Last week, JC Brooks and the Uptown Sound released their Bloodshot Records debut, Want More

Last week, JC Brooks and the Uptown Sound released their Bloodshot Records debut, Want More, an 11-song collection of soul crooning, R&B horn pops, and a raw post-punk aesthetic. Metromix mentioned that the album, “Sounds like the MC5 jamming with Otis Redding’s horn section.”

Following the release of their first single from the album, “Everything Will Be Fine” (available for download below), the band has followed up with a music video for the song as well. Co-created by the band and folks at Chicago’s storied Second City, the video is a fusing of retro ‘80s Dial-A-Lawyer commercials and a narrative that brings JC Brooks and the Uptown Sound from the street to the board room.

In addition to the main video, the band also made five short teaser videos that showcase their well-intentioned but somewhat misinformed manager, Glenn Peacock.

#1 “The Interview” - http://youtu.be/RaLWkVibVoQ

#2 “Wilco” - http://youtu.be/6tV2J8_Kky0

#3 “Bullies” - http://youtu.be/gcHAYcinJ8M

#4 “Shocktober” - http://youtu.be/MgkaMRqiik0

#5 “The Manager” - http://youtu.be/C_TRhRQ3n0E

*MP3>>RollingStone.com MP3 download of “Everything Will Be Fine.”

*STREAM>>NPR Music Song of the Day spotlighted the tune “I Got High.”

Want More 2011 Tour Dates:

11/3/2011	The Book & Stage at the Cosmopolitan	Las Vegas	NV
11/4/2011	The Book & Stage at the Cosmopolitan	Las Vegas	NV
11/5/2011	The Book & Stage at the Cosmopolitan	Las Vegas	NV
11/7/2011	The Doug Fir	Portland	OR
11/8/2011	The Triple Door	Seattle	WA
11/10/2011	Bottom of The Hill	San Francisco	CA
11/11/2011	Satellite	Los Angeles	CA
11/12/2011	Soda Bar	San Diego	CA
11/13/2011	Club Congress	Tucson	AZ
11/14/2011	Crescent Ballroom	Phoenix	AZ
11/16/2011	The Mohawk	Austin	TX
11/29/2011	Horseshoe Tavern	Toronto	Canada
12/1/2011	Beachland Tavern	Cleveland	OH
12/2/2011	The Basement	Columbus	OH
12/9/2011	Main St. in Over The Rhine	Cincinnati	OH
12/10/2011	Off Broadway	St. Louis	MO
12/14/2011	Black Cat	Washington	DC
12/15/2011	Kung Fu Necktie	Philadelphia	PA
12/16/2011	Mercury Lounge	New York	NY
12/30/2011	Schubas Tavern	Chicago	IL
12/31/2011	Schubas Tavern	Chicago	IL

Here’s what folks are saying:

JC Brooks and the Uptown Sound describe themselves as a post-punk soul band, but their sound is so much more expansive than that. Uptown Sound is on par with soul musicians from the heyday of the genre’s popularity. – Paste Magazine

This Chicago band’s second album is a lively set of gritty old-school soul and funk injected with some raw garage-rock aggression. An energetic blend of tight, funky rhythms, stabbing horns, keyboards and guitars accompanies frontman JC Brooks, whose impressive vocals gracefully glide between grainy shouting and smooth crooning with some spine-tingling falsetto on songs ranging from hedonistic party starters to socially conscious anthems. – Don Yates, KEXP

Neo-Soul glory. – New York Times

A cross between the Chambers Brothers and agit-punks The Make-Up, Mr. Brooks and Co. are one of the hottest US soul acts right now. – MOJO Magazine

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BROTHER DEGE TO KICK-OFF BENELUX TOUR TOMORROW IN THE NETHERLANDS

CAJUN SLIDE BLUES MUSICIAN BROTHER DEGE TO KICK-OFF BENELUX TOUR TOMORROW IN THE NETHERLANDS

IN SUPPORT OF HIS WELL-RECEIVED DEBUT FULL-LENGTH ALBUM FOLK SONGS OF THE AMERICAN LONGHAIR

Get ready for some raw dirt, railroad pounding, swamp-fried, Louisiana Mekong Delta blues music. Like the mad lovechild of Robert Johnson and Jim Morrison, Dege Legg (aka Brother Dege), the Cajun-born and Louisiana-raised leader of the band Santeria, will be performing a November tour of Belgium & The Netherlands in support of his “slide/Dobro record” entitled Folk Songs Of The American Longhair, produced by four-time Grammy-winner Tony Daigle (Dr. John, Sonny Landreth, Gatemouth Brown, Bobby Charles), Legg and Primo (also from Santeria). This is Delta Blues for the 21st Century, raging out of the swamplands of Louisiana. Dripping with atmosphere and backwoods noir. The real deal—death-obsessed, god-fearing, foot stomping acoustic blues steeped in the devilish myths and haunted ambience that permeates every inch of Louisiana. Factor in some Historic longhaired rock & roll influences – from Sabbath to Black Flag – and you’ve got an art project and anthropological study wrapped in one time traveling package.

