The Groove Mar-Apr 019

THE

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

MARCH-APRIL 2019 EDITION

Editorial

Steve Jones, Editor and CBS President

We began the New Year strong with great music events despite a few problems with mother nature.

Written Warning from Lasalle was at the Lyran Club but then we were forced to cancel shows with The Blues Disciples at the Hope and Anchor and Dave Potter with Madison Slim at the Lyran Club were both cancelled due to weather. We made it down to the International Blues Challenge and our band Ivy Ford was a finalist, gaining notice as one of the top 8 bands! February began with Sistah Sara Blues at the Lyran Club, Mike Wheeler at the Hope and Anchor and Recently Paroled at the Lyran Club. All were grerat shows!

Blues in the Schools got back into business right after the Christmas break with Wheatbread Johnson at Rockton Grade School with nine programs and nine more at Ledgewood Elementary School in Roscoe. Tas Cru was in town the following week for three programs, two at West View Elementary and another at Washington Elementary. Tas also did a killer evening show at Mary’s Place the night prior and will return there Sunday March 10th at 7 PM for another show. Dave Potter and Madison Slim did two more BITS programs at Auburn HS and another at Lathrop Elementary which were well received, too. Wheatbread Johnson did a total of 12 residency programs at East HS and I did 4 Blues history programs there, too. See inside for a full summary and upcoming BITS programs!

Here is an updated look at upcoming 2019 events that are coming up for Crossroads: • March 10 7 PM Tas Cru at Mary’s Place • April 3 7 PM Chris O’Leary at Mary’s Place • May 4 3 PM Crossroads 25th Anniversary Concert at Timber Lake Playhouse in Mt. Carroll • June 1 2 PM Crossroads Picnic with Ivy Ford • June 29 Noon New Glarus Blues, Brews & Food Truck Festival • August 24 Noon 10th Annual Crossroads Blues Festival In addition to our BITS update, you can read about our 25th Anniversary Party, The Ivy Ford Band in the IBC finals, lots of music reviews and much more. It’s another great issue!

One thing I want to bring up is our working as a club to maintain ourselves for the long term. We are thriving with over 200 members, a great festival, over 125 BITS programs that will likely get done this school year, dozens of shows, our annual scholarship, the newsletter, our local blues challenge that feeds the IBC and more.

The reality is that all that work is being done by me and our board.

Most of the work gets done by me and the few members of the

board that are retired. Lots of folks step up to volunteer at the fest, but that is one day of effort. We work all year long planning and writing and compiling and doing stuff to make this all happen.

That’s not going to go on forever with me and the eight board members.

We have good documentation on how to get things done. We have what we do fairly well defined. What we need to know is: 1. Is there commitment to keep this going for the long term?

2. Are there people out there willing to get involved?

3. If there are people who want to get involved, will they staff committees and positions to learn and take over some of the work now and more as time goes on?

4. If there is no long term solution to maintaining what we do, how do we phase ourselves out to the point where they can be maintained or to maybe even work to eventually dissolving the club?

We are not saying there is doom and gloom and things are going away any time soon, but we need to groom future leaders for Crossroads. I’ve been at this for 15 years; I’m almost 63 now and have many years ahead of me still (I hope), but we need to be ready for the future. We need more involvement from members who are younger; not necessarily those with young kids who have no time but empty nesters in their late 40’s/early 50’s who are where I and other board members were 15 years ago. We need a real transition plan and I think we need to start now. Please let me know if you want to be part of Crossroads’ future. It’s a lot of fun, it’s fulfilling and it’s not rocket science. Here’s how we got here: We’ve grown. I do a lot of work, more and more since I retired; so does our board, They have been at it with the same folks since spring of 2014 and they do a damn good job. They are not going anywhere; what we really need is not new board members but a committee structure that involves more people. Committees are the key to getting work done, infusing new energy into the Society and staying relevant to our community and the blues world. Corporate America does this with Succession and Strategic Planning.

We’ve come a long way since those early days in Lanark. Craig Lang, Liz Sarber and Kathleen Webster were the officers and board who got things off the ground back then. The next year 5 more positions were added and in 2000 another board member was added to make 4 officers and 5 board members (they are always listed on the next page). Things went south when folks got overloaded and the Society moved to a Rockford base around 1999 with new leadership. Mark Thompson helped grow the club, added Blues in the Schools and I helped get the newsletter expanded and he and I started the festival. We’ve gotten bigger and better every year.

Now we need to make sure we can sustain that. It’s a great organization and we do great things for the blues and the local community. Let’s keep this all going!

Very blues-ily yours,

Contents Editorial………………………………………..……………..…..…..2 Contents, Board, Local Radio & Application……………………………………….……..…....….3 BITS Update…………………………….……..…………...….....4 .

Ivy Ford Advances to the IBC Finals..…..…………....…8, 29 CBS 25th Anniversary Party.……………………….…...…..9 Committee Members Needed……………..…………….....10 Music Reviews……………………………………...………......11 Vinny Bond’s Music On The Couch……...…..…........27 November and December Crossroads Photos…….…28 Upcoming Shows…………………………………..…....…....28-37 Member Update……………………………………..….........39 Karen Howard Memorial Scholarship.……..….........39 .

Hope and Anchor, Lyran and Ice Hogs Shows.…...39 Upcoming Shows………………………….....….….…......39 Blues News and Upcoming Events……………...…....40 Cover photo by Rick Davis The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 32 to 40 or more 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, John Mitchell, Marty Gunther, Bill Graw, Lynn Hetzler, Mark Nelson, Steve Jones and Mark Thompson.

All un-credited content by Steve Jones

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 David Rosik

•

Saturday evenings from 9 PM to midnight with David James

•

Rich Gordon fills in regularly

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 Rick Davis Bob Haendler Ken Pearson

harkthebark@mchsi.com rick_davis_937@comcast.net rhaendler@comcast.net cntrylivng@aol.com

Rick Hein

mrrickhein@sbcglobal.net

Membership Application

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

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Returning Member Family ($25),

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$5 extra for newsletter via regular mail Please check all applicable interests: Festival Volunteer

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Please cut out or copy and mail this form and payment to:

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Bring this to our next meeting and get a free CD!

Blues in the Schools Update

Wheatbread Johnson with Rockton Grade School’s 2nd Graders Coming into 2019, we had done 359 BITS programs, 109 in 2018 for just shy of 11,000 students. The 2018-19 school year had 21 programs done and many more are scheduled to be accomplished.

Things started with a bang right after the New Year. Wheatbread Johnson worked with about 200 second graders over 4 sessions at Rockton Grade School on the Monday when school went back in session. On Wednesday that week he worked with about 200 more students in 4 more sessions, this time at Ledgewood Elementary School in Roscoe. On Friday Wheatbread completed the rest of the students at Rockton Grades School with 4 sessions for Kindergarten and 1 for Pre-K classes, about 250 more students. It was a busy week as he, Bob Haendler and Steve Jones worked their magic with the short program for the kids, using shaker eggs and teaching them a dance.

On Wednesday, January 16th Tas Cru and His Band of Tortured Souls did a pair of programs for 510 students at West View Elementary School in Rockford in the morning. That afternoon he and the band were at Washington Elementary School in Rockford, working with 410 more students. He also did a community

show the night before at Mary’s Place with a nice crowd in attendance.

Friday of that week (January 19th) had Dave Potter come into town for his first ever BITS performances. Joining him was Madison Slim who had worked with Reverend Raven years ago for our BITS program. Dave and Slim worked two sessions at Rockford’s Auburn HS for about 300 students and then another in the afternoon for around 400 students at Rockford’s Lathrop Elementary School. The snow came as they finished and the evening show was unfortunately cancelled at the Lyran Society. The programs were fun and Dave and Slim did a great job together.

