The Groove: Jul-Aug 2016

The Crossroads Blues Society Newsletter

The

GROOVE

2016 Crossroads Blues Festival an EP to their credit and perform at over 250 events each year. We are pleased to feature them at our festival! Reverend Peyton is on at 8 PM.

Reverend Peyton’s Big Damn Band

Time surely flies. It seems like the festival is so far away and then suddenly it’s upon us! August 27th is rapidly approaching and our Crossroads Blues Festival at Lyran Park will be here before we know it. It’s our 7th Annual event!

It was a fateful day in Byron on August 29th in 2010 that we began this adventure and now with 4 festivals conducted there and another 2 at Lyran Park we have had over 10,500 people attend these events. We are hoping for

2,500 to 3,000 attendees for our 7th annual event!

We have top notch entertainment this year. Reverend Peyton’s Big Damn Band is a favorite with hill country blues fans who love to put on their dancing shoes and rock out to a good time! It’s a blend of R.L. Burnside, country and modern blues. The band from Brown County, Indiana (living in a rural area north of Nashville, Indiana, and south of Bean Blossom), has 8 CDs and

At 6 PM, we have the great soulful sound of Tad Robinson. Born in New York City, Tad attended IU’s music school in Bloomington Indiana, and then settled into Chicago’s blues scene with Dave Specter’s band and then went out on his own. Now lving in Indianapolis, Tad has been recently nominated for both a 2015 Blues Music Award and Blues Blast Magazine Music Award for his outstanding vocals and recording.

We work hard to bring you the best music all year long; the blues are alive in Rockford and the surrounding area due to our efforts. Come out and support live music in Northern Illinois!

2016 Crossroads Blues Festival Lineup 

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Tad Robinson

Crossroads Summer of Fun Our 2016 Summer of Fun is anchored by our 7th Annual Blues Festival on August 27th. June 25th kicked things off with Mark Hummel and the Golden State-Lone Star Review at the Mendelssohn PAC (see page 3) and continues in July with the Braille Blues Daddy Bryan Lee on July 16th at Sinnissippi Park!

July-August 2016

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Reverend Peyton’s Big Damn Band: from Southern Indiana this hill country blues band is getting people on their feet and dancing to their groove!

Tad Robinson: the soulful sweet sounds of Tad Robinson delight blues fans across the globe!

Ghost Town Blues Band: we will be jamming’ and groovin’ to the swingin’ sounds of this exciting young Memphis band!

Joanna Connor: the mistress of the slide guitar, Joanna is one of the world’s finest slide players and will give us an energizing show!

Flaming Mudcats: The top blues band from New Zealand graces our stage; they play authentic Chicago blues all the way from Auckland!

Birddog and Beck: between acts we have our Solo/Duo Blues Challenge winners who will delight our crowd and conduct the harp workshop!

Inside this issue: News Music Reviews Playlist, Members Membership Application Upcoming Events

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The Groove- Crossroads Blues Society Newsletter

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Crossroads Blues Fest Offers Diverse Lineup her regular shows at Nino’s over the years and look forward to hearing her in Rockford once again. Her 2014 YouTube video from the North Atlantic Blues festival went viral on the internet and her shows are as hot as they ever were. She is one of the guitar greats!

Ghost Town Blues Band Continued from page 1...

Tad played to a full house at the Hope and Anchor back in February and we look forward to seeing and hearing him again!

The 4 PM time slot features Ghost Town Blues Band from Memphis, TN. Their website says it all, “Beale Street’s latest success story, 4-time 2016 Independent Blues Award Nominee, BBMA 2015 Nominee for “Best Blues Band” and 2014 International Blues Challenge Runner-up is Ghost Town Blues Band. Not your grandpa’s blues band, their live show has been captivating audiences in the U.S. and Canada with a second-line horn entrance, cigar box guitars and electric push brooms to Allman Brothers style jams and even a hip-hop trombone player... Both Preston McEwen behind the drums and Matt Karner on the bass guitar are a punishing rhythm section behind multi-instrumentalist/frontman Matt Isbell with raunchy cigar box guitar licks and raspy "Dr. John-like, whiskey and gravel-soaked vocals." With the addition of Trombonist Suavo Jones, Jeremy Powell on keys and Taylor Orr on lead guitar, the grooves go from funky to "funk-nasty" as the band gains more notoriety in the blues festival and jam circuit.“ The mistress of the slide guitar Joanna Connor is on at 2 PM. We miss her from

Opening the day at noon are more of Crossroads friends from the other side of the globe. This time it’s New Zealand instead of Australia with the Flaming Mudcats returning to the US for a tour and we are happy to see them again! Opening our first Field of Blues festival on 2013, these guys brought down the house and and fans enjoyed them so much that when we heard they wanted to come back we signed them up! The band is led by Craig Bracken on vocals and harp, guitarist Doug Bygrave and a backline of Ian Thomson on drums and Sean McCarthy on bass. They are a great swinging blues

The Flaming Mudcats

in the true Chicago blues tradition!

Between acts we are featuring Birddog and Beck, which is Ken Olufs on harp and Martin Beck on keys. Both are superb vocalists and they represented Crossroads in Memphis in the 2016 IBC after winning our 2015 Solo/Duo Blues Challenge. Ken will also host our annual harmonica workshop with free harps to the first 25 kids who come. Adults who need harps can buy one at cost ($5).

2016 tee shirts in black and purple will be $15 each or two for $25. we may have some other specials, too.

Joanna Connor

See you on August 27th!!!

Crossroads Blues Festival Advanced Ticket Locations Ticket locations are listed below and are available online at crossroadsbluesfestival.com. $5 advanced tickets to our festival are available here: Rockford: Woodman’s Supermarket (Perryville) Culture Shock (Charles St) Guzzardo’s Music (Charles St) Smokehouse BBQ (Harrison & S. Main) CD Source (State St Downtown) Toad Hall Records (Broadway) Just Goods (7th St) Lyran Club (4th Ave) Loves Park: Hope and Anchor English Pub (N. 2nd St) Machesney Park: Pig’s Mind Brewery Freeport: Christy’s Bar Beloit: Paradise Guitars Byron: Snyders Drugs Felker’s Market Oregon: Snyders Drugs Winnebago: Snyders Drugs You can send a check and a SASE to Crossroads Tickets, PO Box 840, Byron, IL 61010. Orders one week prior to the fest will be held at the gate at Will Call.

July-August 2016

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Mark Hummel and the Golden State-Lone Star Revue

About 90 lucky people were at the Mark Hummel show and enjoyed what had to be the hottest single live music event in Rockford! Mark on the harp, Little Charlie Baty and Anson Funderburgh on guitars, RW Grigsby on bass and Wes Starr on drums made for a fantastic night as the Golden State-Lone Star Revue knocked everyone dead!

Hummel’s harp and vocals showed his outstanding showmanship and ability as a

front man. Baty’s swinging West Coast guitar style was perfectly complimented by Anson’s Texas Tornado. RW and Wes may live in different states now but they have teamed up since high school and may be one of the world’s best backlines!

From the opening chords to the final note, the show was amazing. It was a very hot evening in Rockford outside and the heat from the show made it figuratively even more blazing inside.

Crossroads thanks Mark and the band for a great event and we hope they pass our way again soon! It does not get any better than this show; if you missed it then shame on you!

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones sub_insignia@yahoo.com Vice-President: Bill Graw williamjgraw@gmail.com Secretary: Bonnie Fox bonitafx@gmail.com Treasurer: Terry Keller terry@markpack.com Board of Directors: Denny Barker harkthebark@mchsi.com Rick Davis rick_davis_937@comcast.net Bob Haendler rhaendler@comcast.net Ken Pearson cntrylivng@aol.com Rick Hein mrrickhein@sbcglobal.net

The Groove- Crossroads Blues Society Newsletter

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Hot Fun in the Summertime Continues!

Bryan has been performing for 60 years now. His great style of blues has spawned many an imitator.

Opening for Bryan at 5 PM is none other than our own Justin “Boots” Gates, the 16 year old guitar and harmonica wizard!

Rain will not deter us – we move indoors to the Mendelssohn PAC if the weather looks threatening.

Other non-festival blues and other live music events will once again be featured at the Bandshell in Sinnissippi Park at 7 PM on Thursdays courtesy of the Rockford Park District: July 7: Fresh Hot Fritters July 14: Artists Ensemble July 21: Blooze Brothers July 28: Mason Rivers Country Band August 4: American English August 11: Moonlight This summer we have another great show planned in addition to our festival. On July 16th we feature Bryan Lee in his first return to the Midwest in several years.

Bryan goes on at 6 PM in Sinnissippi Park Bryan is in the area for two months and we had to get the Braille Blues Daddy in front of the local audience that loves this great musician!

Jazz Orchestra June 30th featured The Kinsey Report.

With brothers Donald on guitar, Ralph on drums and Kenny on bass, this is one of the Chicago area’s best blues and funk bands! They played all their hits and some great covers; “When The Church Burned Down”, dedicated to the recent shootings in Charleston, South Carolina, was a very touching moment in the show.

Our thanks go out to the Rockford Park District for this and all their great summer music events at Sinnissippi Park, Anderson Gardens and Levings Lake.

Check them out on line for their schedule

July-August 2016

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Music Reviews Live in 1967 - Volume Two John Mayall's Bluesbreakers Forty Below Records 13 Tracks The British blues legend John Mayall welcomed Peter Green into his Bluesbreakers after another legend, Eric Clapton, left to form Cream in 1967. To equal the talent of Green, Mayall completed the band with the rhythm section of John McVie and Mick Fleetwood. Although this lineup only existed for a short time, this group of legendary musicians was captured live from London clubs only to be recorded and remastered by Mayall himself from the original tapes years later with the help from Eric Corne.

