Pop Ferguson Blues Heritage Festival in Lenoir, N.C.

Nitro and Slim Beverly Guitar Watkins Bill Perry Wanda Johnson

Pop Ferguson Blues Heritage Festival is a living documentary that makes every attempt to promote, preserve and advance the culture of Blues music as an art form in America. The festival gives its audiences an experiential day with the sights, sounds, and smells of authentic Blues music. If you have attended the festival in the past, then you know and understand what Pop Ferguson Blues means when we say experiential. Pop Ferguson Blues believes that you "educate first, then entertain;" so, we present all educational and fun Blues shows.   What is a Pop Ferguson Blues Heritage Festival like?   When you come to a Pop Ferguson Blues Festival, you will feel like you have gone back in time expecting that you will hear and see Ma Rainey or Son House with Mississippi John Hurt at any time. Maybe the Delta Gang is in the next venue. You will find guys like Bukka White, Skip James, Lonnie Young, or the guitar master Lonnie Johnson. Do not forget Big Mama Thornton, Victoria Spivey, and Big Mae Belle with Pink Anderson singing “Baby Please Don’t Go.” Just maybe the gals and guys from the Carolinas will show up. Carolina Slim, Blind Boy Fuller, or Rev. Gary Davis. It sounds like a make believe event, but that's what we wish for you.   This is our 7th year. Our theme is - "Keep The Jook Joint Jumpin," – and we have included some of the last Blues artists to actually play in an Authentic Jook, whose ages range from 72 to 87 years old. These guys and gals lived and sang while "Jim Crow" was alive and well. Jim Crow may be a little quieter, but the JOOK JOINT Blues they play is alive and well - and just as low down as they were back in the day.   The Lineup includes: Sarasota Slim and Nitro Bosman, Barbara Carr, Mac Arnold and a plate full of Blues, Wanda Johnson, Don Vappie, Trudy Lynn, Big Bill Morganfield, Beverly “Guitar” Watkins, Terry “Big T” Williams, Gaye Adegabalola and The Wild Rutz’s, Bill Perry, Kat Williams, Pop Ferguson, along with 6 other Blues bands to round out our roster of 18 blues performers.   Pop Ferguson Blues will also award one young performer (or group) with a $5,000 scholarship, in its second year "Cuttin' Heads" challenge. The rules are simple. Contestants must be amateurs 18 years old or younger and will perform two traditional blues or gospel songs of their choice. Performances will be adjudicated by their peers and a select panel of judges. The winner will perform on stage at the festival. For more information go to cjblues.com.

Blind Pig's featured artists at the Chicago Blues Festival!

BLIND PIG ARTISTS FEATURED AT THE CHICAGO BLUES FESTIVAL Blind Pig Records will be well represented this month at the 32nd Annual Chicago Blues Festival in Grant Park, with performances by the Andy T-Nick Nixon Band, The Cash Box Kings, Shawn Holt and the Teardrops, and Billy Branch and the Sons of Blues. ANDY T-NICK NIXON BAND Andy T’s jazz-tinged guitar style is influenced by T-Bone Walker, B.B. King, Magic Sam, and Albert Collins among others, yet it remains his own. Andy has toured internationally with blues greats Guitar Shorty and Smokey Wilson, and has performed with a long list of major blues artists around the country.   The velvet-voiced Nixon, whose singing recalls Jimmy Witherspoon and Billy Eckstine, was part of Nashville’s thriving blues scene in the 60’s, was a longtime member of The New Imperials, recorded for Chess Records in the 70’s and has performed with many of the top blues and R&B artists in the world. Blind Pig Records will release the new album by the Andy T-Nick Nixon Band, entitled Numbers Game, on August 28th.   THE CASH BOX KINGS Award-winning fan favorites, The Cash Box Kings continue 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.  Living Blues said they are simply "one of the best blues bands in the land." Fronted by vocalist Oscar Wilson and harp player Joe Nosek, these illustrious torchbear­ers also add a bravado, energy and freshness to the mix that results in a distinctive musical expe­rience. They showcase the music of Chess Records and Sun Records while add­ing a healthy dose of original music that captures the essence of early Memphis and Chicago blues sounds. As No Depression put it, "The ghosts of Muddy Waters, Hubert Sumlin, Pinetop Perkins and Little Walter must be smiling." The Cash Box Kings' new Blind Pig release, Holding Court, is currently the most played record in the country at blues radio, topping the Roots Music Report's blues radio chart for the last four weeks.  To watch their new video, please click HERE. SHAWN HOLT AND THE TEARDROPS Shawn Holt is the son of the late legendary blues master, Magic Slim. The high energy, hard-driving sound of the Teardrops is still alive and well with Shawn, a chip off the old block, fronting his old man's band. Shawn's booming vocal presence is more than a little reminiscent of his father's, and his guitar playing, while similar to Slim's, exhibits a broader mix of classic and contemporary influences.   The band's Blind Pig release, Daddy Told Me, won the "Best New Artist Debut" Blues Music Award, as well as the Blues Blast Music Award in the same category. BILLY BRANCH AND THE SONS OF BLUES   Over a career spanning close to forty years now, three-time Grammy nominee Billy Branch has become one of the blues’ most eloquent spokespersons and an ardent evangelist and teacher of the blues, not to mention an award-winning veteran artist on the Chicago, national and international music scenes. Branch will perform with his band, the Sons of Blues, at 5:00 pm on Sunday. They'll perform songs from their Blind Pig release entitled Blues Shock, a fascinating mix of daring, and full-bodied new compositions and fresh-sounding standards that followers have long savored at their live shows.  Living Blues said the CD "provides ample proof that Branch's unique blend of rootsy integrity and exploratory zeal remains potent."  To watch a video of the title track, please click HERE. After that set, Branch will join members of Willie Dixon's family for a musical tribute to that Chicago blues icon.  Billy toured with Dixon’s All-Stars for about six years.  “I can’t over-stress how influential he was,” says Branch. “He ate, slept, talked blues all the time. He was deeply, very, very proud that he was a blues man and that his people were the inventors of blues.” The schedule of performances by Blind Pig artists: Fri., June 12 Andy T-Nick Nixon Band Front Porch Stage 3:00 - 4:00 Sat., June 13 Shawn Holt & the Teardrops Crossroads Stage 4:15 - 5:30 Sat., June 13 The Cash Box Kings Front Porch Stage 4:30 - 5:30 Sun., June 14 Billy Branch & Sons of Blues Petrillo Music Shell 5:00 - 6:05 Sun., June 14 Billy Branch (Dixon tribute) Petrillo Music Shell 6:20 - 7:45