Wheatbread Johnson did some residency work with two classes on both the 8th and 11th of February. He worked with Chorus and some Band students on vocals, teaching them “St. Louis Blues,” the W.C. Handy song version done by Bessie Smith and Bill Wither’s “Grandma’s Hands.” He taught them about melody, harmony, song format, soloing and other technique along with a good history of the songs and singing blues. The other sessions were for guitar students where he showed them how to play blues melodies and chords, showing them that less can be

Wheatbread Johnson at Ledgewood Elementary School

Wheatbread Johnson with Rockton Grade School’s Kindergarteners

Tas Cru at West View Elementary School

Tas Cru at Washington Elementary School (Rick Davis photos)

Wheatbread Johnson certificate celebrating 100 BITS programs more. The class did well, playing along with Wheatbread and then on their own. Both sets of sessions were well received and the students boy learned a lot and enjoyed themselves.

Crossroads President Steve Jones went back to East High School for 4 music classes teaching the history of the blues, showing how the blues and African music and rhythm influenced all the forms of music that came after it in the Americas and Caribbean.

Using animations, PowerPoint and some audio files, he led the classes that Wheatbread had been and would work with in March.

We hit a big milestone with Wheatbread Johnson doing his 100th BITS program for us on January 11th. He was presented with a framed certificate to commemorate that milestone. We are proud to work with him and look forward to the next 100 BITS programs with him!

We also celebrated Bob Haendler for his BITS work. He has done every short program for our headstart/pre-school work and only

Bob Haendler recognized for his outstanding BITS work missed one morning at Marshall Gifted ES for our short program Elementary work. Part serious, part tongue in cheek, the certificate regales that he has “disinfected over 2,500 shakers and other instruments, visited numerous facilities openly avoided by other Members and provided over 750 animal sounds.” The numbers don’t lie and his work is greatly appreciated, dancing, keeping the beat and working hard for well over 100 programs. January 11th (which is also his birthday) was designated as “Bob Haendler Blues in the Schools Day” and he was also awarded free life membership in Crossroads. Thanks so much to Bob! We have a lot more to go for this year. On 03/08/19 2 more Residency programs at East HS with Wheatbread Johnson are scheduled. On 03/11/19 he has 2 more Residency programs at East HS. On 03/15/19 Milwaukee Slim and Billy Flynn are in for a pair of BITS [programs. Wheatbread has 4 more Residency programs at East HS in early April and on 04/05/19 we have 2 BITS programs with Dave Fields. Then on 04/19/19 it’s 2 more BITS programs with Oscar Wilson and Joel Paterson. Head Start last year was 13 dates, with 57 programs and we are working to schedule this

Dave Potter and Madison Slim at Auburn HS

Dave Potter and Madison Slim at Lathrop ES (Bob Haendler photos) years Headstart work. Wheatbread Johnson will support that once again, another likely 50-60 programs. We might also do something in May that is yet to be scheduled.

or possibly exceed 80,000 students served with nearly 475 total programs accomplished since May 2002 when we began. This is pretty much an amazing feat!

All in all, this school year will likely encompass around 70 BITS assemblies, residency classroom programs along with another 50 to 60 or more Headstart classroom programs. This will top last year and be our biggest year yet! The cost of our work remains somewhere around $1 per student served, a huge bargain and quite cost effective use of the funds we raise. We will approach

We thank our fans who support our festival as that is the way we fund BITS. We also thank all the artists who help us keep the blues alive– your hard work in educating our local youth is a wonderful thing and we thank you for your work. We could not do this without our fans and our artists!

Ivy Ford Advances to IBC Finals

Ivy Ford and her Band took Memphis by storm at this year’s International Blues Challenge. She was slotted to play her two Quarter Final sets at the Flying Saucer, a block off of Beale Street.

Initially, I had a concern that might diminish the crowd. My concern was unfounded as fans poured in before her first set and packed the place. Many of the fans remembered her from the 2018 IBC and came back to see her. Ivy took the stage with her “boys” Dave Axen and Willie Rauch and the place never knew what hit them. 25 minutes later, the crowd was on their feet, applauding and screaming.

Ivy had the attendees eating out of her hand. She was at ease on stage and showed us showmanship and presence that belies her being just a 25 year old. Her all original set, mixing tunes from her great CD Time To Shine and some slated for her upcoming CD, was a huge hit. She did some killer slide, mixed blues and hip hop, and even managed to share the drum kit with Dave for a bit. It was awesome.

Thursday night was no different, except the crowd was even bigger. The result was the same– controlled chaos by the end of it. Folks went wild for her performance once again. Late Thursday night I sat waiting for the announcements for the Friday

Semi-Finals and was pleased that Ivy had made it to that round and would be playing at Wet Willies, the club she performed in for the 2018 Quarter Finals.

Friday night was no different. Ivy was amazing. She shined in her sequined dress and delivered another killer show. The crowd was so big that it exceeded the Fire Marshall limits and the manager had to bar more customers from coming in– a good problem to have. The shows seemed to build on the energy from each prior night! As we sat with expectation late Friday evening, the word came out that The Ivy Ford Band had made the finals!

Saturday at the Orpheum Theater we all waited with excitement to see Ivy and the Boys on the big stage. They shorten the sets to 20 minutes so Ivy made adjustments on the fly to manage time for the set and had the crowd once again on their feet. It was a stellar show. We waited for the announcement of winners and we were all disappointed she and the band were not selected, but they can hold their heads high for the fantastic way they presented themselves. They won over hundreds of new fans and have many festivals and venues clamoring for them to appear. Well done to Ivy and the Boys– they did themselves and Crossroads proud!

Photos by Rick Davis except for the selfie

CBS 25th Anniversary Party

For our 25th Anniversary Party we decided to return to the neighborhood of our youth. Crossroads was born in Lanark, IL in 1994.

We are approaching our Silver Anniversary and thought it might be fun to have a celebration in the old neighborhood. Well, the Timber Lake Playhouse made us an offer we could not refuse and we booked May 4th for a date to have our celebration. The doors open at 2 PM and the music starts at 3 PM. We contacted the authentic Delta blues man Hal Reed with his band Mississippi Journey featuring the young Quad Cities area guitar player Zach Harris. Hal is a great harp player, singer and performer and he will be sure to hold folks spellbound with his music and band starting at 3 PM. At 5 PM we have IBC Finalists The Ivy Ford Band. Chicago’s Blues Kitten represented us in the 2019 IBC and they were one of the hottest commodities on Beale Street. We are proud of her and the band’s accomplishments and so happy to have them as part of our celebration. Featuring Dave Axen on drums and Willie Rauch on bass, this is one of the hottest bands around!

Closing the day at 7 PM is none other than Jimmy Nick and Don’t Tell Mama. Jimmy is front man for another young band that is taking the blues world by storm. His raucous guitar and wild style pleases crowds where ever he plays. Mixing blues, rock, and rockabilly, he will give our attendees a wild ride to enjoy!

Tickets are $10 in advance and if any are left they will be $15 at the door. Reserved seating through Crossroads Blues Society or go online at http://www.timberlakeplayhouse.org/crossroads-bluessociety/ to buy tickets today. Act soon or you’ll miss out!

Committee Members Needed

We need you! As I noted in my Editorial, we need to expand our group of working members to better standardize our efforts and develop committees to function and manage our operations.

We’ve grown and come along way in 25 years. Right now everything is managed by myself and the CBS board. We need to have committees set up with more members participating and sharing the work load to ensure the long term viability of our club.

Our major functions are: 1. Crossroads Blues Festival 2. Blues in the Schools (BITS) 3. The Groove Bi-Monthly Newsletter 4. Blues Shows 5. Annual Music Scholarship 6. Membership The Festival is something where several committees would be needed to keep going as time passes. At a minimum, they would likely be: A. Sponsorship – get sponsors for the festival B. Hiring Bands for Stage and Pavilion plus Sound and Lights - currently 5 acts on stage, 4 in between acts and a sound/lights person C. Volunteers—coordinate volunteer needs with us and Lyran, manage our volunteers and make sure they are ready to do their work D. Ticket Sales– get tickets printed, distributed to members, Lyran and ticket sales locations, track sales, collect money from sold tickets for deposit and keep sellers resupplied E. Marketing and Advertising—do all the marketing for the festival (postcards, posters, logos, banners, articles, social media, email and other work) F. Merchandise Sales—get tee shirts designed and ordered, coordinate other CBS merchandise sales G. Other Services—Vendors, Restrooms, Licenses, Golf Carts, Beer, Garbage, etc.

