Rik Emmett Video For "End Of The Line" featurimg James LaBrie and Alex Lifeson

Rik Emmett & RESolution9

‘RES 9’

Provogue/Mascot Label Group

Out: 11 November 2016

Teamwork. Collaboration. Connectivity. Solidarity. These are all words that readily describe the thrust of Rik Emmett & RESolution9, who are poised to release their electrifying new album RES 9 worldwide on November 11^th in various formats — including CD, limited-edition red vinyl, and digital download — on Provogue Records, an imprint of Mascot Label Group. “This album represents a journey through my life,” Emmett observes, “and the idea behind a lot of these songs is me trying to figure out who I am, and why I’m doing what I’m doing. There’s a common thread of positivity here that ties into the records I was making 30 years ago. What did I learn from making them? You’ll hear all of that echoed in the grooves of this album.”

Indeed, the scope of the 11 deeply heartfelt songs on RES 9 covers a lot of exciting aural ground, from the out-of-the-gate gallop of “Human Race” (which also features a driving 12-string contribution from Rush guitarist Alex Lifeson) to the testifying tones of “My Cathedral” to the whispering blues of “The Ghost of Shadow Town,” not to mention the cutting-heads guitar duels on “End of the Line” and the touching album-closing bonus track “Grand Parade,” which reunites Emmett with his onetime Triumph bandmates, bassist Mike Levine and drummer Gil Moore. (“Grand Parade” also recalls the distinctive intimate feel of Triumph’s “Suitcase Blues,” which Emmett continues to perform solo to this day.)

The RESolution9 band itself is comprised of Rik’s touring quartet, with Dave Dunlop on guitar, Steve Skingley on bass and keyboards, and Paul DeLong on drums. Dunlop and Skingley also co-produced RES 9 with Emmett. In case you’re wondering where the band name came from, Emmett reveals he always viewed the recording team as a band and not as solo-artist support from the very outset. “We always wanted it to be packaged like a band, so we needed a band name,” Emmett recounts. I didn’t want it to be just Rik Emmett. We liked the idea of using the initials RE for Rik Emmett, so what about a word that starts that way, like REvolution? RESolution was even better, because it’s almost like the Rik Emmett Solution, and the solution to all of my problems is the band! Great! But I thought using RESolution on its own was very ’60s or ’70s, so I said, ‘How about we stick the number 9 at the end?’”

What’s the significance of going with 9, you ask? “Dave Dunlop has a thing about the number 9,” Emmett says. “He plays hockey twice a week, and the sweater he wears has the number 9 on it. His studio is Room 9, and he’s got a tattoo on his right arm that’s the Chinese symbol for the number 9. It’s totally his thing.” With that final numerical addendum, the mighty RESolution9 collective was officially born.

And while Emmett is forever grateful for all of the outside contributions to RES 9, he very much feels that when listeners get to experience the back-to-back soul-kisses of “My Cathedral” and “The Ghost of Shadow Town,” they’ll connect even deeper with his current musical mindset. “That’s the heart and soul of what the album really is for me,” Emmett admits, “because that is me. That’s 2016 Rik Emmett. That’s where I’m at today.”

That said, Emmett is also a strong believer in teamwork, and to him, the overall vibe of RES 9 is clearly reflected in the brotherhood and camaraderie shared amongst all the artists who made this special music together. “You can’t accomplish this kind of project 100 percent by yourself,” Emmett believes. “It takes a lot of things working together to make something like this happen. I come back to the old saying that goes, ‘Success has many fathers, and failure is an orphan.’ I knew that I had to spread it all around. It’s important I keep the guys in my band pretty happy.”

For their part, Emmett’s fellow RES 9’ers couldn’t be happier with the end RESults. “I’ve been working with Rik for over 20 years and we’ve done several records together as a duo, so I knew going in that it would be a good experience,” says Dunlop, who’s also performed with Emmett under the quite fitting name of Strung-Out Troubadours. “Rik is always open to suggestions and is gracious in the space he gives me to play and come up with ideas. He trusts my judgement, so I had endless freedom when it came to creating my parts on the album.”

Concurs Skingley, who also served as the album’s co-principal engineer, “Brotherhood is a good way to describe it. It’s a very unique record in the sense that all of the writing, production, and engineering was kept in-house. It reminds me of a throwback to the ’70s, where bands like 10cc did everything themselves. Here, everything flowed from Rik. Dave and I spent a week of pre-production choosing the songs from his demos and playing them acoustically, making sure everything was solid. We then brought in Paul on drums, and started playing them live in a room together. I recorded each step along the way. It was pretty interesting to listen to the development of each song throughout that process.”

Once DeLong got behind the kit, the unique brand of RES 9 magic was unleashed full-force. “Rik is a great leader in that he allows creativity to take place, always,” DeLong says. “He welcomes input from everybody in the band. This hasn’t always been my experience, so it’s a welcome change — and it made for a lot of fun while we were both rehearsing and recording the material for the album. And the recording was painless! Rik was always very positive about what we were accomplishing, and I think that reflects in the overall vibe of the tunes.”

Nowhere is that vibe more evident than in the lead track “Human Race,” which masterfully sets the positivity table for what’s to come. “I’ve been around the block a few times, and one of the things I like about the lyrics in ‘Human Race’ is when we get to the last verse where it says, ‘I am still this guy. I still live this.’ That’s very true,” Emmett acknowledges. “There’s also a line in there about raising a joyful noise — and I still want to do that too.”

