Garage Door Records and Blue Room Management Sign North Georgia-Based Country Group, Smith & Wesley, with New CD Expected for Release in July; Band Set to Play Riverbend Festival on Friday June 12

Garage Door Records and Blue Room Management Sign North Georgia-Based Country Group, Smith & Wesley, with New CD Expected for Release in July

Band Set to Play Riverbend Festival on Friday June 12

CHATTANOOGA, TN - Chattanooga-based Garage Door Records and Blue Room Management announce the signing of North Georgia-based country music group Smith & Wesley to label and management contracts. Garage Door Records, which is distributed nationally by Burnside Distribution, will release the group’s debut album, Choices & Chances, in July.

Smith & Wesley will soon announce special release shows to celebrate the new album, and are also set to play the acclaimed Riverbend Festival in Chattanooga on Friday, June 12.

(Photo Credit: Joe Killion)

Based out of the North Georgia/Chattanooga, Tennessee area, the Smith & Wesley sound is driven by two brothers, Scott and Todd Smith. Scott carries the lead vocals and plays acoustic guitar. His brother, Todd, also plays acoustic guitar, as well as harmonica and provides vocal harmony. Part of the band’s sound comes from their kinship, which provides the depth and richness to the vocals of Smith & Wesley.  Both Scott and Todd are also songwriters.  The two brothers have either individually or together written most of the songs on Choices & Chances.

Formerly known as the Brody Johnson Band, the group posted a recent Facebook message to its fans announcing the new band name. “This new chapter will bring about some changes to the band - starting with the name. Some of you know that Scott’s and Todd’s dad, Wes Smith, recently passed on and went to see the man upstairs. In honor of him, the Brody Johnson Band will now be known as Smith & Wesley. There will be some other changes here and there, but the music will remain the same. We have some other exciting things to announce in the coming weeks and months ahead, and we sincerely appreciate everyone who has come out to support the Brody Johnson Band these past few years. Please stick with us as we start the next leg of our musical journey as Smith & Wesley!”

Growing up, the two brothers were required by their parents to take piano lessons if they wanted to play sports in school. Thus, the multiple sport duo began playing piano at an early age. It wasn’t too long before their interest transformed from instruments with keys to those with strings. Scott Smith is a self-taught musician with the guitar, mandolin, banjo, and Dobro, and has a particular interest in bluegrass and classic country music. Scott started the band in 2009, with most of the current members joining in 2010.

Much like his brother, and the other band members, Todd Smith is no stranger to the music scene. He has been actively playing music for years, as well as been a member of another band which tried its hand at scoring a record deal, but fell just short. Before forming Smith & Wesley with his brother, Todd previously landed an artist development deal as a solo artist with a major record label. 

The rest of the musicians in Smith & Wesley all have strong family and personal connections that run much deeper than just playing music. Keyboard player Greg Gordy went to high school with both Scott and Todd. The father-and-son team of Steve and Josh Pettyjohn are on electric guitars, trading lead and rhythm roles; and on bass is Dee Callihan, who is part of the Pettyjohn family by marriage. On drums is long-time friend of the guys in the band, Brad Thompson.  

Collectively, they bring talents and experiences from all ends of the musical spectrum, and those diverse influences are honed into a driving country sound that never fails to have concert goers singing and dancing along with them from the very beginning.

“The upcoming CD, Choices & Chances, was recorded to be heard as a listening experience from start to finish,” says Scott Smith. “The first part of the album is about decisions made and the repercussions from those decisions.” Adds his brother Todd: “Whether it be betrayal, bad habits or questionable decision making, most of these types of choices often have less than favorable results. As the journey proceeds, the songs lend themselves to better moods, courtship, love and reflection; thus proving there is a chance of a better tomorrow out there.  However, life would be boring without both Choices & Chances.”

For more information, visit www.garagedoorrecords.com

Indian Hill Music Festival Welcomes Bo & The Bluesdrivers

BO & THE BLUESDRIVERS ARE "SOCAL'S HARDEST-WORKING

BLUES BAND"; THEY'RE NOW ON TOUR THROUGHOUT 2015

Performing at Indian Hill Music Festival - Saturday, May 30

(Also playing Dog House Saloon in Tehachapi on Saturday, May 30)

   (TEHACHAPI, CA) - Bo and the Bluesdrivers  proudly answer to the monicker of being "Southern California's Hardest-Working Blues Band", and with two upcoming shows on the same day in Tehachapi, it's easy to see how they've earned the aforementioned title.