Folk Songs of the American Longhair takes the listener on a mind-bending, soul-crushing slide guitar journey into the backroads of the Deep South. Legg composed ten original tunes in the Delta-slide tradition, paying tribute to the old masters while pushing into the apocalyptic future. Much like the field recordings of Alan Lomax, the record tunnels into the ancient mysteries of pre-war blues, recorded in sheds, old houses and open fields. It’s like Son House at a surrealist convention.

Dege Legg is one of the best-kept secrets in the Deep South: an award-winning writer & musician from Lafayette, Louisiana. In 1994, he founded the underground southern-psych rock band, Santeria, which toured and gigged for 10 years in relative obscurity, pounding out a strange variety of "southern rock" that relied less on chest-thumping and beer guzzling, and more with concentrating their creative energies on expressing the isolation and loneliness of the modern south - at times loud and overbearing and alternately quiet, subdued and withdrawn. Over the years, he’s explored nearly every corner of weirdness imaginable in the Deep South from jails to homeless camps to driving a taxicab to being a staff writer for the alt-weekly The Independent Weekly.

BROTHER DEGE BENELUX TOUR DATES

Thursday 3 November: The Rambler, Eindhoven, Netherlands - www.therambler.nl

Friday 4 November: Morrison's Pub, Rossum , Netherlands - www.morrisons.nl

Saturday 5 November, middag: JaBo Gumbo Show, Radio 6 - http://gumbo.radio6.nl/ Nix Bluesclub, Enschede, Netherlands - www.bluesclub.nl

Sunday 6 November: De Groot, Eindhoven, Netherlands - www.kaffeedegroot.com

Monday 7 November: private function

Tuesday 8 November: Cultuurhuis, Heerlen, Netherlands - www.cultuurhuisheerlen.nl

Wednesday 9 November: De Bromfiets, Bonheiden, Belgium - www.denbromfiets.be

Thursday 10 November: De Bunker, Gemert, Netherlands - www.bunkergemert.nl

Friday 11 November: De Loods, Aarschot, Belgium - www.knoet.be

Saturday 12 November: Blaublues, Haringe , Belgium (B)- www.blaublues.be

Sunday 13 November: De Brouwerij, Asten, Netherlands - www.blastblues.nl en www.indebrouwerij.nl

HERE’S WHAT PEOPLE ARE SAYING ABOUT BROTHER DEGE:

[4/5 stars] There ain’t anybody else out there doing it like this. Dege Legg (aka Brother Dege) is an anomaly – a one-man slide, country blues Dobro player, born & raised in the Cajun prairielands of southern Louisiana. With no label, no big budget promo, no hype, and no BS, his self-released album 'Folk Songs of the American Longhair' his been making its way around the world like the little engine that could." - UNCUT

“Santeria frontman Dege Legg presents himself here as Brother Dege, a guitar-slidin’ force of nature whose songs could fill a hall with their effortless, mostly-acoustic verve. Ranging from quietly desperate to careening full-tilt boogie, Folksongs of the American Longhair is a testament to the idea that less can, in fact, be considerably more. Fans of slide guitar, Southern gothic, or plain old rock & roll attitude need to run, not walk, and check out Brother Dege ASAP. This outstanding record is a case study in how one guy with a steel guitar and minimal accompaniment can out-rock a roomful of electric bombast, given the right songs, the right skills, and the right voice. Brother Dege has ‘em all." - POPMATTERS

"... an updated perspective of the age-old Delta blues. Compared to the mammoth sound production of his Lafayette electric-rock groups Santeria and Black Bayou Construkt, here Dege works in an austere one-man band setting reminiscent of his inspirations. After that, it’s his own game: one slide-stinging dobro and a helluva stomping foot." - DAN WILLGING / OFFBEAT MAGAZINE

“Swampy, post-Americana blues…” – RIVERFRONT TIMES / ST. LOUIS

“…offbeat, moaning swamp-guitar gems” – PHILLY.COM

“Great stuff indeed!” - RAVEN’ N’ BLUES RADIO / LONDON

If you’re interested in the evolution of local music, Brother Dege’s show is not to be missed. – THE TIMES / LAFAYETTE, LA

“Really one of the most outstanding CDs I’ve heard this year so far. Great slide guitar, great vocals and production. Outstanding.” – DON CAMPAU / NO PIGEONHOLES RADIO

“Folk Songs Of The American Longhair is in the tradition of the slide guitar Delta blues tradition, but with Legg’s own twist.” – CLASSIC ROCK MAGAZINE / U.K.

“I don’t hear this type of music enough of these days. “ – WTUL RADIO / NEW ORLEANS

“… sounds both ancient and modern, like an indie-rock cover of something Alan Lomax may have recorded a hundred years ago.” – THE MIDNIGHT CAFE

“…harrowing, stripped-down Delta-blues which was recorded in sheds, old houses and open fields for maximum intensity. There’s minimal instrumentation on Folk Songs Of The American Longhair. In fact it is a return to the unprocessed basics, almost all of the tracks feature only one vocal, one slide guitar and one foot stomping. Hard.

If you like Seasick Steve, then this is voodoo drenched genuine article. Think William Elliott Whitmore meets Leonard Cohen at a seance in the swamps.” – MAD MACKEREL / U.K.

