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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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Showing posts with label Scotty Moore. Show all posts
Showing posts with label Scotty Moore. Show all posts

Tuesday, December 13, 2022

Cleopatra Records artist: Linda Gail Lewis - Early Sides 1963-1973 - New Release Review

 I just had the opportunity to review the most recent release, Early Sides 1963-1973 from Linda Gail Lewis and is runs the gamut from early R&B to early rock, country and blues. Opening with CC Rider, Lewis on vocal really swings it. Joined by Scotty Moore on guitar and George Webb on bass, Morris Tarrant on drums, W R Fields on and with honking sax work by Luke Wright, this track really hums. With telling, string backing, country ballad, Small Red Diary is a solid showcase for Lewis' vocals with Jerry Reed on guitar, Harold Bradley on guitar, Bob Moore on bass and Buddy Harmon on drums. Blues rocker, Jim Dandy, has great energy with flashy guitar work by Mike Deasy and Ben Benay and Butch Parker on keys. Another solid country ballad, My Heart Was The Last One To Know. With Pig Robbins on piano, Kenneth Lovelace on fiddle and solid steel guitar work, this is a classic. Another great country entry is What Is Love with potent steel guitar work, Robbins on piano and Lovelace on fiddle under Lewis' stellar vocals. Wrapping the release is I Should Have Not Have Fallen In Love With You with it's country blues feel. With Lewis on lead vocal and piano, Leo Leblanc handles the steel work like a champ, joined by Tommy Cogwell on bass, Gene Chrisman on drums and Charlie Chalmers, Sandra Chalmers and Donna Rhodes on backing vocals, this is a solid closer for a real strong release. 

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Thursday, January 31, 2013

Rip Cat Records artist - Mike Eldred Trio - 61/49

I've been told that 2013 is gonna be a great year. If the quality of music coming across my desk this year is a sign... we're in for a windfall. I am reviewing the just released Mike Eldred Trio release, 61/49 on Rip Cat Records and it's a blast! Opening with Eldred original, Don't Go Down There, an acapella spiritual number this recording is off to a terrific start. Eldred shows that he has the voice to carry off this type of track and is backed by the Emmanuel Church Gospel Choir. This track is authentic, real.... terrific! Every track on this release is an Eldred original and next up is Jake's Boogie. This is a fast paced Texas style guitar boogie (instrumental) and it's a 1st class ripper! Louise has got a bit of lope to it and Eldred belts out this rockabilly flavored blues track and plays smokin' blues riffs along with Kid Ramos keeping the track hot end to end. She's A Rocket takes a real dip into the R&R featuring Ike Turner on piano and keeps you boppin with Jeff Turmes on Bari sax honking out great bottom. This is a trio and Eldred is back on each tune by John Bazz (bass) and Jerry Angel (drums). Ruby's Blues is a soft sultry track giving Eldred a great opportunity to show his slow blues guitar chops and that he does. You like slow blues... you'll love this track. This Old Train is a easy going pop track reminicent of early Ricky nelson accompanied by Cesar Rosas on nylon string acoustic guitar. This is a track destined for airplay. Jimmy, Jimmy is a great rocker with hot piano by Ike Turner pushing the rhythm. Eldred really gets the recording charged with this number and his vocals and guitar work are great! Ms. Gayles Chicken House ... just the name conjures up an image and the instrumental light jazz boogie meets the bill. One of the best tracks on the release, this has a great groove and also features Scotty Moore on second guitar. Don't take my word for it. This is cool. I Ain't Comin' Back has a great bottom and uses construction techniques similar to the early Brit blues players playing real blues in the 60's. Eldred plays really hot riffs on this track and his tone is spot on. Lookie Here is a step right out of the early rock blues transformation and Eldred and the gang have the sound down to precision. Again Eldred's vocals are well placed in the track and his guitar work is straight forward and really clean. Swingin! 61/49 is the last track on the release and done acoustically on a resonator...closing the release as it opened... on a primitive earthy real note. This is a great release and one that is certainly a candidate for Bman's Best of 2013 list.