   Bo and the Bluesdrivers perform at the Indian Hill Music Festival, at Indian Hill Ranch, 18061 Arosa St., in Tehachapi, Saturday, May 30 (Budweiser Main Stage, 10 a.m.). Tickets/Info: (661) 340-0026 or www.notoriousent.net.  Later that evening the band play at Dog House Saloon, 777 W. Tehachapi Blvd. Showtime 9 p.m. -1:15 a.m. Free. Info: (661) 822-4200 or https://www.facebook.com/DHSaloon.

  

Bo and the Bluesdrivers are the Cover Story with an interview in All Access Magazine (December 2014): http://allaccessmagazine.com/2014/12/18/introducing-bo-bluesdrivers/

         

                BO AND THE BLUESDRIVERS...SOME BACKGROUND

 

   “I’m out on the streets again/I’ve been sleeping in my car/I got these worn-out shoes/ Just smoked my last cigar,” drawls the St. Augustine, FL, native known simply as Bo, front-man of Bo and the Bluesdrivers, Southern California's Hardest-Working Blues Band, ably supported by a stinging guitar and a sturdy rhythm section held down by longtime musical partners, Bluesdrivers bassist Brian “Chewy” James and drummer, JJ Garcia.

   That’s right, Bo & the Bluesdrivers play it like they’ve lived it, paying those hard-living dues, forming from a chance meeting after joining forces at an open jam hosted a decade ago by Chewy and J.J. Ten years after, they’re still together and tighter than ever.

   “From the streets of New York/To the streets of L.A./It seems all the same/Day to day/I’ve been through the darkness/I’ve walked through the light/The streets are all the same/Night after night.”

   The band have performed on special occasions in the L.A. area over the years at clubs and parties of friends, but more recently have started to develop a strong following that has seen them with consistent bookings all over Southern California (full itinerary below). “The band came together both naturally and organically, with no stress or drama…Just making music that we dig," says drummer JJ Garcia.

    Says Bo: “We’re a band of brothers with mutual respect for each other and our abilities. Always striving to be the best at what we do.”

   A veteran of the Florida club scene, Bo’s travels have seen him sitting in with legendary drummers Buddy Miles (Jimi Hendrix’s Band of Gypsies, Delfonics, Bootsy Collins) and Lynyrd Skynyrd’s Artimus Pyle, before moving from Florida to L.A. fourteen years ago. A world-class guitarist, you can hear his affinity for a variety of genres - from jazz, funk and soul to rock & roll, coming through loud and clear on such originals as “Out In The Streets”; audience favorite “Walkin’ In The Park”; and tasty instrumentals like “Sea Song” (and) “Chillin’”, along with well-chosen covers of classics by Hendrix, Stevie Ray Vaughan, Pink Floyd and ZZ Top, among others.

  Bo’s Bluesdrivers backbeat is provided by the stalwart team of J.J. and Chewy, who have worked together for close to two decades - previously performing in renowned SoCal-based band Stone as well as also currently with the steadily-growing rock group, Judge Jackson. The longtime rhythm section have several national tours under their belts and a resume that includes collaborations with famed horror director John Carpenter, both on-screen and as part of the soundtracks for his films, including Vampires and Ghost of Mars. Judge Jackson has performed and recorded music that has appeared on a variety of TV, movies and sporting events, including Fox Sports and Super Bowl XLV.

  Bo & the Bluesdrivers have just finished recording a new album at Pawnshop Studios, which is slated for release later this year.

               "Out On The Streets" - Bo and the Bluesdrivers 

           

BO AND THE BLUESDRIVERS - UPCOMING LIVE SHOWS/SPECIAL EVENTS

May 8 (Fri.)                WHISKEY DAVE'S                       Big Bear Lake, CA

May 9 (Sat.)               WHISKEY DAVE'S                        Big Bear Lake, CA

May 11 (Mon.)           HOUSE OF BLUES                       West Hollywood, CA

May 16 (Sat.)             LILAC FESTIVAL                         Pine Mtn. Club, CA

May 17 (Sun.)            MADD BAILEY'S PUB                   Pine Mtn. Club, CA

May 18 (Mon.)           HOUSE OF BLUES                       West Hollywood, CA

May 22 (Fri.)              RUN-A-MUCCA RALLY               Winnemucca, NV

May 23 (Sat.)             RUN-A-MUCCA RALLY               Winnemucca, NV

May 24 (Sun.)            RUN-A-MUCCA RALLY               Winnemucca, NV

May 30 (Sat.)             INDIAN HILL MUSIC FEST          Tehachapi, CA

May 30 (Sat.)             DOGHOUSE SALOON                 Tehachapi, CA

June 1 (Mon.)             HOUSE OF BLUES                       West Hollywood, CA

June 4 (Thur.)            BERGIES                                     Santa Clarita, CA

June 18 (Thur.)          BERGIES                                     Santa Clarita, CA

