Captain Luke Moved Home With Hospice Care

Captain Luke Moves Back Home With Help From Hospice   We learned today that Captain Luke has been moved home for the time being, with the help of home hospice care. This was very important to him as he feels more comfortable in familiar surroundings. Thank you so much for all your thoughts and prayers for Captain. He has enjoyed hearing from many of you and knowing that you are thinking of him! If you'd still like to reach out, he would love to hear from you; his home telephone is 336-722-2965. Captain's prognosis is still the same, and so he has been speaking with his family about his final wishes. Captain has a devoted family, and they want to provide a memorial for their father. However, like so many other families of Music Maker artists, the funeral costs for even the most basic service are out of their reach.   This is one way Music Maker steps in to help the artists we serve, and if you would like to assist in our efforts to help with burial expenses for our artists, you can make your donation to Music Maker here.

Shouting From the Rocky Mountains - The Wendy Woo Band - Tipping Point CD out May 9

Shouting From the Rocky Mountains

The Wendy Woo Band Reaches a Tipping Point

New Release Out On May 9^th

“…her vocals exude a sensuality that's unexpectedly subtle.”  - Michael Roberts, Westword

Atlanta, GA – Woo Music recording artists, The Wendy Woo Band, gets set to take their unique blend of rock, folk and Americana to the national stage with Tipping Point, on May 9^th. The popular Colorado quintet, which consists of the ever charismatic Wendy Woo (lead singer/guitar), Robin Hoch (viola, guitar, vocals), Chris Maestas (drums/vocals), Mitch DeZwarte (keyboards) and Steve Cox (Bass). They are looking to take their regional success nationwide and Tipping Point appears to be just the vehicle to cross over state lines.

Tipping Point, recorded at Colorado Sound in Westminster, Colorado by the legendary Jim Gaines. Gaines’ resume, which includes Stevie Ray Vaughan, Carlos Santana, Huey Lewis and countless others made a warm, relaxing atmosphere for Wendy and the band to create and put forth their best effort.

Wendy’s alto voice along with her unique phrasing has often brought comparisons to Natalie Merchant with attitude. What separates the Wendy Woo band, however, is when Robin Hoch steps up to blend her voice with Wendy’s. The two have a tight, intuitive sound that is rarely found outside of families. The results are surreal. “I was in awe and captivated by her sultry voice and beauty” Wendy states in an interview with axs.com, Denver (2015).

“Down the Backbone Road.   Down the Backbone Road.

You can lose yourself, down the Backbone Road.” – Backbone Road

The songs on Tipping Point are perhaps the album’s strength. The band shows more depth than the average “boy meets, girl/boy loses girl” subject matter. Wendy and the band choose to explore not only love but other subject matters which everyone can relate to. Songs like, “In the Middle,” speaks of human reconciliation while, “Today” reminds us to take in the good times and enjoy them while they are happening.

Wendy, the daughter of bohemian parents who were founding faculty members at Naropa University, was exposed to the unexpected in life. Growing up, the family home would be a social center with such visitors as Allen Ginsberg, Merry Prankster, Ken Kesey and Norman Mailor. In the past, Wendy has thanked her unconventional upbringing with the song, "One Way Ticket," (unreleased live show favorite) which mentions growing up as a "beatnik's kid," and Gregory Corso teaching her how to play poker. Woo and her father also did an album of music and poetry together titled, Ecolalia, which was named by both the Denver Post and Westword as one of the top 10 Colorado albums of 2001.

“Sometimes we change

And we meet back in the middle” – In The Middle

While Woo grew up singing, she didn't start playing the guitar until she was 18 and wanted to accompany herself. Soon after learning her way around the guitar, she began writing songs and performing in songwriting circles. She attended at both University of New Mexico and University of Colorado, where she studied various musical genres, theory and composition.

As Woo’s prowess grew she developed a technique she calls “Slaptap.” "Slaptap" is performed by using the guitar as a percussion instrument. She hits and slaps at various point of the acoustic guitar creating a performance art piece. The fluid movement between her hands and body keep the viewer focused throughout the song. You can watch her here by clicking on the photo.

"Wendy Woo is a one-woman musical machine. ... The guitarist's music is chock full of varying styles, ranging from ballads to Latin beats and rock 'n' roll … “ - Jen Mulson, Colorado Springs Gazette Telegraph

Early on her musical journey, Woo took a job at the Fox Theater. This is where her ambitions started to take off and she began playing more frequently. She won the Colorado Lilith Fair Talent Search in 1999, which let her share the stage with an elite lineup that included Sarah McLachlan, Shawn Colvin and Sheryl Crow. She also toured nationally during this time, which helped her gain a larger following. Meanwhile, her accolades from the Colorado media grew exponentially, and the alternative weekly, Westword, put her in their Hall Of Fame.

Wendy has recorded more than 100 original songs, played over 200 dates a year and operating her own musical empire called WooMusic. But Wendy and her band find gratification in the personal relationships that have with past and present members creating a sense of family. Sacrificing their personal lives to be a part of something bigger they have all stayed in close contact with Woo, giving her a sense of comradery that can’t be replaced.