As noted earlier, Rush guitarist Alex Lifeson added some period-perfect 12-string guitar alongside Emmett and Dunlop to buttress the impact of “Human Race,” and he says he found it quite an honor to play with and for his lifelong friend. “When Rik asked me to play on his new album, I didn’t hesitate for a second,” Lifeson reports. “He’s the consummate musician, a wonderful guitarist, and a terrific person, and it’s always my pleasure to work with him any chance I can get. There is a rock purity in his songwriting and performance, and it’s just so much fun to get together and throw ideas around. He’s always so up and open for anything — even a notoriously uncooperative Rickenbacker 12-string!” Dunlop points out the way RESolution9 meshed with Lifeson “stands as a great example of the collective efforts of the brotherhood.”

Another one of RES 9’s honored guests, Dream Theater vocalist James LaBrie, lent his own considerable talents to a pair of tracks, “I Sing” and “End of the Line” (the latter of which also features Lifeson taking the third guitar solo), and he jumped at the chance to record with his fellow Canadian. “I’ve been extremely blessed and fortunate to meet so many great musicians and beautiful people throughout my career, and to have the opportunity to collaborate and record with some of them is really icing on the cake,” LaBrie notes. “What a thrill it was to record with Rik, who is such an incredible musician and overall down-to-earth cool guy.” About the slow-build manifesto of “I Sing,” Skingley enthuses, “James sang his ass off on that song!” Adds Dunlop, “I enjoyed tracking the guitars on ‘I Sing’ the most because I got to go crazy with several layers of guitars — and I also got to channel [Pink Floyd’s] David Gilmour on the outro.”

A fair amount of the album was recorded and mixed at Mississauga, Ontario’s MetalWorks Studios, a location where Emmett, Levine, and Moore (who owns the studio) recorded many of Triumph’s greatest works — and it’s also where the trio convened to tackle “Grand Parade.” Clarifies Emmett, “The Triumph song is a bonus track. That’s the best way to position it. It’s like ‘Suitcase Blues’ [the last track on Triumph’s 1979 million-seller, Just a Game] — or ‘Her Majesty’ at the end of Abbey Road!”

Having Triumph involved on RES 9 to some degree was always on the table. “I play ‘Suitcase Blues’ as the last song of the night in the encore for my acoustic shows. I dedicate it to Mike and Gil and the fact that they gave me the latitude to do the crazy things that I do,” Emmett laughs. “As I was developing the lyrics for ‘Grand Parade,’ I started thinking, ‘Wouldn’t it be great if I could get Mike and Gil to play on it? Wouldn’t that just bring everything full circle?’ One thing led to another, and there we were, recording in MetalWorks. Things just lined up perfectly.”

Levine had a great time in the studio with his former bandmates. “We rocked it up a bit, and Gil made the drums heavier than they were on the demo,” the bassist notes. “Once I paid deeper attention to the lyrics, I really got into the ‘let’s wrap up this late night’ kind of feel to it. I think it turned out really fantastic. I told Rik I felt it was a really cool tune, one that was very personal for all of us. I’m really, really proud of it, and it was great to work with both Rik and Gil on it. It was really neat.”

Moore wholly enjoyed the “Grand Parade” experience. “It was really a pleasure to have Rik and his band at MetalWorks, and getting to see him there every day was just like the old days,” the drummer recounts. “I always liked how Rik was able to bring another dimension and another color palette to what we were doing, and I like the spacious bass and drum tracks we did together. That’s what’s always been in my wheelhouse, as far as my playing is concerned. I’m really happy with how this song turned out. I hope we get to do it again.”

Overall, RES 9 is a spot-on representation of the many facets of Emmett the recording artist. “I was always an eclectic chameleon of a player. I had to learn how to adapt from playing folk guitar to being in a wedding band or a polka band to joining a rock band,” Emmett recalls, “and with RES 9, that chameleon is showing off all of his colors. While there are vintage and retro sounds on the album, it is very much about my currency as an artist. I want this record to be a summation of who I am and what I’ve done as a songwriter, guitar player, and singer — the whole ball of wax.”

Emmett’s ultimate goal for RES 9 is to connect with as many people as possible. “The context of this entire album for me was, ‘Wow, somebody tossed me a lifeline,’” he concludes. “I still want to make positive music and offer people something that’s motivating and inspiring — and I want to do it for myself too. I need music, and music can provide that lifeline for me.” Mission accomplished: “I’ve got a thirst for life,” as Emmett sings on “Human Race.” And you’ll find that thirst being quenched quite handily in the very heartbeats that percolate within all 11 tracks of RES 9. Drink up.

Rik Emmett & RESolution9 – RES 9	Track List	Extra Information
Rik Emmett & RESolution9 is: Rik Emmett - Guitar & Vocals Dave Dunlop – Guitar Steve Skingley  - Bass & Keyboards Paul DeLong - Drums	01. Stand Still 02. Human Race (feat. Alex Lifeson) 03. I Sing (feat. James LaBrie) 04. My Cathedral 05. The Ghost of Shadow Town 06. When You Were My Baby 07. Sweet Tooth 08. Heads Up 09. Rest of My Life 10. End of the Line (feat. Alex Lifeson & James LaBrie) 11. Grand Parade  (feat. Gil Moore & Mike Levine) [bonus track]	Release Date November 11, 2016 Available formats CD, LP and Digital Rik Emmett Online www.rikemmett.com facebook.com/rikemmettnetwork twitter.com/rikemmett instagram.com/rikemmett

Author Marie Trout's New Book, "The Blues - Why it Still Hurts so Good," Set for February 3, 2017 Publication, Explores the Healing Power of Music

Author Marie Trout’s New Book, The Blues - Why it Still Hurts so Good, Set for February 3, 2017 Publication, Explores the Healing Power of Music

All Book Sale Proceeds Benefit the HART Fund

Huntington Beach, CA – Author Marie B. Trout, PhD, wife and manager of blues rock guitarist extraordinaire, Walter Trout, knows the blues. She has also lived with the blues when her husband narrowly escaped death, and was saved in the 11^th hour by a liver transplant. Now, two years after Walter’s astounding recovery, her original academic research of blues fans has congealed with professional and personal experience into a book about the role of blues music to modern audiences, its impact, and enduring power: The Blues – Why it Still Hurts so Good.