After the release of John Mayall's Bluesbreakers in 1967 - Volume One in 2015, fans will be pleased to know the recordings have been extended to John Mayall's Bluesbreakers in 1967 - Volume Two for more of those historic tunes captured on a second album in 2016. Once again, thanks to the genius of John Mayall, blues fans get 13 addition songs from one of the best blues bands ever assembled.

Although both albums are live and raw from a one channel reel-to-reel tape recorder, they have been improved considerably, taking blues fans back in history to a chapter almost fifty years ago. John Mayall's Bluesbreakers in 1967 - Volume Two includes three Mayall classics "Tears In My Eyes," "Please Don't Tell," and "Chicago Line."

After opening with Mayall's classic "Tears In My Eyes," the band tears into Sonny Boy Williamson's "Your Funeral And My Trial." Next on the set list was the Marshall Paul song "So Many Roads," made famous by Otis Rush.

Green's distinctive guitar style, later heard in the early Fleetwood Mac band of Green, McVie, Fleetwood, and Spencer, the core of Fleetwood Mac, can be heard loud and clear on this tune. Mayall captures the essence of Sonny Boy on harp along with his own expertise on keys in this early live version of the Willie Dixon/Sonny Boy Williamson tune "Bye Bye Bird." The second Mayall classic "Please Don't Tell" takes the Ram Jam Club by storm with

the intense guitar solos of Green. With the recent passing of the "King of The Blues," we can once again treasure that same B.B. King guitar style heard live in '67 by Green in the legendary 1956 B.B. King/Jules Taub track "Sweet Little Angel." The J.B. Lenoir/Alex Atkins song "Mama, Talk To Your Daughter" not only made the set list for the historic Mayall London recordings in '67, but later on was the signature tune for Robben Ford. As rough as it sounds on the live '67 second volume, I'm sure you will enjoy this version done by the Bluesbreakers. You will understand why John Mayall became world famous on harmonica, when you hear this early recording of the Eddie Taylor tune "Bad Boy." What would a 1967 live show be without T-Bone Walker's "Stormy Monday." Since this is one of the cleanest tracks on the album, I think you will find this version will meet your expectations when you hear the superb guitar solos of Peter Green. It is the next song with the Bluesbreakers '67 performance, Peter Green's own "Greeny" and the final track, the "Otis Rush" classic "Double Trouble" that really sets the stage for Green's tenure with early Fleetwood Mac, beginning the same year. Surprisingly the rock tune "Ridin' On The L&N" was written by Dan Burley and Lionel Hampton. The early live Bluesbreakers recording shows just how versatile the young Peter Green was on guitar. The next track, "Chicago Line," on this release of live recordings, is one of Mayall's signature tunes, that appeared on his studio albums. It showcases John McVie on bass, capturing one of his finest solos. The Otis Rush tune "Double Trouble" completes this timeless collection of one of the best of Bluesbreaker's lineups to ever take the stage.

Mike Vernon, a producer at Decca, is quoted as saying "As the band walked in the studio I noticed an amplifier which I never saw before, so I said to John Mayall, "Where's Eric Clapton?"

Mayall answered, "He's not with us anymore, he left us a few weeks ago." I was in a shock of state [sic] but Mayall said, "Don't worry, we got someone better." I said, "Wait a minute, hang on a second, this is ridiculous. You've got someone better? Than Eric Clapton?"

John said, "He might not be better now,

but you wait, in a couple of years he's going to be the best. Then he introduced me to Peter Green."

Mayall's prediction did come true. Unfortunately, this legendary lineup only lasted a short time before they became Fleetwood Mac, but the two 1967 live collections of Mayall, Green, McVie, and Fleetwood will last a lifetime.

Reviewed by Rick Davis 40 Years Stony Plain (Multiple Artists) Stony Plain Records www.stonyplainrecords.com 3 CDs/47 tracks A sampler spanning 40 years of great music deserves 3 full CDs. This fantastic Canadian roots label has produced some fantastic stuff over the years and is one of the top blues record labels on the planet.

CD One is Singers, Songwriters and much more. Classic country like Emmylou Harris and Rodney Crowell are featured as are blues greats and fantastic acts like Eric Bibb, Harry Manx and Kevin Britt, Colin Linden, and so many more.

CD Two is entitled Blues, R&B, Gospel, Swing, Jazz and even more. Joe Louis Walker, Ronnie Earl and the Broadcasters, Jeff Healey, Bill Boy Arnold, Rory Block Ruthie Foster, Big Dave McClean and Kenny “Blues Boss” Wayne are just some of the 19 artists featured on this CD. The third CD is called Rarities and Previously Unreleased Material and features Duke Robillard, Eric Bibb, Maria Muldaur, David Wilcox, Sam Chatmon and His Barbeque Boys, Bob Carpenter and Walter “Shakey”: Horton with Hot Cottage. This was my favorite of the three, but all were really good.

This is a great set of representative tracks from this superb label. If you need to get exposed to that Stony Plain has released, go no further than this.

This Is an exceptional set of tunes!

Reviewed by Steve Jones

The Groove- Crossroads Blues Society Newsletter

Page 6 Promised Land Or Bust Moreland & Arbuckle Alligator Records 10 Tracks "Hill country blues (also known as North Mississippi hill country blues or North Mississippi blues) is a regional style of country blues. It is characterized by a strong emphasis on rhythm and percussion, steady guitar riffs, few chord changes, unconventional song structures, and heavy emphasis on the "groove" - more affectionately known as "the hypnotic boogie."

There is no blues band that fits this description more than the trio of Moreland and Arbuckle, (Aaron Moreland on guitar, Dustin Arbuckle on harp and vocals, and Kendall Newby on drums). "You have to have the right groove for any kind of music you’re playing. Blues and rock ‘n’ roll, traditionally, are dance music forms. If the groove’s not right, then they are not going to get people moving. If you’re not tuned into that, if you’re not all working together to find that and to feel that, it’s not going to work right. That’s something we’ve always been pretty conscious of."

With Newby as the driving force on percussion, Aaron Moreland and his steady almost haunting slide guitar, and Dustin Arbuckle's piercing harmonica and penetrating vocals, the trio maintains the authenticity of hill county blues that defined artists like Mississippi Fred McDowell, influencing later artists such as R. L. Burnside and Junior Kimbrough.

Their new release on Alligator Records Promised Land Or Bust is a collection of original and classic blues with that same raw hill country blues sound blended with their own style of rock. They open with two originals "Take Me with You (When You Go)" and "Mean and Evil." The opening tune "Take Me with You (When You Go)" takes you to "the promise land or bust" with soulful vocals, forceful harp solos, and burning slide guitar. "Mean And Evil" typifies the raw, driving nature of hill country blues better that any other song on the album with a vigorous exertion of energy that will leave you breathless. They draw on writing ability of Oklahoma City-based writer Mike Hosty for the spiritual force behind the tune "Hannah." On this tune they get an additional punch from Mark Foley’s bass and Scott Williams’ discreet performance on the keyboards. The original "When the Lights Are Burning Low" delivers guitar solos that take Moreland to his creative limits. Lee McBee’s "Woman Down in Arkansas" is a more traditional blues tune, focusing on the extraordinary harp solos of Dustin Arbuckle. "Mount Comfort," an original slow ballad that demon-

strates some of Dustin Arbuckle's best vocals and harmonica. Ryan Taylor, the trio's long time friend, wrote the revival tune "Long Did I Hide It." "Waco Avenue" is a laid back ballad describing a familiar spot that takes the artists back in time. "I'm A King Bee" is the 1957 classic by Slim Harpo, taking on a modern day structure all it's own. Moreland and Arbuckle come back with there own "Long Way Home" establishing an early groove from both drums and slide guitar.

Ryan Taylor makes his second contribution to the album with his written tune "Why’d She Have to Go (And Let Me Down)" closing the new album with a ballad about failed relationships.

I think this new release takes you back to the early days with new, fresh, home grown material that locks the trio into an elite group of modern day hill country blues artists destined to be around for a long time.

Reviewed by Rick Davis Rough Neck Blues Live Paul Filipowicz Big Jake Records 11 Tracks Paul Filipowicz has a no holes barred, stinging guitar style that extends far beyond the that of his influences from the South side blues clubs he would often visit. To hear Paul Filipowicz reminisce about his first exposure to the blues, he tells the story of how the blues found Paul on the radio we would like to think. Could it be by fate that the blues veteran of 40 years first heard Howlin' Wolf, Muddy Waters, and Sonny Boy Williamson II streaming from that Tulsa, Oklahoma radio station? Maybe it was his visits to Chicago's South side clubs to watch Chicago legends like Otis Rush and Magic Sam that ignited his interest to begin his long journey though blues.

no grease in my skillet and no gravy in my pan" on the second track "Most Dogs." This one could be straight out of a Southside Chicago blues club, taking us back to Magic Sam's '68 live performance at Sylvio's. The band's rhythm section establishes a solid groove for "Black Spider," preparing the audience for the delivery of the riveting guitar riffs from Filipowicz. The band takes "Santa Fe Windows" down town with an Albert King style guitar number. "Junk In The Trunk" creates a slippery, fast pace Texas style blues shuffle for the splendid harp work of Benny Rickun to keep pace with Paul's guitar expertise. "Jackson Transfer" gives you a taste of the Chicago blues style of Muddy Waters before establishing steady rhythm guitar to compliment Rickun's steady harp solos. "Midnight At The Nairobi Room" is a hot, high stepping instrumental that breaks into a shuffle midway through the tune. The thundering rhythm section is the driving force behind the boogie Chickenwire," taken from the live album with the same name. "Your True Lovin'" has Paul firing guitar notes with ease as he provides whisky soaked vocals to create a perfect combo for this Chicago blues gem. With help from Rickun on harp, Howard on drums, Smith on bass, and Fogerty style guitar from Filipowicz, a swamp boogie can be heard on the track "Hootin' And Hollerin'." The album ends with "Where The Blues Comes From'" with Benny Rickun taking center stage on harp.

