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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

Monday, April 16, 2012

GEE BABY, AIN'T I GOOD TO YOU - Alton Purnell


Alton Purnell (April 16, 1911, New Orleans - January 14, 1987, Inglewood, California) was an American jazz pianist. He was a longtime performer in Dixieland jazz.

Purnell sang before playing piano professionally, beginning to do so locally in New Orleans in 1928. He played in the 1930s with Isaiah Morgan, Alphonse Picou, Big Eye Louis Nelson, Sidney Desvigne, and Cousin Joe, and with Bunk Johnson in the middle of the 1940s. In 1946 he joined George Lewis's band, remaining there well into the 1950s and touring Europe with Lewis.

In 1957 Purnell relocated to Los Angeles. There he worked with Teddy Buckner, Young Men from New Orleans, Joe Darensbourg, Kid Ory, Barney Bigard, and Ben Pollack. He also recorded extensively as a leader, including for Warner Bros. Records, GHB, and Alligator Jazz.

In the 1970s and 1980s, Alton Purnell was a regular at the South Bay New Orleans Jazz Club in Gardina California, with or often shared the stage with Ed Garland or Buddy Johnson.
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The Jack / If You Be My Baby - Lee Hedley Band


Lee "The Fixer" Hedley - Frontman and Harmonica and Slide Guitar - Originally taken under the wing of family friend and Irish Soul / Blues Legend, the late Sam Mahood, Lee has been fronting and blowing blues-harmonica for various Rock and Blues outfits since 1991. Lee has played on the same stage and supported an endless list of stars from various genres on his way up the long and seamingly never ending 'showbiz' ladder. These include some other homegrown, but household pop names such as The Corrs and Westlife; Irish Soul Band The Commitments and Dublin's very own Blues Harmonica maestro Don Baker, whom Bono from U2 has been quoted as being "...the best blues harmonica player in the world". Lee has enjoyed numerous TV appearances and has even recorded a live session on the Paul Jones Blues Show for BBC Radio 2. Lee's 'Blues for Concern' album in 2000 caught the attention of Old Grey Whistle Test presenter "Whispering" Bob Harris, who immediately handed it to Ex- Manfred Man frontman Paul Jones, who in turn set up the session with Lee's band (formerly called Beale Street Boogie Band). But even with all of the above, the highlight for the Lee Hedley Band was most definitely the Irish Tours with Ex-Muddy Waters Chicago Blues guitarist, John Primer & also the late Phil Guy.
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David Cassidy, Leo Sayer, Hot Chocolate & Smokie on tour in the UK



24 HOUR CREDIT CARD HOTLINE:
0844 847 1726 - 0871 220 0260
BOOK ONLINE: www.seetickets.com www.ticketmaster.co.uk


TICKETS ON SALE - FRIDAY 20th APRIL 2012

click for hi res

Once In A Lifetime is an unforgettable UK tour that will feature the crème de la crème of 70s superstars and hit singles from pop icons David Cassidy, Leo Sayer, Hot Chocolate and Smokie.

Tickets will go on sale to the general public on Friday April 20th at 9am.

The nationwide arena tour kicks off at the Birmingham LG Arena on November 9th, and takes in dates at Manchester Arena (Nov 10), London Wembley Arena (Nov 11), Newcastle Metro Radio Arena (Nov 14), Cardiff Motorpoint Arena (Nov 15), Sheffield Motorpoint Arena (Nov 16) and Liverpool Echo Arena (Nov 17).

All four artists have had 55 top ten hits and over 200 million record sales between them. This is a once in a lifetime tour – the only time all four of these seminal acts will perform on the same stage together!

TICKETS ON SALE - FRIDAY 20th APRIL 2012


BIRMINGHAM LG ARENA
Friday 9th November

Tickets: £38.50
Box Office 0844 338 8000
National Exhibition Centre, Birmingham B40 1NT
www.lgarena.co.uk

MANCHESTER ARENA
Saturday 10th November

Tickets: £38.50
Box Office 0844 847 8000
Victoria Station, Manchester M3 1AR
www.mcr-arena.com

LONDON WEMBLEY ARENA
Sunday 11th November

Tickets: £41.50
Box Office 0844 815 0815
Arena Square, Engineers Way, London, HA9 OAA
www.wembleyarena.co.uk

NEWCASTLE METRO RADIO ARENA
Wednesday 14th November

Tickets: £38.50
Box Office 0844 493 6666
Arena Way, Newcastle upon Tyne NE4 7NA
www.metroradioarena.co.uk

CARDIFF MOTORPOINT ARENA
Thursday 15th November

Tickets: £38.50
Box Office 029 20 224488
Mary Ann Street, Cardiff CF10 2EQ
www.motorpointarenacardiff.co.uk

SHEFFIELD MOTORPOINT ARENA
Friday 16th November

Tickets: £38.50
Box Office 0114 2 565656
Broughton Lane, Sheffield S9 2DF
www.motorpointarenasheffield.co.uk

LIVERPOOL ECHO ARENA
Saturday 17th November

Tickets: £38.50
Box Office 0844 8000 400
Kings Dock, Liverpool Waterfront, Liverpool, Merseyside L3 4BX
www.echoarena.com

DAVID CASSIDY - BIOGRAPHY

David Cassidy has managed to stay at the top of his game for over four decades, with a unique ability to re-invent himself and adapt to numerous genres from concerts to theater, television to Las Vegas, and even actor/singer to producer/writer/director with a demographic that crosses three generations. David rose to stardom in “The Partridge Family” and became the biggest TV and performing phenomenon in history by the time he was 20.

From television to recording and record-breaking concert tours, from Broadway and London’s West End to Las Vegas production shows, David Cassidy has made his mark and been lauded with nominations and awards in each arena. David has certainly proven that it is talent, creativity and tenacity that keep people coming to shows, turning on the television, and buying his recordings.

Hailing from a family of actors, mother Evelyn Ward and father Jack Cassidy, his fate as a performer was essentially seeded at a young age. It was by coincidence that he wound up starring with stepmother Shirley Jones in “The Partridge Family.”

When ABC cast David Cassidy as its juvenile star in what became an astonishingly successful series, one of the most spectacular careers in the entertainment industry was launched. Before the end of 1970, the year that “The Partridge Family” premiered, David had the #1 selling single of the year and record of the year, and garnered multiple Grammy nominations and won a Golden Apple Award. Over the next five years, membership in his official fan club exceeded that of Elvis Presley and the Beatles.

Those were only the first of many records David broke in his long and constantly evolving career. He became the first personality to be merchandised globally. His likeness appeared on everything from posters to lunch boxes, comic books, toys, cereal boxes and almost anything else imaginable. His concerts sold out in the largest arenas and stadiums in the world which led him to be the world’s highest paid performer by the age of 21. He broke box office records at Melbourne’s Cricket Grounds, London’s White City Stadium, Houston’s Astrodome and New York’s Madison Square Garden. To date, his records have sold well over 30 million copies worldwide and have been recognized with over 24 gold and platinum recordings including four consecutive multi-platinum LP’s.