HAMILTON LOOMIS -- June 2015 Schedule

This June, Hamilton & Band have 2 Texas shows and then it's off to the UK for the rest of June...catch them while you can! Hamilton is holding a Beginner Harmonica Workshop in Ganado TX (Victoria/El Campo area) in July: CLICK HERE TO LEARN MORE! The full schedule is at www.hamiltonloomis.com/schedule.html 6/4/15 Kemah TX Rock the Dock @ Kemah Boardwalk 7pm ALL AGES! 6/6/15 Katy TX Wildcatter Saloon Benefit for Michael Springer 5pm - 8pm ALL AGES! Free show, donations encouraged! JUNE 11 thru JUNE 30 - UK TOUR (all dates at www.hamiltonloomis.com/schedule.html) Please forward this email to any of your friends/family in these cities!!

Dolly Sez Woof artist: Ted Drozdowski's Scissormen - Love & Life - New Release Review

I just received the newest release, Love & Life, by Ted Drozdowski's Scissormen and I really like it! It's raw and ragged approach with overloaded guitar distortion combination is really cool. Opening with Beggin' Jesus, a rough and tumble blues rocker, Drozdowski carries the melody vocally and rips into his guitar with strong impact. Backed by Matt Snow on drums, Marshall Dunn on bass and Paul Brown on keys this is a great opener. Letter From Hell has a Bo Diddley beat driven by Snow and complimented by Robert E McClain on bass. Drozdowski does some real nice fretboard runs but never leaves the garage sound. River is a solemn bluesy ballad with a lot of room to breathe. Drozdowski's vocals are almost trance like and he lays down a very effective guitar lead line. Very very cool! Watermelon Kid is a slow rocking boogie with an interesting story line. A hot loosely played guitar solo is cool and effective. Mighty Sam McClain takes the mic for Let's Go To Memphis giving the track a more definitive R&B/Blues feel and structure. R.L. Burnside (Sleight Return) is a really sweet track with a familiar bass groove and a chorus similar to a Steve Winwood track but with a great twist on the bridge and flaming guitar interludes. Excellent! A total rework of Muddy Waters' Can't Be Satisfied maintains the soul of the track but this thing is stripped down so far it's own mother wouldn't recognize it. With only tambourine and diddley bow, this track is way cool. Check it out! Black Lung Fever is the most straight forward delta style blues track on the release. This is a really nicely composed track reflecting on Drozdowski's own heritage. This is one of those tracks that starts off as an easy grooves and then beats you to death with impact. Excellent! Dreaming On the Road is a quiet folk tune with easy acoustic resonator accompaniment. Followed by Lived To Tell provides the contrast coming out with all guns blazing. The track quiets down for the delivery of the primary melody but when the guitar is open...IT IS OPEN. Very cool! Wrapping the release is Unwanted Man (for Weepin' Willie Robinson), with a simple blues structure. Drozdowski creates significant tension on slide behind his own vocals before laying down ragged guitar riffs. This is a really interesting release with blues roots and rough edges. The more I listen to it the more i like it. I suggest you get a copy and check it out!