If you hear Paul Filipowicz once, you will understand why his new live album is titled "Rough Neck Blues." It's blues that will stir you soul when he hits you with his raw vocals and stinging guitar style. You will certainly want to build your collection with other albums from his discography after you hear Rough Neck Blues Live!.

Reviewed by Rick Davis

His latest release is Rough Neck Blues Live!, takes us beyond the cheddar curtain for a night of red hot blues at the Knuckle Down Saloon in Madison, Wisconsin. I think it is safe to say that if you were there, you needed to strap yourself in for this live performance and ride of your life. Collectively, with Paul on guitar and vocals, Benny Rickun on harp, Brian "Tito" Howard on drums, and Rick Smith on base, they deliver a powerful roadhouse style performance, giving all those attending a night to remember!

They open with an explosive shuffle "Gambling Woman," with Paul barking out vocals as volatile as the riffs on his guitar.

He establishes the fact that he is broke and hungry with some of the most unforgettable lyrics that I have heard in a blues song, "got

Mel Ford Closed out June at Boundaries in Beloit with Dave Potter and his Band

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July-August 2016 The Arson’s Match Peter Karp Rose Cottage Records www.peterkarp.com 10 songs/56 minutes Even though he’s an extremely well-regarded guitarist, keyboard player and songwriter, Peter Karp has done his best to avoid the limelight.

All of the material on The Arson’s Match, in fact, which was recorded live in New York, was released previously on two solo albums that were never released nationally or received major airplay. But he’s a player and tunesmith of the first order.

Karp is best known recently for his work on the Blind Pig label with Canadian guitarist, Juno Award winner and partner Sue Foley. Raised in south Alabama and New Jersey, his stylings embrace swamp, country and R&B in addition to the blues.

Primarily a slide guitarist who’s influenced

by Freddy King and Elmore James, he’d released the albums Roadshow and The Turning Point previously as a vehicle for his songs rather than stardom. But his work with Foley has reached the top of blues charts around the world.

Recorded at The Bottom Line in Greenwich Village and part of a two-CD set called Live For Hope, Karp is donating 100 per cent of the proceeds from this disc to the Ovarian Cancer Research Fund in memory of wife Mary Lou, who lost her life to the disease in 2009.

He handles all of the vocal duties here, backed here by an all-star lineup that includes former Rolling Stone and Bluesbreakers guitarist Mick Taylor and Garden State-based harmonica player and radio personality Dennis Gruenling. Adding to the mix are his Roadshow Band: Daniel Pagdon on bass, Paul “Hernandez” Unsworth on drums and Jim Ehinger on keyboards. And the talented Dave Keyes makes an appearance on piano for one cut.

“The Arson’s Match,” a description of losing everything in a house fire, kicks off the album. It’s a straight-ahead blues set atop a medium shuffle with some nice stoptime breaks and features an extended solos from Taylor and Gruenling before Peter comes to the fore on slide. The mood quiets dramatically but brightens quickly for “Gee Cheengee Chee Wawa,” about a mystic woman in a remote corner of Mexico.

“Y’All Be Lookin’” details the different ways people try to find romance before

“The Turning Point,” a ballad that sings about feeling inadequate in a marriage but seeking the change necessary to bring the loved one back into one’s life after the damage is already done. “The Nietsche Lounge,” a rapid-paced shuffle packed with psychological imagery, precedes the funky “Your Prettyness,” a tongue-incheek, humorous description of a beautiful woman who has no class or sense of style.

Next up, Karp sings about “Rolling On A Log” and about to fall off as he depicts a man pegged at birth as someone who’d never amount to anything good. Another ballad, “I’m Not Giving Up,” follows, offering hope for the future of a relationship despite current problems, before the blues -rocker “Treat Me Right” and propulsive “Train O’Mine” conclude the set.

The Arson’s Match is a rock-solid, fun live recording chockful of great tunes.

Although it’s available through many vendors, I’d advise downloading it directly from the artist’s website to guarantee all of the money goes to the charity.

Reviewed by Marty Gunther Hit The Road Riff Riders Power Waggin’ Records www.theriffriders.com 12 tracks/63 minutes The Riff Riders come from Erie, PA and their debut release features 12 original songs credited to the whole band. Frontwoman Amy ‘Shally’ Shallenberger handles lead vocals with strong support from Otis James on harp, Sean Seth on guitar, Tony LaPaglia on bass and Joe Caprara on drums. The band uses vintage gear and the album was recorded on ‘home turf’ in Warren, PA. Opening with the title track the band sets out its stall with Shally’s clear vocals and solid harp and guitar work. Seth’s wahwah rhythm work is at the heart of “Bounce Back” which works really well with a great chorus, Seth and Otis both taking fine solos on the coda. “Back Door Kenny” – the tale of a gambling addiction rocks along well with lots of ‘twangy’ guitar and the band gives us a slow blues “Cut Me Down” which offers the chance to hear Seth and Otis in gentle mood which they accomplish very well. The band has the happy knack of creating catchy tunes and “Rumors” is one of those; Otis is working

hard beneath Shally’s vocal and Seth’s core riff. Things get a little heavier on “Open Door”, Seth again using the wahwah rhythm technique and overdubbing some solo accents.

A moody riff opens “Trouble”, Shally singing of trying to drink and smoke away some of life’s difficulties – what could be more blues than that theme? A rocking tribute to a vintage car “My ‘65” is good fun, driven by Seth’s riff and a particularly strong vocal from Shally. The longest track here is “Rollin’” which opens with some great slide work and Shally’s testifying vocal, the band gradually entering with waves of cymbal work from Joe and some ethereal harp from Otis. After three minutes the song develops into a slide driven rocker and, for this reviewer, is probably the standout cut on the album – it certainly explains the name of the band as the band rides Seth’s slide riff brilliantly.

“Leave Me Alone” is another catchy tune with a fine solo from Seth and the album closes with a brace of winners: “Rich Song” is a churning blues with some excellent harp work from Otis exploiting the lower registers of his instrument and bassman Tony showing his paces in driving the time changes that are a feature here, Shally sounding emotional, asking “why he had to die”; the closer “Stuck On You” is another mid-paced rocker with a solid core riff and exciting harp work.

All credit to the band for daring to go for an all original program - a solid album and a promising debut.

Reviewed by John Mitchell

Page 8 Soul Slide Jeff Plankenhorn Lounge Side Records www.ThePlank.net 12 songs/44 minutes Lap steel guitarist Jeff Plankenhorn delivers an extremely interesting collection of 11 originals and one cover on this eclectic mix of blues, soul and rock on this album, his first solo release in 13 years. But he’s not stranger to the recording studio as demonstrated by the high level of talent from the Austin music scene, where he’s based, who’ve lent a hand to produce this disc.

An Ohio native who grew up in the church and migrated to Nashville after college, Plankenhorn studied at the feet of three of the true masters of lap and resonator guitar – Uncle Josh Graves, Gene Wooten and Jerry Douglas. He relocated to Austin at the suggestion of Texas legend Ray Wylie Hubbard and quickly made a name for himself playing lap standing up and chording the strings with a Swiss Army knife.

As a backup musician, Jeff has worked with Hubbard, Joe Ely, Bobby Whitlock and a host of other Texas legends. Co-produced

by Plankenhorn, Miles Zuniga of the band Fastball and Ross Hogarth, who’s worked with Keb’ Mo’ and Ziggy Marley, Soul Slide features guest appearances by vocalists Ruthie Foster and Malford Milligan and organist Rami Jaff of the Wallflowers and Foo Fighters.

Plankenhorn is backed by bassist Yoggie and drummer Brannen Temple, the surviving members of the late Stephen Bruton’s trio, as well as Dave Scher on keyboards and guitar. Adding to the mix are Peter Adams (keys), Zuniga (guitar, keys, bass and backing vocals), Tim Pearce (guitar) and Josh Stuebe and Clark Hamilton (handclaps) as well as Scrappy Jud Newcomb (guitar), Bruce Hughes (bass/backing vocals) and John Chipman (drums), all of whom worked with Bruton in the roots/rock band The Resentments.

A riff that borders on East Indian mysticism kicks off the opening track, “Lose Your Mind,” about wanting to let everything go to become more spiritual. It quickly evolves into a soulful, full-tilt shuffle that combines the blues with a musical feel you can find only in the Southwest. Milligan shares lead vocals on a traditional take of “You Got Me Hummin’,” the Sam And Dave/Isaac Hayes classic and the only cover in the set, before the mood changes for “Trouble Find Me,” a Southern ballad dealing with the frustration of being a magnet for problems despite trying to avoid them.

The Groove- Crossroads Blues Society Newsletter Based both on the style of the Rolling Stones’ “Tumblin’ Dice” and a line from poet Charles Bukowski, “Like Flowers” features a duet with Foster. It’s a driving rocker that relates the realization that “people look like flowers at last.” Up next, “Dirty Floor” is a medium-paced shuffle that questions a loved one’s attitude and stresses: “I will be your Superfly/We got somethin’ goin’ on.”

Plankenhorn’s virtuosity on the six-string is on exhibit for “Kansas City Nocturne,” a tasty, but brief instrumental, before the soulful “Born To Win,” which stresses that victory will only come if you put out the effort.

“Vagabond Moonlight” follows. It’s a ballad with a country feel about a longtime gypsy returning home. “Mockingbird Blues” -- written by Willis Alan Ramsey, best known for The Captain And Tennile’s “Muskrat Love,” but never previously recorded – is a sweet acoustic number. The feel continues with “Headstrong,” a complaint about a friend who always arrives drunk. The Resentments are featured on the country rocker “Live Today” before the soulful ballad “Waking In The Sun” concludes the set.

Many artists who are superstars in their own right in the Austin scene have no need to venture out of the Lone Star State for gigs and recognition because of the success they enjoy at home. Jeff Plankenhorn is one bright light in that galaxy, and Soul Slide serves as a great introduction for him to the outside world. The album touches several forms of music, although the blues current runs strong throughout. If you’re looking for the old blues one-four-five, look elsewhere. But if you’ve got a taste for something different and original, this one’s right for you.