June 22 (Mon.)           HOUSE OF BLUES                       West Hollywood, CA

June 26 (Fri.)              THUNDER ON THE LOT              Lancaster, CA

June 29 (Mon.)           HOUSE OF BLUES                       West Hollywood, CA

July 3 (Fri.)                 WINDY MESA                             Page, AZ

July 4 (Sat.)                WINDY MESA                             Page, AZ

July 31 (Fri.)               WHISKEY DAVE'S                       Big Bear Lake, CA

Aug. 1 (Sat.)               LAKESIDE SPORTS BAR                     Helendale, CA

Aug. 8 (Sat.)               FIESTA DAYS FESTIVAL              Frazier Park, CA

Sept. 5 (Sat.)              BLUES, BREWS & BBQ FEST         Pine Mtn. Club, CA

Sept. 6 (Sat.)              MADD BAILEY'S PUB                   Pine Mtn. Club, CA

Sept. 25 (Fri.)             HARRY'S NIGHTCLUB                 Pismo Beach, CA

Oct. 17 (Sat.)              HELENDALE CHILI COOK-OFF    Helendale, CA

                               

             https://www.facebook.com/BoandtheBluesdrivers

 

Los Angeles Beat - Band Feature

All Access Magazine - Cover Story

Pasadena Weekly - Show Preview

Roy Rogers New Album Coming June 2nd Into The Wild Blue

ROY ROGERS  NEW ALBUM COMING JUNE 2ND INTO THE WILD BLUE

Into the Wild Blue coming June 2, 2015 Slide guitar master, Roy Rogers, again breaks new ground with his latest and highly anticipated solo album, Into the Wild Blue. Widely known for his work with The Delta Rhythm Kings, John Lee Hooker and Ray Manzarek, Grammy Award-winning Rogers blazes his own path with a solid collection of vocal and instrumental jams and ballads that breaks free from the restraints of convention, unfurling the genres of blues, rock and roots to exotic and exciting faraway places. Into the Wild Blue is Rogers' first solo effort in five years and is a distillation of a lifetime of myriad musical knowledge and experience; its multiplicity of styles are clearly steeped in tradition but reflect a broad musical sensibility. Rogers' background as a producer, songwriter, singer and unparalleled slide guitarist is extensive: a gifted guitar player by age 13 and influenced by legendary blues icon Robert Johnson, Rogers spent much of his youth hanging out in the vibrant San Francisco music scene during the 60's, gigging solo and with various bands in and around his native Northern California. In 1982, Rogers toured with John Lee Hooker, recording with him in the 90's as well as with BB King and even Miles Davis - experiences that would profoundly expand and mature his musical acumen - honing his exceptional writing, producing and performance talents. It was during this time when Rogers racked up eight Grammy nominations.  A year in the making, Into the Wild Blue is a showcase for Rogers' considerable slide guitar ability; clean and smooth licks executed with deft precision while ranging in mood from Southern Roadhouse Rock & Blues to ethereal and contemplative instrumentals and ballads. Into the Wild Blue kicks off with hard driving guitar in "Last Go-Round" - a rollicking and highly-danceable piece - that puts Rogers' searing slide-skills front and center. Whether through Rogers' thoughtful, poetic verse, driving rhythms or celestial instrumentals, every song is a chapter in a book you can't put down. In "Got to Believe" Rogers exquisitely arranges strings and slide with stirring female backup vocals - delivering audio alchemy that weaves rock, blues and soul into a bumping, full-bodied and tightly-produced arrangement. Tales of redemption, release and rejoice are delicately arranged in "Song for Robert (A Brother's Lament)". In this moving tribute to his brother, Rogers merges self-reflection, hope and celebration into a sublime, heartfelt instrumental that paints a picture and tells a story - all without saying a word. According to Roy Rogers, "I want to celebrate life through music." Into the Wild Blue achieves that mission and presents an enticing offering that transcends time-tested genres while putting Rogers' vast and ardent abilities on full display. STAY UP-TO-DATE ON THE LATEST ROY ROGERS NEWS HERE   PRE-ORDER INTO THE WILD BLUE & LISTEN ON iTUNES & AMAZON

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FOR IMMEDIATE RELEASE May 19, 2015 GRAMMY-NOMINATED FUNK COLLECTIVE BLINDDOG SMOKIN’ MAKES HIGH-ENERGY ROOTS MUSIC WITH HUMOR, DEPTH AND SOUL

GRAMMY-NOMINATED FUNK COLLECTIVE BLINDDOG SMOKIN’ MAKES HIGH-ENERGY ROOTS MUSIC WITH HUMOR, DEPTH AND SOUL High Steppin’ features wild-man raconteur Carl Gustafson’s epic tales plus eclectic sounds; reunites band with producer Donny Markowitz; set for July 17 release date on Silver Talon Records exclusively distributed by City Hall Records in tandem with The Orchard