BITS requires one person or perhaps a small group to schedule the schools and artists and coordinate if they will be part of our evening show rotation. Some promotion and other minor work will also be part of this. Working with schools, Head Start and artists is the critical function. Making sure the artists are escorted to schools is also a function of this.

by Steve Jones

The Groove Newsletter is produced 6 times a year. We print a 12 page edition to mail out and for promotional sake. The newsletter needs someone to produce the articles, coordinate and edit the music reviews, collate the inputs, send the PDF to members and get the print edition printed. Right now that is mostly me with assistance from Rick Davis who coordinates the CD distribution and assignments. I’ve been at the newsletter for 15 years now and it is my highest priority to off load a lot of that work. I and future presidents would be involved, but someone with an eye for layouts, getting inputs from the committees and planning the issues is needed at a minimum.

Blues Shows currently are: A. Hope and Anchor (once a month on the 2nd Saturday).

B. Lyran Society 1st and 3rd Fridays October to May. June through September is one Friday a month.

C. Ice Hogs require one band for each Friday home game.

D. Other shows occur on an ad hoc basis based on artist availability and sponsors who want to help get shows run.

Advertising materials, marketing and some other administrative work is needed. This is probably a function for whoever is the President but it could be shared.

The Annual Karen Howard Memorial Scholarship is a one or two person job to update the application annually, distribute it to the schools in our area and select the top applicant for the scholarship.

Membership committee is a one or two person job to track members, send reminders for dues, thank new applicants by email, and provide current members for the newsletter distribution by email and mail.

We have grown in our functions and events. The more people involved the better off we will be in the long term. All this is getting done by me and our board, but we need help for the long haul. Please consider your abilities and availability and get involved. It is satisfying work and we make a big impact on the community and blues world with our work.

Please contact me at 779-537-4006 or at sub_insignia@yahoo.com to find out more or to volunteer to serve on one of our committees. Thanks!

Music Reviews Chris O’Leary - 7 Minutes Late American Showplace Music thechrisolearyband.net 12 tracks Chris O’Leary gives us a dozen new songs of what he calls hope and despair with his new CD. Chris has been fronting his own band now for almost ten years after a half dozen years fronting The Barnburners for Levon Helm and serving in the United States Marine Corps prior to that. O’Leary has also appeared with the likes of The Fabulous Thunderbirds, Stones sideman Bobby Keys, Jimmy Vivino, Jeff Healy, Albert Lee, Dave Maxwell, Michael McDonald, Warren Haynes, Steely Dan, Ivan and Cyril Neville, and James Cotton and recorded with Hubert Sumlin and Bill Perry. Not too shabby a resume!

Nominated in 2011 for a Blues Blast Award for Best New Artist Debut CD for “Mr. Used to Be” and Best New Artist Debut for the 2011 American Blues Music Awards, O’Leary has once again shown us his unique songwriting skills and great performing abilities with this new effort. Strong vocal work and poignant and stinging harp work grace this CD. He is joined by Andrei Korbanics on drums/percussion, Matt Raymond on bass, Peter Hopkinson on guitar, Greg Gumpel on guitar, mandolin, and backing vocals, Jeremy Baum on organ/piano, Andy Stahl on tenor sax and backing vocals, and Chris Difrancesco on baritone, tenor and alto saxes, clarinet and backing vocals.

“What the Devil Made Me Do” starts the set. Things begin with a kicking beat and deep bass groove as O’Leary tells us what the devil made him do. His vocals are emotional, the sax is blazing and the guitar work is hot. Next is “Your Day Will Come,” a slow and more than slightly dark cut about today’s political situation. The guitar and vocals are hauntingly cool. “One More Chance at Love” is next and things pick up a bit. This soulful number is midtempo and O’Leary howls out the lead. The keys are nice, the guitar is solid, there’s a good solo and we finally have Chris break out the harp for some dirty and sweet sounds.

Guitar and harp spar to take us out in a high energy call and response. The following song is “Second Time Around,” a nice little bluesy rocker with O’Leary emoting on vocals, a stinging guitar solo and a pretty harp solo.

“She Ain’t Coming Back” is a slow, lazy Delta sort of blues.

Chris moans out the lead, the acoustic guitar plays along with the harp and het mandolin flutters in and out. Things start softly but building to a powerful sound as O’Leary testifies about his woman what the title simply says. “Circus Just Left Town” begins with a driving drum beat. Things sound a little swampy

and cool as O’Leary and the slide guitar both have some fun.

Next up is the title track where things turn down and dark again into a somber cut with mean, mean harp and just an overall stellar piece. The song is about a marriage gone bad due to separations. The wife leaves, the husband follows with a gun ostensibly to bring her home but it turns into a two toe tag affair with a lethal injection as a reward. No winners here, and it’s based on a true story. In the real world we have a multi-tour Afghanistan vets who gets revenge and then killed himself at the scene. A very sad real story that this song is based on. “Unbelievable” follows, a slow and funky soul tune with guitar and organ setting the tone. The song just grabs you and pulls you along for a ride.

The distorted vocals in “Bones,” another dark and deep piece.

The slide gives us a nice ride, the harp is greasy and it’s another overall fine cut. Superb harmonica work here! “Heartbreak Waiting to Happen” gets things going again tempo wise, but things don’t really get happier as Chris sings to us about a chick who’s ready to disappoint. “Driving Me Crazy” is a jazzy NOLA sort of cut with some cool clarinet and horn work and more fine vocals.

The CD concludes with “Daddy’s Here,” a simple ballad with vocals and acoustic guitar to start. The electric guitar is added as the emotion rises to add feeling. Chris sings a somber tune about finally being home for his child, a touching and well-done performance.

This is a darker and different Chris O’Leary than we’ve been accustomed to. The songs are edgy and often range from somber to downright depressing. He’s done a great job and shows us a new side to his songwriting and performing. It’s not an album you’ll dance to a lot, but there are cuts to make you listen and take notice. I really enjoyed his take on the doom and gloom in life; the stuff grows on you with each listen. The vocals are superb, the backing musicians are spot on and together. Here we have another fine effort by a real up and coming star!

Reviewed by Steve Jones

Walter Trout – Survivor Blues Provogue Records – Mascot Label Group WalterTrout.com 12 tracks The old blues are therapy for Walter Trout. On days when he is down, hurting, having issues or the like, he finds that old blues songs perk him up. Neither he nor anyone else can describe why these old songs and albums can restore the soul; Walter’s wife Marie writes in the liner notes that the trials and tribulations that old blues artists went through make our woes seem trivial. Perhaps the connection to their woes creates a connection between the listener and the artist.

We get to hear the popular old songs covered hundreds and even thousands of times per year. Walter was not looking for those tunes to use as his form of therapy; he searched the catalogue of blues music for lesser known cuts that did not garner the same level of fame yet still provide resounding messages and feeling . I think he’s achieved his purpose. He and his band play these songs as if they are their own, not recreating them note for note but in new and respectful ways.

The main set of artists here with Walter are Michael Leasure on drums, Johnny Griparic on bass, and Skip Edwards on various things keys. Trout does the guitar and vocals; the occasional guest is noted below.