BEJEB Music artist: Deb Ryder - Let It Rain - New Release Review

I just received the newest release (April 21, 2015), Let It Rain, from Deb Ryder and it swings. Opening with That's Just How It Is, Ryder comes out hot and heavy with powerful backing from Kirk Fletcher, Ric Ryder on bass, Mike Finnigan on B3 and Tony Braunagel on drums. Fletcher really hits the groove and Finnigan lays it flat out. On Latin/shuffle track Can't Go Back Again, Braunagel sets a mean line and Johnny Lee Schell joins Fletcher on guitar with Lee Thornburg on Trumpet and Lon Price on sax. Very nice! On You Won't Be True Thornburg and Price give the track a much heavier swing and Schell and Fletcher lays down some really hot riffs. I really like Ryders vocal work on this release. Excellent! On the smokey, Guilty As Sin, Ryder guides her listeners down a dark slinky alley. Finnigan's B3 punctuation is particularly effective, Kim Wilson tips in some warm harp work on this track and Fletcher steps up with a few real nice R&B style blues guitars solo as well. Very smooth! Cry Another Tear has a spiritual undertone with Finnegan leading the way on both piano and B3. With a hand clapping revival feel, Ryder shows she has it all joined by Johnny Lee Schell and Finnigan on backing vocals. Fletcher steps up with a flight fingered country style solo on guitar which I would have sworn was Albert Lee. Very nice! Ryder's solid bass work drives the train on Hold Your Lamp High with rich horn work from Thornburg and Price. Finnegan creates the tension on B3 but it's the super lead vocals by Ryder that shines brightest on this track. Thornburg takes a cool muted trumpet solo on this track giving it a quiet jazz sound for a bridge but Ryder drags it back into the soul arena with her gritty voice. On boogie stack, Money Monsoon, Fletcher again shows his fast finger work and Finnegan, Thornburg and Price push it over the top. Excellent! On quiet ballad, Kiss and Dream, the entire band softens it back with James Hutchinson on double bass and Finnegan on piano accompanied by Braunagel on brushes. Ryder shows the clarity of her vocals and Price lays out a really nice sax solo. Title track, Let It Rain has a R&B feel and Fletcher steps up and delivers Robert Cray style. Kim Wilson blends his harp work in nicely with finesse and control. This is really an ideal radio track with a catchy melody, simple but tight instrumentals and of course the super vocal work of Ryder. David Fraser joins on accordion for New Orleans flavored Ma Misere and Albert Lee takes the lead guitar role bouncing off of the super piano work of Finnigan. Wrapping the release is a stripped down bluesy track, Round and Around with Ryder on vocal, Wilson on harp, Schell on guitar and backing vocals. Nice wind down from a really pretty hot release!

  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”

 

Chris Cain Relief Fund

Friends and fans, thank you, thank you, thank you....for all your generous contributions to Chris Cain. Dave and I are overwhelmed with the outpouring of love and support this site has generated from friends and fans all over the country. I hope to print out a complete list of all the donors for Chris to see, along with all your kind words of encouragement and appreciation for the amazing man that Chris is. Thank you to those of you who have shared this to others as well. Please keep the love coming. -Tracy Pain Subscribe to Updates A message from Dave Mathews (bandmate and longtime close friend of Chris Cain): Due to some recent sudden personal changes in his life, Chris Cain has fallen on hard times. All of his fans need to know that as great a musician and as wonderful a person as Chris is, he struggles to make ends meet in day to day life and needs all of your support right now. In spite of his tremendous talent, Chris never has a lot of money. It's difficult for him to travel (he doesn't drive), he can't get enough gigs to pay his bills, and he struggles to keep the business end of things together. And, to top it off, Chris is now faced with the financial challenge of moving after being in the same place for years. That's just not his way; he's about MUSIC. Chris is a genius on many levels besides music, incredibly funny, witty, an incredible mimic of some of our most beloved celebrities from the 60's thru today, well read, very observant of humanity in general, and loyal to ALL of his many fans. I'm a friend, but I've also always been a fan, since the first time I heard him play, in about 1981 (although I didn't get to play with him until about '87). I love Chris like a brother, and try to play with him whenever I can. Myself, along with Chris' longtime friends, Louis and Tracy Pain, set this site up so his many fans can give back what he's given to us all these years. Our goal is to get Chris some funds needed to give him a fresh start as he goes through a difficult phase in his life. Please donate what you can. Every dollar helps. If you are unable to donate, you can also help Chris in other ways. PLEASE come out and support him whenever you can. Buy his CDs, hire him for a private party, whatever you can do for this amazing artist and human being...let's raise the roof for Chris! All the more reason to try and help our very gifted friend sooner than later..... Thank you, David K Mathews

 

Fat Possum Records artist: Jimbo Mathus - Blue Healer - New Release review

I just received the newest release (April 21, 2015), Blue Healer, from Jimbo Mathus and it's rowdy! Opening with pouncing rocker, Shoot Out The Lights, Mathus has the band in high hear right out of the gate. Joined by Ryan Rogers, Eric Carlton, Stu Cole, Bronson Tew, Kell Kellum, Eric Amble, Barrett Martin and Gig and Sunny Stuckey, Mathus blends rock, psychedelics and country for a hot rocker. Mama Please quiets down a bit with a tex mex kind of flavor with keys, accordion, vocal harmonies and simple country guitar riffs. Title track, Blue Healer, has an intoxicating feel with really cool guitar effects. A simple melody and dynamic vocals make this a strong selection for the title track. Excellent! Sometimes I Get Worried has strong bones, supported by strumming guitar rhythm and sliding guitar soloing. Backing vocals and Mathus own vocal lead make this a good radio choice. Ready To Run is a straight up rocker with a nod to Bruce Springsteen. With a driving rhythm and a natural anthem, this is a track that will likely garner broad attention. Ballad, Thank You, is particularly sensitive and primarily acoustic with only necessary instrumental appointments. Very nice! Coyote is a really cool track with a strong dose of western styling. Shimmery guitar tones and Mathus honest vocals make this one of my favorite tracks on the release. Bootheel Witch is a gritty rocker with a bit of David Bowie at his cockiest. With guitar riffs sounding more like Joey Santiago, this track transcends many eras but still sounds like Jimbo Mathus. Excellent! Old Earl has the sounds of a european/country track. What I mean by that is country music with strong roots in europe being more like a folk tune. A cool story, something that Mathus is in my mind best known for, with that country twist and light country styling gives this track a certain bite. Waiting On The Other Shoe To Fall is a driving country rocker with raucous vocals and a British flavor. Save It For The Highway is a solid rocker with just a dip of country. Stripped down and high on energy, this one is bound to be another crowd favorite. Mathus has so many musical influences, it all comes out as one natural blend with seamless integration of all sounds music. Wrapping the release is R&B track Love and Affection. Opening with a spiritual style piano riff, it quickly turns into a cool New Orleans style piano blues. Mathus leads the way joined by nicely blended backing vocals and a tight little guitar solo. Excellent piano riffs throughout and overall super styling makes this an excellent closer for another wild adventure from Mathus.