  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”

 

Delta Groove Music artist: The Henry Gray / Bob Corritore Sessions - Blues Won't Let MeTake My Rest - New Release review

I just received the newest release, Blues Won't Let Me take My Rest from Henry Gray and Bob Corritore. Featuring 10 previously unreleased out of 14 included tracks, this release features not only Gray and Corritore, but many other of the greats in recent blues history. Opening with Let's Get High, a great piano shuffle with Gray on lead vocal backed by Willie "Big Eyes" Smith on backing vocal and drums and Corritore on harp, this is a great opener. Gray's vocals on Blues Won't Let Me Take My Rest are a stark contrast to Clapton but this is real and Gray's piano with Corritore on shielded harp, Bob Margolin and Johnny Rapp on guitar and Chico Chism on drums, this sounds a lot like Muddy's band. New Orleans flavored boogie, I'm In Love Again features a cool harp riff by Corritore and hot guitar riffs by Rapp. Robert Jr Lockwood is featured on vocal and guitar on Robert Johnson's Ramblin' On My Mind, one of my favorite tracks on the release. Big Maceo's Worried Life Blues, feature Nappy Brown on lead vocal but Gray's piano work is solid and unmistakable. Gray is in top form on vocal on They Raided The Joint, joined by Kid Ramos on guitar, Corritore on harp, Paul Thomas on bass and Chism on drums. Very cool! Dave Riley takes the lead vocal spot on Ride With Your Daddy Tonight joined by Chris James on guitar, Yahni Yiley on bass and Eddie Kobek on drums. Corritore and Gray both do really nice jobs on this track making it one of the strongest instrumental tracks on the release. Lowell Fulsom's Trouble Blues, has a great feel with Rapp laying down some real nice slide over Gray's killer piano and vocal work. Excellent! Shuffle track, I'm Gonna Miss You, keeps Gray up front on piano and vocal. With extended harp work from Corritore, Steve Cushing on drum and, Paul Thomas on bass this track, Rapp steps up again with some pretty cool riffs on guitar. John Brim's That Ain't Right features Brim himself on the mic backed by Troy Sandow on bass and Big John Atkinson on drums. Corritore keeps up the heat but this track really shows how nicely Gray can hit the groove on piano. Ernest Lawler's Can't Afford To Do It has Gray back on lead vocal backed by Little Frank, Danny Michael and Big John on guitar, Sandow on bass and Brian Fahey on drums. One of the hottest tracks on the release is Boogie Woogie Ball, really giving Gray the open door to rock it and he really does. Corritore has strong continuity on harp throughout the track, Kirk Fletcher it tight on the beat with hot riffs backed by Patrick Rynn on bass and Brian Fahey on drums. Very cool! On laid back Honey Don't Let Me Go, Gray has the full focus with lead vocal and piano. Backed by Rapp on guitar, Thomas on bass and Cushing on drums, Corritore steps in for a nice harp solo balancing out the track nicely. Wrapping the release is BB King's She Don't Move Me No More featuring Gray on beautiful piano and lead vocal. I especially like Corritore's riffs on this track as well as Rapps tight guitar solos. Paul Thomas on bass and Chico Chism on drums round out the line up.

  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”

 

Exclusive Interview with Chris Duarte

Bman: Hi Chris. Been a fan for a long time. Glad to be finally catching up with you. I reviewed your newest release, Lucky 13 back in November and it cooks! I see that you're touring coast to coast. How is the new release being received?

Chris:  I think it’s going pretty good. Units are moving from the merch table and on this album I wrote a lot of songs that can be played live. In the past I just went a bit crazy on some things and layered too much so that it was nearly impossible to recreate even with two guitars. Try to keep is simple and come up with easy accessible hooks for the songs. People are digging Lucky 13 at the shows and on-line so I’ve been real happy with the response.

Bman: That's great! I remember when I first started to listen to you that my impression was you had a Texas flavor with a taste of Hendrix. That was what first attracted me to your music, that cocky guitar attitude with a lot of sting. A lot of water has crossed under that bridge. Your newest release, Lucky 13 maintains that cocky stinging playing but it goes so much farther.

Chris: I’m always trying to find new and different ways around the blues form. Tone of course is still of paramount importance, it’s my identity sometimes, but there’s still different ways to express myself melodically and sonically. I still want to be intrepid and adventurous when it comes to how I get my ideas out and what I’m trying to say on my axe.

Bman: I can see that. Crazy For Your Love is a particularly hot Texas style number. Is it hard to maintain your own identity when so many people relate your own style to that of SRV because of his popularity?

Chris: It doesn’t bother me a bit to have those comparisons anymore. I’m proud to be attached to SRV. I know I have my own thing from Stevie. I still use it to partly describe my sound so people can grab onto something in their mind and shape some kind of idea for what to expect from a show. I’m pretty sure when they come out and see one of my shows they’ll see that I’ve got Stevie in me but a lot other voices and inspirations I draw off as well.

Bman: You're right. I'm certain that the fans love to hear that familiar sound. Who Loves You has a whole different feel with Gatemouth Brown like guitar riffs. He was always one of my favorites and of course the comparison is more for listeners to understand what they may expect. What got you into this frame of playing?

