Austin Museum Curates Sound Preservation Devices

Preserving Sound If you love listening to recorded music, you'll love this...... Technology is what really drives the music industry, it always has and probably that's the way it will remain for generations to come.  From wax cylinders to today's modern compact discs, it's technology that has allowed us to enjoy not only our music but spoken word recordings as well.  So who came up with this idea in the first place and how did it evolve into what it is today?  Those questions and others as well are the questions that the Museum of Magnetic Sound Recordings in Austin, Texas seeks to answer and share with the world. I remember when four track tape players for cars were introduced, why it was like having an LP in your car, you just simply had to have one.  Home reel to reel tape machines had been hot just prior to the beginning of that era.  My Uncle used to set a reel to reel up at our family holiday get togethers.  He got the biggest charge out of recording the extended family. Then the next time we would all be together we would get to hear his previous holiday recording.  You could actually experience the thrill of hearing yourself on tape back then. I remember that my Uncle and his wife would put ground beef into a frying pan and squeeze it with a metal spatula in an attempt to create a sizzling sound effect.  They would do the same thing with various kinds of crinkly sounding wrapping paper too.  They would record little skits and as kids we would marvel at the story line over and over again.  Perhaps you have a fond memory such as this as well?  Plus, I might add, who wasn't listening to the pre-recorded love songs of the greats back then?  Playing back recorded sound has been the rage since its inception. I recently met with Martin Theophilus at The Texas Recording Academy of Texas meeting in Austin. Martin curates the physical donations that are provided to the museum and writes about them on the organization's web site.  The goal is to create a permanent music museum in Austin for the vintage collection. You too can be a part of this endeavor to preserve historic sound equipment if you have either a monetary or physical donation you might like to share with the museum.  Plus volunteers are welcomed too.  In addition to preserving the physical devices the Museum is also documenting the persons who created and use the technology, including conducting  personal interviews.  Some very notable recording artists have stopped by and enjoyed it so much that they donated their personal recording equipment from years gone by.  Recently Ray Benson, the famed artist and producer, (Asleep at the Wheel) did just that in fact.  You can read about it on the museum's web site.  Take a trip down memory lane and perhaps even learn a thing or two that may surprise you by going to the museum's web site.  Enjoy!   Here's an example of a four track cartridge tape that was the hot ticket in the late 60's.  It's listed on Collector's Frenzy for $180.27 (US).  Imagine that - $180.27 in today's money.  Just makes you want to go look at your old collection and see what you have stored away.  Four track tape players for automobiles went out of style almost as fast as they came in by the way.  They were replaced with a newer technology, the eight track player, and yes we all had to have one...... You can still find these cartridges on eBay. They're called wax cylinders. The horizontal black cylinder you see in the photo is what the sound was stored on.  The title of the contents were were on the side lip. This is an example of what the professionals used prior to digital recording devices.  In the famed documentary "Sound City" artist after artist raves about the sound that the huge mixing board and recording device was able to capture.  No pro tools back then, just a good eye and ear for splicing is what was required. Official Museum of Magnetic Sound Recording Website To volunteer, donate financial aid or vintage equipment click here

Watch the Delta Blues Museum Documentary on MPB!

Catch the Mississippi Public Broadcasting premiere of "FROM THE CROSSROADS TO THE WHITE HOUSE," a True Delta Project documentary film, TONIGHT on MPB!