  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”
Sorry but so early that I can't find a suitable video. Here's Jimbo playing a cool boogie:

JOHNNY CASH RE-ISSUE / American Recordings Boxset (6 LP)

THE COMPLETE AMERICAN RECORDINGS OF JOHNNY CASH

USM are proud to present the Johnny Cash American Recordings LP boxed set, a classic black box housing all studio albums released between 1994 and 2010 on 180gm vinyl. American Recordings is the 81st album by the country singer Johnny Cash after he was approached by producer Rick Rubin and offered a contract with Rubin's American Recordings label, better known for rap and heavy metal than for country music. Under Rubin's supervision, he recorded the album in his living room, accompanied only by his guitar.  His successful collaboration with Rick Rubin was in part due to Rubin seeking a minimalist sound for his songs. The album was hailed by critics and many declared it to be Cash's finest album since the late 1960s, while his versions of songs by more modern artists such as Tom Waits and Glenn Danzig helped to bring him a new audience. American Recordings received a Grammy for Best Contemporary Folk Album of the Year at the 1994 Grammy Awards.  In 2003, the album was ranked number 364 on Rolling Stone magazine's list of the 500 greatest albums of all time. Unchained is the second album in Johnny Cash's American Recording series and contains songs by Tom Petty ("Southern Accents"), Soundgarden ("Rusty Cage") and Beck ("Rowboat"). Unchained received a Grammy for Best Country Album and Cash was nominated for Best Male Country Vocal Performance for his version of “Rusty Cage”. American III: Solitary Man was notable for being Cash's highest charting solo studio LP since his 1976 One Piece at a Time. Between Unchained and Solitary Man, Cash's health declined due to various ailments, and he was even hospitalised for pneumonia. American IV: The Man Comes Around is the fourth album in the American series by Johnny Cash and his 87th overall, released in 2002.  This is the last album released before his death in 2003.  The majority of songs are covers which Cash performs in his own sparse style, with help from producer Rick Rubin. For the song "Personal Jesus", Rubin asked then-Red Hot Chili Peppers guitarist John Frusciante to re-work an acoustic version, which featured a simple acoustic riff that stripped down the song to a blues style. American V: A Hundred Highways is the 93rd overall album and a posthumous title by Johnny Cash released on July 4, 2006.  The liner notes of “Unearthed”, a box set composed of outtakes from the first four entries into the series, claim "around 50" songs were recorded during the American V sessions before Cash's death on September 12, 2003.  However, only two albums worth of material were released, including American VI: Ain't No Grave, which was released in February 2010

Israel's Blues-Rock King, Lazer Lloyd, delivers a hot, new, self-titled album due June 9th in North America and kicks off his 2015 tour at the House of Blues in Chicago on April 20th

Israel’s Blues-Rock King, Lazer Lloyd, delivers a hot, new, self-titled album due June 9th in North America and kicks off his 2015 tour at the House of Blues in Chicago on April 20^th

Lazer’s signature deep lyrical writing and vocals combined with his virtuoso guitar work takes listeners from the depths of mind-searing pain to the highest pleasures of love, hope, and healing

CHICAGO, IL – Israeli blues-rock singer/songwriter and guitaris­­­­t Lazer Lloyd announces a self-titled album of all new electric and acoustic material to be released on CD and vinyl in the USA on June 9th.  The Lazer Lloyd album, releasing on the Chicago-based LL Records label, is packed with 11 new original songs and a cover of Otis Redding’s “(Sittin’ on the) Dock of the Bay.” It follows on the critical success of his 2013 stripped-down acoustic solo album, Lost on the Highway (on U.S. label Blues Leaf Records) and his 2012 electric CD, My Own Blues (on Helicon, chosen by the Israeli Blues Society’s for best 2012 blues album). The new album was written and recorded in two Tel Aviv studios (Sonic and Papa) during a period of intense songwriting throughout 2014.  Lazer gives voice to his experiences shuttling between a demanding touring schedule on the stages of Israel, as well as in Russia and North America – often playing live knowing his wife and five children were sitting in a bomb shelter back home. 

The cover art for the album was done by Markus Greiner, a brilliant Chicago-based artist who designed the DVD release cover for the 2015 Oscar-winning film, Ida, as well as many album covers for Bloodshot Records, and other musicians such as Graham Parker, among others.