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Thursday, December 27, 2012

Rockin In Memphis - Paul Ansell & Scotty Moore

Winfield Scott "Scotty" Moore III (born December 27, 1931) is an American guitarist. He is best known for his backing of Elvis Presley in the first part of his career, between 1954 and the beginning of Elvis' Hollywood years. He was ranked 44th in Rolling Stone magazine's list of 100 Greatest Guitarists of All Time in 2011. He was inducted into the Rock And Roll Hall of Fame (category: sideman) in 2000 Scotty Moore was born near Gadsden, Tennessee. He learned to play the guitar from family and friends at eight years of age. Although underage when he enlisted, Moore served in the United States Navy between 1948 and 1952. Moore's early background was in jazz and country music. A fan of guitarist Chet Atkins, Moore led a group called the "Starlite Wranglers" before Sam Phillips at Sun Records put him together with then teenage Elvis Presley. Phillips believed that Moore's lead guitar and Bill Black's double bass were all that was needed to augment Presley's rhythm guitar and lead vocals on their recordings. In 1954 Moore and Black accompanied Elvis on what would become the first legendary Presley hit, the Sun Studios session cut of "That's All Right (Mama)", a recording regarded as a seminal event in rock and roll history. Elvis, Black and Moore then formed the Blue Moon Boys. For a time, Moore served as Elvis's personal manager.[3] They were later joined by drummer D.J. Fontana. Beginning in July 1954, the Blue Moon Boys toured and recorded throughout the American South and, as Presley's popularity rose, they toured the United States and made appearances in various Presley television shows and motion pictures. The Blue Moon Boys, including Moore, appear in the few 1955 home movie clips that survive of Elvis before he achieved national recognition. Moore, Black, and Fontana also appear on the Dorsey Brothers, Milton Berle, Steve Allen, and Ed Sullivan live TV shows of January 1956 to January 1957, and also reunite on the 1960 Timex TV special with Frank Sinatra welcoming Elvis' return from the Army. Moore played on many of Presley's most famous recordings, including "Good Rockin' Tonight", "Baby Let's Play House", "Heartbreak Hotel", "Mystery Train", "Hound Dog", "Too Much" and "Jailhouse Rock". Moore and the Blue Moon Boys also perform (and have additional small walk-in and speaking roles) with Elvis in three of his movies (Loving You, Jailhouse Rock, and King Creole) filmed in 1957 and 1958. In 1964, Moore released a solo album on Epic Records called The Guitar That Changed the World,[4] played using his Gibson Super 400. He performed on the NBC television special known as the '68 Comeback Special, again with his Gibson Super 400 which was also played by Elvis. For his pioneering contribution, Moore has been recognized by the Rockabilly Hall of Fame. In 2000, he was inducted into the Rock and Roll Hall of Fame. 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 favorite band!

Thursday, October 25, 2012

Slow blues - Scotty Moore, Earl Palmer, Deke Dickerson

Earl Cyril Palmer (October 25, 1924 РSeptember 19, 2008) was an American rock & roll and rhythm and blues drummer, and member of the Rock and Roll Hall of Fame. Palmer played on many recording sessions, including Little Richard's first several albums and Tom Waits' 1978 album Blue Valentine. According to one obituary, "his list of credits read like a Who's Who of American popular music of the last 60 years". Born into a showbusiness family in New Orleans and raised in the Trem̩ district, Palmer started his career at five as a tap dancer, joining his mother and aunt on the black vaudeville circuit in its twilight and touring the country extensively with Ida Cox's Darktown Scandals Review. His father was thought to be local pianist and bandleader Walter "Fats" Pichon. Palmer served in the United States Army during World War II, eventually being posted in the European Theatre. His biographer states, Most Negro recruits were assigned to noncombatant service troops: work gangs in uniform. "They didn't want no niggers carrying guns," says Earl; they carried shovels, and garbage cans instead. Earl's job, loading and handling ammunition was relatively technical, but his duty was clear: to serve white infantrymen.
After the war ended he studied piano and percussion at the Gruenwald School of Music in New Orleans, where he also learned to read music. He started drumming with the Dave Bartholomew Band in the late 1940s. Palmer was known for playing on New Orleans recording sessions, including Fats Domino's "The Fat Man", "I'm Walkin" (and all the rest of Domino's hits), "Tipitina" by Professor Longhair, "Tutti Frutti" by Little Richard (and most of Richard's hits), "Lawdy Miss Clawdy" by Lloyd Price, and "I Hear You Knockin'" by Smiley Lewis. His playing on "The Fat Man" featured the backbeat that has come to be the most important element in rock and roll. Palmer said, "That song required a strong afterbeat throughout the whole piece. With Dixieland you had a strong afterbeat only after you got to the shout last chorus. . . . It was sort of a new approach to rhythm music." Reportedly, he was the first to use the word "funky", to explain to other musicians that their music should be made more syncopated and danceable. Palmer left New Orleans for Hollywood in 1957, initially working for Aladdin Records. Palmer soon wound up in the Wrecking Crew, a famous group of session musicians who recorded nonstop during their heyday from 1962-68. The musicians union tracked Earl Palmer playing on 450 dates in 1967 alone. For more than 30 years he was to play drums on the scores and soundtracks of many movies and television shows. His career as a session drummer included work with Frank Sinatra, Phil Spector, Rick Nelson, Bobby Vee, Ray Charles, Sam Cooke, Eddie Cochran, Ritchie Valens, Bobby Day, Don and Dewey, Jan and Dean, the Beach Boys, Larry Williams, Gene McDaniels, Bobby Darin, Neil Young, The Pets, and B. Bumble and the Stingers, as well as jazz sessions with Dizzy Gillespie, Earl Bostic and Count Basie, and appearing on blues recordings with B. B. King. He was also in demand for TV and film scores. Palmer played drums in a recording session with west-coast folk singer-songwriter Jim Sullivan around 1969 or 1970. The album was released twice with different audio mixes. On the Monnie Records album, "U.F.O.", Palmer's drumming can be clearly heard, but on the Century City Record, "Jim Sullivan" the drums, percussion and bass were moved back in the mix. He remained in demand as a drummer throughout the 1970s and 1980s, playing on albums by Randy Newman, Tom Waits, Bonnie Raitt, Tim Buckley, Little Feat and Elvis Costello. In 1982, Palmer was elected treasurer of the Local 47 of the American Federation of Musicians. He served until he was defeated in 1984 and was re-elected in 1990. His biography, Backbeat: the Earl Palmer Story, written by Tony Scherman, was published in 1999. In 2000, he became one of the first session musicians to be inducted into the Rock and Roll Hall of Fame. In recent years, he played with a jazz trio in Los Angeles. Palmer died in September 2008, in Banning, California, after a long illness. 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”