The Delta Blues Museum Band is featured in a documentary film making its debut on Mississippi Public Broadcasting (MPB) television on July 14th at 10 p.m.!  Check your local listings to find MPB TV in your area.    (Not in Mississippi? The documentary will be made available online immediately following tonight's broadcast--link below.) http://www.mpbonline.org/fromthecrossroadstothewhitehouse/   From the Crossroads to the White House follows a group of young musicians on their journey from the Mississippi Delta to the White House to receive a National Arts and Humanities Youth Program Award presented by First Lady Michelle Obama. Five members of the Delta Blues Museum Band performed for Mrs. Obama and guests. Last year, the Delta Blues Museum--Mississippi's first music museum dedicated to the Blues--was recognized with the award for having one of the best youth programs in the nation. The Museum's Arts and Education program helps preserve the blues tradition by teaching young Mississippians to play and sing the blues. The program, which was originally created by the late Mr. Johnnie Billington, continues to educate blues musicians who help keep Clarksdale's dynamic live music scene alive.  From the Crossroads to the White House is one of a series of award-winning documentaries about the legacy of the Delta blues from producers Lee Quinby and Erickson Blakney of the True Delta Project.   About Delta Blues Museum Established in 1979 by the Carnegie Public Library Board of Trustees and re-organized as a stand-alone museum in 1999, the Delta Blues Museum is Mississippi's oldest music museum and the nation's first museum dedicated to the American art form known as the Blues. A 2013 recipient of the IMLS National Medal for Museum and Library Services--the nation's highest honor for museum and library service to the community--and a 2014 winner of the National Arts & Humanities Youth Program Award, the Delta Blues Museum is dedicated to creating a welcoming place where visitors find meaning, value and perspective by exploring the history and heritage of the unique American musical art form, the Blues. The Museum is honored to be a Great River Road Interpretive Center. Through its DEEPER ROOTS campaign, the museum seeks $1.2 million for new and enhanced exhibits: Expanded exhibits, including those to be housed in the Muddy Waters Addition, will enable the cultural organization to better preserve and display the history and work of blues artists from the Mississippi Delta, and advance the Museum's ability to "tell" stories that inspire and educate future generations about this important American art form. For online donations or for more information on events or programs, please call (662) 627-6820, or visit the Museum web site at www.deltabluesmuseum.org. The Delta Blues Museum Band in performance at the White House.

Blues Legend Junior Wells’ Estate Entrusted to Cleopatra Records

Los Angeles - The estate of Blues Harp Legend Junior Wells has been entrusted to L.A. based record label Cleopatra Records in a newly announced arrangement.  

The deal was made between Cleopatra owner Brian Perera, represented by the law offices of Evan S. Cohen, and executor Martin Salzman, on behalf of Junior Wells’ daughter Regina Brown and includes sound recordings as well as publishing from Wells’ wide ranging catalog between his first recordings in the 1950s until his death in 1998.  

In addition to the sound recordings and publishing which includes unreleased masters, Cleopatra also purchased a variety of personal artifacts from the Blues legend, including his harmonicas, performance outfits, hats, canes, notes, photos and  personal  journals.

“We’re very excited to enter into this deal and be a part of the one of the all time icons in American Blues history, “ said Perera.  “We intend to keep the Junior Wells legacy alive with a variety of releases as well as merchandise and branding partnerships in the years to come.” Look for releases from Junior Wells and other blues artists such as Eric Gales, Shuggie Otis, and Harvey Mandel on the newly launched Cleopatra Blues imprint.

Junior Wells, real name Amos Wells Blakemore Jr. (December 9, 1934 – January 15, 1998), was an American Chicago Blues vocalist, harmonica player and recording artist.  In addition to his many solo recordings on labels such as States, Chief, Profile, Delmark, Vanguard and Telarc, Wells was also known for his collaborations in  performances as well as recordings with artists such as Buddy Guy, Muddy Waters, Earl Hooker, Bonnie Raitt, Van Morrison and the Rolling Stones.

Junior Wells is a member of the Blues Hall of Fame.  His albums, Hoodoo Man Blues (1966), It’s My Life Baby (1966) and Blues Hit Big Town (1977), as well as his single “Messin’ With The Kid (1960),” are in the Blues Hall of Fames in the Classics of Blues Recording category.  He has also received several honors and awards from the Blues Hall of Fame including, Best Historical Album and Traditional Blues Album of the Year.

C-Train Records artist: Christian Collin - Spirit Of The Blues - New release review