David was responsible for seven chart-topping Partridge Family singles including “Doesn’t Somebody Want To Be Wanted,” ”I Woke Up In Love This Morning,” ”Breaking Up Is Hard To Do,” and of course, “I Think I Love You”, the best selling record of 1971. As a solo artist, David has had hit singles including “Cherish,” ”Could It Be Forever,” ”How Can I Be Sure,” ”Rock Me Baby” and “Lyin’ to Myself.” His 2004 CD, “Then and Now,” was in the Top Five and reached platinum status.

In addition to the superstardom he has enjoyed as a singer, songwriter and producer, David still thinks of himself as an actor. His credits, from the phenomenal success of “The Partridge Family” also include the telefilm “A Chance to Live” the highest rated “Police Story” in its seven year history, which earned him an Emmy nomination as Best Dramatic Actor.

Never one to rest on his laurels, he went to Broadway where he starred in the original production of “Joseph and the Amazing Technicolor Dreamcoat.”

London beckoned to David, and he starred next at the prestigious West End in “Time” with Sir Laurence Olivier. In 1994, he once again broke box office records in the stunning and highly lauded production of “Blood Brothers” on Broadway, working for the first time with Shaun. The subsequent tour of the United States and Canada was also SRO.

Despite the peaks and valleys of his professional and personal life, David has always been able to regenerate his success by keeping his perspective and acute sense of humor. “I’m an optimist. I mean, you have to be with my career,” he laughs. “I’ve never gone out and changed my style to suit the times. I have always stayed true to myself by using the work ethic my father instilled in me, to strive for the best musically, theatrically, as well as in producing and writing. He taught me to be fearless about revealing the frailties and strengths of the human experience. Bringing that human element to my work is the most important thing I can do as an entertainer.”

In 1996, David took on his next challenge and moved to Las Vegas to star at the MGM Grand in the $75 million extravaganza “EFX.” Under David’s creative direction and by entirely re-vamping the show, it became the most successful production in Las Vegas. The MGM acknowledged that he was singularly responsible for bringing over 1 million paid customers to see “EFX”. Within four months of opening, the show was voted “Best Production Show” in Las Vegas, and David was voted “Best All Around Performer” and “Best Singer.” In 1999, David was again named “Best All Around Performer,” “Entertainer of the Year” and “Show Star of the Year” for “The Rat Pack Is Back!”, the first original production paying tribute to the legendary quartet, which he created and produced with Emmy Award winning writer-producer Don Reo. The musical played to sold-out audiences first at the Desert Inn, then at the Sahara Hotel & Casino in Las Vegas. Simultaneously, David and Reo created “At the Copa,” which David wrote, co-produced and in which starred. He returned to performing in concert subsequently and continues to tour worldwide.

He returned to series television in 2009 for “Ruby & the Rockits” (ABC Family), in which brother Patrick co-stars along with Alexa Vega (“Spy Kids”). Brother Shaun was executive producer and writer and youngest brother, Ryan, was the set designer. “This was the first time that all three of my brothers and I ever worked together. It has been our dream and desire to do this for many years and it couldn’t have been more fun,” said David. “I wouldn’t trade that experience for the world.”

In addition to performing, producing, writing and recording, David’s passion and avocation lie with the thoroughbred horses that he breeds and that race throughout the country. His greatest pride is his 21 year old son, Beau, who has just debuted live in concert with his band Beau Cassidy and the Fates.

Of late, because his mother was stricken with Alzheimer’s and dementia, David has become an active spokesperson for Alzheimer’s Research and Prevention Foundation (ARPF) and related organizations and will be traveling the country speaking on the subject.


LEO SAYER - BIOGRAPHY

Leo Sayer almost needs no introduction. He is held in great esteem as a live performer and recording artist by all age groups - from 6 to 60. This is as much due to his appearing famously with the Muppets, the Wiggles and on the Charlie’s Angels Soundtrack, as the countless hit songs he has written and recorded throughout his 40 plus years career.

From the Olympic Stadium in Moscow, through New York’s Central Park, the Greek Theatre and Universal Amphitheatre in Los Angeles, the Las Vegas Hilton, Wembley Arena and the Royal Albert Hall in London, to the State Theatre in Sydney and the Hamer Hall in Melbourne; in concert Leo has played the lot!

The trio’s first success came in 1973 when The Who’s lead singer Roger Daltrey based a debut solo album around Leo and David’s songs. 1972’s Daltrey led to Adam and David producing Silverbird, Leo’s first album release in 1973, which had the breakout hit: The Show Must Go On featuring Leo dressed in the costume and white make up of Pierrot. The album and single both hit the UK # 2 slot.

Leo’s star continued to rise in 1974 with a second album, Just A Boy, the Pierrot image now discarded. From this the singles One Man Band and Long Tall Glasses (a US # 7), and “Train” became international chart hits. He toured the States and Australia for the first time that year, and the impact of that first tour of Australia has endured to the present day. Further success ensued with 1975’s Another Year, which spawned the classic hit single Moonlighting.

A major turning point in Leo’s career came in 1976 with his premiere American album, Endless Flight. This gave him his first US # 1 with You Make Me Feel Like Dancing, a crossover R&B dance hit which also won him a Grammy Award. Then Albert Hammond and Carole Bayer Sager’s When I Need You went on to do the same. The album was a worldwide success, with How 2 Much Love” also hitting the top of the charts.

In 1977 Leo followed this up with Thunder In My Heart - and a later remix of the title track became Thunder In My Heart Again went to UK No.1 as recently as 2006. Then, in 1978, Leo released Leo Sayer, which included further hits like Dancing The Night Away, Raining In My Heart, and I Can’t Stop Loving You.

While visiting England, Leo had recorded Living In A Fantasy in 1980, and a single from this album: “More Than I Can Say”, put him back on the top of the worldwide charts. Working with producer Alan Tarney at the time, he even found time to pen a top ten hit for Cliff Richard, with Dreamin’ in 1981. More hits followed: Orchard Road in 1983, along with Have You Ever Been In Love, featured as the title track of another hit album released that same year.

In the international music charts there have been more than twenty top ten singles and five top ten albums in Leo Sayer’s illustrious recording career. Add to this the hits written for Roger Daltrey, Cliff, Three Dog Night, Tina Turner, Gene Pitney, Jennifer Warnes, and both Stella and Dolly Parton. It proves his prowess as an internationally acclaimed and talented songwriter. Now Leo is based in Australia, where he is busier and in more demand than ever. Last year was his 40th anniversary and to celebrate this he completed a tour of 58 venues.