Based on a Grounded Theory research study of blues fans, musicians and industry professionals, the book is scheduled for publication on February 3, 2017. To celebrate its release, Marie will appear that same day at a panel on the healing power of the blues (moderated by blues scholar and author Don Wilcock) during the upcoming International Blues Challenge in Memphis, as well as a pre-release party onboard the Rhythm & Blues Cruise in late January.

All proceeds from the sale of The Blues – Why it Still Hurts so Good will benefit the HART Fund, established by The Blues Foundation for blues musicians and their families in financial need due to a broad range of health concerns. The fund provides acute, chronic and preventive medical and dental care as well as funeral and burial expenses.

Advance rave reviews of the new book are already pouring in from musicians and authors:

 “What a monumental discourse into the mysteries and pleasures of the blues and a wonderful addition to one’s library.”

- John Mayall, “The Godfather of British Blues,” Blues Hall of Fame inductee

“Incredible research unearthing things I never knew! Totally captivating.”

– Jim Gaines, multi-Grammy winning producer/engineer Santana, Stevie Ray Vaughan, John Lee Hooker

“This book is wildly, incredibly brilliant. I never knew why I loved the Blues - and now I do. What a fabulous read.”

- Caroline Myss, New York Times bestselling author of Anatomy of the Spirit

Click HERE to read further endorsements/reactions to the book.

After surveying over a thousand blues fans and interviewing others, as well as industry professionals, and musicians, Marie Trout found that beyond providing musical entertainment to its current audience, the blues acts as a good friend that “has your back and doesn’t let you down.” In 2013 and ’14, while working on her dissertation, Marie took care of her, then, gravely ill husband, blues rock musician, Walter Trout. She reflects:

-          I noticed that my academic research and my inner torment at the time intersected. I lived the blues, while studying the power of blues music to its fans today.

In a gut-wrenching and expensive last-ditch effort, Marie moved 1,600 miles away from their Southern California home literally carrying her deathly ill soul mate onboard the plane in order to improve odds of him getting a life-saving liver transplant. They left two teenage sons behind with a caregiver for six months spent in the hospital in Omaha, Nebraska, fighting for Walter’s life.

Marie discovered that emotional pain somehow lessened by blogging about it:

-          The blues community, our friends and family saved Walter’s life and my sanity by offering support, love, and kindness. This community made me feel that I was not alone as I faced constant worry, financial devastation, and endless uncertainty. At my lowest point, fearing ridicule and rejection, I sent my anguish out to the world asking for help in a fundraiser and accompanying blog. That day something changed: when sharing authentically, I was no longer alone in my emotional prison. When others read it, responded, and shared their own stories, I realized that this connection in many ways was similar to what blues fans expressed in my research. They felt connected, and safe to be themselves, when listening to blues music: they felt part of a soul-community.

The notion that human beings bond and find resonance with one another when they hear someone “tell it like it is,” was indeed a primary finding in her studies of blues music fans today. After Walter recovered, Marie decided that this role of blues music to contemporary audiences, along with its transformative musical potential, and many other findings emerging in her research, had not been explored sufficiently in literature.

Today’s blues fans (who are primarily white baby boomers) express en masse that they are encouraged, strengthened, and—yes find healing—through their love of blues music, because it is raw, transparent, honest, and “real.” They simultaneously express their frustration with a culture that is not. In providing context for these findings, Marie explores what historically readied this generation particularly for blues music and its subtle mood-enhancing, cathartic qualities.

The book further highlights how blues is uniquely powerful at expressing paradoxical emotional realities that are difficult to put into words. Involvement with blues offers respite from a mindset has left an entire generation as emotional refugees, feeling that they work hard, follow the rules for engagement professionally and privately, and still often “can’t get no satisfaction.” Marie Trout writes:

-          Blues interaction offers another way of relating in which non-competitive qualities are front and center. Instead of “nail the test, perform, perfect, pretend” – the message is “be yourself, be authentic, connect.”

Showing how blues today still is a universal gift from the base of humanity providing antidote to fast-paced, fragmented, and often superficial popular culture is a story that Marie wishes to tell as another way of honoring the legacy of blues originators.

Walter is now completely cured. He is once again touring the US and internationally with his band, and Marie will donate all proceeds from The Blues - Why it Still Hurts so Good to the HART Fund, serving musicians without health insurance.

-          It is important for Walter and I to give back to the community that literally and figuratively bought stock in Walter’s liver. And to help musicians in need of help, is just passing on what we received. I hope many will find that the book gives them a new appreciation for, and understanding of, blues music. And simultaneously that the funds raised will be a blessing to those who are ill and are currently living the blues.