Highlights of Lazer Lloyd's upcoming Spring and Summer 2015 tour include: House of Blues (Chicago) on April 20 and May 19 (as part of the Israeli Jazz & World Music Festival); Steve’s Live Music (Atlanta) on April 30; Waterfront Blues Fest (Portland, OR) on July 5; Hayward Russell City Blues Festival (San Francisco Bay Area) on July 12 (afternoon); Biscuits & Blues (San Francisco) on July 12 (evening); The Ark (Ann Arbor, MI) on August 3; and Bayfront Blues Festival (Duluth, MN) on August 7. For a complete listing of tour events, visit his website. On his 2015 North American tour, Lazer will perform his new material backed up in the Midwest by notable blues veterans Johnny B. Gayden (Albert Collins and Johnny Winter) on bass, and in the West by Ron Perry (John Lee Hooker) on bass, with drums by Kenny Coleman of the Chicago Blues Kings and previously Koko Taylor and Sugar Blue, among others.

On the new CD, Lazer Lloyd takes his signature songwriting to another level with guts and groove that won’t quit, and is certain to become a favorite with global blues and blues-rock audiences.  During the recording sessions, Lazer was joined by his regular Israeli bass player, Moshe Davidson, and studio pros Kfir Tsairi on keyboards and Elimelech Grundman on drums.

Lazer’s music is influenced by blues, gospel, southern rock and the great guitar traditions of power and groove from Jimi Hendrix to Wes Montgomery.  Known by many as Israel's King of the Blues, he cites B.B. King as one of his biggest inspirations in music and in life. He also draws on the blues work of Clarence Gatemouth Brown, Son House, Lightnin’ Hopkins, Albert Collins, Albert King, Buddy Guy, Stevie Ray Vaughan, Johnny Winter and Santana.

“This is the first record I ever made where I successfully recorded in the studio things better than I can do live,” Lazer says, “and I really am happy finally with how things came out. Hopefully, I can help release some pain from someone's heart and make them feel good. I think blues in all its forms continues to generate a devoted following because it's real; it's about everyone's life story and it heals." 

He also used a wide array of guitars to get specific sounds he wanted in each of the songs. “All of my guitars are always messed up because I'm always looking for a unique sound somewhere between a Gibson 335, a Fender Telecaster and a Stratocaster, so I usually have homemade stuff that I've changed the pick-ups on at least 100 times and I'm still not happy,” he recalls.

Lazer offered up some comments on the origins of several of the tracks on Lazer Lloyd. “On ‘Burning Thunder’ - this is a song about the raw energy of both the Godly and Animal soul driving a person in opposite directions.”

“Suffering” - “The life on the road and becoming a successful performer tears you in 1000 directions and it's no secret that there are dark times when a person feels alone and enslaved.”

“Rocking in the Holy Land” - “There were many places that I had a chance to break my career from and places that the record company thought I should break it from. But Man makes plans and God laughs - from a strange twist of meeting a homeless man in New York City’s Central Park, I played a concert with a hippie rabbi, who convinced me to play with him in Israel to check it out and I fell in love, so I'm there more than 20 years.”

“Love Yourself” - “This song is expressing the reality of the ultimate oneness of the world and to internalize the fact that if you hurt someone else or - God forbid - kill someone else, you are hurting or killing yourself. My original concept for the song was for so-called religious terrorists.”

“Time to Love” - “Everybody has their own blues and everybody has different levels of blues: their personal blues, blues for their loved ones, blues for their friends, blues for the country and then you have the big picture blues for the world.”

Born Lloyd Paul Blumen in New York, Lazer moved at a young age to Connecticut with his parents.  Eliezer Pinchas Blumen is his Hebrew name.  Lazer is short for Eliezer and Lazer Lloyd is a combination of his Hebrew and English names. Growing up in Connecticut, at age 15, Lazer was already playing in night clubs along the Connecticut shoreline. At 18, Lazer went to Skidmore College to study music under Milt Hinton (bass player for Louis Armstrong), Randy Brecker (Blood, Sweat and Tears), and Gene Bertoncini.

After college, an A&R executive at Atlantic Records organized a showcase for Lazer in Manhattan with plans to send him to Nashville to work with producer Garry Tallent (of Springsteen’s E-Street Band fame).  One night in New York, Lazer played a gig with the legendary singing Rabbi, Shlomo Carlebach, who invited Lazer to play with him in Israel and he quickly decided to take his music to the Middle East in 1994.  Once in Israel, Lazer joined Reva L’Sheva as their lead guitar player.  With few blues fans in his new home country, Lazer became a trailblazer, as he wrote and performed his own blues tunes mixed with the classics and built an audience for the blues in a country where it was an exotic delight. 

In 2014 and 2015, Lazer brought his blues act to the USA to rave reviews, featuring great musicians such as bassists Johnny B. Gayden and Ron Perry, drummer Kenny Coleman, and for  Canadian dates his band featured blues all-stars Gary Kendall and Mike Fitzpatrick from JUNO award-winning band, Downchild. 

Lazer has successfully crossed over into the Israeli mainstream music scene, and has been featured playing live on some of Israeli TV and radio’s most popular programs. As one radio host said, “From the moment the sounds of his blues guitar reached the air, it was completely clear that this is an international-level guitarist. His shows are worth every minute. He’s one of the great musicians.”

Reviews of his previous albums have been total raves. “I have been listening to the blues for most of my life and had never run into a blues record from Israel before, but this first one is setting the bar high. His guitar playing alone is worth the price of admission, and when you add in his vocals and strong songwriting skills, this disc is a winner,” wrote Blues Blast Magazine in its review.