Chris: That’s me trying to mimic a horn section and play like I’m kind of an old school type swing player that’s definitely got blues roots but dabbles a bit in some jazzy licks that have been acquired over the years. The fun part was trying to get the horn section together. Not bad for my first attempt at horn recreation and arranging. I thought about that just days before we recorded it. I would love to have had more time for more lines from the horns but alas it was not in the cards.

Bman: No, that's exactly right! I can see that. One of my favorite tracks on Lucky 13 is Let It Go. At over 9 minutes, your playing never seems tired or stretched. Is it hard to dig deep for that kind of gut wrenching soloing night after night?

Chris: Seems like I’m always putting on a minor blues on my albums and I have for the last 4 or 5 cd’s, so I’ve got such a complex about sounding like I’ve got nothing new to offer so I went for the ‘smoky vibe’ ala retro Nina Simone kind of nod on the vocals and phrasing. If I had to do it again, I wouldn’t have had an emotional peak with the guitar getting intense in the solo. I always do that and at the time of recording this song I just went with the usual template. Let It Go was one of those songs that I wrote while we were recording the album. The rhythm tracks and scratch guitar came first then the concept for the vocal styling. We had already crossed the Rubicon on that one.

Bman: It comes off really well. Not Chasing It has a certain looseness that I haven't heard from you before. Only a few players that I know play with "reckless abandon". Is it hard to get into that frame of mind and sustain spontaneity?

Chris:  This was another concept song that I was trying to make it boisterous and heavy at the same time. I wanted really distorted drums and a nasty guitar tone to fill out the sparse bass line I assigned the player to. Start off with that short snakey opening line then it breaks into a heavy riff dominated form. We just didn’t have time to dial in all the sonic embellishments on the song. I do bite off more that I can chew sometimes. I am pleased with the ‘way-over-the-top’ lead guitar tone we achieved. Like anything being recorded now, clever editing and cut n’ paste is done from time to time but when it’s done well you can’t argue with results. I wanted to convey a reckless and manic feel to go with the subject matter of the song.

Bman:  You definitely hit it! I really dig the Meus Via Vita Suite. This goes places that most blues people don't know. Are we going to hear more of this?

Chris:  I hope so. Over the years Mike Varney has slowly let out the artistic reins on me and I’m free to explore different avenues. This was one of those times. My blues fans shouldn’t worry, I’m not going to go out and do a ‘full-on’ concept album that Bob Ezrin would be proud of, but I do like this type of songs and stylings that are strung together telling a story. I had the first song, Let’s Go For A Ride completed and in my head, the other two in the suite had to be written there. Minefield of My Mind is trying to evoke the crazy emotions and terrible decisions that are made when you take part in deleterious behavior, then Setting Sun is saying goodbye to all the craziness. So as you walk this new road you see the sun setting on that part of your life that was with you for so long. Once again I’m happy with what we ended up with for the limited time frame we had to work in. I can play so much better inside the chords of Minefield now rather than how I played it on the album. I just wasn’t that used to the form and my ideas hadn’t any legs under them yet. It sounds OK but I’m so much more complex in the chords now.

Bman:  I'm looking forward to see how it's changing. Jump the Trane is a really cool shuffle finisher. I personally think that Lucky 13 is your most comprehensive work so far. Are you turning the corner into something a bit more different or was this just an experiment?

Chris:  I still want to explore new avenues and to expand my musical boundaries. I’ll always be working on getting to be better with my song forms and lyrics. I’ve still got such a long way to go as an artist. I’ll always have the blues in me and I’ll always try to be looking ahead.

Bman: Thank you so much for your time. Do you have anything in particular that you want to share with your fans?

Chris:  Thank you for having me on here and know that I will never take my fans for granted. Every time they see me I’m playing with all I’ve got. No mowing the lawn here. Never.

Bman: Continued luck with your tour and hope to hear from you again soon.

Chris: Happy to be here and I hope we can do this again in the future. Sincerely – chris duarte  

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”</ 

West Tone Records artist: Rockin' Johnny Burgin - Greetings from Greaseland, California - New Release Review