LARAMIE, Wyo. — Blinddog Smokin’s larger-than-life new album High Steppin’ is a kaleidoscopic romp through the wild side of roots music. The disc’s nine songs ricochet from rock ’n’ roll to juke joint blues to New Orleans jazz to raw Americana, all supported by the band’s twin pillars: hot ’n’ greasy funk and frontman Carl Gustafson’s epic storytelling. High Steppin’ follows 2014’s Decisions, a collaboration with soul-blues legend Bobby Rush that earned a Grammy nomination for Best Blues Album. Decisions includes the song “Another Murder in New Orleans,” which enlisted another legend, Dr. John, to tell its tale of street violence. The tune was widely played on Americana and blues radio, and was used by the New Orleans Crimestoppers organization to raise awareness. Blinddog Smokin’s imaginative video for “Another Murder in New Orleans” mixes performance footage, cartoons and live action actors, and has received more than 110,000 views on YouTube. Blinddog Smokin’s 11th release, High Steppin’ kicks off with “Pimp Shoes,” an ebullient, percolating funk gem that displays the group’s spectacular ensemble.  “’Pimp Shoes’ is not about pimps or shoes,” says Gustafson. “It’s about attitude. When a man becomes the captain of his soul, and he’s mastered who he is, it comes out in his posture, in his pose, in his walk. That’s what that song’s about.” On a more literal note, there’s “Big Behind,” an ode to a lady’s posterior largess that straddles funky soul-blues, rock and — with its sweeping pedal steel guitar — honky-tonk country. High Steppin’ is set for a July 17th release date on Silver Talon Records exclusively distributed by City Hall Records in tandem with The Orchard.  “I Caught Her Lyin’” goes deeper into the country tradition to offer Blinddog Smokin’s version of a mountain lament — surrounding Gustafson’s heartbroken yarn with an Americana-perfect framework of crying violin, grinding guitar and his appealing worn-leather voice. “Lady’s Playin’” changes the locale to New Orleans. That song’s a Crescent City funk powerhouse, with bold horns, a scalding six-string solo and chanting group vocals that celebrate la difference. Similarly, “Don’t Put No Money on Me” — a wickedly funny loser’s lament — sounds like a drunken Mardi Gras street parade, while “Tell ’em Shuffle” is a straight-up Chicago blues. Blinddog Smokin’s marvelously eclectic sound and approach is the result of Gustafson’s literal and musical world travels. He and the band have toured the planet numerous times since 1994, putting more than a million road miles on their vehicles — which include Gustafson’s bicycle. “When we get to a new town, I like to take my bike off the bus and ride the backstreets,” he says. “When you travel the alleys, you learn about people. The front yard is for show; the backyard shows the way they live. And when I run into old-timers, I stop and listen to their stories.” Gustafson, who describes himself as an adventurer and philosopher, has plenty of tales of his own. And his book It Ain’t Just the Blues, It’s Showtime: Hard Times, Heartache and Glory Along the Blue Highway chronicles Blinddog Smokin’s experiences on the road.  “I come from a time before television, when telling stories was part of the fabric of life,” he offers. “So I’m a songwriting machine. I’m constantly coming up with new lyrics and our producer and friend, Donny Markowitz, has provided much of the music based on his skills and his knowledge of how we think and play as a band.” That knowledge is deep. Markowitz is the Oscar-, Grammy- and Golden Globe-winning writer of the song “(I’ve Had) The Time of My Life” and the composer of soundtracks for the hit Steve Carell film Crazy, Stupid, Love and many others. And High Steppin’ is the third album in a row he’s produced for Blinddog Smokin’. “We didn’t hit our stride in the studio until we started working with Donny,” Gustafson says. The other essential ingredient to Blinddog Smokin’s broad stylistic mastery is the ability of its players. The core members of the group comprise one of the finest modern bands in American roots music. Dynamic drummer and vocalist Chuck Gullens started with the Blinddogs in 1994 in Laramie, Wyoming, shortly after Gustafson and the band, then named Bluestone, returned from traveling the Middle East and Mediterranean, playing for troops on a 49 day DOD tour. Versatile bassist Roland Pritzker joined in 2000, followed by keyboardist and exceptional vocalist, Mo Beeks — whose own, earlier band, Lock & Chain, gave R&B singer Chaka Kahn her start back in 1972. In 2009 came back-up singer and bassist Chris White, and virtuoso guitarist Chalo Ortiz also entered the fold, followed quickly by backing vocalist Linda Gustafson, who plays feminine yin to her husband’s hot-dogging, high stepping yang in concert. “I couldn’t ask for a better group of performers to share the stage with,” says Gustafson. “They can go anywhere at any time, and get along, and that’s a rare thing in any style of music.”  Gustafson’s own musical tale begins in Laramie, his hometown. “My first exposure to blues was hearing Willie Dixon,” he recounts. “My parents went to a little club outside Cheyenne, and my brother and I — we were six and eight years old — stayed in the car. When we heard the music, we were absolutely fascinated by it, so we peeked in the windows. Then I started sneaking around listening to blues whenever I could. I had to sneak, because my father was a classical pianist and said the blues was ‘Satan’s music’ and ‘not culturally acceptable.’ He’d only gone to the club to socialize with relatives.   “When I was 16 I ran away from home,” Gustafson continues. “There was a little after-hours café down by the railroad tracks called the Pic-a-Rib. I went down there and lived with a black boy I played football with, whose mother, Miss Peggy, ran the café. I stayed with them, hiding from my mom and dad, and I learned how to appreciate blues. I learned how to dance. I learned how to sing. It was a really cool, isolated pocket, of black culture in a completely white conservative environment.” Gustafson says that High Steppin’ reflects those early life lessons and the myriad others he’s learned along the way. “This album shows me as a philosopher; as somebody who analyzes life and adjusts from honest vulnerability to establish a fun swagger. There’s a journey here that can only happen to an introspective person who loves life, people, stories, and never believes that you have to stay in the station where you are. And until the day I die, I plan to grow as an artist and storyteller.” BLINDDOG SMOKIN’ TOUR DATES Wed., June 24 PHOENIX, AZ The Rhythm Room Thurs., June 25 NEW ORLEANS, LA Old U.S. Mint Mon., June 29 CHICAGO, IL  Martyr’s Fri., July 3 OKLAHOMA CITY, OK  Bourbon Street Sat., July 4 MCPHERSON, KS Fri., July 10 LARAMIE, WY  Jubilee Days Sat., July 11 LARAMEE, WY Jubilee Days Tues., July 14 OVERLAND PARK, KS Kanza Hall Thurs., July 16 JACKSON, MS  Underground 119 Thurs., July 23  TORONTO, ON  Hard Rock Café Thurs., July 30 RAWLINS, WY  Rawlins in the Park Fri., July 31 LARAMIE, WY  Alibi Sat., Aug. 8  ROCK SPRINGS, WY Blues & Brews Festival  Thurs., Aug. 13 THEMOPOLIS, WY  Fri., Aug. 14 CASPER, WY  The Attic Sat., Aug. 15 SINCLAIR, WY  Platte River Festival Sun., Aug. 16  CENTINNIAL, WY  Bear Tree Sun., Sept. 6  LARAMIE, WY  Snowy Range Music Festival Sat., Nov. 15  HIGH POINT, NC High Point Theatre