Compass Records artist: Mike Farris - Shine For All The People - New Release Review

I just received the newest release, Shine For All The People, from Mike Farris and it's nothing short of spectacular. This release is classified as Roots Gospel but I've got to tell you, it's simply great music. Opening with a powerful horn section Farris takes immediate control on River Jordan. Farris has one of those incredible voices that pushes the envelope and with the soul and power inside of him, he just belts it out. This track has an super R&B feel with warm vocal backing and incredible horn work bringing all of the heat you could possibly want. WOW! Up next is Jonah & The Whale with a solid Mustang Sally kind of strut. A groovy organ part keeps up the middle and with a hot bassed bottom and load of sax, Farris just cruises the melody in voice. Very cool! Sparrow opens with Farris sounding like he's standing in front of a congregation, delivering the word with spiritual like key work. Sliding into a dixie blues infused strut with piano, horns and rat a tat drums, this track has a great feel. Warm backing vocals and dixieland styling with that overlaid horn styling makes this track hard to ignore. Excellent! Mercy Now is a solid R&B /soul style featuring Farris in more of a mellow Al Green stance. A solid radio player with powerful backing vocals and instrumentation. Real Fine Day is a country style 2 stepper with twanging guitar and Farris riding the wave. With the power and carefree feel of This Note's For You, Farris just lays it out there. Very nice! The Lord Will Make A Way Somehow has a really nice groove and Leon Russell/spiritual style piano playing doubled up with Billy Preston like riffs. Farris, teamed with the incredible backing vocalists makes this one terrific track. Solid horn overtones and spiritual style singing carries this track high. Farris shows over and again his ability and sense of timing to bring it. Power Of Love is a great high stepper with Farris and crew really standing on it. Is there a spiritual message in there. I'm sure there is, but if you're alive, you can hardly missed being moved by this music just based upon it's presence. Farris keeps taking it up a notch and it really seems he's there and up it goes again! Soul ballad, Something Keeps Telling Me is a straight up radio track with a catchy melody, spot on backing vocals and well blended instrumentation. How It Feels To Be Free has the strongest relationship to a traditional contemporary spiritual track with solid vocal lead, and organ accompaniment. Farris' flawless delivery and backing vocals punctuation just floats. Wrapping the release is This Little Light, a track that most everyone has heard a million times as a child. Farris takes it on as if it has never been heard and with this girth and with occasional children vocal backing, maybe it never has been. Heavy piano soloing on the track is stellar and bluesy guitar riffs give it a rocky feel. I don't remember anyone since the early days of Leon Russell and the Shelter People who was in the broad national spotlight giving spiritual music this kind of attention and feel. Mike Farris sets himself head and shoulders above his peers with this excellent performance! This is a must hear release and a must see artist!

  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”

 

Dale Watson performs on NPR's Mountain Stage

Dale Watson   Austin's king of honky-tonk performs on NPR's Mountain Stage New episode out on April 3, click here for local listings and airtimes  Watson's new album, Call Me Insane, out June 9 on Red House/Ameripolitan Records         Austin, TX: Dale Watson, keeper of the true country music flame, will be featured on the next episode of NPR's Mountain Stage. The episode will premiere on Friday, April 3; click here for stations and airtimes. Watson will be previewing new songs from his upcoming release Call Me Insane, a new studio album recorded in Austin with veteran producer Lloyd Maines (Robert Earl Keen, Jerry Jeff Walker, etc.) The album will be released on June 9 in North America via Red House/Ameripolitan Records on CD, digital, and vinyl. Dubbed "the silver pompadoured, baritone beltin', Lone Star beer drinkin', honky-tonk hellraiser" by The Austin Chronicle, Watson  recently sat in with Jimmy Kimmel’s house band as a guest on Jimmy Kimmel Live (ABC) from SXSW. He also emceed the first ever SXSW “Ameripolitan” showcase featuring the best of Honky-tonk, Outlaw Country, Rockabilly and Texas Swing music.    Album highlights include “Jonesin’ For Jones,” a love song to the music of the legendary George Jones, “A Day At A Time,” about “getting by by barely getting by;” “Call Me Insane,” the album’s moody title track; “Bug Ya For Love,” a fun warning to all the single ladies, and “Mamas Don’t Let Your Cowboys Grow Up To Be Babies.” (Yes, it is an answer song to the Waylon Jennings/Willie Nelson hit.) “Crocodile Tears” is a barstool weeper that sounds like an instant classic and “Burden Of The Cross,” a reference to the tragic death of Watson's fiance in a car crash, show's his serious side.   Call Me Insane was recorded in Austin by Watson and his ace touring band, “His Lone Stars”: Don Pawlak (pedal steel), Mike Bernal (drums & percussion), and Chris Crepps (upright bass & background vocals). Dale plays electric guitar throughout and Lloyd Maines added acoustic guitar. They were joined in the studio by Danny Levin on piano and the Honky Tonk Horns: Jon Blondell (trombone), Joey Colarusso (saxophone), and Ricky White (trumpet).     Since the release of El Rancho Azul in 2013, Watson’s profile has risen considerably via appearances on The Late Show with David Letterman (CBS), Austin City Limits and The Sun Sessions (PBS) and as a guest on NPR’s Wait Wait... Don’t Tell Me and American Routes. A veteran touring artist and consummate entertainer, he is on the road more than 300 days a year. He also put his money where his heart is and took over ownership of two struggling Texas honky-tonks, the Little Longhorn Saloon in Austin (home of Chicken $#!+ Bingo) and The Big T Roadhouse in St. Hedwigs (outside San Antonio).  If not on the road, he and His Lone Stars perform at one of them each Sunday.   Dale has flown the flag for classic honky-tonk for over two decades. He’s christened his brand of American roots music "Ameripolitan” to differentiate it from current crop of Nashville-based pop country. The Alabama-born, Texas-raised Watson may be the hardest working entertainer today and is rapidly approaching legendary status.  He is a country music maverick, a true outlaw who stands alongside Waylon Jennings, Willie Nelson, and George Strait as one of the finest country singers and songwriters from the Lone Star State. www.DaleWatson.com www.facebook.com/Official-Dale-Watson www.twitter.com/TheDaleWatson www.Ameripolitan.com www.twitter.com/ameripolitan RECENT KIND WORDS: “I’m one of Dale’s biggest fans.  - Willie Nelson   “Country music’s a crazy, gold-diggin’ whore, and Dale Watson wants a divorce.”   - The Austin Chronicle  “Graced with a deep, fluid George Jones-ish voice, Watson was mesmerizing, whether making fun of The Voice’s faux-country judge on ‘Old Fart (Song For Blake)”’or simmering through a train-chugging original such as ‘My Baby Makes Me Gravy.’”  - The Philadelphia Inquirer  “Nothing else is Dale Watson. In he strode in a long black Cash-worthy coat with long leather cuffs and a tux shirt.  His white hair was ship’s prow, or perhaps a mighty iceberg. And his Telecaster guitar, festooned with silver coins of every size and denomination, glinted in the footlights.  All through, Dale’s banter was loose and wry.  His guitar tone was just platonically perfect.”   - Music City Roots   “To call Dale Watson’s music country is like calling Ray Charles’ music soul ... both have an air of authenticity that transcends genres and demands that they be put into a class of one.  Ray Charles is gone, but you can see Dale Watson…" - The Troy Record  "...he proved that he is the real deal, and when it comes to tradition, sometimes you can't get too much of a good thing."    - Country Standard Time    "This songwriter prides himself on crafting authentic, old-school country music, which he does so quite masterfully. Watson definitely nails the old-school country star persona." - No Country For New Nashville  " He’s spent the past two decades proving there are still powerful tales to be told from the honky-tonk pulpit, and he's brought that message to the faithful.”  - The Nashville Scene For Dale’s full tour schedule, please visit www.dalewatson.com or www.redhouserecords.com.