HOT CHOCOLATE - BIOGRAPHY

Hot Chocolate started their recording career making a reggae version of John Lennon's "Give Peace a Chance". They discovered that John Lennon liked their version, and the group was subsequently signed to Apple Records. The link was short-lived as The Beatles were starting to break up, and the Apple connection soon ended.

In 1970 Hot Chocolate, with the help of record producer Mickie Most, began releasing tracks that became hits, such as "Love is Life", "Emma", "You Could Have Been a Lady", and "I Believe in Love".

It was in the disco era of the mid-1970s that Hot Chocolate became a big success. A combination of high production standards, the growing confidence of the main songwriting team of Wilson and Brown, and tight harmonies enabled them to secure further big hits like "You Sexy Thing" and "Every 1's a Winner".

In 1977, after scoring 15 hits, they finally reached Number One with "So You Win Again”. Other hits followed including “No Doubt About It”, “Girl Crazy”, “Brother Louie” & “Put Your Love In Me”

The band became the only group, and one of just three acts, that scored a hit in every year of the 1970s in the UK charts (the other two being Elvis Presley and Diana Ross). The band eventually had at least one hit, every year, between 1970 and 1984.

They continued well into the 1980s, and clocked up another big hit record: "It Started With a Kiss", in 1982, which reached Number 5 in the UK. In all, the group charted 25 UK Top 40 hit singles. Their single "You Sexy Thing" became the only track that made British Top Ten status in the 1970s, 1980s and 1990s. Its renewed appreciation can be credited in part to its appearances in a string of successful films starting with the 1997 comedy The Full Monty.

Errol Brown left the group in 1986 and has been replaced with Kennie Simon and they continue to tour extensively including performing for Prince Charles & Princess Diana and at the film premier of The Titanic.


SMOKIE - BIOGRAPHY

With chart-topping hits like Living Next Door to Alice, Lay Back in the Arms of Someone and If You Think You Know How to Love Me, and constant tours of the UK and Europe, the internationally successful British pop group, Smokie is one of the most popular bands in the world today.

Look at the Guinness Book of Hit Singles and you could be forgiven for thinking Smokie’s success story was a 1970s phenomenon. After all, 11 of their 14 British hits came in that eventful musical decade. However, their massive success story has continued to flourish around the globe including Scandinavia, South Africa, Germany and even China. Smokie are a band which has sold out tours and gained platinum records in four decades – the 70s, 80s, 90s and the present day.

Smokie first got together at school in Yorkshire in the late 60s. After going through various names and styles, they signed with Mickie Most’s then ultra-hot RAK label and found themselves chart bound. Songs like If You Think You Know How To Love Me, Don’t Play Your Rock’n’Roll To Me, It’s Your Life and Oh Carol (all Top 10 entries) became radio staples and gave Smokie their ticket to travel the world.

In 2003, Smokie released the ultimate greatest hits collection. Entitled The Box Set, the collection consisted of ten CD's spanning the decades from the 1970's through to today and gained Gold and Platinum awards throughout Scandinavia.


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Eller Soul Records artist: Marion James - Northside Soul - New Release Review


I've been listening to the new recording set for release June 26, Northside Soul, by Marion James. Seven of the 13 tracks included on the release are original. James began in the business in the 60's having a hit single, That's My Man in the Billboard Top Ten in 1966. Marion returned to recording in the 90's and this, her third release since then is a pleasure to listen to. James sings with confidence and although my copy is so preliminary, the musicians aren't noted, backing vocals and the backing instrumentation is very strong. This recording, produced by bassist Tod Ellsworth, has strong components of soul, funk, blues and gospel making for a nice mix. Smokin' Hot has a great funky groove with horns and a real clean extended guitar solo. Corrupted World, a strong soul infused blues number and one of the best track on the recording. The backing vocalists set a nice palate to showcase the main artist and the guitar is tasty but not in your face. Crushing My Heart is a great blues track. I'd like to credit the guitar for his light but tasty guitar overlays. Next Time You See Me finds James leading the second line in New Orleans. Band is very tight. Blues Recipe has the structure of a gospel number. What I mean by that are the piano chords and pace of the track. It is very cool. Guitar man gets in there with some great jazzy double stop riffs too. I Know A Good Thing sounds like it's right off of an Al Green cd. Get your boogie shoes on! The Ray Charles classic, I Believe To My Soul, is nicely paced and of course gives the players a chance to kick it out a little. Cool track. Man Size Job finds James right on the middle of JB land... that's James Brown. The release concludes with a clip of the Willie Dixon classic, I Just Want To Make Love To You... then brought up to full tilt James Brown. It's great to see someone bring on where James left off.

Overall a very cool recording.
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Chesapeake Bay Blues Festival set for May 19 & 20 - Maryland

Chesapeake Bay Blues Festival 2012
Chesapeake Events
Chesapeake Bay Blues Festival 2012
Featuring Tedeschi Trucks & Jonny Lang
Tickets
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Lisa Biales Sings "Just Like Honey" on New CD Out June 5 Produced by EG Kight


LISA BIALES SINGS JUST LIKE HONEY ON NEW CD DUE JUNE 5 FROM BIG SONG MUSIC, PRODUCED BY EG KIGHT & RECORDED AT PAUL HORNSBY’S STUDIO IN MACON, GA

GUEST MUSICIANS INCLUDE EG KIGHT, PAUL HORNSBY, TOMMY TALTON, BILL STEWART AND DAVID BLACKMON

OXFORD, OH – Singer Lisa Biales (pronounced “Be-Alice”) has announced the June 5 release of her new CD, Just Like Honey, produced by EG Kight and recorded, mixed, mastered ands co-produced by the legendary Paul Hornsby (The Marshall Tucker Band, Charlie Daniels, etc.) at his Muscadine Studio in Macon, Georgia. The CD is being released on her own Big Song Music label and will be available through CD Baby, iTunes and Amazon.com. Lisa is backed on the sessions by a host of stellar musicians, including former Capricorn Records’ mainstays Tommy Talton on guitar and Bill Stewart on drums, as well as heralded fiddle/mandolin player David Blackmon (Jerry Reed, Widespread Panic, Blueground Undergrass). Both EG Kight and Paul Hornsby join in the fun, too: Hornsby plays keyboards throughout, and EG Kight not only lends her perfect harmony vocals on a number of tracks, but also joins Lisa in a beautiful duet of the Delmore Brothers classic, “Blues Stay Away from Me.”

“EG Kight’s vision for this project was to put together original songs with some of my early musical influences,” says Lisa Biales about the sessions. “In the studio, we figured out each song in the control room gathered around Paul’s mixing board. When we’d all get into the feeling of the song, someone would say, ‘That’s It!,’ and we’d all rush with excitement into the recording room and cut the tune.”