Click HERE to read a sample chapter of The Blues - Why it Still Hurts so Good.

For more information, EPK, or to order a copy of the book, visit www.marietrout.com

The Blues – Why it Still Hurts so Good will be available for sale in paperback as well as Kindle/eBook on Amazon.com starting February 3^rd, 2017.

Bluescentric Announces Launch Of New Product Lines Featuring Stax and Otis Redding

BLUESCENTRIC.COM ANNOUNCES LAUNCH OF NEW PRODUCT LINES

FOLLOWING OTIS REDDING ESTATE AND STAX RECORDS AGREEMENTS

New Additions Join Iconic Artists Howlin’ Wolf, Bo Diddley And Others

Columbia, MO --- Bluescentric.com, the shop for Blues, Soul and Rock ‘n Roll, has announced new product lines following a recent agreement with the estate of Otis Redding, alongside deals with Stax, Concord, and Delmark Records.  These indelible, iconic brands join Howlin’ Wolf, Bo Diddley, Johnny Winter and others as part of the Bluescentric family.  The expanded retail website now carries over 500 unique, officially licensed music and band t-shirts, apparel, gifts and accessories for musicians, music lovers and vinyl enthusiasts.  Since 2009, every item the company has delivered to the consumer has emanated out of the corporate headquarters in Missouri.

Bluescentric.com carries sizes small through 5XL in a variety of colors and vintage styles, big & tall, all weather, women’s and children’s options.  New arrivals include music-themed merch and gifts like vinyl record coasters, socks, neck ties, guitar spatulas, vinyl record totes, guitar pick punches, unique hats and more.  New product is continually being added for Christmas.  Every sale from officially licensed merch is paid directly to the artist estates.

CEO Magazine’s 2016 cover story on Bluescentric describes a music-filled company that “schedules business meetings at a local BBQ restaurant rather than a boardroom... going to festivals is part of market research, and considers a turntable and guitar picks as important as pen and paper.”  Chief Executive Officer Matt Marshall offers, “The company budget includes an expense account for vinyl records.  We’ve been excited to work with culture-changing artist estates and labels that represent hundreds of gold records, dozens of #1 hits, and some of the best music ever recorded.  The company’s mission statement is and always has been to connect music fans with authentic, quality merch in the digital age that actually benefits the estates in a meaningful way.”  

To keep the impact on the stage not the landfill, 100% of shipping packaging is recyclable. All orders are packed and signed off on by human hands, while customer service is second to none, available by phone and email.  Visit Bluescentric.com to discover the full line of merchandise which includes Otis Redding, Stax Records, Volt Records, John Lee Hooker, Howlin’ Wolf, Bo Diddley, SHAFT, Johnny Winter, Delmark Records, Junior Wells, and more here: www.bluescentric.com

All Aboard! Acclaimed Blues Singer/Guitarist Colin James to Perform on the 18th Edition of the Canadian Pacific Railway’s Holiday Train with Stops Throughout the U.S. Midwest

Acclaimed Blues Singer/Guitarist Colin James to Perform on the 18th Edition of the Canadian Pacific Railway’s Holiday Train with Stops Throughout the U.S. Midwest

TORONTO, ON - Six-time Juno Award-winning singer/guitarist/songwriter Colin James, whose new CD, Blue Highways, was released on October 14 via True North Records, will perform on the 18^th edition of the Canadian Pacific Railway’s Holiday Train that has stops planned throughout the U.S. Midwest during the first two weeks of December.

“Since I was a child I’ve always been romantic about the railway,” says Colin James. “Spending a couple weeks on a train and pulling into some of these idyllic towns will not only be a new experience for me, but a fantastic way to ring in the Christmas season.”

At each stop on the Holiday Train’s schedule, the beautifully decorated and lighted train pulls up and one side of a box car opens to reveal a music stage with the band ready to entertain the crowds who flock to see it each year and also bring along food to donate to local food banks. Besides Colin James, all Holiday Train stops in the US will also feature Canadian country music artist Kelly Prescott.

The Holiday Train has become a highly-anticipated annual rite of passage for families all along the route stretching from Canada down to the United States & brings together children of all ages to celebrate the season, bringing joy and goodwill as swell as supporting local community food banks and raising awareness. At each stop along the way, Colin James will perform a 30 minute set of music that includes both holiday favorites as well as his own songs.

To watch an informative video about the Holiday Train click here: https://vimeo.com/150278345

As in years past, two trains will operate coast-to-coast under the Holiday Train banner, with approximately 150 shows held in November and December. The train that operates primarily through the U.S. will launch in the Montreal area on Nov. 25, while the all-Canada train's first shows will come a day later, also in Montreal. The U.S. train will complete its final shows in Saskatchewan on Dec. 15, and the final show of the tour will take place Dec. 17 at Port Coquitlam, B.C.

"We are very excited about this year's CP Holiday Train and are encouraging all event attendees to bring healthy, nutritious food items to the shows," said Pam Jolliffe, Interim Executive Director, Food Banks Canada. "For the last two decades, CP has played an integral role in raising essential food for the holidays and in raising awareness of hunger-related issues." ​

Every pound of food and dollar raised at each stop stays with the local food bank to help feed those in need in that community. 

Colin James’ new CD, Blue Highways was co-produced by Colin and Dave Meszaros (Wake Owl, Old Man Canyon) and recorded at The Warehouse Studios in Vancouver. The new album pays tribute to some of Colin’s long-time blues idols, including Howlin’ Wolf, Jimmy Reed, Freddie King, Jr. Wells,  Buddy Guy, Peter Green, Robert Johnson and William Bell to name a few.