"The American Folk Songs Of Long Hair" is an album that continues to captivate with each listen. A must!” – ALT COUNTRY FORUM / NETHERLANDS

“Folk Songs of The American Longhair is a Delta Blues masterpiece and Brother Dege is, dare I say, the Robert Johnson of the 21^st Century.” – ROOTSVILLE / BELGIUM

“Twangy guitar, a foot stomping rhythm and soulful vocals, Brother Dege is pure blues that doesn't layer on anything unnecessary.” – PLUG-IN MUSIC

“Folk Songs of The American Longhair is an iconic, bare bones Delta blues record, just Dege and a Dobro, and the steel on every song echoes like falling tears in a mausoleum. It’s a chilling portrait of death and redemption, an ode to the long road, and each and every slide draws you down into the earth’s waiting dirt.” – BROKEN BEARD

“Dege Legg, from Louisiana, comes armed with a dobro and echoing voice. Ten masterful tunes spiced in Cajun delta blues and steeped in bubbling bayou mushroom tea. Recorded in a shed in Southern Louisiana these sonic vignettes are equal parts foreboding, mysterious, and inspiring. Tunes for the weary eyed freight train hopper or the soundtrack for a rustic Americana slideshow when salvation comes due. Up tempo Gulf coast pyschedelia that even at its bleakest will have your feet tapping. Enough good things can't be said about this album.” - COSMATOMIC BLOG

“Brother Dege writes brilliant visual texts that are at the same time spiritual and macabre, but always with the soul of a Cajun bluesman.” - ROOTSTIME / BELGIUM

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Bman's Exclusive Interview with Kim Simmonds - Savoy Brown

Bman: I just caught up with Kim Simmonds, founding member and long time band leader of Savoy Brown. It's good of you to take time out your extremely hectic schedule to speak with me.

Kim, first I got to tell you how incredibly honored we are to have you continue to tour. I can recall hearing your music first in the early '70's and I've got to tell you... every time I see you live the hair on the back of my neck still stands up when you go off on one of your incredibly deep blues solos. I have had the chance to review your new recording, "Voodoo Moon" and the first thing that hits me is how different it seems from much of what you have been doing over the past 10 or so years. Much of it seems to have the feel of the great early '70's band that I was first introduced to. Kind of a boogie or r&b groove with the blues overlaid. Now I mean that as a real compliment as i think that your early 70's albums stack up against just about anyone... at any time.

I have seen the band maybe 10 times in the past 7 years and I know that you have your standard repertoire that you are "expected" to play. So do the Stones. But hey, you've written some great songs and they have longevity and of course you blend in stuff from your newest release during the shows. I feel that this new release will make the transition between eras a lot less noticeable. Is this intentional?


Kim:Yes the new material from Voodoo Moon does interface well with the old classics. The period I am going through now reminds me of the best of times with the band back in the early days when I had simalar cutting edge songs.

Bman: Well, I can hear it so the concept is working. I know that you had to make changes in the lineup with Gerry being sick and all. How is he doing? How do you feel that the new lineup is geling?


Kim:The last band line up with Gerry had to end eventually. Gerry became sick of course (he's fine now) and because everyone lived so far apart it made rehearsing very difficult. It took a year for the current line up to really mesh but now it feels like one of the best bands I've ever had.

Bman: Yeah...it's hard enough to keep a band in the groove when you are in close proximity so I understand that dilemma. I remember talking with you a few years back and you remarked that you were trying something new with your soloing... just kind of trying to play "around" positions that would ordinarily be played. More like jazz improv. How is that working for you?


Kim:I tried some different things out with my guitar playing over the recent years. At one point I put the guitar tuning into a totally different key....so I had no idea of the notes on the fretboard. I played it like that and interestingly, instead of making a jumbled sound, my mind and fingers automatically sorted out what needed to be played and something quite good and profound came out of the experiment.

Bman: I think that comes from natural brilliance and years on the guitar. It's obvious that you have both! Some of the remarks around the Yahoo Group are that you don't change up the "standards" enough from tour to tour. Now I for one want to hear certain songs each time, so don't get me wrong. I'm sure a lot of it has to do with having not had a keyboard on tour and also limitations with you playing lead and doing lead vocals. Does your new band mate help at all with these issues?

Kim:I'm so glad to hear the feedback. I do get conservative in my song choices and limitations in my singing also come into play as you mentioned. Now, with Joe Whiting singing I am able to explore more of the older songs. I think the shows from now on could be more interesting for the faithful. Having said that....like the Grateful Dead......people keep coming to the Savoy shows because they get to listen to the old standards they like, but played differently every night.

Bman: No Question. I mean if you didn't play Hellbound Train and Tell Mama there would be a revolution (joking).Some of my personal favorites that never see the light of day (or dark of club) are "Jack the Toad", 'Can't Get Next To You', and "May Be Wrong"... now there is an incredible recording. I mean with Looking In, Blue Matter, Hellbound Train, Raw Sienna, Lions Share, Boogie Brothers to mention a few... you guys were just banging out great albums. These albums are all packed with great tunes. Do you ever consider adding any of the other older songs back into the mix?

Kim:There has always been an issue of rehearsing because, in the past, the band often comprised of musicians from all over the country. I made a decision to use musicians closer to me so I could rehearse on a weekly basis. This has grown the repetiore a lot. Look out for some surprises in 2012.