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Kentucky Headhunters w/Johnnie Johnson - New CD Meet Me In Bluesland - June 2

ALLIGATOR RECORDS SET TO RELEASE MEET ME IN BLUESLAND BY
THE KENTUCKY HEADHUNTERS WITH JOHNNIE JOHNSON ON JUNE 2

Alligator Records has set a June 2 street date for Meet Me In Bluesland, a previously unreleased album by Grammy-winning Southern blues-rockers The Kentucky Headhunters with pianist Johnnie Johnson, a Rock and Roll Hall of Fame inductee. The performances found Johnson -- the man Rolling Stone called “the greatest sideman in rock and roll” for his groundbreaking piano work with Chuck Berry -- playing some of the deepest and most rocking blues piano of his legendary career. With The Kentucky Headhunters at their down-home best, the record is a country-fried, blues-infused party from start to finish.

On January 25, 2003, Johnson joined his hosts, The Rolling Stones, for a rousing rendition of Honky Tonk Women at Houston, Texas’ Reliant Stadium. After hanging out all night with Keith Richards, Johnson got on a plane and flew to Kentucky. There he reunited with his good friends, brothers Richard and Fred Young, Greg Martin, Doug Phelps and Anthony Kenney, known worldwide as The Kentucky Headhunters. The plan was to have Johnnie lay down some piano for the band’s upcoming release, Soul. But the vibe was too strong and the music too good, so the tape just kept rolling. With songs and arrangements furiously being created on the spot and everything recorded live as it happened over the course of three days, a magical musical event was underway. Because the whole session was spontaneous, there were no immediate plans to release an album. After Johnnie’s death in 2005, the tapes, while never forgotten, remained unissued.

With the release of Meet Me In Bluesland, these timeless and rollicking performances are available for the first time. The record grooves from the raunchy rock of Stumblin’ to the slide-fueled Superman Blues to the roof-raising version of Little Queenie to the rocking Party In Heaven to the salacious She’s Got To Have It (the last vocal Johnson ever recorded).

Click here to listen to Stumblin', She's Got To Have It, and Party In Heaven:
https://soundcloud.com/alligator-recs/sets/kentucky-headhunters-w-johnnie/s-KrTVX
“The minute Johnnie sat down with us, the music was a kind of ecstasy,” says guitarist/vocalist Richard Young. “Johnnie made us play like real men,” adds guitarist/vocalist Greg Martin. “Playing with him, the groove got bigger and much more grown up.” Drummer Fred Young explains, “We all admired Johnnie from the start. The first time we played with him was the first time I ever felt like we were doing it right. The music we made on Meet Me In Bluesland is as good as it gets.”

The relationship between Johnson and The Kentucky Headhunters dated back to 1992. Headed to New York for a Grammy Awards party, Greg picked up the new Johnnie Johnson CD, Johnnie B. Bad, for the ride. The band listened to nothing else all the way to New York. Having no idea he’d be at the party, they were shocked to see Johnnie Johnson sitting alone at a table. After some quick introductions, the musicians talked for hours, becoming fast friends. In 1993 they released their first collaboration, That’ll Work, on Nonesuch. They took the show on the road, playing gigs from the West Coast to New England, from Chicago’s Buddy Guy’s Legends to New York City’s Lone Star Café. They performed at The Jamboree In The Hills in Belmont County, Ohio, where Johnson, with the Headhunters triumphantly jamming behind him, played to over 30,000 fans.