Busted Flat records artist: The Vaudevillian - Bringing Satan Down - New Release Review

I just had the opportunity to review the most recent release, Bringing Down Satan, from The Vaudevillian and it's quite interesting and enjoyable. Opening with blues infused, Broom Shooter, Jitterbug James on vocal and guitar, Piedmont Johnson on vocal and bull fiddle and Norah Spades on vocal, kazoo and washboard this band lays it down. Rag time, James Street Turnaround is a quick paced great animated track with a great beat. Sweet Honey Thighs is bound to be a crowd favorite with it's suggestive nature and cool beat. Johnson's bass lines and random punctuation makes this track sing. Country style blues, Sail Away, with it's authentic period vocals is driven by James' guitar rhythm and Johnson's bass solo is really cool. Dry Bone Shuffle is a fast paced blues number, think Blind Blake, with hot bass riffs. One of my favorite tracks on the release this track cooks. Cool blues track, Goin' To German features some real interesting whistling techniques with a solid guitar rhythm. Grind So Fine is another real nice rag with a super lead and backing vocals. With banter between James and Spades, and cool banjo/guitar work, as well as keyboard work makes this another of the top tracks. Easy stepper, The Duck's Yas Yas Yas has a really nice nice keyboard work and lead kazoo and again, nice bass work by Johnson. Bootlegger's Blues is a real nice Piedmont style number showings James' fluid finger work. I particularly like the vocal blending on the chorus of this track. Wrapping the release is title track, Bringing Satan Down, with it's sultry, kazoo lead intro. Unusual vocal techniques serve to even more date the style of the music. The band really has it rocking on this one with super guitar riffs, bass lines and of course kazoo. This is a really cool release with unusual sounds and nice grooves. Give it a shot. It isn't for everyone...but it is cool.



  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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Al Lerman - Slow Burn - New Release Review

I just had the opportunity to review the latest release, Slow Burn, from Al Lerman and it's quite entertaining. Opening with a modern shuffle, Don't Push Your Mess On Me, Al Lerman takes the lead on vocal, guitar and harp backed by Omar Tunnoch on bass, Bucky Berger on drums and Jana Reid on vocals. A cool track with a memorable melody, nice opener. On It Takes Me All Night Long, Lerman backs it off a bit with an easy pace. His harp work is smooth and soulful complimenting his vocals nicely. With a light Latin flair, Bad Luck Blues, has a pop sound with Lance Anderson on piano. Lerman steps up with a harp solo with crisp tones giving the track a shot of blues. Gonna Have To Wait is a definite radio track with a catchy hook and solid bones. Rocker, Now That Your Man's Gone, has a real nice southern kind of R&B feel with a guitar hook. This is one of my favorites on the release with just the right groove. With a New Orleans kind of feel and a stumble rhythm, Totally Out Of Whack, is really tight. Lerman's vocals are point on and his harp work works really nicely with Anderson's piano, Fraser's bass and particularly clever drum work by Al Cross. Easy flowing, Younger Than Me, is one of the bluesiest tracks on the release. With sparkling piano work by Anderson, soulful harp by Lerman and warm guitar chords, this track is the spot. On rocker, Any Way You Want, Lerner steps out a bit on guitar with some cool double stop licks and duet vocals give it a cool feel. Country blues style, Better Off Taking Chances, has a Randy Newman sound with it's dusty drums, lyrical delivery and casual delivery. Very cool. Kokomo Arnold track Kokomo is a solid blues driver with a super Chicago style. Lerman sits in the groove with his vocals and tops it off with some real nice harp playing. Wrapping the release is instrumental title track, Slow Burn with a more delta style... tasty guitar and harp. Very nice conclusion to 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”

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Coffee Street Records artist: Lew Jetton & 61 South - Rain - New Release Review

I just had the opportunity to review the newest release, Rain, from Lew Jetton & 61 South and it has a cool groove. Opening with contemporary blues number, Who's Texting Me, Lew Jetton has the mic and p[lays lead guitar. Backed by Erik Eicholtz on drums, Dan Bell on organ and guitar, Alonzo Pennington on guitar and James Sullivan on bass this track moves. Cool rocker, Move On Yvonne, is a great track with it's bass line and Jetton's vocals balanced with harp work by J.D. Wilkes. I also really like the piano work by J. Solon Smith and the soulful vocals of Miranda Louise. Excellent! Melodic, R&B track, Lay Me Down, is a definite radio track with smooth vocals and a catchy hook. James Sullivan takes the bass and Sam Moore steps up on guitar for a solid track. With the spark of a revival tent, Glory Train, has you up and hopping. With country pickin' by Pennington and Jetton and terrific backing vocals by Louise, this track is super. On John Hiatt's Feel's Like Rain, Bell creates a smooth organ bed for Jetton's soulful vocals and Moore and Jetton lay down some real nice guitar riffs giving the track a soothing feel. Very nice. On country rocker, Done Done It, Jetton is about as stripped down as it gets making a cool track with all the basics. His guitar soloing is kept simple and his vocals straight down the line...like a rocker should. Sandy Lee is a really cool blues track with vocal style of a Mississippi delta bluesman with only some basic polish, a slick glistening piano solo by Smith and solid bass and drums by Otis Walker and Eicholtz respectively. Loping blues rocker, Keeping Me Awake, opens it up a bit with some hot guitar riffs by Pennington and Jetton over a solid walking bass line by Walker. Smith steps up again with some real nice piano work making this one of my favorites on the release. Wrapping the release is Allen Toussaint's It's Raining. Stylistically done with Smith on piano, Jetton's vocals are pure and warm.