I just received the newest release, Spirit Of The Blues, from Christian Collin and it's got flare! Opening with One And Only, a blues rocker featuring Collin on vocal and lead guitar , Alex Evans on bass, Chris Monroe on drums, Jen Williams on backing vocals and Johnny Iguana on B-3 this track has good radio potential with a catchy melody and flashy guitar. Player's Game has a cool boogie line with grinding guitars, a driving bass by Evans and features Matthew Skoller on harp. A Woman Like You has a kicker beat that gets you going. I particularly like Collin's vocals on this track and Skoller lays down a nice harp line. Chuck Berry influenced riffs give the track a nice bit of heat over a Lynyrd Skynyrd kind of heat. Very cool! Dance The Blues Away has a conventional 12 bar format and a real nice piano roll by Iquana. Collin takes a nice and easy guitar solo that is all about style and compliments the track nicely. Ballad, Without You, has a solid R&B feel and is well suited to the vocals of Collin and Williams. With an almost Atlanta Rhythm Section kind of feel, the band lays down a real sweet track with rich harmonies, a melodic guitar solo and backing key work by Iquana and Brian Leach (clavinet )makes this the best radio track on the release. Title track, Spirit Of The Blues, has some real fire with hot guitar riffs and and a walking bass line that hits the spot. I find Collin's vocals on this track nicely matched to the gritty nature of the track making it my personal favorite. Excellent! Loping shuffle track, Highway Song, has a real bopping groove and Collin rides it high with clean, tasty succinct riffs. Blues For You takes the pace down to a nice easy roll with an almost Jeff Healey feel. I particularly like the guitar sting on this track. Collin spanks it pretty good on this track but without and pyrotechnics to make it sound plastic. Real nice! Dead Man Walking features Collin on slide along with his vocal and it has a bit of an eerie sound. This track, which has the lease amount of pop value, is really nicely constructed and interesting with a swampy feel. Old 109 has just a boot full of country but no more than say Highway 61 by Johnny Winter. This is a cool blues rocker pairing Peter Gallanis on slide with Skoller on harp and still allowing Collins to drive the train vocally and riff out on lead guitar. Hot rocker! The River is an easy going acoustic number featuring Collin on vocal and acoustic guitar Evans on bass, Chris Morrow on drums and Billy Branch on harp. Wrapping the release is Forever Friends, a soulful ballad with Rodney Brown on sax, Kenny Anderson on trumpet and Bill McFarland on trombone. This is a really smooth track putting me in mind of some of the classic work by Billy Price. Collin takes a real nice melodic solo in the track but maintains it to it's general soulful construction. Very nice conclusion.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

The Peterson Brothers - Self Titled - New Release Review

I just received the newest self titled release from The Peterson Brothers and it's pretty cool. Opening with Albert King's, You're My Woman, a blues rocker with a light funk, Glenn Peterson takes the microphone and shows what he's all about. With selective guitar punctuation he is joined by Alex Peterson on bass, Brady Blade on drums and rich keyboard work from James Pace. On Little Johnny Taylor's If You Love Me Like You Say, that band lays down a bit of Texas style funky blues. Glenn rips a couple of real nice guitar riffs and Pace rides high on the organ. On shuffle track, Hey Baby, the band develops a real nice groove. Pace hits it hot on piano and Glenn cooks it hot for a real nice toe tapper. R&B track, I Wouldn't Treat A Dog (The Way You Treated Me), shows the best of Glenn's voice and I particularly like Blade's drums riffs that hit this track just right. Pace again comes through with a nice organ solo setting up Glenn for a clean extended guitar solo. Alex keeps the groove moving nicely with tight bass lines. Classic blues track, Don't You Lie To Me has been covered by just about everyone but these guys with Alex leading the way with a solid bass line gets a groove of it's own. Glenn has the lead vocals and Pace lays out a real nice keyboard solo. Loping shuffle track, I Gotta Go really benefits from a great walking bass line from Alex and a vocal duet with Glenn. Pace is back on it with warm organ work and Glenn plays some of his nicest guitar work on the release. Tell Me Everything, an easy shuffle track, is up next and Glenn shows a different side of his guitar prowess. With a few Chuck Berry like double stops, this is a real cool track. On Earl King's Come On (Baby Let The Good Times Roll), the gang takes a softer approach from both the rock and blues side but Alex really blows it out on bass with a smokin' solo. Pace follows back with a nice key solo but this track is all Alex's. Very very nice! Feelin' Like Home is a real nice jazzy instrumental with good balance. Alex steps up with another real nice solo on this one. Traditional track, Amazing Grace, is a nicely arranged instrumental featuring Alex on violin and Pace on keys. Nicely done. Rocker, I Gotta Go, is a tight little number with a fluid key solo and a nicely aggressive solo by Glenn as well. Vocal harmonies and a tight bottom make this a cool conclusion to the Peterson Brothers first outing. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

Silver Talon Records artist: Blinddog Smokin' - High Steppin' - New Release Review