Kight’s “vision” of the album is a perfect match for Lisa Biales’ superb vocals, which - like the title track says - drip “Just Like Honey” over a wide range of rootsy musical influences, including Americana, blues, folk and old-timey music. Just Like Honey features Lisa’s sultry takes on Memphis Minnie’s “Call the Fire Wagon,” Candye Kane/Jack Tempchin’s “Gifted in the Ways of Love” and Ma Rainey’s “Yonder Come the Blues;” plus a powerful version of one of Lisa’s favorite singers – Etta James – on “Damn Your Eyes”, and another personal favorite – Bonnie Raitt – on “Give It Up.”

The CD also includes several Lisa Biales and EG Kight originals, as well as a song from Tommy Talton.

Lisa’s song, “I Believe,” was featured in the TV show, Girlfriends, on the CW Network; and a previous CD, Closet Hippie, was played extensively on Sirius XM’s “The Coffee House” channel. She also lends her voice and guitar to the soundtrack of Sarah Knight’s new documentary film, Diamonds Are A Girl’s Best Friend, a portrait of Nicole Sherry, head grounds-keeper for the Baltimore Orioles at Camden Yards (one of only two women in that position in Major League Baseball). Lisa Biales makes her film debut in Academy Award-winning director Francis Ford Coppola’s new film, Twixt. Inspired by the gothic horror of Edgar Allen Poe, Coppola's latest tells the tale of a burnt-out mystery writer (Val Kilmer) who gets mixed up in murder and evil in a California town. Lisa portrays a waitress named Ruth, who appears in a dream of the tortured writer, she lures (Kilmer) into a hotel for a drink while her husband (Don Novello) tinkers with a broken clock. When Lisa picks up the guitar to sing for her guest (the classic, “Big Rock Candy Mountain”), the ghost of a girl (Elle Fanning) appears and gets seduced by Lisa’s voice. The film is being released in the UK first this month. To view the trailer for Twixt, click on http://www.youtube.com/watch?v=xP7cQnOcU7I.

Ohio-based Lisa Biales has spent a lifetime making music. Her diverse musical influences drive her to continue to evolve as an artist, singer and guitarist. Just Like Honey showcases the gift Lisa has for writing a great song, and making the ones she covers all her own. She sings with a crystal pure voice and writes music about the simple things in life. Lisa grew up in a musical family and began her career as a performing songwriter at an early age. She’s independently released six albums of music under her own Big Song Music label, and is heard on radio stations around the world. Her song “Playing With Angels” went to #1 in Australia and “Where The Buckwheat Blooms” hit #32 on the folk radio charts in the U.S.

“Lisa’s soul stirring voice and unique guitar has created her signature sound.” – Cincinnati Enquirer

What In The World You Goin' To Do - John Littlejohn



John Wesley Funchess (April 16, 1931 – February 1, 1994) known professionally as John (or Johnny) Littlejohn, was an American electric blues slide guitarist. He was active on the Chicago blues circuit from the 1950s to the 1980s
Born in Lake, Mississippi, United States, Littlejohn first learned to play the blues from Henry Martin, a friend of his father. In 1946 he left home and traveled widely, spending time in Jackson, Mississippi, Arkansas, Rochester, New York, and Gary, Indiana. He settled in the last of these in 1951, playing whenever possible in the Chicago area. Through his connections on the Gary, music scene he was acquainted with Joe Jackson, patriarch of the musical Jackson family, and Littlejohn and his band reputedly served as an occasional rehearsal band for the Jackson 5 in the mid to late 1960s.

Littlejohn played regularly in Chicago clubs (he was filmed by drummer Sam Lay playing with Howlin' Wolf's band c. 1961) but did not make any studio recordings until 1968, when he cut singles for several record labels. Later that year he recorded an album with Arhoolie Records, and four songs for Chess Records, though the Chess tracks were not issued at the time.

Although he recorded a few singles for small local labels, Littlejohn did not record another album until 1985, when Rooster Blues issued So-Called Friends. Soon after, he fell into ill health, and died of renal failure in Chicago 1994, at the age of 62

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Terraplane Blues - Colin Linden


Of how many artists can it be said that they’re getting better, 33 years into their recording career? Colin Linden can certainly be considered a member of that select club based on From The Water, the 11th solo album in a storied career that has also featured his work on literally hundreds of other records. At last count, the total of albums on which he has played stood at over 300, while at least 70 albums bear the ‘Produced by Colin Linden’ credit.

Linden is a genuine renaissance man of roots music. He’s a singer and songwriter of great skill, an in-demand and prolific record producer ( Bruce Cockburn, Tom Wilson, Colin James), a sideman to the stars as guitarist for the likes of Bruce Cockburn, Emmylou Harris, and Robert Plant and Alison Krauss, and, for the past decade, a member of the highly successful trio, Blackie and the Rodeo Kings.

Colin’s songs have been covered by The Band, The Blind Boys of Alabama, Keb’ Mo’, and Colin James, and his well-stocked trophy case includes seven Juno, multiple Maple Blues Awards, and a Toronto Arts Award. He was nominated for a Grammy Award for the star-studded A Tribute To Howlin’ Wolf CD, and was involved in the ground-breaking O Brother Where Art Thou phenomenon. Linden has a well-deserved reputation as a slide guitar virtuoso of real originality, and his riveting slide work can be heard both on albums from such artists as Cassandra Wilson, The Rankin Family, Whitey Johnson and on his own sizeable solo catalogue.

Colin’s multi-faceted talents coalesce in truly compelling fashion on From The Water. This is a stylistically more diverse work than his previous outing, 2007’s easin’ back to tennessee. That acclaimed disc served as an homage to the acoustic country blues style that was the crucial inspiration for the Toronto-born and raised, Nashville-based Linden in his musically formative years.
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Homesick - The Steady Rollin' Men


Xavier Berland and Jean-Noël Aunet, friends since their early childhood, start learning the guitar in 2009 at the age of 14, listening to AC/DC. Self taught, they find inspiration later in the music of the greatest artists like BB.King, Eric Clapton and Stevie Ray Vaughan.
In April 2011, the duet starts playing live; it's the birth of "The Steady Rollin' Men". In a club, Xavier and Jean-Noël meet Jonathan Thivillier, soon to be their drummer.
After a few scenes, the trio records its first album "The Steady Rollin' Men".
Many scenes and radios, and as their blues finds itself influenced by other types of music such as Albert Collins' groove, The Rolling Stones' mixing and Aretha Franklin's gospel and soul, the band is joined in February 2012 by Jordan Balssa on bass.
The quartet (Xavier-17-vocals/rhythm guitar, Jean-Noël-17-lead guitar, Jonathan-21-drums, Jordan-17-bass) keeps on playing on the greatest scenes, looking forward to recording its second album.

