Deadline: Music From The Movie - Dave Perkins - New Release Review

I have just received a soundtrack recording for the soon to be released movie Deadline by Dave Perkins. Perkins' 2009 Pistol City Holiness was very highly acclaimed. The release is made up of 15 tracks that vary from short sonic interludes to full musical tracks.The recording opens with Hanging Cross which is a very cool opening number with a solo guitar with keys and reverb. I really like it. Amos Medley is a sonic dream using guitars, banjo and other percussive instruments to create environment. It also has a bit of vocal used as an instrument. This is very cool as well. Revival is a straight up rock song and could definitely warrant airplay with it's driving beat and interesting guitar riffs. Bad News is a very funky track with primary lead vocal but still retaining it's interesting musical texture. Courthouse Stand is a short vocal and piano mantra. Again very cool. The title track, Deadline, is a country blues style song with some interesting guitar and harp riffs. Scratch/Now It's Personal another "soundscape" track with resonator and harp is very interesting. What It Is is a cool rocker and could be right off of a Stones record. Possibly the best "full song" on the disk. Alabama Shooter/Hole is a very cool acoustic guitar and harp sonic exploration that is again very interesting. Flashback is again a soundscape and I find it very pleasing. Break is a cool track with a mixture of harp and rippin guitars over a vocal track. The recording ends with Fife and Drum which is exactly what it is. I really like the sonic qualities of this recording. If you know Frankie's House, the instrumental album (soundtrack) by Jeff Beck and Jed Lieber I would easily compare it and say this ranks in good stead. If you like sonic music with guitars you will likely like this recording. I do.

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Former Rolling Stone Mick Taylor to Play Six-Night Run at New York City's Iridium in May

Former Rolling Stones guitarist and Rock and Roll Hall of Famer Mick Taylor will make a rare New York City appearance for a week of shows at Iridium from May 9 to 14.

The final night, May 14, will mark the launch of "Guitar World & The Iridium Present," a new monthly series highlighting the world's best guitarists performing with The Les Paul Trio.

Tickets are on sale today, with an exclusive pre-sale available to fans of Iridium on Facebook.

Taylor, ranked No. 37 on Rolling Stone's list of the Top 100 Guitarists of All Time, was in The Rolling Stones from 1969 to 1974 and appears on the classic Let It Bleed, Sticky Fingers and Exile on Main St. albums.

He came to the band as a 20-year-old, following several years with John Mayall & The Bluesbreakers. After his time with the Stones, he went on to perform with everyone from Bob Dylan to Percy Sledge, even rejoining The Bluesbreakers for a tour in the early '80s.

At the Iridium, Taylor will perform with an all-star band featuring Max Middleon (keyboards), Wilbur Bascomb (bass), Bernard "Pretty" Purdie (drums) and Jon Paris (guitar/vocals). For the May 14 Guitar World & The Iridium Present show, Taylor will be joined by Middleton and The Les Paul Trio.

Since Les Paul's death in 2009, his Trio -- guitarist Lou Pallo, bassist Nicki Parrott and pianist John Colianni -- has carried on his legacy, performing every Monday night with special guests that have included guitar heroes from a variety of genres, including Jeff Beck, Steve Miller, Ted Nugent and Robert Randolph.

IridiumLive, the club's new label launching April 3, will capture the magic of these and other performances at Iridium with its HD 32-track studio. The first release, A Jazz Tribute to Les, features the Trio performing with Nels Cline of Wilco, Stanley Jordan, Bucky Pizzarelli and Jane Monheit.

In Les' honor, Iridium seeks to balance established stars like Taylor with cutting-edge guitarists like Wayne Krantz, who will perform with the Trio April 9 and celebrate his record release at the club April 12 to 15. A portion of the door from each Les Paul Monday show goes to benefit The Les Paul Foundation, which pays tribute to Paul's memory by supporting music education, engineering and innovation.
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LARRY WALSTON JR/ AKA/ LARRY LUV - Mike Packer correspondent

I get alot of CDs in the mail from artists, bands and musicians of all styles of music and it is rare that someone really knocks me out. I am not really into the new R& B format of singing. I am old school, Smokey Robinson, Al Green and Sam Cook is what I grew up with and what I still love but when I put Larry Luv's disc on and heard his unique vocal stylings I was instantly impressed. This kat can sing.