Bman: I can tell you no one goes away from your show disappointed but it sounds like you're even mixing it up more. I never miss a show and I'm excited to see what you've come up with. I can imagine trying to get new songs ready if the band mates aren't local.
I have probably written in my report about Savoy Brown maybe 12 times in the past 6 months. The blues groove that you lay down on "May Be Wrong" is just incredible. I occasionally debut albums from the past for which no video exists. "May Be Wrong" is on youtube with only the cover of the album as the video. It was a hugely popular post. I know that you have to restrain your playing to a certain extent for recording but do you contemplate any more of the "deep blues" 7 minute solos... or do production standards limit that type of idea in today's market.

Kim: Playing a deep slow blues is my strong point. I know that. For me, it takes an enormous amount of energy to play a slow blues...I tell my life story through my guitar playing and it can be completely exhausting. I've told that story on stage many times. It is not a completely reneawable source and I protect it. At my age, if I played a slow blues every night (as if my life depended on it) I would have to carried out on a strectcher!

Bman: Oh, it's very obvious that you put everything that you've got into your playing. I have a friend who is a casual blues listener... more of a power pop /Pixies kind of guy and when I described your last show to him he said "I should have gone to that show!". You definitely can lay it down!! I know I told when I talked to you last that I consider you one of the very elite blues guitar players alive today. Sad that more people haven't heard you really play. Hope we can change that!

Lets talk about your gear for a minute. Last few times I saw you played pretty much a "V" through a Marshall 800 combo I think it was. Then you had your "Walmart Special" that you played on slide tunes. You have an incredible slide tone by the way. Are you still with the "V" or are you back on a Les Paul?

Kim:Back with the Les Paul. I travel so much on airplanes and the Les Paul is more practical than the Flying V especially having to play shows with different rented equipment.

Bman: Yeah, I can imagine!I play a little myself. Are you playing stock guitars or are they hot rodded. I put Tom Holmes pickups in my "V". It has a real pure sound.
I'm guessing that the "Walmart Guitar" has a high action and heavy strings to accommodate the slide work. What gauge strings are you using and what do you use on your standard setup?

Kim:I've never been "into" equipment. Of course I love guitars and have played all the classic ones over my career. But I find I play the same (after a few weeks) no matter what guitar I have. The guitar sound itself will want to play you....but I force my personality on to the instrument and I play it.

Bman: That's one of the advantages of being a great player. You can make every note count on a guitar with a twisted neck and 20 year old strings! Back on Voodoo Moon, we've had a lot of "hits" on our review of the new release so I'm guessing that your fan base are digging it pretty well?

Kim:It's been a super success with the fans...and also the neutral critics are applauding it. I'm very happy that I'm still moving forward.

Bman: How do you like being able to offload some of the singing work so you can focus on the heavy lifting (lead guitar)? I know that formula worked well for you in the past. I mean, when your fans come to see you, lets face it, we all want to hear you get into a groove and then just part our hair with your deep blues solos!

Kim:People say I am playing better with the four piece line up. I think I'm more relaxed and can pick my opportunities as to when to attack or lay back. With the three piece line up....it's attack, attack, attack.....of course some people like that too.

Bman: I can imagine you don't have a lot of time to think about it when you're on stage. Yes, a lot of us do like the constant attack, but you and I both know you can be more affective when you can strategically place the attack. I really appreciate your taking the time for our interview. You've put together a really good recording. I'll look forward to seeing you again soon!

Kim: Many thanks for wanting to interview me.
Thanks to Tom MuNeill for the photography.
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Fire In The Hole - Phil Settle

Phil Settle was born in Georgia and raised in Texas.

Phil attended North Texas State University (Denton, Texas) as a Jazz Education Major. He began his professional music career in Houston, Texas. As founder, lead singer/guitarist of the bands BITTERSWEET, SWEETRUSH, BOUNCE, and THE PHIL SETTLE BAND, he has performed in hundreds of nightclubs, hotels, and college campuses across the South and Texas, where he was called a "a Texas Music legend" by Kevin Wildman of HOUSTON MUSIC NEWS.

Throughout his career he has worked as a singer/songwriter, producer, arranger, session musician, digital programmer and recording engineer at studios such as MUSIC MILL in Nashville, FAME in Muscle Shoals, INERGI in Houston, and RUMBO in Los Angeles. Currently living in Alta Loma, CA, he runs his own recording studio and music publishing company, for which he writes, produces and performs music for commercials, television and feature films among various other musical ventures.
Here we feature his song FIRE IN THE HOLE
from Sons of Guns on The Discovery Channel.
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Sonny Rhodes

Sonny Rhodes (born Clarence Edward Smith, November 3, 1940, Smithville, Texas) is an American blues singer and lap steel guitar player. He has recorded over two hundred songs. "I'm what you call a self-proclaimed Disciple of the Blues!" said Rhodes about his years playing and singing for fans of blues around the world. He has been nominated fifteen times for the Blues Music Awards, and won the Instrumentalist-Other category in 2011.
Rhodes was born in Smithville, Texas, he was the sixth and last child of Le Roy and Julia Smith, who were sharecroppers. He received his first guitar at the age of eight as a Christmas present and really became serious about the blues at age 12. He credits his uncle as his source of inspiration. Rhodes began performing around Smithville and nearby Austin in the late 1950s, while still in his teens. Rhodes listened to a lot of T-Bone Walker's music when he was young, and other guitarists he credits as being influences include L. C. Robinson, Percy Mayfield, Pee Wee Crayton and B. B. King. Rhodes's first band, Clarence Smith and the Daylighters, played the Austin area blues clubs before Rhodes joined the Navy after high school graduation.