  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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JAC Records artist: Lee Delray - Brand New Man - New Release Review

I just had the opportunity to review the most recent release, Brand New Man, from Lee Delray and it's got guts. I don't mean it is doing something gutsy, but that it is rugged and guttural... yeah...cool! Opening with Blues rocker, Meet My Maker, Lee Delray is upfront and leading the charge on lead vocal and slide guitar. Backed by Scott Ward on bass and Ken Conklin on drums these guys have a take no prisoners attitude. Very cool. Classic blues track, I'll Play The Blues For You, maintains it cool funky groove but has a fresh new appeal. Delray's vocals are super and Ward's bass line is spot on. Delray's guitar soloing on this track is spontaneous and really bluesy. Showing a scorching hot rock attack, Blues Came Callin' has a cockiness that is hard to ignore. Delray's call and response vocals and guitar riffs are solid and effective. Lively R&B track, Love Line, puts me in mind of a terrific track by Tyrone Davis and this track is every bit as effective. Melodic guitar runs by Delray give the track just the right amount of spank to give it a rock edge. I really like the approach on Cookin' In My Kitchen, a slower blues number with references to Robert Johnson's track. With warm jazzy chords under the melody and sassy vocals leading the way, Ward and Conklin create the tension as Delray dances through on guitar and vocal. Very nice! Elmore James style track, Hollar, is one of my favorite tracks just because of it's Hound Dog Taylor style rawness. With fat slide work and an easy blues tempo, this track kicks ass! Shuffle track, Gotcha, has a real nice feel with tight guitar riffs swinging back and forth between blues and rock n roll. Excellent track! With it's framework coming from Junior Wells but with an overlying rock feel, Mine All Mine is an interesting blend of blues and rock. The rhythm guitar riff anchors it in the blues and the vocals and lead guitar take it for a walk. Very nice. Ballad, Yesterday's Tears, ventures into country territory with it's quiet demeanor, simple rhythm and the quiet harmonica work of Mike "Sweetharp" Smith and acoustic guitar work by Lenny Hayden. Delray lays out a real sweet melodic guitar run in the track giving it additional traction but it is the radio track on the release. Wrapping the release is Son House's Grinnin' In Your Face, performed by Delray totally acapella. It starts off in a distance and then becomes more clear and current as it grows. This is a cool track to conclude the release which draws an interesting parallel between the traditional and the contemporary.



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Man Of The World - The Peter Green Story

Man Of the World - The Peter Green Story coming to home video on November 18th The incredible story of the man who formed Fleetwood Mac

After replacing the legendary Eric Clapton in John Mayall's Bluesbreakers, Peter went on to form Peter Green's Fleetwood Mac, one of the most successful bands to come out of Britain in the 60's. Peter's genius on the guitar was matched by the songs he wrote including Black Magic Woman, later a huge debut hit for Santana, and the supernatural and sublime instrumental Albatross, as well as the classic Oh Well. The film traces that early success, explores Peter's drug use and his eternal spiral into schizophrenia. The film also examines how the treatment he received (Electroconvulsive therapy or ECT) prolonged his illness and extended absence from the music scene. The story continues with Peter's fragile mental and artistic recovery, his return to the recording studio and live music scene in the mid 1990's that saw his most positive creative output for many years. It portrays an artist who has now come to express his feelings, not just through the guitar music he still loves, but also his art and photography. The film contains extensive and rare archive footage of live and studio performances, stills and original in-depth interviews with Peter Green, Mick Fleetwood, John McVie, Mike Vernon, (legendary producer of the original Fleetwood Mac "Blue Horizons" albums), Noel Gallagher, John Mayall, Dennis Keane (road manager), Martin Celmins, (Peter's official biographer), Carlos Santana, Jeremy Spencer, (the original Fleetwood Mac guitarist) and many others who were fortunate to work with or know this extraordinary Man Of the World. The DVD can be ordered at the MVD Shop or on Amazon Product Details Format: DVD SKU: MVD9484D UPC: 760137948490 Street Date: 11/18/16 PreBook Date: 10/14/16 Label: HENRY HADAWAY ORGANIZATION » Genre: Pop/Rock Run Time: 150 mins Number of Discs: 1 Audio: STEREO Year of Production: 2009 Director: Steve Graham Producers: Steve Graham Actors: Peter Green, Mick Fleetwood, Noel Gallagher, John Mayall, John McVie, Carlos Santana Box Lot: 30 Territory: NORTH AMERICA Language: English # # #

VizzTone Label Group artist: Austin Young Band - Not So Simple - New Release review

