NEWS: Bobby Rush signs to Rounder; new album 'Porcupine Meat' due out Sept. 16.

BOBBY RUSH SIGNS TO ROUNDER RECORDS; FIRST NEW ALBUM, PORCUPINE MEAT, SLATED FOR SEPTEMBER 16 RELEASE With special guests Dave Alvin, Joe Bonamassa, Keb’ Mo’, and Vasti Jackson, and backing from the New Orleans “A” team, album cements Bobby Rush’s legacy  as blues’ most vital artist of his generation. NPR premieres a track: "I Don’t Want Nobody Hanging Around” Read and listen here.

JACKSON, Miss. — Naming one’s album after a song titled “Porcupine Meat” may seem a little unusual — unless, of course, you’re Bobby Rush, who earned his first gold record in 1971 with a hit entitled “Chicken Heads.” He elaborates on his recent composition:  “If a lady won’t treat me right, but she doesn’t want anyone else to have me, that is hard to digest.” Hence the lyric, “too fat to eat, too lean to throw away.” Porcupine Meat is Rush’s debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016. Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006. Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin’ Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career. Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil’s music. “My daddy never told me to sing the blues, but he also didn’t tell me to not sing the blues. I took that as a green light.” Rush built his first guitar when he was a youngster. “I didn’t know where to buy one, even if I had the money. I was a country boy,” he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush’s band, which featured Elmore James, had a residency at a nightspot called Jackrabbit. During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin’ Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn’t until the early 1970s that Rush finally scored a hit with “Chicken Heads.” More recordings followed, including an album for Kenny Gamble and Leon Huff’s Philadelphia International Label. Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like “Sue, A Man Can Give (But He Sure Can’t Take It),” “What’s Good For The Goose Is Good For The Gander Too,” and” I Ain’t Studdin’ You” became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire. Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. “I outgrew myself,” he says. “I need someone to help in doing the things I can’t do. When you are wearing all the hats, you can’t be everywhere at once.” Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records’ longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since.  “He is the most vital bluesman of his generation,” says Billington. He continues, “There are many people who still don’t know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin’ Circuit — fans stop him on the street in Memphis and Helena and Little Rock.” Porcupine Meat will not only please Rush’s older fans, but is likely to win over many new ones. Billington reflects, “We wanted to come up with something fresh, while staying 100% true to Bobby.” The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes. For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey “Jellybean” Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb’ Mo’, and Joe Bonamassa all make guest appearances on the album. Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as “Dress Too Short,” “I Don’t Want Nobody Hanging Around,” “Me, Myself And I,” “Nighttime Gardener,” “It’s Your Move,” and the title selection, all equal or rival his best material. “Funk O’ De Funk” delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While “Got Me Accused” is inspired by events from Rush’s own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children’s musician) co-wrote a couple of fine selections, “Catfish Stew” and “Snake In The Grass.” Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn’t try to be anything that he is not. “I just try to record good music and stories,” he humbly states.  With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

Forty Below Records Releases Today a Special 2-LP Gatefold Vinyl Version of "John Mayall's Bluesbreakers Live in 1967 - Volume Two"

Forty Below Records Releases Today a Special 2-LP Gatefold Vinyl Version of John Mayall’s Bluesbreakers Live in 1967 – Volume Two

Second Edition of Previously Unreleased Live Recordings Feature John Mayall, Peter Green, John McVie and Mick Fleetwood

LOS ANGELES, CA – Forty Below Records today (July 8) released  a special 2-LP gatefold vinyl version of the second set of previously unavailable live recordings from newly-elected Blues Hall of Fame inductee John Mayall and his classic 1967 Bluesbreakers band, titled John Mayall’s Bluesbreakers– Live in 1967- Volume Two. The new two-LP set, which follows the May 6 release of the set on CD,  continues the archival blues path blazed in Volume One that captures heralded performances of one of the best of the Bluesbreakers band lineups, featuring iconic musicians John Mayall (vocals, keyboards, harmonica), Peter Green (lead guitar), John McVie (bass) and Mick Fleetwood (drums). (“A welcome second helping” – Rolling Stone; “Essential listening” – Blues Music Magazine; “Raw, uncontested power blues.” – Elmore).

Distributed by Sony/RED, John Mayall’s Bluesbreakers – Live in 1967 – Volume Two showcases a legendary group of players who while only together a short three months, created a lasting legacy, made an immense impact on music and led to the formation of one of the most acclaimed groups of all-time when Green, McVie and Fleetwood left to form Fleetwood Mac. Produced by John Mayall (who also did the cover package photography, artwork and design) and Forty Below’s Eric Corne from one channel reel-to-reel original tapes recorded by Tom Huissen, John Mayall’s Bluesbreakers– Live in 1967- Volume Two contains performances recorded in the Spring of 1967 at such well-known London venues as Bromley, The Marquee Club, The Ram Jam Club and Klook’s Kleek. 