From their very first meeting, Johnson and The Kentucky Headhunters stayed close, getting together whenever possible. In 2003, when the band asked Johnson to record with them again, he couldn’t wait to get back to Kentucky and make music with his friends. “Johnnie’s music was spontaneous, organic, magic energy,” says Greg. “During the recordings, everything was off-the-cuff and easy; a higher power just took over. This album is special, and we’re very happy in 2015 that it’s coming to fruition.” Adds Fred, “Johnnie gave us the gift of letting us know what it was like to do something great.”
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The Kentucky Headhunters, declared “the great American rock ‘n’ roll band” by Billboard magazine, began their professional journey in 1968 when brothers Fred and Richard Young and cousins Greg Martin and Anthony Kenney formed the Southern blues-rock band Itchy Brother. The band morphed into The Kentucky Headhunters in 1986. Their first album, 1989’s Pickin’ On Nashville, was released by Mercury Records and surprised the world, becoming a bona fide hit, selling over two million copies. The album won a Grammy Award, three Country Music Awards, an American Music Award and an Academy Of Country Music Award. It spawned four consecutive Top 40 Country hits. Currently, the band is made up of Richard Young, Fred Young, Greg Martin and Doug Phelps.

Growing up on a 1300-acre family farm in Edmonton, Kentucky, the Young brothers, Martin and Kenney heard plenty of raucous R&B and deep, soulful blues courtesy of Fred and Richard’s mother, who listened to powerhouse radio station WLAC late at night. “She was real hip,” Richard says. “She was a huge influence on us.” Their father loved big band jazz, Benny Goodman, Tommy Dorsey and Sarah Vaughan. “Music in our home was a mixture, unlike what most farm kids heard.” Part of their musical upbringing included their friendship with three African-American families who lived and worked on nearby farms. The boys heard gospel and blues, both sung by their neighbors in the fields and blasting out of their radios. They were reared on Howlin’ Wolf and Muddy Waters (the name Headhunters was a nickname given to Waters and Jimmy Rogers when they came into a club ready to take on all comers). “All of these things taught us the blues,” says Richard. They loved Chuck Berry, and were especially wowed by Berry’s piano player, Johnnie Johnson. Befriending him and recording with him was a dream come true for the band. According to Fred, “We were fortunate to know him. It was a good marriage.” Richard adds, “Anyone who ever played with him became a better player.”

Johnnie Johnson was born on July 8, 1924 in Fairmont, West Virginia. He began playing piano at age five and never stopped. While serving in the Marines, he joined The Barracudas, a Marines servicemen’s band. He moved to Detroit and then Chicago, eventually playing with Muddy Waters and Little Walter. He landed in St. Louis in 1952 where he formed The Sir John Trio, playing jazz, blues and pop standards. Chuck Berry, an ambitious local guitarist and songwriter, was added to the group the same year and eventually took over leadership of the band. After Berry scored a contract with Chess Records, the hits came fast and furious. Many, including Maybellene, Nadine, Carol and School Days, were fueled by Johnson’s two-fisted piano. He was the high-octane gasoline in Chuck Berry’s rock ‘n’ roll engine. When Chuck wasn’t touring, Johnson played with Albert King, and recorded a number of singles with him for the Bobbin label. Tired of the road, Johnson left Chuck’s band in 1973 and returned to St. Louis to become a bus driver. With the 1987 release of the Chuck Berry documentary, Hail! Hail! Rock ‘n’ Roll, Johnson found himself back in the spotlight, reintroduced to the world by his friend-to-be Keith Richards. After three solo recordings, Johnson joined his musical cohorts The Kentucky Headhunters for 1993’s That’ll Work. In 1996 and 1997 he toured with Ratdog, the band fronted by The Grateful Dead’s Bob Weir. Johnson was inducted into the Rock and Roll Hall of Fame in 2001 and continued to perform and record until his death in 2005. His 2003 sessions with The Kentucky Headhunters, released now for the very first time as Meet Me In Bluesland, are some of the most spirited and organic recordings of his remarkable and still influential career.

Isaiah B Brunt - Just the Way That It Goes - New release review

I just received the newest release, Just the Way That It Goes, from Isaiah B Brunt and it's unique and alluring. Opening with She's So Fine, singer, songwriter and vocalist Brunt eases into a slinky bluesy track joined by Mark Whitaker on drums, Richard Bird on bass and Mike Hood on keys. Brunt is a fine slide player and shows his finesse right out of the bag. Let Your Heart Know actually reminds me quite a bit of a 70's era of Savoy Brown with solemn vocals and a driving bass line. Again, Brunt takes a skillful solo on slide adding tension to a smooth shuffle. On boogie track The River Runs High, Kenny Claiborne adds key harp riffs giving the track an overall swampy feel. Brunt doesn't hold back delivering some eerie slide riffs making this one of my favorites tracks on the release. Precious Stone, another boogie track featuring nice piano work from Hood gives the release another dimension altogether. With A Kiss, a slower ballad has some of the most inviting guitar riffs juxtaposed against the clarity of Hood's piano. Lover's Blues, a boogie with a driving bass line has the most memorable melody making it the natural pick for airplay. Brunt's more open electric playing on this track sets it apart from the other tracks as well. On title track, Just the Way That It All Goes, breaks into a more cohesive vocal ballad with additional backing vocals. Never Give Up has a solid bass line and simple vocal structure reminding me for some reason of Dire Straits. A well written track, Brunt lays down a simple but effective slide solo leaving you wanting more. Wrapping the release is Which Way To Go featuring David Stocker on mellotron and some of the most adventurous vocals on the release. With a much broader depth and breadth instrumentally and vocally, this track is an ideal 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”