I just received the newest release (July 17, 2015), High Steppin', from Blinddog Smokin' and it is funnnkkky! Opening with a real high stepper, Pimp Shoes, vocalist Carl Gustafson lays down one vocal riff after another with Roland Pritzker driving the bass, Mo Beeks riding the keys and Chicago Chuck Gullens keeping it tight on drums. Backing vocals from Linda Gustafson, Chris White and Chicago keep it real and really hot guitar soloing from Chalo Ortiz and sax work from Rex Amend blow the top off! Bayou Lady is swampier and sticky funky with a definite voodoo sound. I really like Carls vocals on this track and bursts of guitar by Ortiz are hotter than lightning! Don't Put No Money On Me is a cool track with a cool falling down the stairs rhythm style and a story telling style of vocals. This is a gritty track and I really like it. I Caught Her Lyin' has a easier country blues sound with cool story telling with dynamics by Beeks on keys and Matt Rhody on violin. Tell "Em Shuffle is a cool Chicago style blues track led off by Billy Branch on harp. A simple blues number with cool organ work by Beeks and Branch taking control on harp, it's one of the swinginest track on the release. Slow soulful blues track, If I Died Today, really shows the richness of Gustafson's voice complimented by Branch on harp and with soft background vocals. Probably my favorite track on the release. Big Behind is a clever country comedy style track. This track has a a group vocal part but not like in harmony. More just togetherness. The track has a country format with Tommy Broderick on steel guitar and could easily make a strong cross airways appeal with it's clever lyrics and catchy melody. Lady's Playin' returns to the funk with some poppy funky bass work by Pritzker. Vocal mostly done in a soft rap style, and with a George Clinton like backing delivers with Eric Bernhardt on sax, Travis Blotsky on bari sax, Mike Fulton on trumpet and David Phy on trombone. Fun! Wrapping the release is a gospel style redo of Tell 'Em (Reprise). Beeks really has the gospel styling down on organ and the vocals are rich. Nice closer.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

KEITH RICHARDS RELEASES CROSSEYED HEART

FIRST SOLO ALBUM IN OVER 20 YEARS OUT SEPTEMBER 18^TH

July 9, 2015 – New York – Keith Richards will release his eagerly anticipated CROSSEYED HEART, his third solo album and his first in over 20 years, September 18^th on Republic Records.

CROSSEYED HEART, a fifteen track masterclass encompassing everything that makes Keith Richards one of the 20^th century’s most celebrated talents, is a 5* musical journey that takes in reggae, rock, country and the blues.

The first taste of CROSSEYED HEART will be unveiled on July 17^th with the explosive first single, “Trouble,” a taut guitar based slice of heaven featuring Richards on electric and acoustic guitars, bass, lead and backup vocals. He is richly supported by old friends, drummer Steve Jordan, guitarist Waddy Wachtel and Bernard Fowler on backup vocals. The song was written by and produced by Keith and Steve Jordan.

“I had a ball making this new record and working with Steve Jordan and Waddy Wachtel again. There’s nothing like walking into a studio and having absolutely no idea what you’re going to come out with on the other end. If you're looking for ‘Trouble,’ you've come to the right place.”

Keith wrote or co-wrote the majority of the tracks on CROSSEYED HEART, many with co-producer Steve Jordan.Highlights include the country tinged ache of “Robbed Blind”, the reggae flavored “Love Overdue,” and the aptly named “Blues In The Morning.” Richards collaborates with several artists including a captivating duet with Norah Jones on the soulful ballad “Illusion” which she co-wrote.

Keith Richards, who plays electric and acoustic guitars, bass, piano and vocals on the album, is also joined by guitarist Waddy Wachtel, keyboardist Ivan Neville and background singer Sarah Dash, part of the X-Pensive Winos, who accompanied Richards on his previous solo records.

Shemekia Copeland's OUTSKIRTS OF LOVE Set For September 11 Release

SHEMEKIA COPELAND'S OUTSKIRTS OF LOVE

SET FOR SEPTEMBER 11 RELEASE

Shemekia’s a ball-of-fire vocalist with a voice that’s part Memphis, part Chicago and all woman… devastatingly powerful. She’s a great singer, period.

--Chicago Sun-Times

Shemekia captures the timelessness of the blues while spinning it forward with remarkable maturity.