I just had the opportunity to review the most recent release, Not So Simple, from the Austin Young Band and it's quite good. Opening with Take Me Away, the Austin Young Band establishes firm footing in the blues based rock world. Featuring Alex Goldberg on bass and Forrest Raup on drums Austin Young has the lead guitar and vocal role and handles it readily. With a solid bottom and especially crisp drums, Young's guitar work is fluid and inventive and his vocals nicely done. Barren Road Blues has roots in Hendrix with an edge of Living Colour. Well written and performed, I really like this. Funking it up a little bit and with the addition of horns, Something More, is a real mover. Young's guitar shows rich tone and his lines are clean and clear. Building steam and they roll this track hits hard. Title track, Not So Simple, is a bluesy ballad with a great melody. Destined to be one of the crowd favorites on this release, Young's vocals are gripping and his guitar lines bluesy and heartfelt. Very nice. Sets Me Free has a casual "Beast of Burden" feel and is likely the poppiest track on the release. Shuffle track, Heal My Heart, cranks up the horns, ramping up the bluesy swing features of the track. Young's guitar phrasing resembles Clapton quite a bit with concise compact concepts. Letting Go puts me in mind quite a bit of Golden Earring with it's driving rock bottom. Blended vocal harmonies are rich and warm and Raup's drum work is especially cool. Moving On has the smart feel of a well written Steely Dan track with smooth vocals and a bright jazzy tempo. Very nice. Mountains On Fire is a bluesy ballad with soulful vocals by Young. With considerable musical tension and emphatic drumming under cool bass lines, Young soars on his strat with stinging intensity. Free has a progressive edge with an irregular but contagious bass line. A solid rocker, this track really shows off Raup's drum work. Nice . Instrumental, Whirlwind has the bite of Mountain with a taste of Focus and Edgar Winter. Goldberg bass work on this track is particularly solid and Raup's drum work super. Young takes the track to another level with his guitar solo as the band amps up the pressure. Smokin! Wrapping the release is acoustic number, Angel Flying Home, a quiet, nicely written track with a memorable melody and lightly accompanied with melodic guitar soloing over the body. A nice conclusion to a really cool release.



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Provogue artist: Eric Johnson - ej - New release review

I just had the opportunity to review Eric Johnson's newest release, ej and it's quite special. An all acoustic release with acoustic guitar and piano it is a different side of Johnson. Opening the release is an instrumental cover of Simon and Garfunkel's Mrs. Robinson. Solid and very ornately adorned, a beautiful track. Somber ballad, Wrapped In A Cloud features Johnson of vocal, piano and acoustic guitar with strings. A very nice track outside of what you would traditionally think of with Johnson. Once Upon A Time In Texas is a curious, adventuresome, guitar interlude with a lot of dynamics and almost Spanish accents. Very nice. Jimi Hendrix's One Rainy Wish has the introspective melody of Hendrix with it's complexity but with a totally new twist. Johnson has successfully take it to a new place with new dynamics. Very nice. One of my favorites on the release is the classically structured, Serinidad, with it's chord bases and jazz like lead. Very special indeed. Les Paul's The World Is Waiting For The Sunrise is a super guitar duet with Doyle Dykes and it literally really runs. A fine blend of gypsy styling, country jazz and pure Les Paul style, this track is a shining star. Simon and Garfunkel's Scarborough Fair, gets a more classical styling with piano and solid vocals. One of the best vocal outings on the release. Wrapping the release is Song For Irene, an intricate acoustic piece with cleanly articulated melodic runs. A nice conclusion to an interesting direction for Eric Johnson.



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VizzTone Label Group artist: Nancy Wright - Playdate! - New release review

I just had the opportunity to review the newest release, Playdate!, from Nancy Wright and it's smokin! Opening with funky, Why You Wanna Do It, Wee Willie Walker takes the lead on vocal and Nancy Wright really sails on sax. Joe Kyle Jr. sets the pace on bass with some heavy lines and J. Hansen's drum work is tight. Excellent opener! On Willie Dixon's I Got What It Takes, Kyle again sets a strong bass line and Tommy Castro brings a real nice guitar solo. This track is in the groove and Wright delivers a great sound on sax backed by Tom Poole on trumpet and Faris Jarrah on trombone.Yes He Do is a great swinger with Victor Wainwright really taking control on piano. Wright takes it higher and the two hit it out of the park. Super. Eddie Shaw's Blues For The Westside is an absolute screamer with Wright really digging in. Chris Burns' piano work on this track really stands out and Joe Louis Walker stands tall with soulful guitar riffs fluidly added throughout as well as featured in solo form. Really tasty! R&B track, Been Waiting That Long features Frank Bey on lead vocals and with it's swampy beat martin Winstad adds cool percussion to an already gritty track. Wright really squeezes the horn on this one getting it to squeal. The thoughts of Jr Walker come around as Trampled blows from Wright's horn with Kid Andersen echoing the guitar retort and Jim Pugh showing his stuff on organ. Very cool. Satisfied has a distinct revival/gospel sound with the Plymouth Church of Jazz and Justice Choir bringing up the chorus. Wright sails on sax backed by Chauncey Roberts on tambourine and handclaps. Another track with deep funk, Warranty, features Terrie Odabi on lead vocals. This track is so well crafted it is likely to get strong airplay across a number of stations. Andersen sets in some real nice guitar riffs and Wright crafts a hot sax solo giving the track real heat. New Orleans flavored, Cherry Wine, has super cool drum work and Lisa Leuschner-Andersen brings cool backing vocals. Wright down right swings it when she comes in for her solo taking it to the house. Instrumental, There Is Something On Your Mind, is a great blues track with Wright really winding up her sax and Mr Elvin Bishop answering with Red Dog on slide. This track has Bishops name written all over it and Wright really knows how to stack these cards. Excellent! Mike Schermer takes the lead on guitar on the swinging, Back Room Rock. Burns and Kyle really get the track cranking and Wright seals the deal with fat sax work on this one. Wrapping the release is laid back, Soul Blue, with Wright and Chris Cain setting the stage. Cain's guitar work cuts like a hot knife, searing through the horns and keyboard work giving the track a relaxed but crisp sound. Burns takes a real nice piano solo leading up to Wright tying everything up tight with her final chorus. This is an excellent release with plenty of blues for everyone. Check it out!