In the Navy, he was stationed in California, where he worked for a while as a radio man and closed-circuit Navy ship disc jockey, telling off-color jokes in between the country and blues records he would spin for the entertainment of the sailors. Rhodes recorded a single for Domino Records in Austin, "I'll Never Let You Go When Something Is Wrong" in 1958, and also learned to play the bass guitar. He played bass behind Freddie King and his friend Albert Collins. After his stint in the Navy, Rhodes returned to California while in his mid-20s, and lived in Fresno, California for a few years before signing a recording contract with Galaxy Records in Oakland, California. In 1966, he recorded a single, "I Don't Love You No More" and another single for Galaxy in 1967 and then in 1978, out of total frustration with the San Francisco Bay Area record companies, he recorded "Cigarette Blues" on his own label, Rhodesway Records in 1978.

Rhodes toured Europe in 1976, opening the European market to him, and he recorded with several European labels, but without much success. His European recordings included I Don't Want My Blues Colored Bright and a live album, In Europe. In 1985, Just Blues, appeared on his own Rhodesway label. In the late 1980s, he began recording first for Ichiban Records and later for Kingsnake. His albums for Ichiban included Disciple of the Blues (1991) and Living Too Close to the Edge (1992). Aside from his self-produced 1985 release Just Blues, later releases included The Blues Is My Best Friend and Out of Control (1996)
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Guitar Gabriel

Robert Lewis Jones (October 12, 1925 – April 2, 1996), known as both Guitar Gabriel and Nyles Jones, was an American blues Musician. Gabriel's unique style of guitar playing, which he referred to as "Toot Blues", combined Piedmont, Chicago, and Texas blues, as well as gospel, and was influenced by artists such as Blind Boy Fuller and Reverend Gary Davis. After hearing of Guitar Gabriel from the late Greensboro, North Carolina blues guitarist and pianist, James "Guitar Slim" Stephens, musician and folklorist Tim Duffy located and befriended Gabriel, who was the inspiration for the creation of the Music Maker Relief Foundation. Gabriel wore a trademark white sheepskin hat, which he acquired while traveling and performing with medicine shows during his late 1920s.
Gabriel was born in Atlanta, Georgia, moving to Winston-Salem, North Carolina at age five. His father, Sonny Jones (also known as Jack Jones, James Johnson, and as Razorblade for an act in which he ate razor blades, mason jars, and light bulbs) recorded for Vocalion Records in 1939 in Memphis, accompanied by Sonny Terry and Oh Red (George Washington). Sonny Jones also recorded a single for the Orchid label in Baltimore in 1950 (as Sunny Jones). His family, who grew up sharecropping, shared a talent for music. His great-grandmother, an ex-slave, called set dances and played the banjo; his grandfather played banjo and his grandmother the pump organ; his father and uncle were blues guitarists and singers and his sisters sang blues and gospel.

In 1935, Gabriel's family moved to Durham, North Carolina, where he began playing guitar on the streets. Between the ages of 15 and 25, Gabriel traveled the country playing the guitar in medicine shows. During his travels, he performed with artists such as Bo Diddley, Lightnin' Hopkins, Louis Jordan, Chuck Berry, Muddy Waters, B. B. King, T-Bone Walker and Jimmy Reed. In 1970, Gabriel went to Pittsburgh and recorded a single, "Welfare Blues," as well as an album, My South, My Blues, with the Gemini label under the name "Nyles" Jones. The 45 became a hit in Pittsburgh and Cleveland and though the album sold well, Gabriel never saw any royalties.Disillusioned and embittered by the music business, Gabriel returned home to Winston-Salem where he continued playing music, but expressly for his community, at churches, homes, clubs, "drink houses," and even at bus stops when children were returning home from school. The album, My South, My Blues was reissued in 1988, on the French label, Jambalaya, as Nyles Jones, the Welfare Blues.
Tim Duffy and Guitar Gabriel in Utrecht, 1991

In March 1990, musician and folklorist Tim Duffy began searching for Guitar Gabriel. After being directed to a drink house in Winston-Salem, Duffy met Gabriel's nephew, Hawkeye, who took him to meet Gabriel. Duffy and Gabriel forged a friendship, and began performing under the name Guitar Gabriel & Brothers in the Kitchen, later recording the album, which was released on cassette, "Do You Know What it Means to Have a Friend?" on their own Karibu label. During this time, Duffy would assist the impoverished Gabriel by providing transportation, paying bills, and providing food for him and his wife, but realized that there were many more musicians like Gabriel who were in need of the same assistance, and who were still capable and willing to record and perform. In 1994, Tim and his wife, Denise Duffy founded the Music Maker Relief Foundation. Through this foundation, Gabriel was able to perform in professional venues, including the Lincoln Center and Carnegie Hall, and made several trips to Europe. Gabriel died April 2, 1996, and is buried with his guitar (per his request to Duffy) at the Evergreen Cemetery in Winston-Salem, North Carolina.
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Exclusive Interview with Matthew Curry

I was lucky to catch up with Matthew Curry, band leader of "Matthew Curry and the Fury". I am really liking what I'm hearing from this kid and his band. They are extremely tight, his guitar tone is really rich, his playing is fluid and original and his vocals just feel right.