Reviewed by Marty Gunther Truth Guy King Delmark www.guyking.net www.delmark.com 15 tracks/71 minutes Guy King was born in Israel but has lived and worked in the US since the age of 21.

Guy paid his dues on the competitive Chicago scene, playing with the late Willie Kent before forming his own band in 2006, since when he has played between 250 and 300 gigs a year across the many clubs in the city. After several independent releases Guy is now making his Delmark debut and it commands attention. Guy handles lead vocals and guitar duties with Amr Marcin Fahmy on keys, Jake Vinsel on bass and George Fludas on drums. A three man horn section of Christopher Neal on tenor, Brent Griffin Jr on baritone and Marques Carroll on trumpet are on most of the album and

three background singers give Guy excellent support: Sarah Marie Young, Kiara Shackleford and Jihan Murray-Smith. Guy wrote an instrumental and three songs here with David Ritz and there are eleven covers from a wide variety of blues artists including BB King, Johnny ‘Guitar’ Watson and Ray Charles. The style is relaxed with more than a touch of jazz in Guy’s playing, at times recalling George Benson in his prime.

The whole album swings superbly and the playing and sonic qualities are excellent throughout.

Taking the originals first Guy’s “King Thing” is a tribute to BB with a swinging arrangement supporting Guy’s plucked guitar stylings, the horns adding depth and subtlety.

“My Happiness” is a sweet (and presumably autobiographical) love song performed as a duo with Sarah Marie in which Guy describes his encounter with the love of his life: “…until that certain righteous girl made him forget everything else”. “A Day In A Life With The Blues” is a classic slow blues with smoky sax, cool guitar and electric piano all contributing but Guy’s vocal is the centre point and shows what a fine, relaxed singer he is. The title track “Truth” adds some latin rhythms courtesy of drummer George and a brooding horn arrangement as Guy speaks out for honesty before he adds a solo which has quite a ‘bite’ to it within a smooth, jazzy arrangement.

Some of the highlights from the covers include opener “The Same Thing That Can Make You Laugh (Can Make You Cry)” which is a Ray Charles tune and opens with some typical RC piano and rattles along at pace with the horns and backing vocalists both adding to the enjoyment of the track, Guy showing his paces with a finely judged solo; a second, possibly better known Brother Ray tune “Hey Now” is also well done. Johnny ‘Guitar’ Watson’s “It’s About The Dollar Bill” has a superb horn arrangement and Guy also tackles some Memphis soul tunes in Steve Cropper and Don Covay’s “See Saw” and Homer Banks’ “If The Washing Don’t Get You (The Rinsing Will)” with the horns prominent on both. Guy sings Doc Pomus’ and Dr John’s “There Must Be A Better World Somewhere” beautifully in a sparse arrangement with the horns again subtle and understated. Guy gives us another fine solo in BB King style and BB is obviously a big influence on his playing as there is not only the original instrumental but also Joe Josea’s “Bad Case Of Love” which demonstrates BB’s way with a shuffle. With tunes from Percy Mayfield and Harold Arlen also included this generously filled CD should provide something for all fans of that place where swinging jazz and blues intersect.

Reviewed by John Mitchell

July-August 2016 All For Loving You Alexis P. Suter Band American Showplace Music www.alexispsuter.com www.americanshowplacemusic.com 11 songs/43 minutes There’s no mistaking Alexis P. Suter, the petite, but ultra-powerful singer, when she approaches the microphone. Her voice simply is like no other, as this intensely intimate album reveals again.

The daughter of a postal worker father and teacher mother who studied at Julliard and also sang backup for Harry Belafonte, Mahalia Jackson and others. Alexis grew up in Brooklyn, N.Y., in a church and gospel background, which is clearly evident in her commanding delivery. But what truly separates her from the pack is her voice. And, man, what a voice it is!

She’s one of the few ladies on the planet who delivers her tunes in full-on baritone or bass tones as she sings from the bottom of her soul.

A childhood drummer and sousaphone player, Alexis fell in love with the blues the first time she heard it at nine years old, when her parents were vacationing in New Orleans and she literally barged in on a rehearsal by the Mills Brothers, the vocalists known as the Four Kings Of Harmony, who sold more than 50 million copies of the 2,000 recordings they released in their 54-year career. Harry Mills, the lead singer, was so taken by her sense of wonder that he invited the family to the group’s concert that night, and the rest is history.

Suter sang in choirs and at small clubs in her youth before emerging as a recording artist in the house/dance realm in 1990, beginning a long relationship with Hipbone Records, a leader in the field, which continues today. She transitioned to soul and rock-tinged blues in 2005 with the release Shuga Fix on the Hipbone imprint. All For Loving You is her second release on American Showplace. She’s joined here by her regular band: guitarist Jimmy Bennett, drummer Ray Grappone, bassist Peter Bennett and backup vocalist Vicki Bey, who’s also a principal in the Hipbone organization. Contributing to the mix is John Ginty, a regular Blues Music Association nominee for keyboard player of the year.

Three of the 10 originals here were written

by Suter with the balance of the material

Page 9 composed by Ben Elliott, who produced the disc, and Bey, who co-wrote two and contributed another. The end result is an in-your-face collection of new tunes that deliver a powerful message while having you up and dancing, too. The album fires out of the starting gate with a howl before Alexis launches into her need for introspection in “Talk To Myself,” delivered atop a steady, strong medium-paced shuffle. Next up, “Can’t Find A Reason” questions why a relationship that ended in tears ever started to begin with.

“Another Place And Time” is a slow blues with gospel overtones that features Jimmy’s guitar in a lengthy introduction. It speaks to the inability to say goodbye to someone who might have been the perfect mate in a different situation. “All For Loving You” follows with images of wealth, prosperity and peace as a comparison to the depths of emotion felt for the object of the singer’s affection.

Jimmy comes to the fore again to kick off the medium-fast straightahead blues shuffle “Livin’ In A World,” which questions why a lover’s rejecting Alexis’ affection.

The pace slows dramatically for the ballad “Fool For You,” about being unable to split from a relationship even though warned by friends, before the band gets funky for “Don’t Ya’ Tell,” in which Suter

insists: “Five o’clock in the mornin’/Five minutes to spare/Don’tcha tell nobody/ That you saw Big Mama here!”

The rhythm section propels the rocker “So Long,” a complaint about being driven crazy by a desire to “get back over you” before the optimistic “Circumstance” addresses living within one’s means despite being victimized. The final original, “Every Shut Eye,” about overhearing a cheating man talking on the phone, precedes a cover of the Beatles’ “Let It Be,” which concludes the set.

Available through Amazon, iTunes and other retailers, All For Loving You is a rock-solid production from beginning to end and a worthy addition to your collection if your tastes run to contemporary blues, and Alexis’ seemingly rough-hewn vocals are as sweet as they are strong.

Reviewed by Marty Gunther

Page 10 Love In A Hurricane Mighty Orq Connor Ray Music www.mightyorq.com 12 tracks/51 minutes Houston, Texas, native Josh Davidson acquired his nickname ‘Orq’ at school and that morphed into ‘The Mighty Orq’ when he started playing on the local blues scene. Orq plays a range of styles and has performed solo and in a band at the IBC’s, most recently in 2016 when he made the final. On this disc he is supported by his regular touring band: Jimmy Rose on drums, Terry Dry on bass and Barry Seelen on keys; Orq plays all manner of guitars and handles the vocals.

Orq wrote ten of the songs here, four with assistance from different co-writers and there are two covers. We get everything from slide-driven rockers to melodic ballads, from solo acoustic to full band productions.

The album opens with two excellent songs: “Sweet In Between” is driven by exciting slide over a churning, grungy riff and some impressive Hammond work from Barry that gives the track a really full sound – a great way to start the album; “Falling Down” is more melodic with an earworm chorus and some great guitar work from Orq. The first cover is Freddie King’s “Pack It Up”, Orq paying tribute to one of Texas’ favourite sons in a warm and funky version which is a good vehicle for his vocals as well as his guitar skills.

Changing things up Orq then gives us a romantic ballad “Say It With Silence”, all delicate, shimmering

The Groove- Crossroads Blues Society Newsletter piano and gentle chords with a central solo that says everything that is needed in just a few seconds – not a blues tune but impressive stuff nevertheless. The title track follows on stylistically with a track that tells the tale of a couple’s relationship, complete with a rousing chorus and delicate acoustic guitar feature – apparently the secret to success in relationships is “making love in a hurricane”! “The Possum Song” draws analogies to the animal kingdom with some amusing lyrics and a riff that could come from the Rolling Stones’ songbook.

Orq moves into a more epic style with “Carry Me Home” which again has a rousing chorus that makes you think of Springsteen, especially with the ebb and flow of the song which moves from quiet sections to the strong chorus with swirling organ.

Barry dons the accordion and the rhythm section nails the second line New Orleans style on “You’re In Love (That’s Alright)”, a change of direction for the band that works well. “Big Boat” revisits some biblical stories, in particular Noah’s Ark, a rocking blues tune with some fine Freddie King style guitar from Orq. “Let Me Have My Fun” is a rock and roll tune with great

piano from Barry before the second cover, Son House’s “Death Letter”, a song that has been covered many times but Orq finds a different approach with sparse instrumentation, restrained vocals and ethereal slide adding an Eastern feel to the tune. The album closes with Orq solo on his Weissenborn guitar on a tune entitled “Cannon Ball”. Freddie King was, of course, known as the ‘Texas Cannon Ball’ and Orq is clearly a fan, but this gentle instrumental does not seem to link to Freddie, being a quiet, almost folky piece.

Sometimes an unknown artist comes along and knocks you out. That was this reviewer’s first impression of The Mighty Orq, and his disc gets a strong recommendation.