If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Sunday, April 15, 2012

New Stop and Listen Blues - Willie Edgar Morris, Dewey Corley


There's not much chance of making jug band music without a jug, although a few have tried. A washtub bass doesn't hurt, either. In fact, one of the main concepts of this tricky, goofy, and spirited style of music is to create a bass line out of something that basically sounds like a pile of junk. Perhaps it was supposed to be called "junk band music." There would be no more expert opinion than that of Dewey Corley, who was not only the leader of the Beale Street Jug Band from the '30s onward, but also one of the great players on all manner of jug band ordnance: including, of course, jug, and ranging from the depth-charge of the washtub bass to the insect-like whine of the kazoo, upon which he is considered one of the great soloists. In his later years, he also turned out to be one of the great A&R men, helping record companies such as Adelphi scout out missing Memphis blues legends such as the elusive Hacksaw Harney and the superb guitarist Willie Morris. Corley picked up the interest in music from his father and began playing the harmonica as a child growing up in Arkansas. He started hoboing around the country at the age of 18 and became highly influenced by Will Shade, the charismatic and superbly organized founder of the original Memphis Jug Band. It was Shade who introduced the genre in the river city after hearing a jug band holding forth over the hill in Kentucky. Corley came in and out of Shade's Memphis Jug Band, as did many other Memphis blues players such as Furry Lewis and Memphis Minnie. He was also a member of Jack Kelly's South Memphis Jug Band and also backed quite a few of the city's diverse bluesmen in duo and trio settings. His own Beale Street Jug Band was a most successful venture and became a fixture in Memphis for nearly three decades. A series of 1950 photographs of a ceremony honoring W.C. Handy at the Beale Street Auditorium shows the aged blues composer standing at the entrance to the building, holding the sheet music for his "Memphis Blues and surrounded by many V.I.P.s. Seated in front of this group are the seven members of the Beale Street Jug Band with a broadly grinning Corley. In the end, he would be the last surviving member of both the Memphis Jug Band and the Beale Street Jug Band. In terms of his career, getting older just meant getting better for this artist. While he was busily involved in the blues scene in the '30s and '40s, he managed to keep out of the recording studio almost completely; inevitably, somebody else is tooting kazoo, thumbing washtub, or huffing clouds of feted breath across the top of a jug on vintage recordings by the Memphis Jug Band, or at least this is what the credits indicate on reissues. Corley himself refuted this information, stating on several occasions that he played jug with the Memphis Jug Band during a two-day recording session in 1934 for OKeh, and not Jab Jones. It was not a fact deemed worthy of a headline in Variety magazine such as "Jab No Jug." Perhaps Corley was actually busy at another engagement by the same band in another part of town because in its heyday, leader Shade employed so many players that he was able to keep two different versions of the group going simultaneously. Then there was the rock & roll era and at first it seemed like there were no bookings at all for the Memphis jug bands anymore. But while some older bluesmen balked at the onset of new record labels and enthusiastic young white listeners in the '60s, this was Corley's ticket into the recording studio, where he shined with enthusiasm and, needless to say, solos that sound like Charlie Parker might have, if he had played kazoo. by Eugene Chadbourne
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The Stuff Is Here - Cleo Brown


Cleo Brown, later Cleo Patra Brown (December 8, 1909 – April 15, 1995) was an American blues and jazz vocalist and pianist.
Brown was born in Meridian, Mississippi, and sang in church as a child. In 1919 her family moved to Chicago and she began studying piano; in the 1920s she began taking gigs in clubs and broadcast on radio.

From the 1930s to the 1950s she toured the United States regularly, recording for Decca Records (among other labels) along the way and recording many humorous, ironic titles such as "Breakin' in a Pair of Shoes", "Mama Don't Want No Peas and Rice and Coconut Oil" and "The Stuff Is Here and it's Mellow". Her stride piano playing was often compared to Fats Waller.

In the 1940s Brown began to shy from singing bawdy blues songs because of deepening religious beliefs, and in 1953 she retired and became a nurse.

She was rediscovered in the 1980s after being tracked down by Marian McPartland; she returned to record again and performed on National Public Radio.

She died on April 15, 1995 in Denver, Colorado, aged 85.
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The Guy With A "45" - Allen Bunn


Talk about a versatile musician: Alden Bunn (aka Tarheel Slim) recorded in virtually every postwar musical genre imaginable. Lowdown blues, gospel, vocal group R&B, poppish duets, even rockabilly weren't outside the sphere of his musicianship. However, spirituals were Bunn's first love. While still in North Carolina during the early '40s, the guitarist worked with the Gospel Four and then the Selah Jubilee Singers, who recorded for Continental and Decca. Bunn and Thurman Ruth broke away in 1949 to form their own group, the Jubilators. During a single day in New York in 1950, they recorded for four labels under four different names!

One of those labels was Apollo, who convinced them to go secular. That's basically how the Larks, one of the seminal early R&B vocal groups whose mellifluous early-'50s Apollo platters rank with the era's best, came to be. Bunn sang lead on a few of their bluesier items ("Eyesight to the Blind," for one), as well as doing two sessions of his own for the firm in 1952 under the name of Allen Bunn. As Alden Bunn, he encored on Bobby Robinson's Red Robin logo the next year. Bunn also sang with another R&B vocal group, the Wheels. And coupled with his future wife, Anna Sanford, Bunn recorded as the Lovers; "Darling It's Wonderful," their 1957 duet for Aladdin's Lamp subsidiary, was a substantial pop seller. (Ray Ellis did the arranging.)

Tarheel Slim made his official entrance in 1958 with his wife, now dubbed Little Ann, in a duet format for Robinson's Fire imprint ("It's Too Late," "Much Too Late"). Then old Tarheel came out of the gate like his pants were on fire with a pair of rockabilly raveups of his own, "Wildcat Tamer" and "No. 9 Train," with Jimmy Spruill on blazing lead guitar. After a few years off the scene, Tarheel Slim made a bit of a comeback during the early '70s, with an album for Pete Lowry's Trix logo that harked back to Bunn's Carolina blues heritage.by Bill Dahl
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Take a Swig - The Pumpers


The Pumpers are a blues band based out of Eastern Iowa and includes multiple members of the Iowa Rock N Roll Hall of Fame and the Iowa Blues Hall of Fame. Collectively the Pumpers have over 170 years of professional experience, most of that playing the blues the right way - classic Chicago, Memphis and New Orleans blues and rock n roll.