Larry Luv is Larry Walston Jr. who grew up in Greenville, North Carolina and has been singing since he was 5 years old. He has sung in church choirs and talent shows for the last 18 years. Larry has a dream of being discovered so he decided to put together a 4 song demo of songs. Included is a masterful a capella version of Sam Cook's "A Change Is Going To Come". Larry knows his roots which I really admire because many young generation blacks don't even know who Sam Cook is and as long as Larry keeps singing he will not only be keeping his dream alive but he will also be keeping the music we all know and love alive as well.

Check out Larry Luv's video. You will see what I mean.
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WNTI 91.5 Rock-it Science with Greg Lewis - Playlist-links for Mar 15, 2012

Playlist Songs--SONG-----ARTIST---ALBUM--

	Told You Twice, .Idle Race, Time Is.. Start: 20:01:00 End: 20:04:00 Duration : 3:00
	Stepping Stones, Geoff Achison, Live At Guitars Across The Bay Start: 20:05:00 End: 20:14:00 Duration : 9:00
	How Do You Sleep At Night, Mark Easton, Grind Start: 20:14:00 End: 20:19:30 Duration : 5:30
	Green Onions [with Roy Buchanan], Bugs Henderson, Legendary Jams Start: 20:27:30 End: 20:39:30 Duration : 12:00
	Tattoo, Bugs Henderson, Blue Music Start: 20:39:30 End: 20:43:30 Duration : 4:00
	Big Man, John Mayall, Big Blues Man Start: 20:46:30 End: 20:51:15 Duration : 4:45
	When Beano Was Boss, Buddy Whittington, Six String Svengali Start: 20:51:15 End: 20:55:15 Duration : 4:00
	Long Time Gone, Rocky Athas Group, Miracle Start: 20:55:15 End: 20:59:15 Duration : 4:00
	Calling Card, Rory Gallagher, Calling Card Start: 21:01:15 End: 21:06:15 Duration : 5:00
	The House That Love Lives In, Stan Webb, Strange Situations: The Indigo Sessions Start: 21:07:15 End: 21:13:15 Duration : 6:00
	What You Gonna Do, Tramp, Put A Record On Start: 21:13:15 End: 21:16:15 Duration : 3:00
	When The Sun Goes Down, Peter Green, Little Dreamer Start: 21:16:15 End: 21:21:45 Duration : 5:30
	Free Spirits, Vargas Blues Band, Bluestrology Start: 21:25:45 End: 21:28:45 Duration : 3:00
	NSU [with Gary Moore,Ginger Baker], Jack Bruce, Cities Of The Heart Start: 21:28:45 End: 21:35:15 Duration : 6:30
	Les Douceurs de la Vengeance, Hubert Felix Thiefaine (with Paul Personne], Amicalement Blues Start: 21:35:15 End: 21:39:50 Duration : 4:35
	Small Town Blues, Timo Gross, Fallen From Grace Start: 21:43:50 End: 21:47:20 Duration : 3:30
	Old Black Magic, Spirit, Live From The Time Coast Start: 21:47:20 End: 21:51:50 Duration : 4:30
	How You Do This, Fred & The Healers, First Start: 21:51:50 End: 21:56:10 Duration : 4:20
	Leaving Mood, Toronzo Cannon, Leaving Mood Start: 21:56:10 End: 21:59:40 Duration : 3:30

Bman's Exclusive Interview With Anthony Gomes

I had the opportunity to catch songwriter/singer/guitarist extraordinaire Anthony Gomes and talk with him about his new release Up 2 Zero. This interview was conducted last week prior to my reviewing the release but I believe that you will still find it interesting.

Bman: Hi Anthony: Thank you for taking the time to talk with me. I’ve been following your career for a number of years and am actually pretty anxious to see what the new Up 2 Zero recording sounds like.
The pre hype all indicates that it’s your bluest effort.