Reviewed by John Mitchell

July-August 2016 The Happiest Man In The World Eric Bibb And North Country Far Stony Plain www.ericbibb.com 14 tracks/53 minutes Eric Bibb is one of the most prolific artists on the contemporary scene, this being his 36th album and follows hot on the heels of last year’s Lead Belly’s Gold. This time Eric has collaborated with Finnish folk and blues group North Country Far and bass player Danny Thompson whose extensive credits include working with Richard Thompson, John Martyn, Pentangle and Alexis Corner. Eric handles lead vocals throughout and plays guitar, banjo and guitalele (which I assume is a hybrid guitar and ukulele); Danny handles all double bass duties with North Country Far brothers Olli Haavisto on dobro, pedal steel and acoustic guitar and Janne Haavisto on drums. Petri Hakala adds mandolin, fiddle and guitar to two tracks and Ulrika Panten Bibb (backing vocal), Mary Murphy (Irish whistle), Michael Jerome Browne (slide and 12-string guitars) and Pepe Ahlquist (harmonica) contribute to one song each.

Anyone who is familiar with Eric’s music will immediately recognise the warm tone of his voice on the loping title track with Olli’s dobro playing off Eric’s banjo.

“Toolin’ Down The Road” brings Danny’s resonant double bass to the fore as Eric extols the driving skills of his lady and Eric maintains the happy atmosphere in his portrait of bucolic contentment “I’ll Farm For You”. Petri’s mandolin and fiddle playing adds an extra dimension to “Tossin’ An’ Turnin’” which finds Eric’s character worrying about drought and the consequences for his family farm. “Creole Café” finds Eric satisfied with his lot as “she serves the gumbo and I serve the blues” and in “Born To Be Your Man” Eric cites many famous characters including Stevie Wonder, Louis Jordan, Muhammed Ali and Hendrix who were destined for their role and concludes that he was “born to be your loverman, the one who wears a Panama hat”.

“King Size Bed” dances along with some lovely picking from Eric and Olli and in similar lyrical vein “Wish I Could Hold You Now” is a really delicate piece with beautiful lyrics, possibly the best love song on an album that is chock full of them.

Two songs here are collaborations with poet Wendell Berry: “On The Porch” is Wendell’s poem about growing old to-

Page 11 gether, delicately set to music by Eric; “Prison Of Time” is a joint effort, another song about the passing of time set to lilting music. The traditional “Tell Ol’ Bill” has lovely harmony vocals from Ulrika Ponten Bibb (who also co-wrote “Creole Café”) and some excellent picking from Eric and Olli. There are also two instrumentals: North Country Far’s “1912 Skiing Disaster” adds Petri’s guitar to the other instruments, a sad and stately piece; “Blueberry Boy” is Eric’s tune but with Mary Murphy’s whistle it sounds like a cross between Americana and the theme tune to “Titanic”. The only song from outside the group of musicians seems at first a strange choice – Ray Davies’ early Kinks hit “You Really Got Me”, here reimagined as a late-night piece which is surprisingly effective with Pepe’s harp adding a bluesy feel. A short instrumental reprise of “King Size Bed” is grafted on to the end of the track as a ‘hidden’ bonus.

Some find Eric’s songs too ‘sweet’ but at a time when there is so much hatred and violence in our society perhaps we should all concentrate on the positives in life.

Throughout the album the playing from everyone is exquisite and makes for a very pleasant and relaxed listen.

Reviewed by John Mitchell Big Dog Albert Castiglia Ruf Records http://albertcastiglia.net/ 11 Tracks Albert Castiglia returns with his 8th release with the same heat on his fret board as he displayed during his headline performance at the 2015 Crossroads Blues Festival.

His big break came when he joined Junior Wells in the 90’s. Florida is still his home base. He wrote about half of the tunes for this CD. It was recorded at the famed Dockside Studios near New Orleans.

Mike Zito produced this disc and joins on guitar and vocals. Scot Sutherland holds down the bass, with Rob Lee on drums and Lewis Stephens handling all the keyboard instruments. One of New Orleans favorites Johnny Sansone holds down the harmonica for 2 tracks.

My speakers roared out with the opening track “Let The Big Dog Eat”. This tune is 3:28 of power guitar licks. There is a nice short bark at the end! Bill Wharton wrote this one. “Don't Let Them Fool Ya” is a bit slower, but still a powerful track. Zito and

Castiglia interchange their guitars over a solid bass line on this Zito written tune.

Powerful slide guitar aka. Hound Dog Taylor jumps out on “Get Your Ass In The Van”. It is a tale of life on the road written

by Albert. The lyrics American Idol and no more deals at the crossroads. I like the slower grinding tune “Drowning At The Bottom” written by Luther Allison & James Solberg. It has fine energy and great blues lyrics about a lover scorned.

Albert wrote “Let's Make Love In The Morning”. It is a slower tune, with a bit of southern rock feel to it. Another cover is “What I Like About Miami”. This one, written by Charlie Pickett, is a country rocker.

It’s not the strongest tune, but adds even more variety to the CD. I hear some funky blues with “Easy Distance”. Albert and John Ginty wrote this tune. The vocals are clear and the organ jumps out nicely.

“Where The Devil Makes His Deals” is a slower blues tune. Johnny Sansone joins in on this one.

Sansone sticks around for rocking “Where The Devil Makes His Deals”. He adds a lot to the track. This one is a keeper. I like “What The Hell Was I Thinking”. The piano helps the tune dance into your ears.

There is some Chuck Berry with a bit of the south in this tune. It’s not all blues, but it is a foot tapping/dancing tune.

“Somehow” closes out the disc, and is cowritten Albert Castiglia & Cyril Neville.

This ballad is an ode to society to help out the unfortunate. I like this message to all the listeners. Overall this is maybe Albert’s best CD yet. His delivery of a wider range of tune types is good. The band is top notch, as are the guests. If you like modern blues, add this to your collection.

I would bet this will make many Top 20 lists for the year. Thank you Albert, keep the fine work coming.

Reviewed by Mark Nelson

The Groove- Crossroads Blues Society Newsletter

Page 12 Ride The One Paul Reddick Stony Plain Records http:// www.paulreddick.ca/site/ 11 Tracks

The Avenue Jason Vivone And The Billy Bats Self- Release www.billybats.com 8 tracks: 40 minutes

I first heard Paul Reddick on his 2001 release Rattlebag, with the Sidemen (his band since 1990). Ride The One is his fourth solo release since then. Paul hails from Canada, and is a strong supporter of the development of Canadian blues community. Reddick sings, plays harmonica and wrote all eleven tunes on the release. On the recording he is supported by Steve Marriner from the band Monkeyjunk (guitar), Greg Cockerell (guitar), Colin Cripps (guitar), Anna Ruddick (bass) and Derek Downham (drums, piano).

For their third album Jason Vivone And The Billy Bats have produced a concept album featuring songs about or inspired by their home base of Kansas City and the particularly notorious street in which Jason lived at the time.

Jason is the lead vocalist and slide guitar player and is accompanied by Paula Crawford on guitar, Rick McIvor on keys, Ben Hoppes on banjo, Jeremy Clark on bass, Matt Bustamente on drums; most band members add backing vocals to assist seventh Billy Bat Joanna Berkebile. All bar one of the songs is original, written by Jason.

Opener “The Vivone Song” is a semispoken story about Jason and how to pronounce his name, including reference to his struggles to get a recording contract with Chicago labels Alligator and Delmark.

The tune has an insistent drum beat that recalls Bo Diddley and a tongue-in-cheek reference to Lou Reed’s “Walk On The Wild Side” as Jason introduces his choir of backing vocalists but very little else musically. The cover of Jim Jackson’s “Kansas City Blues” has greater instrumentation with piano and Jason’s slide to the fore on a rocking tune. Title song “The Avenue” is a ‘down’ song as Jason describes some of the shady characters on his street, just melancholy guitar and the choir here. Another strange character who regularly dialled and spoke into a pay phone that did not in fact work is the theme from “Hello Mrs Radzinsky” which fades in with organ beneath Jason’s vocal, Jason adding some slide after the first verse to good effect but again it’s a fairly minimal piece. “Train Musta Jumped The Track” has rather dreary spoken vocals; I doubt if this will fulfil the desire to reinstate the train song.

“Calendar” is about the sort of calendars that used to be sold from beneath the counter but have now been superseded by Photoshop and is apparently a live favourite but it is hard to tell from this version which plods along for over seven minutes at funereal pace though Jason’s slide work is fine. Even longer is “My Heart Is In The Right Place” which the notes describe as “a funky little band breakdown” and here we get a livelier performance with the piano, banjo and slide all featuring. Although almost an instrumental this was the strongest track for this reviewer’s tastes. The album closes with the solo slide instrumental “His Honor, The Mayor”, a short tribute to another character from The Avenue, a man well known to everyone who, following

The opening track is “Shadows”. It is a fast paced older sounding Bo Diddley influenced tune but with fine harp work by Reddick. I am not a fan of the vocal mix on “Celebrate”. The tune is a mid temp blues rock tune, but the vocals are buried and not as listenable. “Mourning Dove” has a swampy blues feel to it, with a Tony Joe White influence to it. This is a pretty good tune. The 4th tune is “Gotta Find A…”. It is a bit slower tune with a pretty good solo, but overall not real memorable.

Up next is “It Goes with You”. Certainly there is a R&B/Funk influence on this one, but the vocals are not to my tastes. There is an older feel to “Watersmooth”. It’s a mid tempo and sounds pretty good. On “Diamonds” has a modern feel, with a bit more keyboard dominance than most blues tunes. It sounded real good turned up. I like the hard driving “Living in Another World”. The guitars do a fine job, with Reddick’s harp riding with them. Here again the vocals distort..though not as bad as the other tracks.

On “I Tried to Tell You” Reddick and the band lead another hard charging musical foray. I like the modern feel, with strong bass and drums carrying the fast pace. The pace changes with the slower, with some soul tune “Love and Never Know” Reddick’s vocals are much more up front on this one. It all gets very bluesy with “Moon and Star”. Reddick sings and plays harp with nothing else in support. He did a nice job on this one. I have been a fan in the past.