Trout kicks things off with Jimmy Dawkins “Me, My Guitar and the Blues.” Walter’s guitar howls and wails with deep and dark emotion. He begins with a stinging solo intro and then hits the vocals hard. The guitar is stunning, the vocals are full of emotion; it’s a wonderful opening cut. Next up is a Sunnyland Slim cut, “Be Careful How You Vote.” It’s a raucous and intense ride, with hot tempo-ed guitar, shouted lyrics and Walter also blowing a little harp for effect. He greases up the Mississippi saxophone and trades some awesome licks with it and his guitar in response. Sugaray Rayford joins Trout on vocals for “Woman Don’t Lie.” This is a Luther “Snake Boy” Johnson song, and Trout adds Teddy Andreadis on Wurlitzer as Edwards mans the B3. Rayford and Trout trade vocals and Walter offers up another huge guitar solo to enjoy. “Sadie,” an old Hound Dog Taylor cut, takes things down a few notches in tempo. While more subdued, Trout lets loose a bit on his guitar and he and band set up a nice groove. B.B. King gets a nice cover of his “Please Love Me,”picking up the pace a bit as Walter gets his guitar lubed up and wailing early on. They get a nice little shuffle going and Walter belts out the lyrics sweetly and, of course, delivers another high intensity guitar solo mid song and then takes us home with the guitar, too. John Mayall’s “Nature’s Disappearing” is next, a cut about how we are raping and pillaging our land. It’s a jazzy sort of cut, with more subdued guitar and harp by Trout. While showing restraint, Walter also showcases his musicality and talents well.

The second half opens with “Red Sun,” a Floyd Lee song. His producer Eric Corne joins in on shaker. The beat is strident and it’s a powerful, midtempo blues about a drought. Trout’s guitar rings solidly as he offers another pretty solo. Elmore James’ “Something Inside Of Me” is next, a beautiful slow blues with guitar and organ testifying cooly. It’s a great cut that builds a bit to a nice finish. Otis Rush is covered next with “It Takes Time.” The tempo rises and emotions similarly rise as Trout belts out the lead. There is lots and lots of guitar here to savorvery well done. “Out Of Bad Luck” stays on Chicago’s West Side, this time with Magic Sam. Trout testifies vocally with lots of emotion and then blasts out his guitar solo. Edwards’ piano provides good accompaniment within this one, too. Robby Krieger joins Trout on slide guitar for “Goin’ Down To The River,” an old Mississippi Fred McDowell tune. This one is pretty and slow Delta-blues with the slide slipping in and out to good effect. The guitars interplay as backline sets up a deliberate pace. Well done, once again! Trout concludes with J.B. Lenoir’s “God’s Word.” Walter testifies and takes us to church a bit with his vocals. The entire second half of the song is a concluding guitar solo that Trout works his magic on.

This may have been a therapeutic set for Walter to deliver, but’s it’s just great stuff. Each song is a little unique and offers different sides to the blues to enjoy. Trout takes each tune and crafts it into his own, making a cool dozen musical statements for us to enjoy. There is stellar guitar work here, super vocals, and a tight set of musicians working with Trout. I loved this album and think any lover of superb blues guitar will, too. Trout is spot on and just a joy to listen to on this stellar album!

Reviewed by Steve Jones

JJ Appleton & Jason Ricci – Beautiful Slop Old Boy Network Records www.jjappleton.com 11 songs – 41 minutes Sometimes the most pleasing musical releases take you completely by surprise. That was the case in 2014 when guitarist JJ Appleton and harmonica maestro Jason Ricci teamed up to produce what might have been unthinkable for some fans of the pyrotechnic harp player: A beautifully crafted low-key acoustic album.

Well, folks, they’ve done it again. Their partnership might seem out of left field for people only familiar with Jason’s intense, highly personal live performances and CDs, which often feature songs with themes dealing with LGBT, addiction and mental health issues. But if you delve below the surface, it makes perfect sense.

Both men have enjoyed careers that are chockful of variety. A Maine native, Ricci is one of the most innovative electric players on the planet, but he spent years in Mississippi’s Hill Country, learning his craft and playing under total control alongside the legendary Junior Kimbrough and R.L. Burnside.

Appleton, meanwhile, fell in love with the blues at age 10 after witnessing Sonny Terry and Brownie McGhee in concert. But he’s also produced albums for Kesha, Darius Rucker, Grace Gaustad and others, and he was handpicked by David Bowie to serve as guitarist for one of his last works, the off-Broadway musical, Lazarus, which starred Michael C. Hall and Alan Cumming.

This album was recorded at Orangefish Studios in Brooklyn, N.Y., last summer under the direction of Derek Nievergelt in Brooklyn, N.Y., who produced and plays acoustic bass throughout. His career is just as diverse with time spent with Sharon Jones & The Dap-Kings and Robin McKelle & The Flytones and several avant garde jazz artists.

Appleton and Ricci split vocals and the songwriting in this collection of seven originals and three covers. The album opens with JJ at the mike for “Don’t Take Advantage of Me.” He plays a 1932 National Resonator guitar throughout. Penned by Lonnie Brooks, the song’s delivered in true Hill Country fashion with Jason driving the song forward with a lilting repetitive harp line before a delightful solo.

Ricci’s in charge for “Hurt Myself,” which delivers the message that no one can do more damage to him than he can inflict on his own. The pyrotechnics here come from his vocals before an emotion-packed two-minute harp coda in the six-minute song.

Two Appleton originals – the bright love song “I Got The Feeling” and “Distraction,” about a troubled romance – follow before Ricci takes command for “Geaux Nuts Kids,” a dazzling uptempo Cajun instrumental delivered on chromatic, and “Don’t Badger The Witness,” a down-and-dirty Chicago blues.

“Standing In The Safety Zone,” a gospel number made famous

by The Fairfield Four, gets a Delta-style remake while the slow blues “Brighter Days” offers up hope for the future and “For The Very Last Time” announces the termination of a troubled relationship. The disc concludes with an interesting cover of “Stay,” a song written by Mikky Ekko and Justin Parker and made famous by Rihanna.

Despite the title, Beautiful Slop is a well-designed pleasure.

Available from Amazon and other retailers.

Reviewed by Marty Gunther Randy Casey - I Got Lucky Self Released www.randycasey.com 12 tracks/51 minutes

Randy Casey is a guitarist and songwriter based in Washington state who used to be the musical director for blues-rock prodigy Shannon Curfman. His speciality is slide guitar and this excellent disc is full of great licks on songs that range from country blues to full-on rockers. All the material is original and was recorded at sessions in Seattle and Minneapolis with different rhythm sections: drums are by David J Russ and Noah Levy, bass Aaron ‘Al’ Bergstrom, Steve Price and Martin Rush; keys on about half the tracks are by Steve Thorp, John Eller and Peter J Sands; John ‘Pinetree’ Paynich adds harmonica to two tracks and Jenny Russ harmony vocals to one.

Randy clearly has a great sense of humour: in “Bed Bug Blues” his sleep is disturbed by bugs that will “bite you, then he’ll stand and grin” and in “Broken Arm Blues” he bemoans his fate “staring down breakfast, can’t hold a spoon”, both accompanied by his trademark slide work. “Little Weed”, Randy’s tribute to a favourite recreational pastime, is equally comic and “The New Old Landlord Blues” deals with poor standard accommodation with a wry grin, played to a proper blues tune.

“One Step Ahead” is terrific, a full-on rocker with piano, a core riff stolen from The Stones’ “Street Fighting Man” and lyrical reference to ‘honky tonk women’, embellished by Randy’s slide.

The title track is a frenetic blues shuffle with harp and “Soo Line” takes the classic tale of the guy whose girl has left him standing at the station, Randy playing upbeat country blues. Randy plays some delicate acoustic on “That Train”, another railwayreferenced weepie about a lost girl. Randy can turn his hand to rock too with his use of wah-wah on “The Chaperone” and the appropriately titled “Strange” with its distorted guitar, very much in 60’s mode. “Six Feet Of Rain” is a more serious song with a strong melody and more of a classic rock feel and the only false step for this reviewer is the closing track “Racing Stripes” which might have been better if edited to four minutes of its existing 7:35.

Overall this is a good album with several highlights, making it worth a listen, especially if you like slide guitar.

Reviewed by John Mitchell

Ina Forsman – Been Meaning To Tell You Ruf Records www.inaforsman.com 12 songs /49 minutes Ina Forsman has been making a name for herself on both sides of the Atlantic since releasing her self-titled debut album on Germany’s Ruf label three years ago. Music lovers everywhere should be delighted by this long-awaited follow-up, which was sidetracked by personal tragedy.