Anthony: Yes, I think it is our bluest effort since our debut, Blues In Technicolor. I think there are a couple of reasons for that. First, there are songs that follow the traditional 12 bar format like One Last Time and Room 414. So, you can’t really get much more blues than that. Second, there’s songs like Voodoo Moon and Last Bluesman Gone that have this deep connection to the delta. Third, we really tried to keep the production to a minimum. One or two guitar tracks and stripped down vocals. We wanted it raw and in your face. That says “Blues” to me. No auto-tuned vocals or computer enhanced non-sense.

Bman: You already have some pretty notable credentials in the contemporary blues market. What makes this recording different?

Anthony: I think the production style is quite different. I also think this CD has some of my most mature guitar playing on it. I know some people like the pyrotechnics, but I wanted to get to the heart of things. I am very proud of Love Sweet Love and Anywhere You Run.
I think, without a doubt, my singing on this CD is better than any other one of my albums. For the first time, I feel like my voice is captured.

Bman: You can draw some real musical intensity to the stage when you step on the gas. Are you stepping back a little from the blues rock efforts and moving a little toward the soul sound?

Anthony: I feel like I have always had a soul sound to my music. I would say I am moving closer to blues, actually. That’s why I started playing in the first place. Or, maybe it would be best said to find a happy medium between the two.

Bman: You have a great voice for delivering the soul/blues style of music. I believe that it plays in your favor.

Anthony: Thanks Bman. The check is in the mail. I love the passion and personality of the blues. I also love a little melody that soul/gospel brings.

Bman: I can definitely see that. I believe that since both waters started in the same spring the reuniting of the similar but different genre's can be very exciting. I believe you do it very successfully.
I’m really a gear head. I think of you primarily as a Strat player but I notice that you use a lefty Strat (upside down), a Tele special and what looks to be a pretty old Les Paul as well… mostly played through a 70’s Marshall head and cab. Do you have guitars that you keep around for fun or are you strictly a musician with the tools he needs?

Anthony: I play a 70s Marshall and late 60s Fender Super. I love Strats, Teles, Les Pauls and play all of those live. Well, the tools are fun. Ha! I think you want a guitar to inspire your playing.
Usually the song will tell you which one to play.

Bman: I appreciate old small amps for a special tone but it’s really hard to beat some of the old power heads like the early Marshalls,Fender Twins and Supers and Hiwatt Customs. Just can’t get that kind of sound out of a little box through a PA.

Anthony: You just can’t beat ‘em. I've tried a bunch of stuff and I end up going back to the Holy Grail of Marshalls. Fenders and Vox.

Bman: Back to your new recording, Up 2 Zero, I find it interesting that you’re looking back to Muddy Waters or Robert Johnson for inspiration. I feel that this is exactly where many blues artists fall short. They try to build on top of the new blues (the grandchildren of the blues). It’s like adding a second story on the top of a one story house. The foundation isn’t there. Going back to the earth and building from the ground is a solid premise.

Anthony: The closer you get to the source, the more of your own personality you can find. That’s what I believe anyway.

Bman: I’ve been hearing some really primitive stripped down blues music lately that really kicks my butt. I mean the new technology is there but is it a good thing or is it taking us farther from the answer?

Anthony: The devil is in the details. Technology is a good thing. Everyone got freaked out when Muddy Waters plugged in an electric guitar. But, it was very cool. It all comes down to how you use technology. When we start losing soul or the human touch, that’s where I think the trouble begins.

Bman: I think that you're right on there! I should have a copy of your new recording any day now and then I’ll see where you’re headed. A lot of things change from the first concept of a recording, putting it down and getting the final product out. How satisfied are you with this new recording? Is there anything that you would change?

Anthony: There’s lots of things I would change. But I am very happy with it. I am already working on the next one.

Bman: Your fans are going to love this new release and knowing there is another in the works is great news!

I notice that you are starting your new release support tour in Chicago and covering the Northeast and Canada…then southeast and catching the Midwest on your way home. Any thoughts of coming out west?