Blue Groove artists: Hans Theessink & Terry Evans - True & Blue - New Release review

I just received the newest release, True & Blue, from Hans Theessink  & Terry Evans and it handles the roots of blues with modern sophistication. Opening with Demons, an easy paced country blues, Theessink leads the way on vocal with light harmonies by Evans. Traditional, Mother Earth, has a more soulful delta feel with excellent acoustic guitar work. Both Theessink and Evans work the lead vocals as well as harmonies. Very smooth guitar solos on this track make it one of my favorites. Fast paced Glory of Love is a great finger picked number with smoothly blended vocals. Gotta Keep Movin' features nice acoustic slide work and Evans on lead vocals. Very nice! Vicksburg Is My Home, a slow 12 bar number, again features Evans on lead vocals. This is a very traditional style track and very effective. Ledbelly's Bourgeois Blues, done a long time ago again by Ry Cooder is another of my favorites. A great strut feel and aggressive slide work coupled by Theessink on harp make this track a standout! Don't Let The Green Grass Fool You is a story telling track with a lesson. Low key vocals and the contrast of finger picked guitar with harp and slide make this track a crowd favorite. Aggressive slide work opens Robert Johnson's Cross Road Blues featuring Evans on lead vocals. Solid almost rowdy vocals and diligent slide work are hot! Chuck Berry's Maybellene keeps it's original pace by delivered with a country acoustic flair. Theessink and Evans really get the crowd tuned up on this track with extensive guitar work. Very nice! Theessink opens Delta Time with a harp solo and his solid vocal work. Evans on rhythm guitar and backing vocal rounds out the track. Evans takes the lead on J.B. Lenoir's, Talk To Your Daughter and it has a nice boogie feel. Stinging guitar solos on this track and warm vocal blending give it a different feel altogether from other covers that I've heard. Quiet ballad, Shelter From The Storm featuring Theessink on lead vocal has an almost spiritual feel. Boogie track, I Need Money, opens with a rockin guitar rhythm and Theessink on harp. Evans and Theessink trade lead vocal parts as well as slick guitar riffs. back to a country blues for the closer, Tears Are Rolling has a great pace with hot finger picking and Evans trading lead vocals with Theessink. This performance was recorded live in Vienna and the crowd obviously loved it.