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Isaiah B Brunt Music: Isaiah B Brunt - A Moment In Time - New Release Review

I just had the opportunity to review the most recent release, A Moment In Time, from Isaiah B Brunt and it's refreshing. Opening with Still Waiting, Isaiah Brunt takes the lead on vocal and guitar backed by the cool piano work of Mike Lemmier, bass by George Porter Jr and drums on Doug Belote. The horn section featuring Jeffrey T Watkins on sax and Ian E Smith on trumpet and trombone really give the track a taste of New Orleans. Singing The Blues has a bit more of a contemporary pop track with solid horns and piano backing. Sarah E Burke adds nice backing vocals and the lap steel work of Brunt is very textural. Vocal phrasing by Brunt on That Place On The Road really reminds me a bit of Jim Morrison, the lizard king and Smoky Greenwell adds harmonica work, giving the track more color. Lost Jacket Blues has a straight up 12 bar drive but the horn section pumps it up giving it a hotter feel. A nice sax solo by Watkins gives the track more sparkle. Funky track, May I Dance With You, has a cool rhythm with riding B3 work by Lemmier on the top. Burke's backing vocals are a real treat and Brunt's guitar work trading with Watkins results in a super funky sax solo. Very nice. Travel Back In Time is a really cool track featuring Tuba Steve driving the train with his Sousaphone work. James Evan's excellent clarinet lines give the track a real feel of New Orleans, accented by the drum style of Belote and the horn punctuation by Smith and Watkins. Boogie track, Party Late All Night, keeps it low key relying mostly on Brunt's vocal lines but with a swinging sax solo by Watkins. Wrapping the release is title track, A Moment In Time, a quiet ballad with nicely blended vocals with Burke. The addition of David Stocker on Mellotron and the slide work by Brunt gives the track a particularly smooth soothing feel.



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JBR Records artist: James "Buddy" Rogers - By My Side - New release review

I just had the opportunity to review the most recent release, By My Side, from James "Buddy" Rogers and it's strong! Opening with Come Back To Me, a solid blues number with a super lope, Rogers had the lead on vocal and guitar establishing firm ground. With Freddie king like riffs and with solid backing from Slammin Mike Wedge on bass, James Hollywood Badger on drums and Lewis Stephens on keys, this is a great opener. On title track, By My Side, Rogers shows a smooth R&B style and his vocals are soulful and fitting. Stephens key board work is bright and clear nicely surrounding Rogers vocal phrasing. Very nice. On rocker, Can't Get You Off My Mind, Rogers had the solid drive of Chuck Berry but doesn't use and stereotypical riffs. His charge is direct and tight. Sweet ballad, You Belong, has an almost Eric Clapton feel with fresh, electric guitar riffs playing under the melody. Don Nix's Goin' Down is up next with a mix of Jeff Beck and Freddie King attacks. Rogers' guitar approach is new and interesting and the track still sounds fresh and compelling. Another blues rocker with a serious attitude, Hell To Pay, has a great swagger. Rogers plays his riffs prudently and with intent. Pop rocker, Runnin' is a cool track with a catchy hook. Albert King like guitar riffs (or Stevie Ray if you prefer) gives this track plenty of sting. Simple ballad, You & I, is quiet and radio geared. With it's solid melody and easy vocals, this track has all the elements of a hit. Am-Ola-Dora is a really cool and funky instrumental track that I'd say has a Freddie King beat. With it's bluesy, funky 60's, organ driven, Latin rhythm, this track soars. One of my favorite tracks on the release, this track is just too cool. Wrapping the release is another radio style track, Change, in the style of Peter Frampton. Nice melody, acoustic in nature with solid vocals, this track is a perfect closer.



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Flood Plane Records artists: Holly Hyatt and Jon Burden - Shufflin' The Blues - New Release Review

I just had the opportunity to review the most recent release, Shufflin' The Blues, by Holly Hyatt and John Burden and it's polished and precise. Opening with a shiny cover of Muddy Waters' Blow Wind Blow, Holly and Jon trade lead vocals as Holly walks her bass and Jon stretches out on his electric guitar backed by Marvin Walker. Next up is Memphis Slim's Mother Earth Blues with a rich, warm cover. I like this track and the duo does a real nice job making it their own with cool riffs by Jon and solid bass work by Holly. Let's Boogie is a cool rocker with a classic feel. Holly sets a nice groove on bass and Jon's guitar tone is clean and smooth. Steppin' blues, Lowdown Blues, has a clean, almost pop sound with a light drum dusting and and country tweaked guitar riffs. Cool. Robert Johnson's, Come On In My Kitchen, is my favorite track on the releae with really nice slide work and beautiful use of Holly and Jon's voices in call and response with a gospel feel. Excellent. Jazzy blues, Get Your Own Man, feels to me like a silky Pride and Joy with some of Holly's fines vocals on the release. Left Handed Soul is actually a real cool track with clever lyrics. Jon's vocals put me in mind quite a bit of the late Smokin' Joe Kubik and his blues guitar riffs are stylistic and cool. Acoustic track, Black Crow, has a totally different feel than most of the release highlighting Holly's vocal styling nicely. Quirky but I like it! Wrapping the release is shuffle track, Slushy Blues with it's walking bass line and brushed snare. Holly has the vocal lead and Jon steps out nicely on guitar for a nice conclusion to a different kind of blues release.



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