Bman: I was checking out your sound and you really have it going! How long have you been playing?

Matthew:I got my first guitar (a little Walmart one) when I was 4. I took some lessons when I was a little older, but mostly I'm self-taught.

Bman: Yeah. It sounds like you were born with that thing in your hands. It's just great when you find a natural talent and also someone who is original. Do you come from a musical family... I mean... you have a very mature sound for such a young guy!

Matthew: I got the guitar bug from my dad. He played guitar, listened to lots of music like Stevie Ray and Eric Clapton.

Bman: Well, a big thanks to dad one for having the thought to buy you a guitar and second for liking cool music! I'm a bit of a guitar player myself and I love your guitar sound/tone. Tell me about your rig.

Matthew: As far as guitars I mainly use a Custom Shop Eric Clapton Blackie Fender Stratocaster and for amps I mainly use a 1971 Fender Bandmaster Reverb head through a 4x12 cab but for the bigger shows I use the Fender Bandmaster and a Peavey Classic 30 head rigged through 2 different cabs.

Bman: I really like the Clapton Blackie Custom Shop Strat. It really has a nice feel and the boost switch has a great scoop. It definitely has it's own sound. I'm also a real Fender "tube" fan myself (but then almost every circuit out there came from the old Fenders). I have a few guitars with humbuckers but the single coil guitars through the old Fender amps just sound so creamy! My preference is for the Super through 10's but that's just me. I have an old Hiwatt when I really want to juice. Who have been your primary guitar influences? What are you listening to?

Matthew: My favorites are Bryan Lee, Albert Collins, and Joe Bonamassa. I like to listen to lots of different things to keep expanding. I like experimenting with different sounds and techniques.

Bman: I know what you're saying. They're all great performers. If you have checked out the blog much I listen to everything from the Skip James to King Crimson but of course my main deal is the blues. There's a lot of good stuff out there! I find the more exposure you have to different sounds the more your sound becomes your own. You're obviously doing a great job. I also think that you have a great voice. Is there someone in particular that you first emulated or is this just what came out?

Matthew: The Keyboard player from my old band taught me how to sing at first and from there I kind of found my own voice.


Bman: That's great. I know that a lot of great singers started out copying someone and ended up with their own voice but a lot of people just have it in them. I mean like, who did Aretha Franklin listen to? Joe Bonamassa has really worked on his voice over the past few years. It's a lot more polished than it was when I first started to follow him. I don't know that he needed to, but I'm sure it will help his career because the bigger you get the more critical people seem to get.

I know that you just released a cd. How is that being received?

Matthew: We are getting some awesome press and airtime from the CD. Our fans especially love the title track. We just got great reviews in Blues Blast and the Indie Music Reviewer.

Bman: I'm really happy to hear that. You have a really great start and the right spark may ignite you. Are you writing your own songs or are they collaborations?

Matthew: Mostly they're my own. Sometimes I work with the band to find the right groove or add certain lines. I like taking ideas and expanding them as far as they will go. I love the blues and like to take the progressions just a little further.

Bman: Spoken like a true blues man. I'm real excited about what I hear and look forward to hearing more from you soon! Please keep me informed with gigs and studio work.

Great job and thanks for your time.
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Dave Widow and The Lineup at Cafe Cordiale' - Sunday,Nov. 6

Performs Locally: Dave Widow & The Lineup at Cafe Cordiale' - Sunday,Nov. 6

Dave Widow is a guitarist-singer-songwriter from Cincinnati, Ohio currently living in the Los Angeles area. He and his band, "The Line Up", have appeared on a regular basis at such L.A. venues as The Langham, The Mint, Café Boogaloo, The House Of Blues, B. B. King's Blues Club, and The Lighthouse, as well as venues all across America, and abroad.

Dave Widow & The Line Up make a special appearance in the San Fernanado Valley at Cafe Cordiale, 14015 Ventura Blvd., Sherman Oaks, Sunday, November 6, from 8:30-11 p.m. No cover; info: (818) 789-1985 or www.cafecordiale.com. Performing that evening in Widow's band are renowned drummer Gary Mallaber (known for his work with Bonnie Raitt, Van Morrison and Steve Miller Band among others); bassist Ray Brundidge (James Brown); keyboardist-vocalist David Morgan (Jim Messina, Ricky Nelson); and other special guests.

Watch a live performance by Dave Widow and the Line Up (along with special guest Bill Champlin) of "Don't You Lie To Me" here:

With his unique style of finger picking and distinct vocals, Widow brings a fresh approach to the Blues, while also combining elements of R&B, Funk, Soul and Rock. His musical style is influenced by his relationship with many great blues and R&B talents, including Buddy Miles, Bonnie Bramlett, Bill Champlain, Lonnie Mack, and his mentor and collaborator (the late) Roger "Jellyroll" Troy, bassist and vocalist for The Mike Bloomfield Band.