 If you want to listen to the blues, but want to keep the level down and the intensity up, this could be your first choice. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here Get Facebook support for your favorite band or venue - click HERE

 

JL Fulks - Live in Studio 101/Heading Back To Memphis - New Release Reviews

I just received two new EP releases, Live in Studio 101 and Heading Back To Memphis from JL Fulks and they are quite good. Live in Studio 101 opens with shuffle track, Before I Go Insane. With it's Freddie King feel and tight riffs, this is a nice opener. Joining Fulks who handily manages guitar and vocals, is Jim Kinder on drums, Chris Reynolds on rhythm guitar and Ron Calese on bass. Twang Thang is a breezy blues rocker instrumental. With just a pinch of country riffs this has style. On slow blues track, I Believe In Love, Fulks really shows his chops on guitar. Clocking in at over 9 minutes, Fulks does an excellent job of making the time fly with inventive riff after inventive riff. Very nice! On instrumental funky/jazz track, Watch Yourself, Fulks and crew get a nice groove going showing another facet of Fulks repertoire.

 His second EP, Heading Back To Memphis, shows a bit more maturity with more fully crafted tracks. Opening with title track, Heading Back To Memphis, Fulks is joined by Rockin' Jake on harp, Ian Jones on drums and Ken Burgner on bass. A cool 12 bar number, this track has a nice bite of Chicago and some cool solo riffs from Fulks and Jake. Moonshine Blues has a swampy feel with Fulks on slide with reverb. A heavy overtone gives this track a hot texture. Possibly his best yet! Wrapping the release is Back To You, a rock n roller with a Chuck Berry/Alvin Lee feel. Another well written track, I'm looking forward to hear more from Fulks.

 “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here Get Facebook support for your favorite band or venue - click HERE

 

Jimbo Mathus & the Annunaki Playboys Live at The Raven Cafe in Prescott, Arizona

I caught wind that Jimbo Mathus was playing a show about 2 hours north of my home and I hightailed it to Prescott, AZ. I know that this doesn't seem like much of an effort but you got to know, I listen to new music every day, OK ...lets say 250-300 new releases yearly and for me to drive very far to see a show.... it better be damn good. Well, Jimbo Mathus never disappoints and yes, it was damn good! I arrived in Prescott just in time to get a seat and a beer before the Captain hit the stage to a standing crowd only performance. I was not one of the 500 million people who knew Mathus from his Squirrel Nut Zippers band and was delighted to find this guy through his association with Buddy Guy. The truth is I went to see Buddy Guy with a fellow guitar player and who watches the opening act . We were sitting there jawing away and waiting on Buddy Guy and I said to my buddy..."who is this guy?". Jimbo Mathus was the opening act and that day back in like 2001 was the day I found Mathus. He not only had the opening act, but he also played in Guys band. He knocked me out then and he knocks me out now. Jimbo's music is strongly rooted in the people, with heart. His passion for the music is genuine and his love and appreciation of his audience is obvious. Mathus played 3 sets beginning at around 8 and ending at Midnight. He did take 2 short breaks to catch his breath and sell a few t shirts, albums and CD's.

 I'm not great at taking notes but I do have some recollection of detail. His first set was laden nicely with tracks from his newest release Blue Healer, which is terrific by the way. I know that he played the title track, Blue Healer (above), which is one of my 2 favorites from the release as well as Coyote (below- which is the other). He also played Old Earl which is one of his story telling tracks. If you don't know Mathus' story telling, you are missing the boat. Mathus, like all of the true great performers, not only can get around on his instrument (I think he plays about everything) but can captivate his audience with clever tales. Old Earl is the one from the Blue Healer release.

 When I go to a concert, I really don't go as a reporter but as a part of the audience so forgive me for just enjoying the concert. I know that he played Shoot Out The Lights, a hot rocker, Tallatchie, a rural feeling song that I really love and one that I want to ask Mathus about later. It has one clever line that I will always remember... "Can't see you no more, newspapers say I sing". Excellent! Fire In The Canebreak, a swampy funk rocker along the lines of Little Feat, Tennessee Walker Mare, Aces and 8's, a tex mex track and Shine Like A Diamond.