The Pumpers feature Perry Welsh on Harp and vocals, Bryce Janey on guitar and vocals, T-bone Giblin ..boards - each of these have released many solo records and been part of other national bands. The rhythm section features Troy Harper on drums and Dave Bader on bass. Collectively, the members of the Pumpers have appeared over 50 CDs.
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Since I've Been Lovin' You - Bare Bones Boogie Band


The Bare Bones Boogie Band are a stripped-down, no nonsense blues band, closest in sound and attitude to the classic British blues boom of the 60s and 70s, when bands like Free, Fleetwood Mac and the Stones were inspired by BB King and Robert Johnson, and in America when Janis Joplin was re-inventing Etta James. Live, the BBBB give it their all, with no apologies for their rawness, nor for their tenderness – heavy, soulful blues! Formed in London from across the UK – from Glasgow and St. Andrews in Scotland, Birmingham and Manchester in England - the BBBB unites a wealth of experience both 'Live' and and in the studio. Together, since October 2008, the band played their first gig within three weeks and finished their first year together with an exclusive appearance at the O2 Dome in London. Catch them if you can . . . !
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Baby Please Don't Go - Bernie Pearl


The blues is life itself to Bernie Pearl. A guitarist with an upbeat, finger-poppin' picking style he learned at the elbows of bluesmasters Sam 'Lightnin' Hopkins, Mance Lipscomb, Mississippi Fred MacDowell, and others. Yet, Bernie Pearl is no hidebound traditionalist. As music critics and aficionados have said for years, he is a craftsman who packs his songs with melodic interpretations that are new and personal each time he picks up his vintage Martin or National. To hear him tell it, "I'm not a retro player. I'm playing real blues for right now."

Bernie, who grew up in the Los Angeles community of Boyle Heights, took up the guitar in the 1950's. Later, at his brother's legendary blues showcase, the Ash Grove, he met, studied with, and often performed with greats like Hopkins, Lipscomb, and MacDowell as well as with Freddie King, Albert Collins, and Big Mama Thornton. Bernie played duets with John Lee Hooker at Gerde's Folk City in Greenwich Village. "They were my teachers," he says, "and it wasn't just music they were teaching. If you took Mance or Lightnin' out fishing you got philosophy, history, and lessons in life".

Armed with the teachings of those and other blues icons, Bernie raises the roof with dazzling guitar solos - acoustic and electric - and with his own Bernie Pearl Blues Band, which has backed the likes of B.B. King, Stevie Ray Vaughan, Willie Dixon, and Big Joe Turner. The Bernie Pearl Blues Band has been a popular draw at many of Southern California's best-known musical haunts: the House of Blues, California Plaza Presents, the Blue Café, Disney's California Adventure, and the Playboy Pasadena Community Jazz Festival. Bernie has appeared at major Festivals in Chicago, The Poconos, Vancouver, Portland, and Long Beach, as well as in Europe.

A life-long blues evangelist, Bernie began broadcasting Nothin' But the Blues on KPPC FM in 1968, making him L.A.'s first all-blues FM disc jockey. He went on to host the blues on KLON and KCRW from 1980-92, helping found the Long Beach Blues Festival along the way.
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Hey Joe - Tony Campanella Band


Heavy Electric Blues from the Lou! Since the age of eleven, Tony has been infatuated with the sound and feel of the guitar and the positive vibe that resonates from its strings. He was fed the music of the blues greats like Buddy Guy, Freddie and Albert King, Albert Collins, Muddy Waters. Soon that expanded to guitar legends like Jimi Hendrix, Eric Clapton, Jeff Beck, Stevie Ray Vaughan. With his group, The Tony Campanella Band, all of his influences come together to produce heavy hitting but soulful music that can't be described as just Blues. The band has shared the stage with the likes of Kenny Wayne Sheppard, Walter Trout, Indegenous, John Mayall's Bluesbreakers, Etta James, Bernard Allison, Micheal Burks and Robin Trower to name a few. With Bike on Bass Guitar and Terry Melton on drums, they form a group that truly lives up to the moniker "Power Trio".
Take your time to check them out!
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Exclusive With Interview - JW - Jones - VizzTone Artist

Bman: Hi JW. I appreciate you taking the time out from what little time you must have right now to talk with me. You just released your new cd, 'SEVENTH HOUR', on March 27, 2012. I had a chance to review it and it was quite good. I noticed a departure from what I percieve as you style on earlier releases. Tell me about your new cd.

JW: The main focus for this disc was to not put limitations on the music. I wrote songs that feel good to me, and if they are not 100% traditional blues, that's just the way they came out. I think it's a great mix that pleases both camps, but the more contemporary/different material will appeal to a younger audience. Steve Dawson mixed this record, and it was the first time since working with Kim Wilson in 2004 that I've had a third-party do mixing. It was a great experience and the results are amazing, Steve knocked it out of the park!


Bman: Yes , you both did! It may just be me but did you hold back a little on guitar for this recording and push a little harder on the vocals?

JW: I try to play whatever feels best for the vision of the song. On a song like "So Long I'm Gone", it was more melodic where as on "You Got Caught", I let loose more and let the passion flow.

Bman: What has the initial reception been to this new release?


JW: So far it's received great reviews, and fans tell me it's their favorite yet!

Bman:That's what it's all about!! I know when we spoke 6 months or so back you were working on the recording. How do you feel about the final product. Would you change anything?

JW: Each recording is a snap-shot of where I was in my life and as an artist. So, the way it comes out is exactly as it should be. Already, I feel like I could make a better record next time, and it's that constant desire to out-do the previous release that keeps things challenging and growing.


Bman: It takes so long to get stuff done and the artistic juices continue to flow. Once we've done something we move on. I had heard that you are getting ready to hit the road. Europe is it? Is there a schedule that I can share for this? Do you have other bands that you are set to tour with?



JW: We're already one show into the tour, dates are all on facebook page and website. Last night I jammed with Raphael Wressnig and Alex Shultz, their organ trio is amazing. I've seen Raph once before, and I grew up listening to Alex on the Rod Piazza and the Mighty Flyers recordings. Always an amazing experience to play with my heroes, and especially when they are such nice guys too!


DATES ANNOUNCED - EUROPEAN TOUR - APRIL 2012
April in France, Germany, Belgium, Italy
Apr 14 Ambon Music Festival - Ambon, France
Apr 15 Le Bacardi - Callac, France
Apr 16 --
Apr 17 Taverne L’Hotel de Ville - Chatelet, Belgium
Apr 18 Herzog Ernst - Celle, Germany
Apr 19 Savoy - Bordesholm, Germany
Apr 20 Café Tach - Nettetal, Germany
Apr 21 --
Apr 22 Caf' Conc' - Ensisheim, France
Apr 23 Stile Libero - Cento, Italy - ITALY IS THE 18th COUNTRY WE'VE TOURED!

Bman: Are you going to hit the states? Is there a schedule for that?

JW: Next US tour will be January/February 2013... keep your eyes on the website for details!

Bman: Are you already working on material for your next release or do you knuckle down and do it in spurts?

JW: Right now, I am in the mode of gathering ideas for the next album, but mainly want to make sure I put the focus on getting this one out there first.

Bman: I appreciate you taking the time to talk with me. Is there anything else that you'd like to share with your fans?