Anthony: Yes, we are definitely coming out west. I think sometime in the fall!

Bman: I'll be watching for you! Good luck with the new recording. I really appreciate your time.
Is there anything that you want to share with your fans that we haven’t discussed?

Anthony: Thank you Bman for a wonderful interview and taking the time to talk. I’d like to let your people know that they can download a free MP3 of our first single “Love Sweet Love” online "HERE"

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Dylan Wickens & The Grand Naturals News and Upcoming Performances

Dylan Wickens & The Grand Naturals News and Upcoming Performances

"This month I'm charged about a few things. After taking a few months off from performing with the band to focus on songwriting for the next record, we are getting back in to the swing of things, beginning with Heartwood Blues 2012, on March 31 at The Alpine Club, Kitchener. Also, the drum chair will be shared between heavyweights, Al Webster, and Drew Austin. Finally, this month sees the release of Soulstack's long anticipated debut recording, Big Red. I was pleased when asked to play lead guitar on the stand out track, "Stone Cold Man". Every now and then a recording is made that is a must own. This is one of those recordings. Trust me." - Dylan Listen to Stone Cold Man Upcoming Performances: Saturday, March 31 10th Annual Heartwood Blues The Alpine Club 464 Maple Ave Kitchener Doors open at 7pm Tickets are $25 in advance/$30 at door. Sponsored by 107.5 DAVE FM, Homes Plus Magazine, Kwik Kopy and Waterloo Region Record. www.heartwoodplace.ca Advance ticket orders http://www.heartwoodplace.ca/main2.cfm?eventid=18 Tattoo Black is available via mail order on the web site, and is also available for download on iTunes. dylanwickens.ca sarahfrenchpublicity.com We have a new Facebook page! Please join Dylan Wickens & The Grand Naturals on Facebook at http://www.facebook.com/pages/Dylan-Wickens-The-Grand-Naturals/295864050450118?ref=ts

Goin' To Chicago -- James Van Buren

Thanks to artists like James Van Buren, blues and jazz are alive and well. Since 1956 when James formed the “Blues Kings” to play the type of music that he loved listening to as a child, James has created an unforgettable style and sound.

In 1985, James formed his own label and launched his debut album “We Will be Together Again”. His second album, “It‘s all Over” earned James national recognition with the album making the Top 20 list on NPR. His third album, “I Ainít Doin’ Too Bad” took James to higher levels of recognition with the song “Three Handed Woman” being one of James’ top selling songs.

Several albums have followed each as enjoyable and diverse as the last. Fans from around the world know that James’ music always reflects feelings from his heart and sounds from his soul.

As Phil Upchurch put it, “James is as original in his song as Joe Williams or Billie Holiday. The other thing I like about his style is that you can hear him smiling”.

Fans from James’ home state of Colorado, have adopted “James’ Baseball Song” as the anthem for their Colorado Rockies baseball team. Since 1996, this song has been chorused by hundreds of fans and has been released as a popular single.

There is no doubt that we will be enjoying a lot more music from this unique artist. He is a tireless supporter of Jazz in his community, giving generously of his time to support growth of the arts. His warm, open personality contributes to his ability to draw strong crowds, a loyal following and make new friends
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Pet Milk Blues - Walter Mitchell

Walter Mitchell was born In New Orleans on March 19, 1919. After migrating to Detroit he cut one double-sided single for Joe Von Battle's JVB label. He then recorded three songs for King that were unissued at the time. One of them "Broke And Hungry" was later issued on an LP compilation on St. George Records. Mitchell died in Detroit on January 10, 1990

Walter Mitchell:Vocals & Harmonica

Robert Richard:Harmonica

Boogie Woogie Red:Piano

Little George:Bass

Recorded at Joe Von Battle's Record Shop, Hastings Street, Detroit, MI. 1948

Originally issued on the 1948 single JVB 75827 (78 RPM)

This recording taken from the 1976 album "Detroit Ghetto Blues 1948-1954" (Nighthawk 104) (LP)
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That Old Piano - Clarence 'Frogman' Henry

Clarence "Frogman" Henry is a New Orleans legend who has left the rock-and-roll world with some memorable songs.