His second set was really geared to audience participation with a Chuck Berry track, some R&B, Lowell Folsom's Tramp which was recorded by Mathus and Guy 15 years ago. Mathus played guitar with reckless abandon, something that I rarely see anyone but Buddy Guy do...superb! He also did real nice versions of Guitar Slim's, Things That I Used To Do and Hank Williams', Hey Good Looking. At my request he did one of my favorite country ballads, Fallen Angel. Mathus has a unique ability to take you somewhere that you want to be through his music. Another crowd favorite was John Fogerty's Stuck In Lodi. Whether it's blues, country, R&B, rock... this man has been there and he does it with intention. Raven Cafe employees were kind enough to clear a few tables for some tiny dancers near the stage and the crowd had a blast. I can't say that Mathus' music is for everyone. What I can say is, I don't get paid to do this. I do it because I love it. I go to see who I want to see, and when I see something terrific, I try to tell my friends. Well friends, this guy captures the soul of the blues in whatever he does. What does that mean? Listen to Skip James, early JL Hooker, Son House. These were men who believed in what they were doing. They liked to make a little money along the way, but they were playing real music, without the polish and all of the processing. Jimbo Mathus is the real deal. Go see him without expectations that he will blow you away on guitar. He can, he may... but go there to see a real artist perform his craft. You can thank me later!

The Annunaki Playboys are  Eric "Carlos San Pedro" Carlton - keys, Stuart "StuBaby" Cole - bass, Scott "Pako" Goolsby - guitar and Alex "Youngblood" Holeman - drums.

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Butter & Bacon Records artist: Voo Davis - Midnight Mist - New Release Review

I just received the newest release, Midnight Mist, from Voo Davis and it's hitting on all 12 cylinders! Opening with When I Get Back To You, Davis is on track and laying down an easy to love melody along the lines of the early Doobies but with flashing hot guitar riffs poking from north, south, east and west. Nicely crafted, Davis' multiple guitar lines compliments themselves and the track nicely and his vocals are great as always. Title track Midnight Mist, is strongly melodic with clean articulate acoustic guitar work. Strong slide guitar work from Davis highlights this track with it's almost Marshall Tucker or John Mayer like warmth. My Love hammers it's way out of the gate with a driving guitar (Davis) and drum (Craig Borchers)combo topped with hot harp work from Calvin Conway. This is exactly what I liked about Voo Davis the first time I heard him. Strong, stripped down in your face blues rock. Excellent! Cajun Sun has an infectious guitar rhythm and Louisiana rhythm with hot slide riffs over the top. Very nice! Riverside Blues is a soothing track with a catchy melody. It's super how Davis can take a simple melody, sing his guts out and rip quietly behind the scene on his slide without making it overbearing... a very cool quality. Southern funk infused Low Hangin' Fruit has a great groove. Davis' vocals on this track are some of the best on the release teased along by Conway and Davis in addition to resonator work hits Lowell George flavored slide work on electric. Excellent! Howling Out Your Name is the most highly produced track on the release reminding me of some of the tracks done by Plant and Page in 1969 (without the hindrance of Plant's annoying vocals). Find Me A Backbone has a real raw country blues feel with wound out electric guitar sounds and rudimentary drum beats. This is a simple but possibly the coolest track on the release. Excellent! Nothing Changed At All is a nicely crafted track with a smooth sophistication. Music In The Streets has a quick funky tempo with a really slick guitar lead. You Gotta Wait has a strong R&B feel. A well structured track highlighting Davis' soulful vocals and tight drums by Borchers and B3 by Michael Burkart. Davis has great feel for lead guitar and adds just the right amount without making the track feel overburdened. Laughing Out Loud is a simple but nicely executed ballad. A quiet blend of slide guitar, acoustic guitar and vocals makes this a particularly nice track. Void has a feel of early country folk music. With acoustic guitar, piano and vocal accompaniment, this is a track that should see a bit of radio play. You Wanna Know Why almost has a cat Stevens like vocal and a familiar Clapton riff that is repeated throughout the track as garnish. Davis finally cuts loose on his electric guitar for an extended and adventurous guitar solo. A simple rocker this is another track that could easily see broad appeal.