This one is interesting, and a bit different.

The distorted vocals bother my ears, but may make your ears happy. Credit goes out to exploring and expanding the blues genre on this one. With that comes risk that not all of the tunes will please. I think Reddick is up for that challenge, and has taken that risk in a pretty good way.

Reviewed by Mark Nelson

a childhood accident was left with the mind of a child but a kind heart. This was not an album for this reviewer but the band has won a loyal following and they will undoubtedly enjoy the latest offering from the band.

Reviewed by John Mitchell Balkun Brothers Balkun Brothers Dixiefrog Records 12 tracks; 64 minutes www.BalkunMusic.com This is a difficult review to write because it is almost certain that it will divide opinion!

This album is simply not in a style that this reviewer enjoys, but plenty of others probably will; the band’s website indicates that they were nominated for the ‘Best Rock Band’ in Connecticut in 2015 and much of the album will probably appeal to those who enjoy the rockier end of the spectrum rather than to blues purists. Like many electric duos The Balkun Brothers adopt a heavy drum and guitar sound, aiming for a mix of rock and roots music. The Balkuns are Steve on guitar and vocals and younger brother Nick on drums and b/v’s.

The only additional musician is Dave Keyes whose piano is featured on one cut.

The album was produced and engineered

by Popa Chubby and all the material bar one cover was written by the brothers.

Opening track “Been Drivin’” lays out the blueprint for the album with heavy drums, repetitive riff and frantic vocals. Tracks like “She Got It All” and “Bapadubap” feature churning riffs though “I Know What You Did” has some solid slide work from Steve and is definitely a blues. The lone cover is “Mean Town Blues”, an interesting choice as Johnny Winter certainly went through a rock phase in his career before returning to the blues in later life; the Balkuns’ version has a real live feel as Steve tackles the core riff and slide work well, shouting “Rock and roll!” as he launches into the main solo! The Brothers take things down on the closing track “Rainy Day Front Porch Blues” which matches the title with overdubbed rain noise and some acoustic playing from Steve. Dave Keyes’ piano adds colour to the slower blues of “Jail Bird” but for the most part the Brothers go for a relentlessly uptempo approach typified by “The Painkillers” with its churning rhythm and anguished vocals.

With mainly original music all credit to the brothers for forging ahead with their version of the blues but it is not a disc to which this reviewer will return.

Reviewed by John Mitchell

July-August 2016 Come Together Tweed Funk Tweed Tone Records www.tweedfunk.com 10 Tracks Founded in Milwaukee six years ago and winners of five Wisconsin Area Music Industry (WAMI) awards in the past four years, Tweed Funk delivers their usual mix of Memphis-style soul blues – most with a positive, upbeat message — on this release, the fourth in their arsenal.

A 2014 BluesBlast Award nominee for soul blues album of the year for their previous release, First Time Lucky, the sixpiece horn band is fronted by native Chicagoan Joseph “Smokey” Holman, a pleasing tenor who recorded with the Domestics for Motown in the ‘60s and for the Windy City’s famed Curtom label with the band Love’s Children in the ‘70s, when he was a protégé of Curtis Mayfield.

Holman acquired his nickname while fighting in informal boxing tournaments while a U.S. Marine, and he’s been a fixture on the Milwaukee music scene since the mid‘80s, when he relocated after working in the steel plants in Gary, Ind. All of the material on Come Together is original and was composed by the core band, which consists of Eric Madunic, a multi-instrumentalist who holds down bass and contributes keyboards and guitar, percussionist Dave Schoepke, guitarist JD Optekar and Andrew Spadafora, who doubles on tenor and baritone sax. Chrissy Dzioba and Sara Moilanen contribute backing vocals on five of the ten tracks, and making a guest appearance throughout is longtime Roomful Of Blues trumpet powerhouse Doug Woolverton.

A burst from the horn section kicks off “Light Up The Night,” a funky number that features a heavy bass line and instructs “tell the haters you don’t care” as it uses “Alice In Wonderland” references to describe the difficulties folks face in life.

Spadafora and Woolverton are featured throughout. “Don’t Give Up” provides words of inspiration about following your dreams and “walk with purpose to your destiny” atop a steady Memphis beat before the Latin flavored “Muse” describes the affects a woman’s touch and “sweet soul lovin’” have on the singer after a difficult day.

The pace slows for “Sweet Music,” which carries a similar message. It’s an autobio-

Page 13 graphical number in which Holman describes how the power of music helped him overcome the pitfalls he faced in life and career despite the scars. The theme continues for “Come Together,” which picks up where the previous tune left off while encouraging unity to overcome strife.

The band deliver a blues waltz for “Embrace,” which eliminates “the worry lines” from the singer’s face, before getting funky again for the instrumental “Who Is This.” Madunic’s bass fuels “Love Ain’t Easy,” which describes the pitfalls of a relationship even when both sides want it to work out. The album takes a dark turn with “Bullet,” a haunting, minor-key memory about the apparent suicide of a life -saving friend, before “Soul Rockin,” another paean to the power of love, concludes the set.

If you like horn bands and good, oldfashioned soul, you’ll really like this one. The musicianship here is of the first order and the material shines.

Available through CDBaby or directly through the band’s website (address above).

REVIEWER’S NOTE: Shortly after the release of this CD, the band announced that lead singer Smokey had been diagnosed with multiple myeloma, a form of cancer that affects plasma cells in the blood. He’s cur-

rently undergoing chemotherapy with plans for a stem-cell transplant. As a result, the band has suspended all performances scheduled between mid-July and mid-October. Our thoughts and prayers go out to Smokey, his family and the entire Tweed Funk operation.

Reviewed by Marty Gunther

The Groove- Crossroads Blues Society Newsletter

Page 14 Dear John Kalo Self-Release www.kaloband.com 14 tracks/55 minutes Israeli singer and guitarist Bat-Or Kalo studied music at Oklahoma City University, returned to Israel and released her debut album there before deciding to return to the USA to try to forge a career in music. Initially based in NYC she is now back in Oklahoma and was a semi-finalist in the 2016 IBC’s.

Kalo plays guitar and handles lead vocals with Mack McKinney on bass and either Erin Nelson or Mike McCraw on drums; Jon Knudson adds keyboards, fiddle and banjo, Todd E Clark harmonica. Kalo wrote all bar one of the songs here. The album is now being promoted by the Blind Raccoon agency and a follow-up is apparently in the pipeline but meanwhile let’s see what Kalo has to say on her sophomore release.

On the title track Kalo chooses to use some distortion on both her vocal and guitar on a heavy track possibly inspired by her earliest influence, Jimi Hendrix.

The effect did nothing for me and is repeated on the later track “Once I Had A Heart” but things look up considerably on “Treat Me Bad”, a more melodic song with some nice guitar stylings that belie the lyrics: “Treat me bad, treat me mean, throw me six floors down to the ground…roll me over on the filthy ground, stick a knife inside of me, but please don’t say we’re done”.

“March To The Light” is a stripped back track with Kalo’s acoustic guitar backed by minimal drums and banjo and “Marie” is a ballad with a solid chorus and a fine, melodic guitar solo.

So far the word ‘blues’ has not been used but there are some traces in Kalo’s guitar work on the moody “Heartbreak”. Lyrically this one works pretty well as Kalo expresses her despair: “Haunt me in my thoughts, haunt me in my dreams, I get so lonely baby I could die”. “Blue Chevy” has some discreet slide sitting behind the main riff and a country feel but Kalo’s solo break is pretty rocky. “Looking For Me” returns to the acoustic style with banjo set against slide and fiddle, a catchy little number with an interesting mix of blues and country influences. “Goodbye” blends traces of European heritage

such as Jacques Brel with Johnny Cash country influences, a song apparently written in NYC! The only cover is a surprise – Madonna’s “Like It Or Not” – but equally surprising is that it is the closest we come to blues on the album with Todd’s harp above a pounding beat. The harp work on “Oh Father” also takes us closer to blues with ringing guitar and toetapping chorus and “Down Down Down” chugs along with an insistent guitar riff supported by the organ. The album closes with two gentle songs about love and relationships: “Tender Love” is a piano-led ballad with more lovelorn lyrics and “Can’t Sleep At Night” closes the album with Kalo double-tracking her vocals over just fiddle and bass accompanying her acoustic guitar.

This is not a blues album and not everything was to this reviewer’s taste but there are some good moments too.

Reviewed by John Mitchell Delta Pines Ivor S. K. Self Released http://www.ivorsk.com/ 5 Tracks Ivor Simpson-Kennedy is part of the bevy of blues talent developing in Australia. He wrote, played guitar and sang all 5 songs

on this EP. Although an Australian, he has New Orleans as a spiritual home.

This is the 24 year old guitar player’s first release. You can feel the Mississippi Region in his tunes.

The recording opens with “Help Poor Me”.

It has a delta feel, with his vocals reminding me of Steve Earle. The production here is really good, as the guitar is crisp and clear. This slower tune is really nice.

“Missus Green” adds a bit of percussion to the guitar work. The lyrics are fun with him swearing off alcohol to enjoy his Missus Green. It is a simple tune, but gathers additional pluses with his gravelly vocals .

Ivor picks his way through an instrumental called “Pelican”. He adds some slide to this tune also. The 4th cut is “I Like the Way”. This is delta acoustic blues done in his modern style. Closing out this EP is the title cut “Delta Pines”. This is his ode to Mississippi as he takes us on a tour of the state and its musical heroes. Ivor has learned his blues history.

This is a fine start for Ivor. I like the crisp production and his raspy voice. He plays a pretty good guitar too. Time will tell what is next for him, but I look forward to his future releases and maybe a chance to hear him in concert. He pays tribute to the past, but wants to head to the future. I think he will have a bright future.