Clarence was born in Algiers, Louisiana in 1937. As a child he studied piano and the trombone, instruments that he became somewhat accomplished in playing and which he is still playing to this day. He joined Bobby Mitchell's R&B band in 1953 and stayed with them for about two years before going on to other bands in the New Orleans area. He tried his hand at songwriting and recording also.

In late 1956 a song that Clarence had written helped him to become somewhat of an overnight sensation. That song was Ain't Got No Home. The song was leased to Argo Records in Chicago, with Clarence singing in a falsetto voice when he says he can "sing like a girl" and in a contrived, humorous voice when he says he can "sing like a frog." It was a fun novelty hit that vaulted to the number 3 position on the R&B charts and to number 20 on the pop charts. It also served to give the nineteen-year-old a nickname that would stick with him for life, "Frogman." The flip side of Ain't Got No Home was also very good. Titled Troubles, Troubles, it was an uptempo song on which Clarence shared writing credits with bandleader Paul Gayten.

Clarence Henry continued to perform around New Orleans in the late Fifties and early Sixties before he came up with his next big hit. Once again on the Argo label, he had two more records reach the Top Twenty, But I Do [also known as I Don't Know Why] and You Always Hurt The One You Love. The latter had been a number one hit for the Mills Brothers in 1944. These records were produced by Gayten and legendary New Orleans record producer Allen Toussaint. There were other minor hits also, such as On Bended Knees/Standing In The Need Of Love and Lonely Street. He switched to the Parrot label and just missed with a record titled Have You Ever Been Lonely.

Clarence Henry has been active on the music scene in New Orleans for many years since his fling with the charts. He performs in clubs and he is well known and well liked in his native city. His home was damaged by Hurricane Katrina in 2005, but he was not injured.
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When Will It End - Wylie Dixon

Simtec & Wylie were an American soul duo from Chicago active in the late 1960s and early 1970s. The group was composed of Walter "Simtec" Simmons and Wylie Dixon, and had a hard soul sound similar to that of Sam & Dave.

Simtec (b. Chicago, December 23, 1944) was raised in Orrville, Alabama but moved back to Chicago at age 14, where he played guitar in local outfit the Vermaharms. Simtec's brother, Ronald, played bass, and after a chance meeting with DJ Herb Kent, Kent asked them to record a single over a drum machine. The resulting 45, "Tea Box" b/w "Tea Pot", was a local hit and convinced Simmons to put together his own band, the T-Boxes.

This outfit eventually became the backing band for Simtec as a vocalist along with new vocalist and King Records veteran Wylie. As Simtec Simmons & Wylie Dixon, they issued "Socking Soul Power" in 1969, then became Simtec & Wylie for the 1970 Shama Records singles "Do It Like Mama" and "Gimme Some of What You Got". The group signed with the Mercury-distributed label Mr. Chand and issued a full-length, Gettin' Over the Hump, in 1971, which proved to be their only album; however, the track "Gotta Get Over the Hump" became a hit single on the R&B charts, reaching #29 on the Billboard Soul Singles chart. They appeared on Soul Train on Christmas Day 1971.

The group released singles together through the mid-1970s but saw no further success, and Simtec released a few solo singles in 1975 and a self-titled album in 1977. Simtec also did some work as a producer and songwriter; after his career in music he worked in Chicago in real estate
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Sugar Coated Love - Joe Louis Walker with Bertha Blades

Sorry... not much of a bio available... here you go:
Bertha Blades Band is an electric blues rock band based in Brooklyn.
You all know Joe Louis Walker. If not look in my Blues Library or watch for another post. He's always hot of course!
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Out On The Rolling Sea - Joseph Spence

Joseph Spence (born August, 1910 in Andros, Bahamas - died March 18, 1984 in Nassau, Bahamas) was a Bahamian guitarist and singer. He is well known for his vocalizations and humming while performing on guitar. Several American musicians, including Taj Mahal, The Grateful Dead, Ry Cooder, Woody Mann and Olu Dara, in addition to the British guitarist John Renbourn, were influenced by and have recorded variations of his arrangements of gospel and Bahamian songs. The earliest recordings of Joseph Spence were made on Spence's porch by folk musicologist Samuel Charters. These were released by Folkways Recordings.