I just received the newest release, Greetings from Greaseland, California by Rockin' Johnny Burgin and it's spectacular! I received a lot of new releases each month with a lot of blues tracks but these are so fine! Rockin' Johnny, along with Aki Kumar (harp), Kid Andersen, Vance Ehlers (bass) and June Core (drums) have really hit it here. Opening with Love Me Like I Want it features Johnny on lead vocals and guitar with Kumar on harp is an excellent shuffle with Johnny's trademark guitar style out in the front. Did I say this track was super? Hip Linkchain's Cold Chills has that funky blues beat and Ehlers and Core set up the essential groove. Johnny has that raw looseness on guitar that is so lost from blues records today that he owns it. Excellent! She's A Hit, a conventional sauntering 12 bar track, shows Johnny's sure feel for vocal delivery in Chicago style. Sit back and listen to his expressive riffs. This man is flying! Robert Jr Lockwood's The Western Horizon is an easy shuffle with Kumar up front. Does Johnny take a back seat... nah...he just lets Kumar breathe. Then he rips some excellent riffs of his own. If you don't know this guy's work, this is an great place to start. Slow blues track, Telephone Angel, is up next and you know you're in for a hard run. If there is a more exciting "real blues" guitar player on the planet today, tell me who it is (Buddy Guy excepted). An instrumental version of classic, House of the Rising Sun, made popular by the Animals, has a lot of polish and excellent articulation. Another slower blues track, Empty Bed Blues, features vocal on top and tasty guitar and harp riffs under the lead. Johnny shows a much more controlled guitar delivery with dynamic attack on this track. Expressive, gutsy riffs remind me of a young Elvin Bishop who blew my sox off in the Fillmore days. Excellent! Tribute To Big John Wrencher keeps it direct with solid vocals and cool harp work from Johnny. Havana Rock gives Core the chance to really play some fancy riffs supporting Kumar on lead. Turning into a straight ahead boogie, Johnny steps up with jazzy style riffs and swinging blues bends. Shouldn't say ground breaking, but compared to anything I'm hearing on the blues scene today...it is! Perkins/Rush composition Homework, made popular by Fleetwood Mac and J Geils to mention a few has a great rocky feel. There's underlying keys by Kid Andersen who does a real nice job. Johnny settles back to mostly solid vocals but his few guitar riffs hot and stinging! Wrapping the release is Jimmy Reed's Tell The World I Do. Johnny keeps a nice even pace with expressive vocals and harp setting it up for the killer swat  on guitar to slam this release shut. This is a must hear 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”

 

Patrick Ballantyne - Someone You Should Know - New Single Release

Singer songwriter, Patrick Ballantyne, has a new single, Someone You Should Know now available via itunes. The tune has an upbeat rhythm and a catchy melody along the format of I Walk The Line featuring the Oh Chays.

This single is on the heels recent release, Days Of Rain, a rocker with a lot of different sides. Here's a summary of Day's of Rain for reference: King Of The Road has an almost alternative pop feel but a seriousness about it. Lift Me Up is another solidly written melody with keys and a tight bottom. I've Got A Feeling is a very melodic folk track with well blended vocals and only the simplest of acoustic guitar backing. Very nice. Title track, Days Of Rain, is really a tight orchestral piece, more of a lead in to one of my favorite tracks on this earlier release, Hundred Year Flood. A solid acoustic rocker shows Ballantyne's strength as a songwriter with it's enchanting melody and slide guitar work. Wrestling With The Devil has a radio rock feel... strong pop sense and solid melody. Christmas Day is another well written ballad with a sophisticated melody. Creating emotion and dynamics with only the basic of instrumentation is really nice. Who Am I has an "Eastern" flavor with percussion and sitar. With a possible nod to the Beatles this track is interesting. Roll With It, a quiet folk rocker has well woven vocal harmonies and bright acoustic guitar rhythm. I Follow You is another strongly written light rocker with a western flavor. Bob Dylan like harmonica work blends nicely against light steel guitar vamps and vocal duets. Very nice! I'm Yours strays further into the country vein but in a very clean way. Tight male vocal duets give this track an almost Kinks like sound. As Soon As I Find Her has a bit of a Neil Young feel. The harp by Kelly Hoppe, is really nicely executed. Wrapping the release is The Devil's Note. With a resemblance to a eurofolk tune but with strong North American styling, this is a really nice track as a closer. Although Someone You Should Know is not on this earlier release, I felt that the track would benefit from some basic background of Ballantyne's earlier work.


  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”

 

West Tone Records artist: Rockin' Johnny Burgin - Greetings from Greaseland, California - New Release Review

I just received the newest release, Greetings from Greaseland, California by Rockin' Johnny Burgin and it's spectacular! I received a lot of new releases each month with a lot of blues tracks but these are so fine! Rockin' Johnny, along with Aki Kumar (harp), Kid Andersen, Vance Ehlers (bass) and June Core (drums) have really hit it here. Opening with Love Me Like I Want it features Johnny on lead vocals and guitar with Kumar on harp is an excellent shuffle with Johnny's trademark guitar style out in the front. Did I say this track was super? Hip Linkchain's Cold Chills has that funky blues beat and Ehlers and Core set up the essential groove. Johnny has that raw looseness on guitar that is so lost from blues records today that he owns it. Excellent! She's A Hit, a conventional sauntering 12 bar track, shows Johnny's sure feel for vocal delivery in Chicago style. Sit back and listen to his expressive riffs. This man is flying! Robert Jr Lockwood's The Western Horizon is an easy shuffle with Kumar up front. Does Johnny take a back seat... nah...he just lets Kumar breathe. Then he rips some excellent riffs of his own. If you don't know this guy's work, this is an great place to start. Slow blues track, Telephone Angel, is up next and you know you're in for a hard run. If there is a more exciting "real blues" guitar player on the planet today, tell me who it is (Buddy Guy excepted). An instrumental version of classic, House of the Rising Sun, made popular by the Animals, has a lot of polish and excellent articulation. Another slower blues track, Empty Bed Blues, features vocal on top and tasty guitar and harp riffs under the lead. Johnny shows a much more controlled guitar delivery with dynamic attack on this track. Expressive, gutsy riffs remind me of a young Elvin Bishop who blew my sox off in the Fillmore days. Excellent! Tribute To Big John Wrencher keeps it direct with solid vocals and cool harp work from Johnny. Havana Rock gives Core the chance to really play some fancy riffs supporting Kumar on lead. Turning into a straight ahead boogie, Johnny steps up with jazzy style riffs and swinging blues bends. Shouldn't say ground breaking, but compared to anything I'm hearing on the blues scene today...it is! Perkins/Rush composition Homework, made popular by Fleetwood Mac and J Geils to mention a few has a great rocky feel. There's underlying keys by Kid Andersen who does a real nice job. Johnny settles back to mostly solid vocals but his few guitar riffs hot and stinging! Wrapping the release is Jimmy Reed's Tell The World I Do. Johnny keeps a nice even pace with expressive vocals and harp setting it up for the killer swat  on guitar to slam this release shut. This is a must hear 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”