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BB King has passed. - My thoughts and prayers are with his family

LAS VEGAS (AP) — B.B. King, whose scorching guitar licks and heartfelt vocals made him the idol of generations of musicians and fans while earning him the nickname King of the Blues, died late Thursday at home in Las Vegas. He as 89.
His attorney, Brent Bryson, told The Associated Press that King died peacefully in his sleep at 9:40 p.m. PDT.
Bryson said funeral arrangements were being made.
Although he had continued to perform well into his 80s, the 15-time Grammy winner suffered from diabetes and had been in declining health during the past year. He collapsed during a concert in Chicago last October, later blaming dehydration and exhaustion. He had been in hospice care at his Las Vegas home.
For most of a career spanning nearly 70 years, Riley B. King was not only the undisputed king of the blues but a mentor to scores of guitarists, who included Eric Clapton, Otis Rush, Buddy Guy, Jimi Hendrix, John Mayall and Keith Richards. He recorded more than 50 albums and toured the world well into his 80s, often performing 250 or more concerts a year.
King played a Gibson guitar he affectionately called Lucille with a style that included beautifully crafted single-string runs punctuated by loud chords, subtle vibratos and bent notes.
The result could bring chills to an audience, no more so than when King used it to full effect on his signature song, "The Thrill is Gone." He would make his guitar shout and cry in anguish as he told the tale of forsaken love, then end with a guttural shouting of the final lines: "Now that it's all over, all I can do is wish you well."

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His style was unusual. King didn't like to sing and play at the same time, so he developed a call-and-response between him and Lucille.
"Sometimes I just think that there are more things to be said, to make the audience understand what I'm trying to do more," King told The Associated Press in 2006. "When I'm singing, I don't want you to just hear the melody. I want you to relive the story, because most of the songs have pretty good storytelling."
A preacher uncle taught him to play, and he honed his technique in abject poverty in the Mississippi Delta, the birthplace of the blues.
"I've always tried to defend the idea that the blues doesn't have to be sung by a person who comes from Mississippi, as I did," he said in the 1988 book "Off the Record: An Oral History of Popular Music."
"People all over the world have problems," he said. "And as long as people have problems, the blues can never die."
Fellow travelers who took King up on that theory included Clapton, the British-born blues-rocker who collaborated with him on "Riding With the King," a best-seller that won a Grammy in 2000 for best traditional blues album.
Still, the Delta's influence was undeniable. King began picking cotton on tenant farms around Indianola, Mississippi, before he was a teenager, being paid as little as 35 cents for every 100 pounds, and was still working off sharecropping debts after he got out of the Army during World War Two.
"He goes back far enough to remember the sound of field hollers and the cornerstone blues figures, like Charley Patton and Robert Johnson," ZZ Top guitarist Billy Gibbons once told Rolling Stone magazine.
King got his start in radio with a gospel quartet in Mississippi, but soon moved to Memphis, Tennessee, where a job as a disc jockey at WDIA gave him access to a wide range of recordings. He studied the great blues and jazz guitarists, including Django Reinhardt and T-Bone Walker, and played live music a few minutes each day as the "Beale Street Blues Boy," later shortened to B.B.
Through his broadcasts and live performances, he quickly built up a following in the black community, and recorded his first R&B hit, "Three O'Clock Blues," in 1951.
He began to break through to white audiences, particularly young rock fans, in the 1960s with albums like "Live at the Regal," which would later be declared a historic sound recording worthy of preservation by the Library of Congress' National Recording Registry.
He further expanded his audience with a 1968 appearance at the Newport Folk Festival and when he opened shows for the Rolling Stones in 1969.
  King was inducted into the Blues Foundation Hall of Fame in 1984, the Rock and Roll Hall of Fame in 1987 and received the Songwriters Hall of Fame Lifetime Achievement Award in 1990. He received the Presidential Medal of Freedom from President George W. Bush, gave a guitar to Pope John Paul II and had President Barack Obama sing along to his "Sweet Home Chicago."
Other Grammys included best male rhythm 'n' blues performance in 1971 for "The Thrill Is Gone," best ethnic or traditional recording in 1982 for "There Must Be a Better World Somewhere" and best traditional blues recording or album several times. His final Grammy came in 2009 for best blues album for "One Kind Favor."
Through it all, King modestly insisted he was simply maintaining a tradition.
"I'm just one who carried the baton because it was started long before me," he told the AP in 2008.
Born Riley B. King on Sept. 16, 1925, on a tenant farm near Itta Bena, Mississippi, King was raised by his grandmother after his parents separated and his mother died. He worked as a sharecropper for five years in Kilmichael, an even smaller town, until his father found him and took him back to Indianola.
"I was a regular hand when I was 7. I picked cotton. I drove tractors. Children grew up not thinking that this is what they must do. We thought this was the thing to do to help your family," he said.
When the weather was bad and he couldn't work in the cotton fields, he walked 10 miles to a one-room school before dropping out in the 10th grade.
After he broke through as a musician, it appeared King might never stop performing. When he wasn't recording, he toured the world relentlessly, playing 342 one-nighters in 1956. In 1989, he spent 300 days on the road. After he turned 80, he vowed he would cut back, and he did, somewhat, to about 100 shows a year.
He had 15 biological and adopted children. Family members say 11 survive.
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Associated Press writer John Rogers in Los Angeles contributed to this report.  

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