--USA Today

Alligator Records has set a September 11 street date for Outskirts Of Love, the genre-smashing new release from trailblazing vocalist Shemekia Copeland. With a voice that is alternately sultry, assertive and roaring, Shemekia’s wide-open vision of contemporary blues, roots and soul music showcases the evolution of a passionate artist with a modern musical and lyrical approach. Whether she’s belting out a raucous blues-rocker, firing up a blistering soul-shouter, bringing the spirit to a gospel-fueled R&B rave-up or digging deep down into a subtle, country-tinged ballad, Shemekia Copeland sounds like no one else. The Chicago Tribune said Copeland delivers "gale force singing and power" with a "unique, gutsy style, vibrant emotional palette and intuitive grasp of the music." NPR Music calls her “fiercely expressive.”

Copeland’s return to Alligator Records with Outskirts Of Love (she recorded four albums for the label from 1998 through 2006) finds her at her most charismatic, performing roots rock, Americana, and blues with power and authority, nuance and shading. Produced by The Wood Brothers’ Oliver Wood, Outskirts Of Love is a musical tour-de-force, with Copeland rocking out on the title track, taking charge in Crossbone Beach, honoring her father, the late Johnny Clyde Copeland with her Afrobeat-infused take on his Devil’s Hand, tackling homelessness on Cardboard Box and showing off her country swagger on Drivin’ Out Of Nashville. She puts her stamp on songs made famous by Solomon Burke (I Feel A Sin Coming On), Jesse Winchester (Isn’t That So), Sonny Terry and Brownie McGhee (The Battle Is Over), Creedence Clearwater Revival (Long As I Can See The Light), ZZ Top (Jesus Just Left Chicago), Albert King (Wrapped Up In Love Again) and Jessie Mae Hemphill (Lord Help The Poor And Needy). Friends including Billy F Gibbons, Robert Randolph, Alvin Youngblood Hart, Will Kimbrough and Pete Finney all add their talent with unbridled enthusiasm. The result is Copeland’s most decidedly contemporary and musically adventurous album of her still-evolving career.

When Shemekia first appeared on the scene at age 18 in 1998 with her groundbreaking debut CD, Turn The Heat Up, she instantly became a blues superstar. Critics from around the country celebrated her music as fans of all ages agreed that an unstoppable new talent had arrived. News outlets from The New York Times to CNN took note of Copeland's talent, engaging personality, and true star power. She followed up with 2000's Grammy-nominated Wicked, 2002's Talking To Strangers (produced by Dr. John) and 2008’s The Soul Truth (produced by Steve Cropper). In that short period of time, she earned eight Blues Music Awards, a host of Living Blues Awards (including the prestigious 2010 Blues Artist Of The Year) and more accolades from fans, critics and fellow musicians. Two highly successful releases on Telarc (including 2012's Grammy-nominated 33 1/3) cemented her reputation as a singer who, according to NPR's All Things Considered, "embodies the blues with her powerful vocal chops and fearless look at social issues." USA Today says, "Copeland is a singer with fervor and funk, power and range.”

Copeland has performed thousands of gigs at clubs, festivals and concert halls all over the world and has appeared on national television, NPR, and in newspapers, films and magazines. She is a mainstay on countless commercial and non-commercial radio stations. She's sung with Eric Clapton, Bonnie Raitt, B.B. King, Buddy Guy, Mick Jagger, Keith Richards, Carlos Santana, James Cotton and many others. She opened for The Rolling Stones and entertained U.S. troops in Iraq and Kuwait. Jeff Beck calls her “f*cking amazing.” Santana says, “She’s incandescent…a diamond.” At the 2011 Chicago Blues Festival, the City of Chicago and the State of Illinois officially declared Copeland to be “The New Queen Of The Blues.” In 2012, she performed at the White House for President and Mrs. Obama. Afterward, Jagger (with whom she sang) sent her a bottle of champagne.

With Outskirts Of Love and a packed tour schedule, Copeland has her eyes fixed firmly on the future as she continues to break new musical ground. "I want to keep growing, to be innovative," she says. “I’m a lifer, singing about things that bother me, using my music to help people. My dad always said ‘we’re all connected.’ I’m an old soul marching to the beat of my own drum,” she continues, “And right now I’m making the most exciting music of my career.”