Spence played a steel-string acoustic guitar, and nearly all of his recorded songs employ guitar accompaniment in a Drop D tuning. The power of his playing derives from moving bass lines and interior voices and a driving beat that he emphasizes with foot tapping. To this mix he adds blues coloration and calypso rhythms to achieve a unique and easily identifiable sound. He has been called the folk guitarist's Thelonious Monk.

The Richard Thompson fan club produced a benefit tribute album to Spence and the Pinder Family, Out on the Rolling Sea. It featured a variety of artists covering songs from Spence's repertoire. His recording of "That Glad Reunion Day" was used in the 2004 film Open Water and also appears on its soundtrack CD.

His unique vocal stylings on "Santa Claus Is Coming To Town" may be the definitive version of that song, according to Tom Schnabel of KCRW's Weekend Becomes Eclectic show[citation needed] and John Kelly of RTÉ Radio 1's Mystery Train[4] show.

Mike Heron of The Incredible String Band credited Spence as the inspiration for the "Lay down, dear sister" passage in A Very Cellular Song on 1968's The Hangman's Beautiful Daughter. Curiously, Spence credited Heron with the same song, claiming to have learned it from the ISB
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MR.BIG - FREE

Before there was Govt Mule... Before there was Bad Company... there was Free!
This is one of the most recognizable guitars on the planet...with Peter Green's Les Paul, SRV's Strat and Rory Gallagher's Strat! Kossoff died way too young!
Paul Francis Kossoff (14 September 1950 – 19 March 1976) was an English rock guitarist best known as a member of the band Free.

Kossoff was ranked 51st in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time"
Kossoff was the son of Margaret (Jenkins) and the British actor David Kossoff. His father was of Russian-Jewish descent. Kossoff started playing guitar in the mid 1960s, taught by session guitarist Colin Falconer, Paul became a professional at age 15 when he was a founding member of Black Cat Bones. The band played with touring blues piano player Champion Jack Dupree, did many supporting shows for Fleetwood Mac and other gigs with Fleetwood Mac cofounder Peter Green. Kossoff would jam and spend hours discussing blues playing and players. Kossoff's bandmate in Black Cat Bones was drummer Simon Kirke, and the two would go on to play on Champion Jack Dupree's April 1968 album When You Feel the Feeling you was Feeling
Kossoff's unhappiness with the end of Free and his drug addictions contributed to a drastic decline in the guitarist's health. On a flight from Los Angeles to New York on 19 March 1976, Kossoff died from drug-related heart problems.

Simon Kirke played drums from early age and by the time he was 14 he was playing semi-professionally

He left school at the age of 17 and was determined to become a drummer full-time. He held down a string of menial jobs during the day until he formed a new group called Free with Paul Rodgers and Andy Fraser. Over the next five years this remarkable group released several albums and singles, the most famous one being "Allright Now." " Even though they were relatively young as a group, Free left a musical legacy which lasts to this day. In 1973, Paul Rodgers and Simon disbanded Free and formed Bad Company with Mick Ralphs and Boz Burrell. Five of the six albums Bad Company released with Paul Rodgers are multi-platinum or gold. Their debut record includes the hit singles "Can't Get Enough" and "Movin' On." the band's legacy of hit songs continued with "Good Lovin' Gone Bad," "Feel Like making Love," and "Rock and Roll Fantasy." With the combined successes of Free and Band Company, you can turn on any rock station in the world and you are likely to hear Simons drumming.
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"Watch Video"