Reviewed by Mark Nelson

July-August 2016 Stand Your Ground John Long Delta Groove - 2016 www.johnlongblues.com 13 tracks: 53 minutes Denver, Colorado’s John Long is described in Al Blake’s sleeve notes as a ‘national treasure’, a throwback to an older style of blues, what Al describes as “old timey” blues and gospel. Only his second album on a national label, “Stand Your Ground” features seven originals but, frankly, it is hard to tell which songs are John’s and which covers of older songs, such is the seamless nature of this album. John plays guitar, rack harp and ‘1938 Samsonite suitcase’ and is joined on four tracks by a rhythm section of Bill Stuve (bass) and Washington Rucker (drums), with Fred Kaplan on piano on two tracks. Washington also accompanies John on a pure gospel song. Otherwise everything you hear is John alone, as on the lengthy “Red Hawk” which certainly sounds like an authentic 1930’s country blues.

Let’s consider the band tracks first: the CD opens with a fine version of Homesick James’ “Baby Please Set A Date” on which John’s slide work is echoed by Fred’s piano and Bill’s acoustic bass sits pleasantly full in the mix. The title track is more of a country blues with Washington’s brushwork on drums setting the pace, John’s lyrics urging people to stand up for what they believe in.

“One Earth, Many Colours” is a gospel-tinged tune with optimistic lyrics about how we can all live together regardless of colour or creed, Fred taking an old-fashioned honky-tonk solo.

Georgia musician Mike Cronic is the source for the gently toe-tapping “Mop, Bucket And A Broom” and Washington stays

Page 15 at the drum stool for Thomas Dorsey’s “Precious Lord, Take My Hand”, a classic piece of gospel music.

The solo tracks include more gospel in Blind Willie Johnson’s “I Know His Blood Can Make Me Whole” and Blind Willie McTell’s “Climbing High Mountains”, the former including the famous line about ‘touching the hem of his garment’ that Sam Cooke used in his sacred period, the latter stretching John’s voice to cover a wide range as he also blows some low-pitched harp. In contrast John’s harp on “Healin’ Touch” is very high-pitched as he sounds authentically ‘old’ vocally. John takes a robustly optimistic view of things on the stomping “Things Can’t Be Down Always” but “No Flowers For Me” is far more downbeat with its references to Parkinson’s Disease. The closing track “Suitcase Stomp” is a fun song which namechecks John’s support ‘instrument’ as he travels the country to play his music.

Fans of country blues and gospel will be delighted by this album which really harks back to a bygone era, whether in the covers or in John’s original music.

Reviewed by John Mitchelll

Page 16 Soul Renegade Ken Valdez Self Released http:// www.kenvaldez.com/ home 11 Tracks Originally from Sante Fe, NM, Ken Valdez is operating out of St. Paul, MN these days. He has 3 prior releases, with the last one back in 2007 called Thoughts and Time. He has worked in studios and was a long time side man with T-Model Ford.

After recording an EP in tribute to T-Model Ford he got the itch to make his own new recording. Special guests on these recordings include Eric Gales, Chris Duarte, and Mary Cutrufello. This set of recordings is mostly blues-rock originals by Valdez. Paul Peterson(bass), Mario Dawson(drums) and Ricky Peterson(B3) provide most of the support for the record.

The title cut opens the CD, and is a blues rock ballad. There is powerful guitar work here, though I wish the vocals could hit a slightly higher note. I hear 70’ blues rock in the second cut “Rio Grande Blues”.

Valdez’s guitar really brings it on this one without being overwhelming. “Sugar Shakin' Boogloo” is exactly what you would expect from the title. Chris Duarte adds his guitar to this one. It is roadhouse blues all the way. On “Make It” Valdez heads into hill country blues. Kevin B.F. Burt contributes harmonica to the track. I like this one!

The 5th cut is “Sometimes”. Eric Gales joins the fun with his guitar on this one.

The song heads into a funkier direction here with a bit of pop tossed into this tune.

“Far From Gone” was co-written by Curtis Salgado, so it has a distinct R&B feel.

Ricky Peterson’s B3 and supporting vocals by Hazel Miller (Big Head Todd) add a great deal to the tune. Things heat up on “Detroit Iron”. This high paced tune is about going for a ride. I bet this one goes over well in the live setting. The vocals get a bit of Bob Seger and Omar Kent Dykes which is good!

“Final Season” features Adam Daniel on keys and B3. This one rocks with a tight groove. Mike Jordan wrote “Whiskey And Water” played here as a slow ballad with a country feel. Greg Jennings adds slide guitar extending the country feel of the tune. It is a powerful tune, though not as bluesy. Mary Cutrufello adds background vocals to “Angels” a testifying rocking gospel tune. Certainly this tune adds diversity to the song selection. The closing tune is the great Willie Dixon tune “Wang Dang

The Groove- Crossroads Blues Society Newsletter Doodle”. This great song gets a heavy blues rock representation. I give Valdez credit for taking a different approach to this classic, but it did not groove well with me. Heavy blues rockers may like it, but I wish it slowed down a bit.

pretty fair overall disc. Touring seems confined to the Minneapolis area, but maybe he will get out to play in other parts of the country on the back of this release.

If you need your blues rock dosage every day, grab this one for a listen.

So there you have it. Valdez brings a variety of tunes to the CD player, with an overall blues rock feel. There is very good support from his band mates. This is a

Reviewed by Mark Nelson

July-August 2016 Not Quite Legal Chase Walker Band Revved Up Records www.chasewalkerband.com/ 12 Tracks + a hidden track We have here a young (Born August, 1998) and talented guitar player and his equally young band. At 15 his finish in the Lee Ritenour guitar contest made his eligible for a full scholarship to the Berklee School of Music. He got his band together in late 2012. An initial recording called Unleashed was released in 2014.

This follow-up for the California based group and the Americana Blues-Rock style. Chase Walker plays guitar and sings. Randon Davitt covers the bass, while Matt Fyke handles the drums for the band. There are 10 originals and 3 covers on this disc.

The opening number is “Done Loving You”. It is a rocking guitar track, with a fast pace to it. The classic “Red House” is given a strong, but slower than usual rendition. There is a strong 70’s blues rock feel to “The Walk”. If you liked Nazereth’s “Hair Of The Dog”, you will like this one.

On “New State Of Mind”, keyboards are added by Jake Munkihaid Shining. Jade Bennett-Mateo adds backing vocals to this slower blues rocker. The production work here is well done.

The next song “I Warned You” has an Allman Brothers/Black Crowes feel to it. I like this one a great deal. Things slow down a bit on “Cold Hearted’. There is more modern blues in this one. April Stephenson adds the backing vocals on this one. There is not a FCC Clean label on “Don't F It Up”. It is a fine tune, but filled with more than a few lyrics that won’t pass the radio test, but will go over well within this slower song. The other cover on the CD is “54-46”. IT is a cover from the reggae band Toots & The Maytals. It certainly had the reggae feel, with some blues guitar tossed into it. It is done well.

The 9th tune is “Changed”. Randon Davitt wrote and sings this blues rock tune. “It'll Pass” hits an Americana note, with a slower fell to it. There are pretty good lyrics on this one. “Honey Jar” has a bit of UK 70s blues rock feel to it. It comes from the Wood Brothers. The official closing tune is “Living On Thin Ice” I like the blues rock feel of this one. There is a hidden track called “Yabba Dabba”. It is short and has an old public service type announcement at the beginning. What

Page 17 follows is an instrumental with some vocals that sound like the public service announcement voice. It is about growing up.

The playing if pretty good on this short hidden track.

These guys are young, but there is some talent. It’s not guitar hero stuff. They have played over 150 shows so they are getting gig tested. They mostly play in California, so their exposure to the rest of the country is only through CD/download sales. If you are looking for older blues, than this is not the disc for you. If you want some adventure, and like Americana and rock with your tunes, give this a spin.

Let’s see how they all grow up and mature.

Reviewed by Mark Nelson Turn Up!!

Mike Wheeler Band Delmark Records www.delmark.com www.mikewheelerband.com 13 tracks/66 minutes The Mike Wheeler Band, or MWB for short, has rapidly become one of my favorite overall Chicago bands and keepers of the South and West Side faith. Mike fronts the band on vocals and guitar and this CD features Brian James on keys, Larry Williams on bass, and Cleo Cole on drums as the MWB. All thirteen songs are originals and were penned at least in part

by Mike.

The album opens to “Sweet Girl,” a nice hook with really good guitar and organ solos and added horn work from Kenny Anderson (trumpet) and Hank Ford (tenor sax). The ease at which Wheeler runs up and down the fret board always amazes me. “You Won’t Do Right” takes us to relationships gone wrong. Wheeler trades licks with his vocals in this well metered and driving cut. The horns again add pop and punch to the mix. “Yeah!” is a funky little number where Wheeler shouts about the head turning looker he’s after. He offers up a slick, extended guitar solo for us, too. Williams’ bass establishes and maintains the groove along with help from James’ left hand. The next cut was a favorite of mine from a live show with Wheeler that I saw. “Brand New Cadillac” lays out a big wall of sound for us that Phil Spector would marvel at. Wheeler viciously attacks on his guitar and the band charges forward along with him.

“Talking to Myself” is a pretty shuffle that Wheeler throws at us to describe the woman who just doesn’t listen to him. Organ and guitar solos are rich additions here. Next we have the title track, a big production with the horns blaring and the organ grinding out support. Wheeler swings through the vocals as the band props him up with a rich sound. Early on, and then later, we get some of his guitar out front blasting for good effect. Things get taken down to a hot simmer with “Nothing Lasts Forever,” a slick, slow tempo-ed piece about a relationship gone bad. Things get a little more hopping with “I Can’t Do That.” A big guitar solo follows a piano solo with this cut. Wheeler returns to the funky sound with “Living My Dream.” They get a good groove going with this straight ahead song.