Hailing from Helsinki, Finland, Ina is a powerful, silky smooth, melismatic alto who catches your attention from the jump. She was only six when she set her eyes on a singing career. First influenced by Christina Aguilera, she quickly became interested in old-school blues and R&B through Donny Hathaway, Sam Cooke, Aretha Franklin and others.

She competed in the first season of The Voice Of Finland at age 15, taking home third-place honors and catching the attention of Helge Tallqvist, a Finnish institution on blues harp, who quickly invited her to sit in. She toured with him for years as a member of his band, leaving shortly before signing with Ruf and touring with Canadian Layla Zoe and American Tasha Taylor as part of the label’s international 2016 Blues Caravan.

Now 24, Forsman was making plans for a second album, but her plans were derailed during a trip to New York. She lost her cellphone – and all of the material she’d written for the release.

Now, however, she’s glad she did. “I’ve lived a little more life,” she says, “and wrote better songs with more emotion.”

Like her first album, Been Meaning To Tell You was recorded in Austin, Tex., under the direction of legendary tenor sax player/ producer Mark “Kaz” Kazanoff. Ina’s backed by several members of the all-star lineup that appeared previously, including guitarist Laura Chavez and The Texas Horns – Kazanoff, John Mills (baritone sax and flute) and Al Gomez (trumpet) -- as well as Red Young and Jay Stiles on keys, Brannen Temple on percussion, Chris Maresh on bass and Randy Zimmerman on trombone.

Backing vocals are provided Alice Spencer.

Forsman penned all 12 of tunes here, several of which are delivered with rapid-fire lyrics that closely mirror rap, but feel comfort within the soul-blues format. A simple keyboard intro opens the ballad “Be My Home.” Ina’s distinctive melismatic voice joins after a few measures as she promises – in perfectly unaccented English -- to give her all to the ones she loves as they work together to leave the bad days behind. The powerful choral ending comes across with a strong gospel feel.

The action heats up and Forsman’s vocals erupt for “Get Mine,” a funky soul-blues that stresses she’s here to have a good time and crank out hits. The old-school R&B number “All Is Good”

continues the theme as it expresses her gratefulness and happiness that you’re here to listen.

Up next, the stop-time, horn-fueled “Genius” describes deep feelings for someone who both adores and understands her.

Chavez’s mid-tune solo soars. The soulful “Whatcha Gonna Do” questions the pending reaction of a man as he watches a stunning woman wearing six-inch heels strut down the street while “Why You Gotta Be That Way” deals with being hit on repeatedly by someone as she listens to music on headphones during a stroll.

Pain in different forms comes to the fore in the next three numbers. The powerful, introspective ballad “Miss Mistreated” deals with unrequited romance, while “Figure” finds Forsman regretting all the hurt she’s inflicted on the man she loves as she attempts to understand and “Who Hurt You” offers encouragement and support to a female friend.

“Every Single Beat” offers up “soul soup” to a stranger before “Chains” finds Ina open to confinement as long as she’s treated right. The disc ends with “Sunny,” which offers encouragement to a friend with a restless heart who always brightens the singer’s life.

Available through most major retailers, Been Meaning To Tell You is powerful, modern soul-blues, and Ina Forsman has a voice for the ages. Strongly recommended.

Reviewed by Marty Gunther

Watermelon Slim – Church Of The Blues Northern Blues – 2019 www.watermelonslim.com 14 tracks; 57 minutes Watermelon Slim’s thirteenth career album finds him in good company with a host of guests. As always, Slim’s distinctive vocals and slide/harp playing are at the heart of the material which is a blend of originals and covers from some of his greatest influences – Mississippi Fred McDowell, Muddy Waters and Howling Wolf amongst others.

Slim handles vocals, slide guitar and occasional harp, with John Allouise on bass and Brian Wells on drums. However, most tracks add guests: Bob Margolin (3 tracks), Albert Castiglia (2), Ike Lamb (2), Chris ‘Wick’ Hardwick (2), Nick Schnebelen and Joe Louis Walker (1 each) are on guitar; Red Young (6 tracks) and Chris Wiser (3) are on keys and John Nemeth (2 tracks) and Sherman Holmes (1) add vocals. The ‘Church Of The Blues’ horn section of Matt Blagg (trumpet), Chris Hicks (sax) and Kevin Webb (trombone) plays on three tracks; Chris was also the producer of the project.

I could find no information on the writers of the first two songs: “St Peter’s Ledger” is credited to Ron L Meadors and is a good start as Slim asks St Peter to check his books and not send him down to purgatory, Slim and Bob Margolin’s guitars meshing well to give a nice, thick sound; Tom W McFarland is credited as the writer of “Tax Man Blues” and it dovetails well with the previous track as Slim complains about how hard it is to make a living playing music, the lyrics seeming to relate to the 70’s as the author had to take a day job when disco took over the scene in San Francisco. “Gypsy Woman” features Bob Margolin’s Muddyesque slide work but also plenty of Slim’s high-pitched harp which did not appeal to this reviewer.

The horns put in their first appearance on Slim’s “Post-Modern Blues”, a strong song with Nick Schnebelen on slide and Slim recognising that he is something of a dinosaur: “I’m obsolete, living my life in the twentieth century. I’ll never be post-modern, there’s stuff that’s false and fake. The plan is to dumb us down so we are just good consumers”. The horns definitely add to this one, making it one of the standout cuts. Sherman Holmes and John Nemeth join Slim in a three-pronged vocal attack that works well on Allen Toussaint’s “Get Out Of My Life Woman”, a track that marks Bob Margolin’s final contribution on slide. Slim’s passionate advocacy of ‘green’ issues is evident on “MNI Wiconi – The Water Song” and he pulls no punches as he discusses the waste of water on our planet: “if we don’t care about our water we don’t care who we kill”, set to an attractive tune with Joe Louis Walker’s distinctive, almost discordant, guitar attack set against bubbling bass and Red Young’s gentle organ work.

Bringing things back to personal relations Gene Barge’s “Me And My Woman” has a funky backdrop with Albert Castiglia’s guitar and Slim’s busy harp work before another classic, Howling Wolf’s “Smokestack Lightning”, gets a country blues makeover featuring Slim’s resonator. The country feel carries on into “That Ole 1-4-5” with producer Chris on guitar and Slim goes all the way back to the origins of the blues with “Holler #4”, acapella apart from a background footstomp. This autobiographical holler will certainly test those for whom Slim’s vocal style is an acquired taste, as it runs to six minutes!

The closing four songs are all strong. Fred McDowell was an early influence on Slim and here he covers “Highway 61” in the only straight trio performance on the album and it’s a good version with plenty of Slim’s distinctive slide work. “Too Much Alcohol” is often associated with Rory Gallagher though Rory always correctly credited it to JB Hutto; here Slim and Albert Castiglia go toe to toe on slide – shame it is not a longer track!

“Charlottesville (Blues For My Nation)” is Slim’s indictment of recent political events and it’s a bitter reflection of what was seen in Virginia in 2017, John Nemeth adding to the chorus.

“Halloween Mama” lightens the mood with the horns and some odd, retro organ sounds from Chris Wiser as Slim sings of an unfortunate girlfriend: “My baby’s so ugly, just like Frankenstein’s daughter. She don’t need no costume when she’s out on

Halloween, she takes off her mask, scares people like you never seen”. Amusing stuff, if not very PC – perhaps that is why it’s dubbed a ‘bonus song’!

Long-term fans will enjoy Watermelon Slim’s latest though one suspects that his style will always divide opinion amongst the less committed.