 

Audio Fidelity To Release B.B. King & Eric Clapton “Riding With The King” On Limited Edition Numbered Hybrid SACD

Audio Fidelity To Release B.B. King & Eric Clapton “Riding With The King” On Limited Edition Numbered Hybrid SACD

Two Masters Produce a Contemporary Blues Gem!

Camarillo, CA - In honor of the recent passing of blues guitar legend B.B. King, Marshall Blonstein's Audio Fidelity will be releasing B.B. King & Eric Clapton “Riding With The King” on Limited Hybrid SACD. This SACD should satisfy fans of King, Clapton and blues purists alike. “Riding With The King” was Eric Clapton's and B.B. King's first collaborative recording and it went on to win the 2000 Grammy Award for Best Traditional Blues Album. The album reached #1 on Billboard's Top Blues Albums. 

They first performed together in 1967 when Clapton was 22 and a member of Cream. Clapton looked up to King and had always wanted to make an album with him. At the time of recording Clapton was 55 and King 74. Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. While this would appear to be a Clapton album recorded with King, Clapton gave King center-stage.

The set list includes lots of vintage King specialties, “Ten Long Years,” “Three O'Clock Blues,” “Days of Old,” “When My Heart Beats Like a Hammer,” as well as standards like “Hold On I'm Coming” and “Come Rain or Come Shine,” with some specially written and appropriate new material. King takes Clapton deeper into blues territory than he has ever gone alone and these two artists play the blues with conviction. There may never be another album that links the Delta Blues to modern rock with such style, grace, enthusiasm, and honesty.

Tracks

1 Riding With the King

2 Ten Long Years

3 Key to the Highway

4 Marry You

5 Three O'Clock Blues

6 Help the Poor

7 I Wanna Be

8 Worried Life Blues

9 Days of Old

10 When My Heart Beats Like a Hammer

11 Hold On, I'm Coming

12 Come Rain or Come Shine

Produced by Eric Clapton, Simon Climie

Mastered by Steve Hoffman at Stephen Marsh Mastering

Bill Wyman shares new single / Taken from his first solo album in 33 years 'Back To Basics'

BILL WYMAN SHARES NEW SINGLE 'WHAT & HOW & IF & WHEN & WHY' 


TAKEN FROM HIS FIRST SOLO ALBUM IN 33 YEARS

THE ALBUM 'BACK TO BASICS' IS RELEASED ON PROPER RECORDS, JUNE 22ND

LISTEN TO THE SINGLE HERE




Photo credit to Judy Totton

‘What & How & If & When & Why’ is the first single from Bill Wyman’s new album, ‘Back To Basics’.

The lead track on the CD, both the single and album are released on June 22nd.

“I was watching the video of Bob Dylan’s Subterranean Homesick Blues with the song cards that he tosses aside and I thought I’d like to do something like that. Not that my song is anything like it of course but I think it inspired me. So I set about working on different sets of rhymes, sixes and fours, and it just came into being. It’s not the sort of song I usually write.” B.W.








Sounding a little like a cross between Tom Waits and Leonard Cohen with a passing nod towards Ian Dury, ‘What & How & If & When & Why’ is driven along by its gritty vocals and strong rhythm section. Its insistent beat combined with covertly menacing lyrics make for a compelling combination.

‘Back To Basics’ is Bill’s first UK solo album in 33 years and only his fourth UK solo one. Featuring 12 tracks in total (with an extra one for digital)  it comprises three reworked demos and nine brand new songs. It’s a record that crosses various genres; it’s stripped back, pared down, polished and - most important of all – immensely likeable.

Musicians joining Bill in the studio were long time collaborator/guitarist Terry Taylor, Guy Fletcher (of Mark Knopfler fame), Graham Broad and Robbie McIntosh while co-production credit goes to Andy Wright (Jeff Beck, Eurythmics, Simply Red).