Widow is excited about his new material on his upcoming CD. "One of my new songs is called, "What Did I Do, To Piss You Off, This Time"...that needs little explanation, I think....there's also "Picture Of You," a melancholy song about remembering a lost love, via an old photo I found, on a rainy afternoon, and it's an Americana/dreamy-sort of tune..."Leave A Piece Of Me" was written about an old girlfriend who broke my heart."

As for the future? "I would like to be more well known, obviously, performing at concerts, and associated with a known record label, making CD's, or whatever medium is current at that time, still writing songs, collaborating on tunes with other writers and artists, and producing some other artists as well. I like to work on other artist's music, and help bring other artists ideas to fruition."

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Boy Wells Audio clip - Love In Vain

One of our viewers volunteered this audio clip of Boy Wells to supliment the video posted earlier. I am still working on getting a video!

Enjoy

Bman
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06 - Boy Wells - Love In Vain.mp3

New release: Calling Your Name - Trevor Sewell

I just got Trevor Sewell's new release "Calling Your Name". This is a really upbeat release that will keep you moving in your seat. Although primarily a vocal dominated cd there are a lot of tasty guitar interludes throughout that bring to mind Dire Straits and flashes of SRV's work with David Bowie. Newcastle born musician Trevor Sewell has received 3 nominations in a prestigious Awards ceremony in the U.S.A. The Hollywood Music and Media Awards are held in November at the world famous Kodak Theatre Complex in Hollywood. Trevor is sure to score well with this new release. "Hate Me For a Reason" being my favorite vocal track and "Gone Too Soon" a very strong instrumental track.

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Check out Trevor. I think you'll like it!

OLI BROWN APRIL 2012 UK TOUR

www.thegigcartel.com & Rhino Agency presents
OLI BROWN
APRIL 2012 UK TOUR

"The hottest young pistol in British Blues"
– Mojo

24 HOUR BOX OFFICE: 0844 478 0898
BOOK ONLINE: www.eventim.co.uk www.thegigcartel.com

"One of the best and brightest guitar heroes performing
in the world today"
– Classic Rock

After winning ‘Best Band’ and ‘Best Album’ at the prestigious British Blues Awards 2011, 22 year old British guitar sensation Oli Brown will return to the UK in April 2012 for his biggest headline tour to date.

Tickets for Oli Brown’s solo tour, which kicks off at the Manchester Academy on Wednesday April 11th, will go on sale at 9am on Friday November 4th, mid-way through Oli’s UK stint as special guest to the legendary blues-man John Mayall. Tickets will be available from www.eventim.co.uk, www.thegigcartel.com, and the national booking hotline 0844 478 0898.

A special 48 hour ticket pre-sale will be made available through Eventim and Ents 24. From 9am on Wednesday November 2nd, fans can get their hands on a limited amount of tickets for each of the concerts by visiting www.ents24.com.

Since the release his 2010 album “Heads I Win Tails You Lose”, Oli has been almost constantly on the road with tours across Europe, America, Canada and New Zealand.

The album was produced by Mike Vernon (Fleetwood Mac, Eric Clapton), who came out of retirement especially to work with Oli, after hearing his debut album, “Open Road”.

Upon release, “Heads I Win Tails You Lose” garnered much critical acclaim, with Mojo and Classic Rock naming the album as their #4 and #3 Blues albums of 2010 respectfully.

Following the dates with John Mayall, Oli will be heading into the studio to work on an as-yet-untitled new album, set for an April 2012 release to coincide with the UK tour.

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Hipo-Select releases coimplete Howlin Wolf collection! - Bob Corritore correspondent

The Hipo-Select label has just issued a limited edition, 4 CD collection by the great Howlin Wolf titled Smokestack Lightnin'; The Complete Chess Masters (1951 to 1960). Howlin Wolf was among the greatest blues singers who ever lived! His classics include, "Sittin On Top Of The World", "Smokestack Lighnin", "I Aint Superstitious", "Killing Floor", and many others. To find out more about this amazing release, and see a complete track listing.

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Blues Blast Music Award Winners! Congratulations to Bob Kieser of Blues Blast Magazine for orchestrating the amazing Blues Blast Music Awards last

Blues Blast Music Award Winners! Congratulations to Bob Kieser of Blues Blast Magazine for orchestrating the amazing Blues Blast Music Awards last Thursday at Buddy Guy's Legends in Chicago. The show was flawlessly executed, and was filled with numerous memorable performances and acceptance speeches. It is a very special thing when the blues world comes together to reflect on, and celebrate its accomplishments. Here are the award recipients:

Lifetime Achievement Award (announced prior to the event): Michael Frank

Contemporary Blues CD: Buddy Guy / Living Proof

Song Of The Year: "Living Proof" written by Tom Hambridge & Buddy Guy

Female Blues Artist: Robin Rogers

Blues Band Of The Year: Trampled Under Foot

Traditional Blues CD: Pinetop Perkins & Willie "Big Eyes" Smith / Joined At The Hip

New Artist Debut Release: Chris O'Leary Band / Mr. Used To Be

Male Blues Artist: Buddy Guy

Sean Costello Rising Star Award: Trampled Under Foot

Mud Morganfield signs with Severn Records for Spring CD release!