“I am so happy that the remaining usable tracks from these London club dates have been released as a follow-up to the well-received Volume One,” says John Mayall about the new album. “Peter Green as before is on fire throughout and this set includes a great instrumental based on his composition, ‘Greeny.’ There are a couple of Otis Rush tracks that were included on the first volume, but they are from different venues and totally different.  I couldn’t possibly let these slide.  Also, there is another version of T-Bone Walker’s 'Stormy Monday’ that is sung by Ronnie Jones, who would frequently sit in at our gigs. John McVie gets in a great bass solo on ‘Chicago Line’ and Mick Fleetwood drives the whole set with his unique and powerful drumming. With these new tracks added to the collection, it pretty much features all the material we had in our repertoire at that time and I’m very glad that you can now enjoy this great piece of rock/blues history.”

Volume Two showcases three John Mayall originals including the opening track, all-time blues classic “Tears in My Eyes;” “Chicago Line;” and “Please Don’t Tell,” a great example of the power blues sound The Bluesbreakers were revered for around the world. These historical performances were captured for all time and largely unheard for almost fifty years until John Mayall recently obtained the tapes and began restoring them with the technical assistance of Eric Corne. Speaking about the tapes, Corne says, “While the source recording was very rough and the final result is certainly not hi-fidelity, it does succeed in allowing us to hear how spectacular these performances are.”

The Bluesbreakers live sets at the time of these performances included songs that had originally appeared on the first two band studio recordings with Eric Clapton and Peter Green, respectively, holding down the guitar chair in the group, as well as some that would soon be recorded for the third LP, Crusade, by which time Green, McVie and Fleetwood had left to start Fleetwood Mac and the new guitar player was a young, then-unknown Mick Taylor, who would later go on to further fame and glory as a member of The Rolling Stones.

Of the new album’s 13 tracks, three are songs that first appeared on Volume One, although these new tracks included here were recorded on different nights and ably demonstrate how improvisational the band could be infusing a different feel and tone from night-to-night. Of particular interest is the inclusion of the version of “Stormy Monday,” which features special guest vocalist Ronnie Jones, a former American serviceman and original member of  the first incarnation of Blues Incorporated, a contemporary band to the Bluesbreakers, which included Alexis Korner, Cyril Davies, Jack Bruce and Ginger Baker during its lifetime. Another highlight is the Peter Green instrumental, “Greeny,” which perfectly states the case for why he is still revered as one of the best-ever guitarists. 

John Mayall’s Bluesbreakers– Live in 1967- Volume Two – Track Listing

Side A

1     TEARS IN MY EYES                                                    7:31

                Mayall/Warner/Chappell Music Ltd (PRS)

2     YOUR FUNERAL AND MY TRIAL                          5:32

                Williamson/Arc Music (BMI)

3     SO MANY ROADS                                                     8:18

           Marshall/Arc Music (BMI)

Side B

4     BYE BYE BIRD                                                                              5:02

                Dixon-Williamson/Arc Music-Hoochie Coochie Music (BMI)

5     PLEASE DON’T TELL                                  4:08

                Mayall/Carlin Music (PRS)

6     SWEET LITTLE ANGEL                                              6:10

                King-Taub/Universal Music (BMI)

7     TALK TO YOUR DAUGHTER                   3:00

                Lenoir-Atkins/BMG Platinum Songs obo Arc Music (BMI)

Side C

8     BAD BOY                                                                      5:08

                Taylor/Conrad Music (BMI)

9     STORMY MONDAY                                                  8:21

                Walker/Gregmark Music-Lord & Walker (BMI)

10   GREENY                                                                        6:36

                Green/Unichappell Music (BMI)

Side D

11    RIDIN’ ON THE L&N                                                                2:22

                Hampton-Burley/Trio Music (BMI)

12    CHICAGO LINE                                                          4:34

                Mayall/ Carlin Music (PRS)

13   DOUBLE TROUBLE                                                    6:35

            Rush/Conrad Music (BMI)

For more information, visit www.johnmayall.com and www.fortybelowrecords.com

Epops Music artist: Mike Sponza - Ergo Sum - New release review

I just received the newest release, Ergo Sum, from Mike Sponza and I really like it. Opening with a R&B flavored Modus In Rebus, Sponza and Ian Siegal share the guitar and vocal spots with a cool texture of swamp and soul. Stinging guitar riffs, nice organ work by Dean Ross and tight rhythm by Mauro Tolot on bass and Moreno Buttinar on drums make this melodic opener a great start. Country blues rocker, Carpe Diem, pushes hard with solid structure and a real nice sax solo by Matej Kuzel. With a good dose of country and simple slices of slide guitar, Penelope has the flavor of Hey Jude, and sweet sax work by Kuzel. A definite radio track with a solid melody, this track is super. One of my favorite tracks on the release, The Thin Line, is a dark, jazzy track with Kuzel on sax, Chris Storr on trumpet and Ross on Hammond, features Dana Gillespie on lead vocal and has nicely interleaved slide work and jazz guitar chords giving it just the right amount of suspense. Very cool! Funky track, See How The Man, continues with pumped up horn work from Storr and Kuzel and a funky guitar rhythm under an almost poetic delivery of spoken lyrics. Very nice! Shuffle track, Poor Boy, is a super showpiece for Siegals's slide work and Ross does an excellent job on piano as well. Driving rhythm and a vocal duet by Sponza and Siegal gives this track a lot of spunk. Kiss Me is a solid foot stomper with solid vocals and a nice interplay between Siegal and Sponza on guitars. Wrapping the release is super soul track, Prisoner of Jealousy. Mustering vocals with Otis Redding intensity, and nicely backed by horns and Rob Cass on percussion, this is a terrific closer for a solid 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”