JW: Thank you! Without all of the support we get from audiences, media, and venues everywhere, I couldn't live this dream. I consider myself very fortunate, lucky, and grateful for being able to do what I love. Readers should keep in touch on the facebook page - www.facebook.com/jwjonesblues - I post photos and stories on there several times per week... a little insight to life on the road! - JW

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How Guitars - Ladder Braced Grand Concert 00/Parlor


John How builds superb vintage style instrument inspired by the old Oscar Schmidt guitars. This one is a ladder braced Grand Concert that is the size of an L-00 Gibson. It has the wonderful woody sound that ladder bracing provides and it excels at blues, rags and bottleneck slide. For this one John How chose premium Curly Koa for the body and Lutz Spruce for the top. It sports a mustache bridge and Curly Maple bindings on the body, neck, and slotted headstock.

Model: Ladder Braced Grand Concert (00)
Back/Sides Wood: Curly Koa
Top Wood: Lutz Spruce
14 3/4" wide
25.4" scale
12 fret dovtail neck
1 13/16" nut
2 5/16" saddle
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Bluesboxx - Douglas Cates


Bman, thanks for the invite to post. to those who don't know me, i'm Douglas Cates, creator and founder of bluesboxx, high quality, hand made guitars; inspired by cigarbox guitars, but with all the playability of a Gibson, fender, etc. check me out here: www.bluesboxx.com

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Nobody Knows You When You're Down and Out - Bessie Smith


Bessie Smith (April 15, 1894 – September 26, 1937) was an American blues singer.

Nicknamed The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.
All contemporary accounts indicate that while Rainey did not teach Smith to sing, she probably helped her develop a stage presence. Smith began forming her own act around 1913, at Atlanta's "81" Theater. By 1920, Smith had established a reputation in the South and along the Eastern Seaboard.

In 1920, sales figures for "Crazy Blues," an Okeh Records recording by singer Mamie Smith (no relation) pointed to a new market. The recording industry had not directed its product to blacks, but the success of the record led to a search for female blues singers. Bessie Smith was signed by Columbia Records in 1923 and her first session for Columbia was February 15, 1923. For most of 1923, her records were issued on Columbia's regular A- series; when the label decided to establish a "race records" series, Smith's "Cemetery Blues" (September 26, 1923) was the first issued.

She scored a big hit with her first release, a coupling of "Gulf Coast Blues" and "Downhearted Blues", which its composer Alberta Hunter had already turned into a hit on the Paramount label. Smith became a headliner on the black T.O.B.A. circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter months and doing tent tours the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her "Queen of the Blues," but a PR-minded press soon upgraded her title to "Empress".

Smith was gifted with a powerfully strong voice that recorded very well from her first record, made during the time when recordings were made acoustically. With the coming of electrical recording (circa 1925), the sheer power of her voice was even more evident.

She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, most notably Louis Armstrong, James P. Johnson, Joe Smith, Charlie Green and Fletcher Henderson.
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Ride With Me - Little Sonny Jones


Little Sonny Jones (April 15, 1931 – December 17, 1989) was an American New Orleans blues singer and songwriter. Over his lengthy career, Jones worked with various blues musicians, most notably Fats Domino.

He is not to be confused with fellow blues musicians, Little Sonny nor Little Sonny Warner.
He was born Johnny Jones in New Orleans, Louisiana, United States, and started singing professionally in the late 1940s. He befriended Fats Domino and, whilst working together, was given his nickname by Domino. In 1953 he released his debut single, "Do You Really Love Me" / "Is Everything Allright?", on Specialty. Jones recorded a further four songs for Imperial in 1954, which were produced by Dave Bartholomew, but all releases failed to find a commercial market. His connection with Domino endured and, up to 1961, Jones remained as Domino's opening act. Jones tracks included the blues standard, "Farther Up the Road".

Jones was employed as the vocalist by a New Orleans based band led by the brothers, David and Melvin Lastie, until the late 1960s. Jones also had regular employment at a sugar factory. He returned to the recording studio in 1975, and issued his album, New Orleans R&B Gems, initially on the Netherlands based Black Magic label. With contributions from veteran musicians including Dave "Fat Man" Williams, the record faithfully copied the R&B style and sound of the 1950s. It was re-issued in 1995 by Black Top.

Jones was a regular performer at the New Orleans Jazz & Heritage Festival.

In December 1989, Jones died of heart failure in New Orleans, at the age of 58.
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I Didn't Know / Road Of Love - Jelly Roll Kings


The Jelly Roll Kings were an electric Delta blues band. The members of the band were: Frank Frost (keyboard/harmonica), Big Jack Johnson (guitar) and Sam Carr (drums). Their most famous songs included "The Jelly Roll King", and "Catfish Blues"
The three had been playing together irregularly from 1962 and into the seventies under the name The Nighthawks. In 1979 they were invited by Michael Frank to record. now as The Jelly Roll Kings, their debut Rockin' the Juke Joint Down, which was a debut release of Earwig Music Company too. In the following years they kept performing separately, but were recorded again. Fat Possum Records released the Kings 1997 follow-up, Off Yonder Wall. It was produced by Robert Palmer, and included tracks such as "That's Alright Mama" and "Baby Please Don't Go."

Frank Frost died in 1999, Sam Carr followed in 2009, and Big Jack Johnson in 2011.
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So Unkind - Love Sculpture w/Dave Edmunds


David 'Dave' Edmunds (born 15 April 1944, Cardiff, Glamorgan, South Wales) is a Welsh singer, guitarist and record producer. Although he is primarily associated with pub rock and New Wave, and had numerous hits in the 1970s and early 1980s, his natural leaning has always been towards 1950s style rock and roll.
As a teenager Edmunds first played with a band called The Edmunds Bros Duo with his older brother Geoff (born in 1940, Cardiff) in 1954, a piano duo. Then the brothers were in The Stompers later called The Heartbeats formed in c 1957 with Geoff on rhythm guitar; Dave on lead guitar; Denny Driscoll on lead vocals; Johnny Stark on drums and Ton Edwards on bass. Then Dave and Geoff were in The 99ers along with scientist and writer Brian J. Ford. After that Dave Edmunds was in Crick Feather's Hill-Bill's formed in c 1960, with Feathers (Edmunds) on lead guitar; Zee Dolan on bass; Tennessee Tony on lead vocals; Tony Kees on piano and Hank Two Sticks on drums. The first group that Edmunds fronted was the Cardiff based 1950s style rockabilly trio The Raiders formed in 1961, along with Brian 'Rockhouse' Davies on bass and Ken Collier on drums. Davies was later replaced by bassist Mick Still and other members were Bob 'Congo' Jones on drums and John Williams (stage name John David) on bass, that worked almost exclusively in the South Wales area.