Since quitting the Stones at their peak in 1993 having spent 31 years with them, Bill Wyman has been the author of seven learned books, a globally exhibited photographer, a metal detecting expert with his own brand of metal detector, a producer, a composer for film and TV and the founder of the very successful Rhythm Kings who release CDs and tour regularly.

PRE-ORDER THE ALBUM HERE:
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iTunes: http://smarturl.it/8j5605

Hymn For Her + Go Man = The Mix Tapes; album out June 30

MEMBERS OF NOTED INDIE COMBOS HYMN FOR HER ANDGO MAN CREATE A SIDE PROJECT DUBBED THE MIX TAPES  Band’s debut album, #1, will be released independently on June 30

LOS ANGELES, Calif. — “Sometimes out of necessity, you quickly throw something together and it turns out to blow your mind.” So says Kitty Pause, one-third of the scrappy Florida threesome the Mix Tapes. The band’s unpretentiously infectious debut album, #1, is an unexpected gem that combines playful humor and raucous power-trio energy with rousing, arena-ready tunes that reflect the members’ deep-rooted affinity for vintage pop-rock songcraft. According to Kitty, “This record is a celebration of the music we loved as teenagers.” In a parallel musical life, drummer-vocalist Kitty Pause and the Mix Tapes’ guitarist-vocalist Skool-Ejekt have already won considerable international acclaim and built a substantial fan base as the rootsy duo Hymn for Her. Completing the Mix Tapes is bassist-singer Reverend Rewind, who Skool-Ejekt describes as, “A sexy beast/man-of-the-cloth exorcised from the popular Gulf Coast rock band Go Man.” #1, recorded in lean, mean D.I.Y. style by the band and mixed by Detroit garage-punk guru Jim Diamond, offers a dozen instantly memorable originals that make it clear why the Mix Tapes feel no need to delve to deep into its members’ prior musical achievements. Such winsome, melodically adventurous tracks as the deviant, surging “Cocoanut,” the anthemically catchy “Don’t Give In,” the pointedly poppy “Out of the Black” and the psychedelic rocker “In & Out” embody the trio’s irreverent inventiveness. Considering the Mix Tapes’ distinctive style of songwriting, it’s ironic that the band’s formation in late 2013 was initially inspired by the scarcity of original music in and around their meeting ground of Sarasota.  “The three of us were in our two bands, equally frustrated, playing original music in bars for people busy watching TV or demanding lame cover tunes,” Kitty recalls. “So we decided to join forces and create a ‘British invasion’ cover band, playing only songs that would let us sleep at night with a clear conscience and not make us feel as if we sold our souls to the great and powerful bar mitvah/wedding devil. Soon our American roots started creeping in: Lou Reed, Fats Domino, Harry Nilsson ... It began very casually, but there was an instant chemistry that came from three hearts marinating in the same musical melting pot.” “Since day one, it’s had its own engine.” Skool-Ejekt says of the trio. “We had funny times stamping our own style on requests like ‘Margaritaville’ and ‘Sweet Home Alabama,’ pissing some folks off. But soon people were coming out to hear our skewed versions.” The Mix Tapes’ musical and personal rapport quickly won them an enthusiastic local following, and even earned raves from no less an authority than AC/DC frontman and fellow Florida resident Brian Johnson. “He caught a show and told us that it was the most entertained he’d been since the Beatles died,” says Reverend Rewind, “You do the math.” It didn’t take long for the band to begin slipping in their own ’60s/’70s tinged compositions, calling them ‘rare B-sides’ of their fans classic rock faves. Soon there was a demand for recordings. The Mix Tapes made their recording debut with an EP of raunchy, original Christmas-themed tunes that they called “Ho, Ho, Ho Merry XXX-Mas.” The holiday disc won a good deal of local attention, setting the stage for the birth of #1. “We recorded #1 in a week,” Reverend Rewind says of the album. “I think this record has the same don’t-give-a-f… attitude that we started the band with, which is the way we recorded it. My roommate recorded us in the living room. We were pretty much goofing off the whole time, but somehow we came up with a shiny, golden nugget.” “We were surprised at how easy it came,” Skool-Ejekt agrees. “We didn’t want to put a ton of time and money into it, so we approached the whole thing very casually. With the help of a good friend and some false promises, the recording was a breeze. Some of the songs we chose were ones that weren’t working in our other bands or personal songs from the closet. They all came seamlessly together after the three of us reworked them. A bit like the Rolling Stones’ Tattoo You: a bunch of leftovers that made up a great album.”    “I think that we all naturally write pretty catchy tunes, even when the subject matter is dark, which in a lot of cases it is,” says Reverend Rewind. “We have a lot in common musically, but our individual approaches are slightly different.  So if I write a song and think I know what it’s going to sound like, it usually comes out stronger by the time everyone adds their own little mojo to it.”  #1 has already won a good deal of positive attention on the Mix Tapes’ home turf, with “Cocoanut” gaining substantial airplay on Tampa radio station WMNF-FM, which recently featured #1 as its Album of the Week. Having launched the release with a Tampa show in front of several hundred fans, the band is now looking forward to bringing its tuneful transcendence to a national audience. “People have been getting really hot and sweaty about it down here in the Sunshine State,” says Reverend Rewind. “It’s an interesting experiment that got out of hand and took on a life of its own. We’re looking forward to seeing where it takes us.”