They Call Me the Snake - Luther ' Snake Boy' Johnson

The confusing plethora of artists working under the name of Luther (nickname here) Johnson can leave even those with a decent knowledge of blues in a major state of confusion. But in this biographical entry, we concern ourselves with the life and times of Luther "Georgia Boy/Snake Boy" Johnson who, to make matters even more confusing, also worked and recorded under the names Little Luther and Luther King. (It turns out his real name wasn't even Luther, but Lucius.) Upon his military discharge, he picked guitar as a member of the Milwaukee Supreme Angels gospel group, working the local church circuit. But the blues bug hit and he soon had his own little blues trio together, eventually settling in Chicago by the early '60s. He played for a while with Elmore James and was a regular fixture in the Muddy Waters band by the mid-'60s. He recorded as Little Luther for Chess in the mid-'60s ("The Twirl") and by 1970 was relocated to Boston, Massachusetts, working as a solo artist. The next five years found him working steadily on the college and blues festival circuit before cancer overtook him on March 18, 1976, at a mere 41 years of age. ~ Cub Koda, Rovi
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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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Come Back Baby - Lil' Ian Goodsman

My name is Ian Goodsman but known widely as Lil' Ian (that's Lil' as in 'little', Lilian is my mother's name and that's another story). I am an acoustic roots musician spending time between the UK, where I was born, and New Zealand where I have a home. I am known mostly for my ragtime, slide and Piedmont style of blues. I have performed at festivals and clubs both in the UK and New Zealand as well as TV and radio shows in both. I have played in the Club Tent of the Cambridge Folk Festival (2000), Smokie Blues Festival (Arbroath, 2009), Auckland Folk Festival (2002), Bay Of Islands Jazz and Blues Festival (2001 - 2008), Crossroads Blues Club (Birmingham, UK, 2009) and many other clubs and Festivals.

I have appeared on local radio stations throughout the UK and National Radio in New Zealand as well as being the featured artiste over two weeks on New Zealand's Radio Hauraki's Blues show where they dubbed me 'Kiwi slide guitarist extraordinaire'. I recorded for a satellite TV show in the UK and the Good Morning Show on New Zealand's TVOne.

During my playing career I have opened for the Delta Bluesman and side-kick to Robert Johnson in the 1930's, Dave 'Honeyboy' Edwards, the amazing CandyRat recording artist Andrew White and one of my original inspirations - Stefan Grossman. I have also played with the ragtime guitarist John James, on the same stage as the likes of Steve Tilston, Gypsy Dave Smith, Kent Duchaine and Duck Baker, and played a session for the Piedmont player - the late John Jackson.
If you see me play, you will never see me strum a guitar. I pick, I do not strum, my National, Dobro and Mike Messer resonator guitars and my Gibson, Bozo and hand-made Hullah wooden guitars. For some of my set you will find I use a brass or glass bottleneck on my left pinkie. The music I play comes from such sources as Blind Blake, Blind Boy Fuller, Robert Johnson, Big Bill Broonzy amongst others. I also play more recent numbers from the likes of Keb' Mo, David Lindley and Merle Travis.
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Voice of the Blues - Gary Sellers Band

Gary Sellers wasn't born with a guitar in his hand, but you'd never know it. His smooth riffs and heartfelt licks drip with emotion that pours straight from his soul to his fingers.

While he always loved music, it wasn't until Gary turned 17 that he picked up a guitar. Soon after, he discovered the Long Island blues scene. Gary frequented local clubs with his black-and-white marble notebook in hand, always jotting down song ideas and things he'd learned from watching the different bands play. The "boy with the book" caught the eye of Long Island Blues legend Sam Taylor, who would eventually become his mentor.

He followed the Sam Taylor Band closely before signing on as its regular guitarist and adding his soulful voice on background vocals. Taylor guided his growth as a musician and even helped him to craft a few of the tunes on his debut album, "Young Man with the Blues."

Jump forward a few years to today as Gary's latest album "Soul Apparatus" has just been released. You'll find a more mature musician who hasn't losthis chops or his soul as he strives to entertain a wider audience.

Gary's youthful appearance belies his musical maturity. His songs ring true with passion and grit, conveying universal emotions. He writes of love and loss, funneling pain and yearning through the healing groove of his melodies. Make no mistake, he may have some battle scars from romantic entanglements, but he's still standing, and he's still jamming. Gary pays homage to the blues greats, but weaves hints of Funk, Soul, Rock and R&B into his work to create his own unique vibe. According to Good Times Magazine, Gary's "tunes are surprisingly sophisticated... [and] his guitar playing is a fine mixture of mechanics and feel. In short, the Cat can play!"

