and expand my guitar sounds was
something I really looked forward to on this project,” says Davis about the
recording sessions. “The tones were something that I really wanted to play with,
not just get stuck on one sound.”
Guitar
tones are something of a specialty with Voo Davis, who played an assortment of
vintage guitars, as well as pedal steel, mandolin, and keyboards, including all
the instrumentation on two of the album’s 14 tracks. Joining him on
Midnight Mist are Craig Borchers – drums; Michael Burkart -
Hammond B3 organ; Reggie Winterland – bass; Calvin Conway - harmonica, fiddle;
Carolyn Broussard and Dorian Rush - background vocals.
Coming
off the critical success of his last album, Vicious Things, Voo
Davis continues to build on the momentum of what has come in the past with a
keen eye toward the future. While all three of his albums show differences, the
common thread among all of them is Voo’s ability to mix genres of music and
blending them into a common thread that flows naturally in each release.
“Midnight Mist isn’t like my previous two
albums, but I think it’s a mixture of both with a more mature side,” he states.
“The difference between the first two and this one is that on Midnight
Mist the song took precedence.”
A
nonbeliever in slick computer fixes, Davis uses the one-take approach throughout
the new disc, relying on musicianship instead of computers, emotion instead of
effects. The result is an album that has a live performance feel to it with an
energy level that is palpable.
“We
recorded the album in three days, two of which were spent on instrumentation,
and on the third day I finished up vocals. It was ten hours in the booth that
day and if something didn’t work the first or second time we moved
on.”
Born in Anniston, Alabama, Brian “Voo”
Davis’ moved with his family to Chicago while still a child. That transition
helped embed his Alabama clay roots musical foundation with some Chicago juke
joint flash. The resulting sound mix permeates throughout his overdriven
acoustic slide guitar playing style. Touring with former Koko Taylor guitarist
and Blues Music Award-winner Eddie King, Davis learned to travel the blues
circuit and sharpen his craft alongside one of the best. Critics began to take
notice, too: Illinois Entertainer hailed Davis’ vocals as “built
for the blues;” while iTunes called him “one of those rarities who
takes his music to the same ol’ hangouts but finds something new and revelatory
in the experience;” and Goldmine Magazine summarized its review by
describing his music as a “Hendrix/Buddy Guy/RL Burnside combo of blues-rock
chops.”
His 2012 basement-recorded release,
A Place for Secrets, spent seven months running through the
Americana and Roots Music charts respectively, while surprising the
blues/Americana music scene with an overdriven acoustic mix of slide-based
guitar songs. While personal tragedy with the untimely passing of his wife in
2009 motivated the young guitarist back to music, the songs Davis has created
since that time have been called “lyrically encouraging.”
Lucille Bogan (April 1, 1897 – August 10, 1948) was an American blues singer, among the first to be recorded. She also recorded under the pseudonym Bessie Jackson . The sexologist and music critic, Ernest Borneman , stated that Bogan along with Ma Rainey and Bessie Smith , was in "the big three of the blues". She was born Lucille Anderson in Amory, Mississippi , United States, and raised in Birmingham, Alabama . In 1916, she married Nazareth Lee Bogan , a railwayman, and gave birth to a son. She first recorded vaudeville songs for Okeh Records in New York in 1923, with pianist Henry Callens . Later that year she recorded " Pawn Shop Blues " in Atlanta, Georgia , which was the first time a black blues singer had been recorded outside New York or Chicago. In 1927 she began recording for Paramount Records in Grafton, Wisconsin , where she recorded her first big success, " Sweet Petunia ", which was covered by Blind Blake . She also recorded for Brunswick...
Charles LoBue was one of the fathers of the custom electric guitar business. Charles came to the industry after taking classes from Michael Gurian, first working in and around the guitar repair business in NYC in the mid 60's. Charles' interest in the business began by doing basic repairs on factory made guitars. These were primarily made by Gibson and Fender, the "Gold Standard" for electric guitars, as well as any guitar including acoustics which came through the door. As a professional player in the U.S. in the 60's, Gibson and Fender were the most likely choices if you wanted an electric guitar. It is well known that the Brits used European made guitars as well, primarily due to their accessibility. By the mid late 60's both companies had been sold to larger corporations which were not primarily in the guitar business. The basic perception even today is that the guitars made by these companies during this period were inferior in quality and also l...
It is with great sadness to report that J. Blackfoot (born John Colbert , November 20, 1946) died today, November 30, 2011 at Methodist Germantown Hospital near Memphis, TN. We will keep you abreast of service information as we receive it. J. Blackfoot will truly be missed. “Like” Bman’s Facebook page (available in over 50 languages). I will not relay senseless nonsense. In this way I can get out the word on new talent, venues and blues happenings! - click Here
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