New release from rising roots music star!

NEW RELEASE FROM VICTOR WAINWRIGHT & THE WILDROOTS! Blind Pig Records has released Boom Town, the latest CD from Victor Wainwright & the WildRoots. Wainwright has been making a name for himself in a big way as one of the most exciting keyboard performers on the roots music scene. Known for his potent boogie piano, big soul sounds, powerhouse blues, roots rock 'n' roll, and a voice that recalls Dr. John and Leon Russell, he's also a two-time winner of the coveted Blues Music Award for "Pinetop Perkins Piano Player of the Year." Wainwright is a raucous, high-octane dynamic performer and a crowd pleaser with soul to spare. As American Blues News put it, "he is always entertaining and madly talented.  You will never see Victor play a room and not go over with the crowd in a big way."  He's backed by the firepower of WildRoots, one of the tightest smokin' bands around. Boom Town is highlighted by excellent songwriting, musicianship and production, and a unique and edgy sound that captures the energy of the band's live shows.  With the release of this tour de force of American blues and roots music, Victor's star will surely continue to rise.   Upcoming Tour Dates for Victor Wainwright & the WildRoots: May 30 Daytona Beach, FL The Davidson Theater June 12 Marietta, GA Darwin's June 14 St. Simons Island, GA Lighthouse Grounds June 19 Clarksdale, MS Groubnd Zero Blues Club June 20 Henderson, KY WC Handy Blues & BBQ Festival June 23 Kankakee, IL Moose Lodge June 24 Chicago, IL Buddy Guy's Legends June 25 Mishawaka, IN Midway Tavern June 26 Columbus, OH Woodlands Tavern June 27 Cadiz, OH Blues For A Cure July 16 Panama City Beach, FL Summer Music Series July 17 Birmingham, AL Ranelli's July 18 Merigold, MS Crawdad's July 19 Memphis, TN Levitt Shell at Overton Park July 24 Durham, NC Blue Note July 25 Washington, DC Madam's Organ July 26 Lake Harmony, PA Pennsylvania Blues Festival July 27 Ellicottville, NY Ballons July 29 Tuscarawas, OH Canal House July 31 Woonsocket, RI Chan's August 1 Damariscotta, ME Dam Blues Fest August 3 Rockland, ME Time Out Pub August 6 Magnolia, DE Jonathan's Landing August 7 Ellicottville, NY Balloons August 8 Ellicottville, NY Balloon August 9 Wheeling, WV Heritage Music Bluesfest For more information, and a taste of the album in a short video from Victor, please click HERE.  To order dowloads from iTunes  please click HERE.   To order from Amazon, please click HERE.

Direct Hit Records artist: Nancy Wright - Putting Down Roots - New release review

I just received the newest release, Putting Down Roots, from Nancy Wright and it has a nice groove. Opening with pop soul track, Sweet Soul Satisfaction, Wright takes the lead on vocal with Lisa Leuschner Andersen on warm backing vocals. Of course she plays hot sax, a signature that she is well know by. Funkin' It Up, is a smoking instrumental jazz groove with Paul Olguin on bass and Paul Revelli on drums setting the forms for a great sax lead by Wright. Tony Lufrano on keys adds the glue and cementing this cool track in place. Just Can't Put A Finger On It returns to the soul style pop format again joined by Anderson on backing vocals. The track is capped off by some sweltering sax riffs... nice! Driving paced, A Serendipity, has a Motown feel, almost like a Martha Reeves meets Jr Walker. Hot key riffs from Lufrano also add nicely to the track. Instrumental, The Big Queen has a deep throaty sax voice with a New Orleans rhythm section making this funky track one of my favorites. Hush Little Darlin', with it's pop melody, features Wright on lead vocal and Lufrano on keys. Wright adds King Curtis styling and smoke of Soul Serenade curls about the room. Well I'm Travellin' has a definite country/blues twist with Wright taking the lead on vocal but then stepping up with a thick hearty sax solo as well. Kid Andersen rips loose a hot guitar riff to boot. Cool! Grooving Easy has a contemporary smooth jazz feel with a funk bottom and a touch of Cannonball Adderley. Wright shows why she is in demand as a sax musician with her solid riffs on this track. Lovely Pretender has a lot of radio appeal with solid vocals and melody. Nicely articulated sax soloing highlight this track. Gospel styling on Seems I Still Love You, set up by Lufrano on keys, gives Wright an open alley to sing lead vocals paired with LL Andersen. Lufrano's certain piano strength on this track sets it apart. Free wheelin', Boogie For JL, is a fast paced rocker with hot guitar riffs and smoking sax. Another of my favorite tracks, it pay homage to JL Hooker with whom Nancy toured. Sancity In Blue is a sultry sax fueled bluesy ballad with nice key and guitar solos as well. A really nice track to conclude a cool 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”