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Arkansas Street Records artist: Bill Phillippe - Parade - New release review

I just received the newest release, Parade, by Bill Phillippe and it's quite good. This is not your typical blues release...in fact, not sure it's a typical release at all, but it's interesting. In a cool followup to 2014's Ghosts Phillippe set new roads in a sensuous and unconventional way.

Opening with Blues Come Calling, Phillippe, on vocal and guitar, creates an aural street feel joined by Ivor Holloway on clarinet, Swen Hendrickson on bass and Glenn Hartman on accordion. Nicely crafted and melodic, this track is soothing. Folk track, Proper Sorrow is so nicely arranged with Phillippe's vocals backed by a very strong acoustic bass work and weaving clarinet line it's quite enticing. 14th Street, with warm accordion work and clarinet lead gives the track a sense of old Paris. Sensitive writing, vocals and a very strong bass line give this track nice contrast with clarinet overtones. If I Should Lose My Mind is the most straight forward melody on the track but again with sophisticated accordion and clarinet support and great bass. Duke Ellington's Solitude / A Kinder Voice is very subdued with only critical accompaniment. Everything I Have Is Grey, a quiet ballad adheres to a haunting ballad style with really nice bass work and a super clarinet/accordion duet. Little Zion has a more jazzy yet folk approach. Hendrickson really plays a nice bass on this release and his style on this track is outstanding. Balanced with Phillippe's vocals and Holloway's clarinet work, this track is magic. With a 30's sound, Holloway opens Red Beret with clean clarinet work over that solid bass work. Phillippe uses his vocals and guitar work creating a perfect balance of music. Wrapping the release is Tom Waits' Take It With Me, a bluesy number with a nice clarinet intro. Phillippe's vocals are deeper and the track is bathed in accordion. A nicely written and performed release, check it out for a change of pace.



  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”

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BROTHER DEGE HITS THE ROAD FOR WEST COAST SUMMER TOUR!

LOUISIANA BLUESMAN BROTHER DEGE & THE BRETHREN ON TOUR NOW FOR WEST COAST SUMMER DATES!

CLICK HERE TO LISTEN TO A NUMBER OF BROTHER DEGE'S SONGS FROM HIS VARIOUS ALBUMS

BROTHER DEGE & THE BRETHREN 2016 U.S. TOUR DATES:
7/6 SANTA CRUZ, CA - APTOS STREET BBQ
7/7 SAN FRANCISCO, CA - DOC'S LAB
7/9 GRANT'S PASS, OR - G STREET BAR & GRILL
7/10 EUGENE, OR - SAM BOND'S GARAGE
7/11 HOOD RIVER, OR - TRILLIUM CAFE
7/12 PORTLAND, OR - DUFF'S GARAGE
7/13 SEATTLE, WA -  HIGH DIVE
7/14 BAINBRIDGE ISLAND, WA, TREEHOUSE CAFE
7/19 DENVER, CO, 3 KINGS
7/22 TULSA, OK, MERCURY LOUNGE

HERE'S WHAT PEOPLE HAVE BEEN SAYING ABOUT BROTHER DEGE:

"Frankly, every track on the Brother Dege CD could have been in the movie [Django Unchained]. It works and has a badass score sound to it. Almost every song could be a theme song. It’s like a greatest hits album. But this song 'Too Old to Die Young'... it’s pretty damn badass. And it’s used in the movie in a pretty damn badass way, I’ve got to say.” - QUENTIN TARANTINO

 “Fans of slide guitar, Southern gothic, or plain old rock & roll attitude need to run, not walk, and check out Brother Dege ASAP. Brother Dege is a case study in how one guy with a steel guitar and minimal accompaniment can out-rock a roomful of electric bombast, given the right songs, the right skills, and the right voice. Brother Dege has‘em all.” – POPMATTERS

 “[Four Stars] In lesser hands all this might easily sound contrived, but instead it’s genuinely powerful and compelling stuff. 'The Girl Who Wept Stones' and 'Dead & Gone' might have been ripped from the Son House songbook, though the seven-minute epic 'House of the Dying Sun' is the real keeper.” – UNCUT

 “Both ancient and modern, like an indie rock cover of something Lomax may have recorded a hundred years ago.” – BLOGCRITICS

 "... an updated perspective of the age-old Delta blues." - OFFBEAT MAGAZINE

 “Brother Dege brings the ghosts of kudzu-covered swamp rats to life in your speakers.  Find the darkest spot in your backyard, light some candles and turn it up.” – THE BIG TAKEOVER

 “... in the slide guitar Delta blues tradition, but with Legg’s own twist.” – CLASSIC ROCK MAGAZINE