Reviewed by John Mitchell

John Primer – The Soul of a Blues Man Blues House Productions www.johnprimerblues.com 12 tracks John Primer releases his first soul blues album backed by his regular band and some special guests and it’s a winner! Three new songs coupled with nine soul blues classics give the listener a compendium of interesting cuts to savor. The album has cuts made famous by Johnny Taylor, Bobby Bland, Freddy King, Brook Benton, Clarence Carter, Lloyd Price and Toussaint McCall along with a nice trio of new cuts and blues tunes that Primers’ fans new and old will enjoy.

John’s band is extremely talented, featuring Steve Bell on harp, Lenny Media on drums and Ronnie Hicks on keys. His adding Steve Bell to his band has made this CD and his live shows even better. Son of Carey Bell, Steve is an outstanding harmonica wizard and makes for an superb pairing with Primer on stage and in the studio. Guests Chuckaluck on bass, Charles Kimble on sax and Grammy winner Billy Flynn as a special guest on guitar fill out the ensemble and make for a full and very cool sound. Primer is known for his guitar work since his days with Muddy Waters, but he has also always been an extremely capable and soulful vocalist who has a unique presence behind the microphone.

The album gets underway Clarence Carter’s “Slip Away.” His approach turns the tune into a blend of soul and Chicago blues with his own style of vocals and some soulful harp by Bell. “Help Me Through the Night” was made famous both by Bobby Bland and Freddy King. Primer takes a metered approach to pacing out the vocals with soul and a touch of country blues; the sax work adds a nice touch to the cut, too, taking the sound up several notches. His guitar is also both thoughtful and stinging, giving the song more taste. “Meet Me in the Morning” is a Bob Dylan song that Freddy King also covered. Primer’s vocals are actually a lot better and his guitar holds its’ own. The use of Bell’s harp not just as foil but as a major part of the cover also makes for a cool touch. The first original is “You Shouldn’t Tell A Lie.” This is pretty much straight up Chicago blues with perhaps the flair of some Jimmy Reed styled harp.

Toussaint McCall’s “Nothing Takes the Place of You” takes on a new face with Primer’s less “churchy” approach. McCall’s forthright vocals and backing solo organ are great, but Primer gives it a more modern soul sound with a touch of Chicago blues. Bell’s harp once again is used effectively to sweeten the pot. The Lloyd Price doo wop classic “Stagger Lee” gets turned more into a Chicago blues song than a soul song, but it’s still cool and Steve Smith once again nails his harp solo and support. Primer’s guitar is also quite cool. The second original is “Please Don’t Leave Me Baby,” another soulful new Chicago blues by Primer and company. Thoughtful guitar and harp and a clean sound are hallmarks here. “Get Your Money Where You Spend Your Time” is another Bobby Bland tune. Here the cut benefits from a nice dose of horns for soul and harp for blues while Primer puts his spin on the cut vocally. Different than Bland, and well done.

“Rainy Night in Georgia” is Tony Joe White’s classic that Brook Benton made his own in 1970. Primer’s guitar and Bell’s harp make the intro and backing support light and airy; Primer’s vocals are good and his approach interesting. He’s been doing the song a lot at his live performances which you can tell because he sings it with comfort and feeling. The final original is “Meet Me in the Park,” a very nice shuffle. Primer shows us his roots in Chicago blues once again. Humorous lyrics, cool harp and great guitar help sell this one. Primer again turns to a Bobby Bland Malaco Records standard with “Members Only.” Primer gives it his all and does a nice job. His tenor compared to Bland’s baritone obviously creates a different feel, but it’s still good. Bell’s harp also makes for a cool cover as does Primer on his guitar.

Primer turns to Johnny Taylor for the last cut; “Still Called the Blues” is a Chitlin Circuit big band soul tune with backing female vocalists. Primer takes it to The South Side of Chicago with his guitar and Bell’s harp. Hos vocals are his own and he puts his stamp on the cut.

Primer does not try to be anything but himself. His soulful blues voice offers a different approach to the soul tunes here and I think he’s successful at what he attempted. He’s not trying to be Bobby Bland, Johnny Taylor, Brooks Benton or anyone else, he’s being himself and singing stuff he enjoys. The blues stuff is tight, the soul is fun and his synergy with Steve Bell is quite apparent.

Primer’s fans will love this as will fans of Chicago blues. This is stuff Primer brings to his live act and he enjoys playing to his audiences with it. He’s comfortable singing blues or soul and we what we have gotten with this is a fine soul blues album delivered by one of the masters of Chicago blues.

Reviewed by Steve Jones Gaye Adegbalola – The Griot Hot Toddy Music/VizzTone Label Group www.adegbalola.com 17 songs/68 minutes Gaye Adegbalola has never been shy about speaking her mind through

music. As a 25-year member of Saffire – The Uppity Blues Women, she delivered the truth – both frankly and with a wry sense of humor. And she lays it on full force once again with this tasty solo effort.

A native of Fredericksburg, Va., a former biochemical researcher, bacteriologist, technical writer and Virginia State Teacher Of The Year, she’s earned top honors across the board. Not only is she a Blues Music Award winner, but she’s garnered the Parents Choice Gold Award for a CD targeted aimed at children. And she’s also taken home prizes for her work as champion of empowerment and social justice.

A gifted songwriter, guitarist and harmonica player, Adegbalola carries forward the songster/storyteller of West Africa tradition – known as “griot” – with this release, the fifth album under her own name. She penned 14 of the 17 tunes here, which deal with everything from adult themes to mundane observations about everyday life.

She’s accompanied brilliantly throughout by Jeff Covert on guitars, bass, banjo and percussion with guest appearances by Keith Armstead and Roddy Barnes (keyboards), John Freund (guitar), Chris Sexton (cello), Jackie Merritt (bones) and a horn section composed of Zack Smith and Davis Smith (trumpets), Steve Patterson (sax) and Dan Haverstock (trombone). Resa Gibbs provides one chant and backing vocals, and Queen Lovelace contributes tambourine.

The uptempo opener, “Nothing’s Changed,” boldly states that racism in America remains strong despite the passage of time, that folks with big money still control everything and that there’s much more that we can do. The brief “The Griot” delivers a spoken-word description of this CD’s theme before the banjo-driven “Liearrhea” deals with folks who grin in your face while simultaneously spreading vicious untruths. Gaye warns the doubletalkers, however, that she’s going to “love the hell right out of you.”

A quartet of strong political statements follow. A simple drumbeat and chant open “FGM,” which explodes into a diatribe against female genital mutilation, which still exists in some cultures today. The slow shuffle “Dirty Sheets” speaks about poverty and “(You’re) Flint Water” condemns pollution before “Kaepernicked” kicks off with a bar from “The Star-Spangled Banner” before evolving into a blues that both comforts and credits the NFL quarterback for taking a knee and protesting injustice with respect and dignity.

The themes brighten for the next trio of tunes. “Ain’t Technology Grand?” commends modern devices for putting the entire world in your hand and capture wrong for everyone to see while the ballad “Gon’ Be Alright” addresses loneliness in old age and “Don’t Criticize Me” warns not to complain unless “you can clap on the two and the four.”

The ballad “Nothing Left…” paints a tragic picture of mental illness before Gaye delivers a little hope with a cover of Doc Pomus’ “(There Is Always) One More Time.” Sex and romance are the themes in a take on Bessie Smith’s “Need A Little Sugar In My Bowl” and the original “Tea Cake Kind Of Love” before “3 Hour Shoes (Stylin’ For The Lord)” deals with the vanity. The disc concludes with “Sorry, But…No Shame,” a cry for freedom, and Ma Rainey’s “Jelly Bean Blues,” a tale of betrayal.

Available through most major retailers, and strongly recommended for anyone with a social conscience. Fair warning, however: Some of the lyrics here are accompanied by explicit language alerts.