Mud Morganfield, the eldest son of Muddy Waters, has just signed with Severn Records. Label chief David Earl reports that the CD will be titled Son of the Seventh Son and will be released in the spring of 2012 (official release date forthcoming). The record was recorded earlier this year at Rax Trax Studios in Chicago and was produced by Bob Corritore, The CD features a band of A-list Chicago sidemen hand picked by Mud and Bob: Billy Flynn, Rick Kreher, Kenny "Beedy Eyes" Smith, Barrelhouse Chuck, E.G. McDaniel, and Harmonica Hinds and Bob Corritore alternating on harmonica chores! But the CD revolves around the special vocals of the man who effortlessly can summon up the sound and spirit of his father. Mud Morganfield is already an often requested festival attraction in Europe and South America and this CD will surely open more doors for Mud. David also reports of a new Severn release just out by Sugar Ray and the Blue Tones and upcoming Severn releases by the Nighthawks and Lou Pride! Congratulations to Mud Morganfield and to Severn Records!
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Lucerne Blues Festival 2011

This week blues musicians will begin to gather in the beautiful town of Lucerne Switzerland for the pre-events of next week's Lucerne Blues Festival! These include a Blues Night this Friday in Visp, Switzerland and various pre-parties, dinners, speeches, and concerts. The Lucerne Blues Festival is lovingly run by a huge staff headed by Guido Schmidt, and Martin Bründler with sponsorship support from many of the local and Swiss national businesses. This year's amazing festival lineup consists of Otis Clay, Ruthie Foster, Colin Linden, Joe Louis Walker, Quintus McCormick, Deitra Farr, Tail Dragger & Henry Gray with Bob Corritore's Rhythm Room All-Stars (with Chris James, Patrick Rynn, Kirk Fletcher, Brian Fahey), The Delta Groove Harp Blast, (with Mitch Kashmar, Big Pete, Randy Chortkoff & Bob Corritore), Larry McCray Band, Mike Anderson, Andy Egert Blues Band, Howlin' Bill, Shawn Pittman & The Blues Stars, Richard Koechli, Terrance Simien & The Zydeco Experience, and more! The Tail Dragger/Henry Gray/Bob Corritore/Rhythm Room All-Stars package will also appear on November 4, at La Poste in Visp, Switzerland
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RIP John-Alex Mason - November 30, 1975 to October 19, 2011.

This sad news comes to us via Honey Sepeda. A rising young blues talent from Colorado Springs, John-Alex Mason died as a result of complications from cancer surgery. He was only 35. John-Alex Mason was one of those artists that you would look to as a keeper of the flame, as he seemed to represent his generation so beautifully. Young, aspiring and wonderfully talented, he released 6 albums in his short life. He made his name as early as 2001, when he won the Telluride Acoustic Blues Competition. He appeared in music festivals all over the country and it seemed inevitable that his time of recognition was in the near future. This sadly was not to be.

RIP Earl Gilliam January 13, 1930 - October 19, 2011 - Bob Corritore correspondent

This sad news in from Donovan Allen of Houston, Texas: Texas piano and organ ace, Earl Gilliam, died on October 19 at his home in Tomball, Texas just Northwest of Houston from advanced lung disease. He was 81. After an initial lung collapse in 2008, he recovered and played another year before retiring in 2010. Known for his tenure with Joe ‘Guitar’ Hughes and as a member in the earlier bands of Clarence "Gatemouth" Brown, Johnny Clyde Copeland, Albert Collins and famed songwriter/singer Percy Mayfield, Earl Gilliam peppered the Texas Gulf Coast blues scene since 1949 with his groovy jazz-flavored organ and piano parts. Born in New Waverly, Texas, Earl was the second youngest of ten children – all sang and played piano and home-made instruments. He began performing in the town’s Baptist church at the age of ten. Earl found his way to Houston by age 17. He lived in the infamous Fifth Ward, home also to Lightin’ Hopkins. Earl would go on to play with Lightnin’ as a duo in the region back in the 60’s and 70’s. When he was 19, he began playing in Clarence “Gatemouth” Brown’s band.
Earl also became one of the pianists at the Third Ward’s historic Shady's Playhouse - which also showcased Elmore Nixon, Amos Milburn, Teddy Reynolds and Lonnie Lyons. He later lead the house band at the Hamilton Inn for a number of years and the Club Matinee and backed bluesman Grady Gaines as well as the traveling national blues stars such as Big Joe Turner, Roy Brown, Nappy Brown and many others. Later, Earl joined Albert Collins’ band at the Walter’s Lounge and played with him for a about 5 years. Earl also played with Texas greats Goree Carter, Big Mama Thornton, Lightin’ Hopkins, T-Bone Walker, Esther Phillips, Lester Williams, Hop Wilson, Luvenia Lewis, Percy Mayfield, Little Joe Washington and Trudy Lynn. In 2005, he formed a band of Blues veterans that included Duke-Peacock session guitarist I.J. Gosey, bassist Fred Arceneaux (Joe Hughes) and Jackie Gray (Clarence Green) on drums with live recordings due out for release. Dialtone records released Earl's Texas Doghouse Blues CD in 2005. This veteran Texas musician devoted his life to the blues and has left a lasting mark.
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