 

Aquinnah Records artist: Arlen Roth - Slide Guitar Summit - New Release Review

I just received the newest release, Slide Guitar Summit, from Arlen Roth and it definitely lives up to all the pre hype. Roth, well known for his own guitar styling, especially on the tele with the likes of Roy Buchanan and Danny Gatton, has put together a group of the best known slide players on the planet for a full blown celebration of all things slide. Opening with Do What's Right, Roth teams up with Jack Pearson on vocal and slide guitar as well as Tom Hambridge on drums and backing vocal and Tommy MacDonald for a country two step rocker. This track moves along nicely with lead and harmonic sliding... a terrific opener. Robert Johnson's Dust My Broom is next featuring Lee Roy Parnell on vocal and slide and adding Kevin McKendree on piano. With the feel of Elmore James and a nice thick slide texture, this track is hot. McKendree adds significantly to the mix with hot piano riffs. Much like a live recording, Parnell and Roth take turns on lead slide making for a hot track. Clarinetist Acker Bilk wrote this next track, Stranger On The Shore, and performed it on clarinet in the early 60's. It has since been performed by a number of artists including the Beatles but none quite as sensuously as this take by Cindy Cashdollar on lap steel with just a touch of Hawaiian flare. Beautiful. Sonny Skies features Sonny Landreth and Roth joined only by Eddie Denise on upright bass. A jazzy track with Roth's signature sound, this is a great showcase for tow of today's masters to team up and show how it's done. Jackie Breston's Rocket 88's features Johnny Winter on slide (his last session) along with Roth on slide and lead vocal. Scott Spray and Tyger MacNeal join on bass and drums respectively. A bright toe tapper, the two guys blend nicely and Roth pulls out some of his trademark riffs making this a particularly cool track. Lowell George's Dixie Chicken gets the full Little Feat treatment with Tommy MacDonald on bass, Kevin MacKendree on piano, Hambridge on percussion. Leroy Parnell takes the lead vocal and shares slide with Roth. I don't know about my readers, but there are a few places that you need to tread lightly and Lowell George territory is one of them. I think that these guys did a great job of paying tribute and MacKendree really did a nice job on Bill Payne's work as well. Excellent! Jimmy Ninino brings the first delta style acoustic track with only he and Roth and their guitars on Poor Boy Blues. Possibly my favorite track on the release. Following with Laura Nyro's And When I Die made popular by Blood, Sweat and Tears again only Vivino and Roth on acoustics. Keeping it simple and playing it pure country blues style gives it a new life. Jimmie Rodgers' Peach Pickin' Time In Georgia features Roth on lead vocals and Greg Martin joining him on slide. McKendree takes a real nice piano bar on the track but the release is about sliding and in country 2 step style, the boys do bring it! Paradise Blues is a simple quiet guitar ballad with nice Les Paul like harmonics and Hawaiian style blending. Rick Vito and Roth blend their guitar vocals nicely for a really pretty instrumental track. Cindy Cashdollar is back on lap steel again on Steel Guitar Rag and Roth this makes two. A simple instrumental track with just a twist of country styling shows the chops of these two guitar super stars. Smokey Robinson's ballad, You Really Got A Hold On Me is delivered nicely with Roth and Vito playing the lead and harmony on slide with no vocals. This is a great track and these guys give it new life in this instrumental form. Roy Byrd's Her Mind Is Gone features the incredible David Lindley on lead vocal and lap steel, joined by Roth on lap steel. Everyone knows that Lindley is one of the best guitar players on the planet and especially creative on lap steel. This is a great little blues addition from the masters, jamming together in one of the tightest acoustic blues jams in a while. Wrapping the release is Roth and Greg Martin on Amazing Grace with Hambridge and Tommy MacDonald. Nicely done and heartfelt it is a really clean and creative ending to a long awaited tribute to slide guitar featuring today's modern masters. Very nicely done.

  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”

 

New CD from fan favorites The Cash Box Kings!

NEW RELEASE FROM FAN FAVORITES THE CASH BOX KINGS! Blind Pig Records has announced an April 28th release date for Holding Court, the latest album from award-winning fan favorites The Cash Box Kings. On this release the band continues their mission of carrying on the spirit of the 1940's and 50's post-war Chicago blues sound as well as the Delta blues music of the 20's and 30's. But these illustrious torchbear­ers also add a bravado, energy and freshness to the mix that results in a distinctive musical expe­rience. The Cash Box Kings are fronted by Joe Nosek, who writes and arranges songs, sings, and channels the spirits of Little Walter and Slim Harpo on harmonica, and singer and songwriter Oscar Wilson, a 6’3”, 300 hundred pound Muddy Waters-type throwback to the heyday of the Chicago blues scene.  No less a blues authority than Charlie Musselwhite said, "The Cash Box Kings play with taste and feel and it was faith restoring to know there are guys out there that still know and appreciate real blues."  And Living Blues said they are simply "one of the best blues bands in the land." On Holding Court The Cash Box Kings pay homage to some of the founding fathers and lesser-known artists of the Chicago blues scene, and they also throw some New Orleans, jump blues, ragtime, and swamp pop sounds into the mix. While the subject matter of many of the songs is familiar, they also touch on current issues such as the challenges of selling records and staying financially afloat in the era of digital piracy and streaming services, and the real struggle faced by many who are forced out of their neighborhoods due to the gentrification taking place in inner-city areas of Chicago and other urban centers in the U.S. The Cash Box Kings will be featured performers at this year's Chicago Blues Festival on June 13th.