Reviewed by Marty Gunther Brother K Band – Got It Made Self-Released https://www.facebook.com/BrotherK-Band-215629815436953/ 13 tracks David Kremel aka Brother Dave Kaye has been working to get this album released for a long time. He has amassed a collection of cuts with the likes of Jimmy Johnson, Bun E. Carlos, Dan Voll, Jimmy Voegeli and Richie Cole (to name a few) to serve as his compendium of original cuts to put out there for his audiences in Rockford and Northern Illinois. Dave has played with a host of bands in the Chicago and Rockford areas and has toured with Willie “Big Eyes’ Smith, Dave Hole and early on with Shadows of Knight. As I mentioned these are all original cuts, many with a theme that inspired the music. Five of the tracks are cool instrumentals. Dave K is a fine bass player and has been in demand over the years for his deep groove and fine finger work.

The CD opens with “Get Back” where the legendary Jimmy Johnson plays guitar along with Dan Voll, a local guitar wizard who recently passed away. Richie Cole is on alto sax; Richie spent a lot of time in Rockford and is most well known nationally for his great jazz work. Dave’s brother Greg is also on guitar and shares the vocals with Dave. Bun E. Carlos from Cheap Trick is on the drums too. Lisa Palmeno and Elizabeth Bailey back the band on vocals. You can hear the similarity of vocals in the family where Greg and Dave have similar styles. Johnson’s guitar sting and music swings nicely. Cole’s solo and work adds much to the cut.

“Valentine” is next. Pistol Pete appears on guitar along with Dan Hoss and Bun reappears on drums. The frenzied signature guitar work by Pete is fun and the beat is driving and very uptempo with Kaye and Bun pushing things right along . Dave’s vocals are good and the song is just a fun rocker. The first instrumental is “Do It,”with Cole, Voll and Dave getting drum support by Jeff Werckle. Cole and Voll spar musically in this jazzy and cool number. Kaye plunks out a fine groove as his fingers fly up and

down the fretboard. “Positive Thinking” follows, another nice instrumental with he same lineup as the last cut. Things are more low keyed here, with Cole showing his chops and the band in support on this midtempo jazzy piece. Voll also shines on guitar.

The title track features that same lineup along with Palmeno and Maurice Calvanese on backing vocals. Dave holds up fronting the band well enough and provides a funky groove that drives the song. Cole comes in for a long solo to respond to the vocals and then Voll does the same in the latter part of the cut in a huge way. The instrumental “Santana” builds on the sound that made Carlos Santana famous, this time with Don Pasqualini on lead guitar, Greg Kaye on guitar, Andrew Blaze Thomas on drums, Rick King on congas and Dave on bass. The sound is cool and the band is tight as they glide through this Latin inspired guitar tome. “Boogie Hook Up” has local harp master Ted Lawrence, Dan Hoss on guitar, Tom Rugg on drums, and Dave on bass.

The band lays out a sweet boogie and Teddy blows some mean harp to savor. Kaye’s vocals are a little rough but help drive the song along. Dan’s guitar work is very solid, too. Jimmy Johnson returns on “No More Lyin.” Hoss, Bun, and Dave are also joined with Jimmy Voegeli on the keys here. The keys are a nice change of pace and Johnson’s guitar is just so, so cool in this bouncing cut.

Pasqualini, Greg Kaye, Thomas, and Dave then get Denny Nowak to sit in on sax on “Your Move.” The tune seems to fix a little California surf sound with the blues. The sax work is just fine and the guitar is nicely done. Kaye’s bass is upfront and well done, too. “Island Breeze” is the next instrumental piece.

Dole, Voll, Werckle and Dave man the studio bandstand for this one. The tune is a breezy jazz number with lilting sax and thoughtful guitar. Cole throws in some familiar sounding riffs in this cool jazz piece. “Hold Me” gets us another appearance by the always eclectic Pistol Pete on guitar. Bun, Hoss and Dave join Pete for this cut. Pete’s is once again a whirling dervish but shows some restraint as he wails on the axe in the hard charging rocker. The vocals are strained a bit here and there. The last instrumental is “Everything is Alright” with Cole, Voll, Werckle and Brother Dave. This one’s a midtempo jazzy cut with Voll and Cole once again holding court. The album concludes with “Get Some Lovin’” where we have Cole, Voll, Werckle, and Dave along with Lisa and Maurice behind them. Kaye does better on the vocals here for the most part with good backing support and he and the band deliver a nice, swinging finale to the album.

Kaye has surrounded himself with some fine musicians. The quintet of instrumentals are my favorites but there is a lot of well -done stuff here where Dave and his guests show their chops.

Yeah, the vocals are strained here and there, but overall Dave has produced a nice little album to showcase himself and the stuff that goes on in the Rockford, Illinois music scene. I know he worked hard trying to pull this together for a long time and he can be proud.

Reviewed by Steve Jones

Randy McAllister—Triggers Be Trippin Reaction Records www.randymcallister.com/ 10 Tracks

The Kentucky Headhunters—Live At The Ramblin' Man Fair Alligator Records http://kentuckyheadhunters.com/ 13 Tracks

From an early age, Texan Randy McAllister would sit in on drums with his father's band "The Flames." Since that early start, he has focused on harmonica, vocals, and songwriting. Since his 20's, he learned harmonica from the legendary Boston harp player "Earring George" Mayweather during his stay in Massachusetts.

After leaving for Alaska in 1989, he spent time playing in different blues bands before returning to Texas in 1992. He moved back to Texas as a seasoned, skillful harp player who was also establishing a reputation as a vocalist and a songwriter. On his return, he became close to Mike Morgan, Andrew Jr. Boy Jones, and Robin Sylar. In the late 90's Randy signed with JSP Records releasing 4 albums on that label before signing later with Severn Records (with Mike Morgan) and Reaction Records.

Founded in 1968, The Kentucky Headhunters, an American Southern country rock band, has been a headliner as a hard-core, blue-collar bar band, specializing in boogie and blues. This legendary Southern rock band overcame their fear of flying and for the first time ventured overseas to Britain’s Ramblin’ Man Fair in 2016, delivering their explosive country rock performance to a crowd of over 25,000 eager fans.

With his latest album on Reaction Records, Triggers Be Tripping, Randy selected several seasoned musicians that sat in during the recording. With steady guitar riffs that establish a strong blues vibe, the stinging slide guitar and fiery harmonica fall into place to kick start Randy's soulful vocals on the opening track "In A Flick Of A Bic." The next tune really switches gears to focus on Randy's vocals and harmonica prowess that surround the acoustic Delta showcase number "Since I Met You Baby." Back to some home spun slide guitar and down home vocals for the rousing "Beauty and Ugly Upside Down (Ode to Lizzie Velasquez)." The studio heats up with some funky rhythm and high powered guitar licks, focusing on great soulful vocals and backing vocals on the red hot track "Bring It On Backbreaker." Randy stays true to his Southern roots with the deep, soulful "The Yin And The Yang," showcasing the smooth keyboard of Carson Wagner woven throughout the guitar solos. "Batter Up" allows the rhythm section to take charge with some Southern fried boogie, setting the pace for the story line to evolve, infused with some stimulating harp and guitar solos. "Vacation In My Mind" will penetrate you soul with its sharp guitar solos and straight ahead vocals and backup vocals. Back to some tasty slide guitar for high stepping blues as Randy offers some words of wisdom on "Math Ain't Workin'." Randy pays his tribute to the homeless population with the ballad "Makeshift Molly." The album concludes with Brandon Hudspeth's powerful slide guitar and some Jimmy Reed style harmonica, as a tribute on the track "We Can’t Be Friends (If You Don’t Like Jimmy Reed!)"

I think Triggers Be Tripping delivers the soulful and spiritual style of this shining Texas blues veteran. It characterizes his skillful songwriting abilities, strong soulful vocals, and extraordinary harmonica ability. If you are not familiar with this living legend, you are in for a real treat with his latest album.