In 1966, after a short spell in Parlophone recording band The Image (1965–1966), with local drummer Tommy Riley, Edmunds shifted to a more blues-rock sound, reuniting with Congo Jones and bassist John Williams and adding second guitarist Mickey Gee to form the short lived Human Beans, a band that played mostly in London and on the UK university circuit. In 1967 the band recorded a cover of "Morning Dew" on the Columbia label, that failed to have any chart impact. After just eighteen months the core of 'Human Beans' formed a new band called Love Sculpture that again reinstated Edmunds, Jones and Williams as a trio. Love Sculpture scored a quasi-novelty Top 5 hit by reworking Khachaturian's classical piece "Sabre Dance" as a speed-crazed rock number, inspired by Keith Emerson's classical rearrangements. "Sabre Dance" became a hit after garnering the enthusiastic attention of British DJ John Peel.
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Saturday, April 14, 2012

Why Don't You Do Right - Lil Green


Lil Green (December 22, 1919 – April 14, 1954) was an American blues singer and songwriter. She was among the leading female rhythm and blues singers of the 1940s, possessed with an ability to bring power to ordinary material and compose superior songs of her own
Originally named Lillian Green, she was born in Mississippi; after the early deaths of her parents, she went to Chicago, Illinois, where she began performing in her teens and where she would make all of her recordings.

Green was noted for superb timing and a distinctively sinuous voice. She was 18 when she recorded her first session for the 35 cent Bluebird subsidiary of RCA. In the 1930s she and Big Bill Broonzy had a night club act together. Her two biggest hits were, firstly, her own composition "Romance in the Dark" (1940), which was later covered by many artists, such as Dinah Washington and Nina Simone (in 1967), although Billie Holiday also recorded a different song with the same name. Then came Green's own (1941) version of Kansas Joe McCoy's minor key blues and jazz influenced song, "Why Don't You Do Right?", which was covered by Peggy Lee in 1942 and many others since. As well as performing in Chicago clubs, Green toured with Tiny Bradshaw and other bands, but never really broke away from the black theatre circuit.

Although Green signed with Atlantic Records in 1951, she was already in poor health. She died in Chicago in 1954 of pneumonia, at the age of 34, and is buried in Oak Hill Cemetery in Gary, Indiana.
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Sit Down Baby / Sugar Baby - Michael Jerome Browne


Michael Jerome Browne, Canadian Solo Folk Artist of the Year in 2008, Maple Blues Acoustic Artist Award Winner, International Blues Challenge Semi-Finalist, Three time Juno Award Nominee in both the roots and blues categories. Michael is a multi-instumentalist, a songwriter, and a living encyclopedia of American Roots music.

Whether he's gliding a slide across his national guitar, pulling his bow over the fiddle strings to play a lively Cajun waltz, or frailing away on his gourd banjo Michael's passion and virtuosity always shine through. In the true tradition of folk music, his performances inspire us to see the interconnections between the many cultures and influences that gave birth to American Roots Music. Gospel, Blues, Old-Time, Country, Soul and Cajun, expect to hear all of this and more from a performer who's been called a street-smart archivist and an absolute treasure.

Born in South Bend, Indiana, Michael is the son of English professors whose love of music and poetry inspired them to take their nine year old son to the great jazz, blues and folk clubs in their adopted home of Montreal. By the age of fourteen, MJB was already a regular on the vibrant folk and coffee house scene adding banjo, fiddle, and mandolin to his masterful command of all variety of guitars and harmonica.

A musician's musician, when he isn't performing his own material he is in demand backing up and recording with artists such as: Eric Bibb, Jordan Officer, and Susie Arioli.

Michael Jerome Browne has three previous releases, all of them JUNO nominated.

“Double” (2007) includes an exciting live electric set, plus a reissue of the Juno-nominated “Michael Jerome Browne” (1998), an accomplished debut album highlighting MJB’s musical influences, from Big Bill Broonzy to David Byrne. MJB lays down amazing guitar, banjo, fiddle, harmonica, and vocals, all live off the floor.
“Michael Jerome Browne and The Twin Rivers String Band” (2004) unleashes Michael’s passion for old-time string band, Cajun and classic country music. A stunning assortment of fiddles, banjos, lap-steel guitars, mandolins, Cajun triangles and yodels.
“Drive On” (2001). A life-long love affair with blues and early jazz results in a seamless blend of original, public domain, and new interpretations.
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You Ain't Alone - Alabama Shakes


The story of the Alabama Shakes begins in a high school psychology class in Athens, Alabama. Brittany Howard, who had started playing guitar a few years earlier, approached Zac Cockrell and asked if he wanted to try making music together. “I just knew that he played bass and that he wore shirts with cool bands on them that nobody had heard of,” says Howard.

They started to meet up after school and write songs sitting on Howard’s floor. “It had that rootsy feel, but there was some out-there stuff,” says Cockrell. “David Bowie-style things, prog-rock, lots of different stuff. We started to come across our own sound a little bit, though it’s evolved a lot since then.”

Steve Johnson worked at the only music store in town, and Howard knew he played the drums. She invited him to a party where, she says, “he met everybody from our side of the tracks.” The three young musicians began working together, further expanding their style and approach. “Steve is kind of a punk-metal drummer,” says Howard, “so we embraced that edge he brings to everything he does.”

The trio soon went into a studio in Decatur to record some of the songs they were working up, and this proto-demo found its way into the hands of Heath Fogg, with whom Howard had been familiar because he had been the lead guitarist in what she describes as “the best band in our high school.” Fogg, who by now had graduated from college, asked them to open a show for his band, which they agreed to do—on the condition that he play with them. The response was immediate: “That first show was really explosive,” says Howard.”

Though they had been focusing on original material (“It’s just more fun to write than to learn someone else’s music,” says Cockrell), as the band—newly christened the Shakes—began playing out, they added more cover songs. They played classics by James Brown and Otis Redding, but also by Led Zeppelin and AC/DC. “We had to find music we could all agree on and figure out how to play together,” says Howard, “and that had a lot of influence on how we play now.”

Attempting to record their songs with the honest sonic qualities they cherished, the Shakes bought a few microphones and a vintage Teac mixing board and set up in Howard’s house—which didn’t work, since she lived right next to some railroad tracks. They eventually found their way to a Nashville studio in early 2011, where the songs they cut included “You Ain’t Alone” and “I Found You.”

When they appeared at a Nashville record store, people started to take notice of the group’s relentless, hard-charging live attack, and Howard’s magnetic stage presence. One especially ardent fan raved about the band to his friends, which included Justin Gage, the founder of the Aquarium Drunkard blog. Gage wrote to Howard, asking if he could post one of the Shakes’ songs. She sent back the yearning, intense “You Ain’t Alone,” which he put up in late July, calling it “a slice of the real.” And, literally overnight, all hell broke loose.
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