Slow, earthy and nasty blues are served up next for “A Blind Man Can See.” A big guitar intro with the piano tinkling behind it sets the tone for these gritty blues. Wheeler serves up some testimony on vocals and then breaks into some extended guitar testifying. “That’s What Love Will Make You Do” is a swinging song with a big horn and guitar intro with a bit of funk thrown in to spice things up. First there is a tasty guitar solo and then later we get Williams on bass showing us his chops with some nice licks. “I’m Hooked” features Mike with a big vocal run on either end of the song, plus a midpoint guitar solo. Horns and keys support him throughout. Social commentary concludes the set with “Sad State of Affairs.” Wheeler wants to cry when watching the news today and bemoans the fact that folks just can’t get along. The song builds to a big conclusion showcasing Mike’s guitar and the band in support. It’s the perfect closing for a stellar set of tunes.

While the songs are pretty much straight up Chicago blues, Wheeler and company show what they can do and impress the listener with their work. I think Mike sounds a bit restrained in the studio compared to his live stuff, but this is a great album done by an outstanding set of musicians. With guys like Wheeler, Toronzo Cannon and others of their generation, the blues are in very good hands in the Windy City!

Reviewed by Steve Jones

The Groove- Crossroads Blues Society Newsletter

Page 18

Crossroads Shows and Events May and June 2016 Jimmy Burns

Melody Angel Diunna Greenleaf

John Primer Ronnie Earl

Super Chikan

Bob Levis., Lurrie Bell and Billy Flynn

Ben Payton

Eddie “The Chief” Clearwater

The Mayor with Otis rush, family and friends

Mighty Mike, Michael Ledbetter and Billy Flynn

Breezy Rodio

Sunday at the Chicago Blues Festival with Otis Rush Tribute. Mayor Rob Emmanuel Declares Otis Rush Day.

July-August 2016

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Justin “Boots” Gates at All Saints

Creole Stomp at Rockford Park District Sinnissippi Park Series moved indoors to Guilford HS

Steve Ditzell at the Hope and Anchor in Loves Park

The Jimmys at Monroe’s Spring Fling; photos by Rick Davis

Mighty Mo Rogers and the Luca Giordano Band at the Lyran Club (yes that’s Link Leary); photo by Rick Davis

Big Jim Johnson listens to Corey Dennison and his band at the Grand Avenue Pub in Beloit; photo by Rick Davis

Dennis Barker with Samantha Fish at the River Music experience in Davenport; photo by Rick Davis

The Groove- Crossroads Blues Society Newsletter

Page 20

Rick Davis, Bob Haendler and Marty Johnson coordinate wardrobes at Monroe Balloon Fest

Johnny and the Boomers in Mount Morris; photo by Rick Davis

Brent Johnson and the Call Up, the Jimmys and Nick Moss at the Monroe Balloon Fest; photos by Rick Davis

Tedeschi Tedeschi--Trucks headlined Blues on the Fox in Aurora on Saturday; Len Levinson dances to Saturday opening act Leland

Marcia Ball. Robert Cray, Larry McCray and David Hidalgo (Los Lobos) also performed at Blues on the Fox

Brent Johnson and The Call Up at the Grand Avenue Pub In Beloit; photo by Rick Davis

Mel Ford at Boundaries in Beloit

July-August 2016 Top Blues Releases May and June 2016 Sunday Morning Blues WKGL-FM 96.7 The Eagle Rockford, IL May Corey Dennison Band / Corey Dennison Band / Delmark Moreland & Arbuckle / Promised Land or Bust / Alligator Sugar Blue / Voyage / MC Records Golden State Lone Star Blues Revue / Golden State Lone Star Blues Revue /Electro-Fi Mike Wheeler Band / Turn Up!! / Delmark Albert Castiglia / Big Dog / Ruf Paul Reddick / Ride the One / Stony Plain Guy King / Truth / Delmark Tweed Funk / Come Together / Tweed Tone Webb Wilder / Mississippi Moderne / Landslide Shaun Murphy / It Won't Stop Raining / Vision Wall Curtis Salgado / The Beautiful Lowdown / Alligator Toronzo Cannon / The Chicago Way / Alligator The Rides / Pierced Arrow / 429 Records Eric Clapton / I Still Do / Surfdog - Bushbranch Robin Trower / Where Are You Going to / Manhaton -V12 Vasti Jackson / The Soul of Jimmie Rodgers / Vast Eye Music Big Jon Atkinson & Bob Corritore / House Party at Big Jon's House / Delta Groove William Bell / This Is Where I Live / Stax Lazer Lloyd / Lazer Lloyd / LL Walter Trout / Battle Scars / Provogue Dave Weld and the Imperial Flames / Slip into a Dream / Delmark Pistol Pete / Pistol Pete Killer Bash / Velvett Box June Tinsley Ellis / Red Clay Soul / Heartfixer Music Nick Moss Band / From the Root to the Fruit / Blue Bella Alexis P. Suter Band / All for Loving You / American Showplace Music The Soul of John Black / Early in the Moanin' / Cadabra Kenny 'Blues Boss' Wayne / Jumpin' & Boppin' / Stony Plain Big Harp George / Wash My Horse in Champagne / Blues Mountain Toronzo Cannon / The Chicago Way / Alligator Allen Toussaint / American Tunes / Nonesuch John Long / Stand Your Ground / Delta Groove Royal Southern Brotherhood / The Royal Gospel / Ruf Webb Wilder / Mississippi Moderne / Landslide Eric Clapton / I Still Do / Surfdog - Bushbranch

This list is submitted to Living Blues Magazine for inclusion in the May 2016 National Radio Chart. This list is compiled from actual radio air play statistics.

WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle

Page 21

Membership News We continue to grow with new members and renewals continuing to sign on!

Thank you for supporting live music and keeping the blues alive to all our new and returning members!

New members: Marie Gonzales Tracy Morgenroth Randy Zollar Renewing Members: Jeff Foster Rebecca Heaslip Susan Hess Jim & Joanne Johnson Ernie & Mimi Leombruni (3 years) Kevin Moore Emily & Kevin Rollins Matt Thompson Roger Thompson Bret Wizenreid Ross Youngberg New members get a CD upon joining and new family members get two CDs. Membership has been $15 (individual) and $25 (family) for over 15 years. Mail newsletter members have a $5 surcharge to help with printing and postage costs; it’s expensive to produce and distribute newsletters. We produce six newsletters a year with 25-30 reviews and all sorts of other great information related to the Society and our events.

The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 20 to 32 pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out to members without email ($5 membership surcharge).

Editor in Chief: Steve Jones Music Reviewers: Rick Davis, Marty Gunther, Steve Jones, John Mitchell, and Mark Nelson All un-credited content by Steve Jones

www.bluesblastmagazine.com

Hope & Anchor English Pub Second Saturday Blues

The Hope and Anchor Saturday Blues Schedule is set through April 2015.

From 8 PM to Midnight, $5 cover after 7 PM or free prior to that for dinner guests.

Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers, liquors, and great live music! At 5040 N 2nd Street, Loves Park IL, USA, phone 815.633.2552 for info!

7/9 Paul Filipowicz 8/13 The New Savages 9/10 Dave Specter with Brother John 10/15 Aaron Williams and the HooDoo 11/12 Reverend Raven and the Chain Smoking Altar Boys 12/10 The Jimmys 1/14/16 Toronzo Cannon 2/10/16 Shonn Hinton and Shotgun

Lyran Society Third Friday Blues

The Lyran Society continues their Fish Fry and Steak Dinners with performances on the third Friday of each month at their club. Located half a block east of 7th Street at 1115 4th Ave, Rockford, IL 61104, you can call (815) 964-0511 for info. There is no cover charge, it’s a free show. Open to the public, all ages are welcome.

July 15: Smilin’ Bobby August 19: Johnny and the Boomers September 16: Harpo Mark Band October 21: The New Savages November 18: Ron Holm/Roy Orbison Tribute

All Saints First Sunday Blues

July 3: No Show (Holiday) August 7: Ron Holm/Trinadora September 4th: No Show (Holiday) Oct 2: Macyn Taylor TBD still November 6: Daniel Souvigny December 4:Dan Phelps

Crossroads Blues Society

The Crossroads Blues Society Newsletter

P.O. Box 840 Byron, IL 61010 News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com Music Reviews: http://crossroadsreviews.blogspot.com Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com

The

GROOVE Keeping the Blues Alive Since 1994

2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee

Email us at: sub_insignia@yahoo.com Also on the web at: www.crossroads.bluessociety.com

Blues on Local Radio WNIJ - 89.5 FM  Friday evenings from 9 PM to midnight with Harold Brown  Saturday afternoons from 1 to 4 PM with Patrick Sheehan  Saturday evenings from 9 PM to midnight with David James The Eagle - 96.7 FM  Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon

News and Upcoming Events The 2016 Crossroads Summer of Fun in July features Paul Filipowicz on Saturday July 9th at the Hope and Anchor, Smilin’ Bobby Friday July 15th at the Lyran Club, and Bryan Lee at Sinnissippi Park on Saturday, July 16th.

August has four events with Ron Holm and the Trinadora Trio at All Saints on Sunday, August 7, the New Savages at the Hope and Anchor on Saturday, August 13th, Johnny and he Boomers on Friday August 19th and our 7th Annual Festival on Saturday August 17th.

See inside for details on these and more!

Membership Application www.CrossroadsBluesSociety.com Yes! I’d love to be a part of the Crossroads Blues Society!

Name_____________________________________________ Street Address___________________________________ City________________ State______ Zip Code________ Phone_____________________________________________ Email Address____________________________________ New -or-

Returning Member

This will be a membership for an/a: Individual ($15) -orvia email

Family ($25) -orvia email

Individual ($20) -orFamily ($30) via regular mail via regular mail

Please cut out or copy and mail this form and payment to: Crossroads Blues Society Bring this to P.O. Box 840 our next meeting Byron, IL 61010 and get a free CD!