And play he has. For the past 14 years, Gary has toured much of the East Coast, performing at countless clubs and festivals with his own band as well as the Sam Taylor Band.

Gary defies expectations. He doesn't fit the stereotype of a blues man, but he is a worthy inheritor to the tradition — he's got the heart and the chops to carry the torch for a new generation.
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Feel So Bad - Lil Ray Neal with Blues Special Band

Born March 16, 1960, Lil Ray (Raful Neal III) the third eldest of ten siblings, has long been regarded as one of the finest blues guitarists in the business. Raised in Ervinville, Louisiana, he started playing at Spooner's, a country store/club owned by his grandfather when he was about 12 years old. His father played at that store with his band and during the break he would let Ray and his brothers get up to play.

Ray learned much with the likes of Buddy Guy and Harpo Slim hanging around but it was two of his school teachers that gave him the incentive to want to hone his craft as a guitar player. In the days leading up to summer break he would take his guitar to school and persuade Mr. Ronald Young and Mr. Edward Yearby to play. "Both were hell of a guitar players and I learned from just listening..you really didn't want to play, you just wanted to listen", Lil Ray recalls.

In 1976 the Neal family moved to Baton Rouge and within a few years Ray was playing regularly with his father. In 1980 his brother Kenny asked him and his brothers to join him in Toronto, Canada. Ray continued to play with Kenny in Canada until his visa ran out and he went back to Baton Rouge...but not for long.

Little Milton offered Ray a job with his band and it was back on the road. He'll be the first to admit that life on the road was hard but the valuable lessons he learned are still with him today. Ray is grateful that he had the opportunity to play with some of the greatest musicians that have ever took the stage.
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Toil On - Rev. Cleophus Robinson

While never achieving the commercial success of many of his contemporaries, the Rev. Cleophus Robinson was a prominent figure on the gospel circuit throughout the better part of the post-war era, perhaps best known for hosting a coast-to-coast gospel television series which ran for a quarter century. Born March 18, 1932 in Canton, MS, according to family legend, Robinson suddenly sang his first gospel song, "Who Will Be Able to Stand?," at the age of three; from that point on, he sang regularly while working in the cotton fields, influenced in great measure by his mother Lillie, a gospel shouter in the tradition of Mahalia Jackson whose own vocal prowess was renowned throughout the region. As a teen, Robinson gave his first solo recitals at St. John's Church of Canton; in 1948, he moved to Chicago, where he performed in a variety of area churches and appeared with the Roberta Martin Singers alongside Jackson herself.
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In The Midnight Hour - Wilson Pickett

Wilson Pickett (March 18, 1941 – January 19, 2006) was an American R&B/Soul singer and songwriter.

A major figure in the development of American soul music, Pickett recorded over 50 songs which made the US R&B charts, and frequently crossed over to the US Billboard Hot 100. Among his best known hits are "In the Midnight Hour" (which he co-wrote), "Land of 1,000 Dances", "Mustang Sally", and "Funky Broadway".

The impact of Pickett's songwriting and recording led to his 1991 induction into the Rock and Roll Hall of Fame.
Pickett was born March 18, 1941 in Prattville, Alabama and grew up singing in Baptist church choirs.

He was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.
Pickett died from a heart attack on January 19, 2006 in Reston, Virginia. He was 64. He was buried in Louisville, Kentucky. The eulogy was delivered by Pastor Steve Owens of Decatur, Georgia. Little Richard, a long-time friend of Pickett's, spoke about him and preached briefly at the funeral.[3] Pickett spent many years in Louisville when his mother moved there from Alabama. He was remembered on March 20, 2006, at New York's B.B. King Blues Club with performances by the Commitments, Ben E King, his long-term backing band the Midnight Movers, soul singer Bruce "Big Daddy" Wayne, and Southside Johnny in front of an audience that included members of his family, including two brothers.
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