After a short introduction, they opened with a 1960 hit for Jimmy Reed entitled "Big Boss Man," written by Luther Dixon and Al Smith. This version was a thunderous live version loud enough to shake the surroundings. From there, they charged full throttle into their American country music tune "Ragtop" written by Kentucky Headhunters brothers Ricky Lee (guitar, vocals) and Doug Phelps (bass guitar, vocals). The concert then heats up with two tracks from the recent 2015 Meet Me in Bluesland, an album with Chuck Berry's pianist Johnny Johnson, their first release with Alligator Records. "Stumblin'" delivers the country guitar twang of The Georgia Satellites and the energy of a half dozen country rock bands on this original. With the announcement from Doug Phelps that they are going to Memphis and get a little greasy, they launched into "Shufflin' Back To Memphis," with brother Greg Martin tearing into his fret board with a vengeance. They do their best to keep a traditional vibe to the Billy Myers blues tune "Have You Ever Loved A Woman," before adding burning guitars solos to put their signature on it, a song first recorded by Freddy King in 1961. The band draws from their earlier years for a stellar performance of their 1978 "Wishing Well." They explode into the third track off Meet Me in Bluesland with "Walking With The Wolf," performing some red hot Southern blues with blistering slide guitar that would make the Allman Brothers Band take notice. Phelps and Martin ignite their guitars for their last original track, playing the 1989 "My Daddy Was A Milkman," with an added extended drum solo by Fred Young. The concert concluded with thunderous, powerful rendition of the Beatles "Don't Let Me Down," converted to a medley, Southern rock style.

As an added bonus on the album, they keep the party going with three studio tracks featuring Johnnie Johnson and Anthony Kenney, starting with "Rock Me Baby" made famous by B.B. King.

They include one of their own tracks with the robust studio recording of "Rock 'n' Roller." To complete this new album, Johnnie joins them on piano with a version of "Hi-heel Sneakers" that boils over with Southern hospitality! I was not familiar with The Kentucky Headhunters but after this album, they made an instant fan.

Reviewed by Rick Davis

Reviewed by Rick Davis

Neal & The Vipers—One Drunken Kiss N/V Records https://nealandthevipers.com 13 Tracks Rhode Island based band Neal & The Vipers cover American Roots Music, including blues, rock & roll, country, rockabilly, and surf. Live performances feature the band putting their own spin on classic songs such as "Little Wing," "Hey Joe," "Right Place Wrong Time," and instrumentals like "Sleepwalk" and "Pipeline," making the songs their own to add to their repertoire of original tunes. Reunited once again, Neal Vitullo, lead guitarist and Dave Howard, lead vocalist are the original founders of the group starting out as "Young Neal and the Vipers" in the early 1980's. Neal & The Vipers have since added Steven Bigelow on bass and later drummer Mike LaBelle.

After Steve Bigelow joined the band, they played all over the North East and often in New York City where they caught the attention of the Atlantic Record founder & president Ahmet Ertegun, who signed them to their label in 1989, having done 300 live shows that same year. They have since completed 9 albums including their recent recording One Drunken Kiss.

The latest release opens with the 1956 Sun Records rockabilly hit

by Jack Earles, "Slow Down." The band puts a more electrified spin on this classic, with Vitullo tearing into the guitar solos much like you would expect from Brian Setzer. They follow up with the original shuffle "Not One To Complain," with Dave Howard taking center stage on vocals and Neal Vitullo delivering superb guitar solos. This is followed by a slow soulful original "More Than Ever," showing versatility of this East Coast band. They do a great job of making the Dr. John 1973 top 10 hit "Right Place Right Time" their own by adding some funk and high energy guitar solos. Adding to their versatility as a band, they delivery some "twangy guitar" to their surprisingly country original, the title track "One Drunkin Kiss." That is followed by "There's A Ghost In My Room," a slow eight minute guitar extravaganza, reminiscent of what you might hear on the 1975 Otis Rush album Cold Day In Hell. They give the blues classic by Omar & The Howlers, "Ain't Foolin' Nobody," a different twist with some hot rockabilly guitar solos and added harp but keep the same gritty vocals originally produced by Darryl Kent Dykes.

The band does a take off of the 1965 hit by New York garage band The Invictas with an instrumental titled "The Hump," Texas style. Dave Howard takes center stage on vocals and harmonica for a spectacular rendition of Little Walter's "One Chance With You," with Neal Vitullo adding his expertise on guitar. The team of Howard/Vitullo write and record the next original "My Sweet Little Hostage," which is my pick for best original track on the album. The next Charles Underwood classic "Ubangi Stomp" is a favorite done by rockabilly and rock and roll artists alike. This classic hit was done in 1956 by Warren Smith and later by The

Stray Cats. I think the version by Neal & The Vipers could top the charts at any point in time. Neal Vitullo includes the last original tune with his spectacular original guitar instrumental track "Those Eyes." Neal & The Vipers conclude the new album covering their take on the Jay Miller tune "Sugar Coated Love," with a Texas twist.

You are bound to find a tune that will whet your appetite, regardless of you favorite genre on One Drunken Kiss. Neal & The Vipers cover a wide range of material on this new studio release that I'm sure is a crowd pleaser just like their live shows.

Review by Rick Davis Big Joe and the Dynaflows— Rockhouse Party Severn Records http://www.bigjoem.com/ 13 Tracks It has been a while since we have heard from Big Joe Maher, the living legend who shared the stage with music legends Willie Dixon, Johnny Adams, Floyd Dixon, Delbert McClinton, Johnnie Johnson, Mick Fleetwood, Jimmy McCracklin, Jimmy Rogers, Pinetop Perkins, Jimmy Witherspoon, Bullmoose Jackson, James “Thunderbird” Davis, Nappy Brown, Jimmy T99 Nelson, Bobby Parker, Otis Rush and Earl King. With his new album Rockhouse Party featuring Big Joe and the Dynaflows, he goes to the vaults for a tribute to some of his favorite artists, as well as introducing some dynamite new material.

Big Joe takes the 1936 Roosevelt Sykes 12 bar blues tune, "Driving Wheel" and joins a long list of successful blues artists who have included this standard in their songbook, this time putting a 21st century twist on the number. The guitar style of Little Milton was heavily influenced by West Coast blues guitar genius T-Bone Walker and his blues and rock and roll contemporaries. With Tom "Mookie" Brill on vocals, that same West Coast sound is transferred to the Big Joe Maher rendition of Milton's 1962 chart topper "So Mean To Me." Brill takes soul to another level with his vocals as he takes listeners to the Delta for a gospel version of the Don Robey tune "8 Men 4 Women," with support from his backup singers. With Big Joe on drums and Kevin McMendree on piano, they bring some New Orleans strut to the 1957 Dave Bartholomew/Dorothy Ester classic "Go On Fool," that could be a perfect fit today for Fats Domino. Big Joe calls on McKendree again on keys for the heartbreaking original blues ballad "World Gone Wrong." The next tune in the spotlight is the classic 1958 shuffle "If You Need Some Lovin'," made famous by the late great Nappy Brown on Savoy Records, this time with Tom Brill back on vocals. On the original instrumental "Overdrive," the two guitars of Yates Kendree and Robert Frahm trade guitar riffs like two gun slingers facing off in an early Western. Next on the list, the band does a superb job of paying tribute to Fenton

Robinson's "Tennessee Woman," with Tom Brill back on vocals.

Big Joe delivers some mighty tasty jump blues on his original "Go With The Flow," with the red hot West Coast guitar duo of Kendree and Frahm laying it down as Big Joe rolls down the highway in his "brand new Dynaflow." The band follows with another original shuffle entitled "I'm A Country Boy," featuring 16-year-old singer/guitarist Erin Coburn, a teen phenom with a deep seated roots background. Sun Records takes the stage on the next track as Big Joe and The Dynaflows blow the roof off on the 1958 Mack Self rockabilly classic "Vibrate," as the band tries to shake your teeth loose with their version of this high energy rockabilly tune. The guitar duo of Yates Kendree and Robert Frahm team up once again trading licks, with Kevin McKendree on keys for a jazzy/blues instrumental entitled "Sleepy Joe." For his final track Big Joe Maher selects the 1949 Charles Joseph Morris/Percy Mayfield "Two Years Of Torture," done originally by Percy Mayfield w/ Monroe Tucker & his Orchestra. With his smooth vocals Big Joe pays tribute to Percy Mayfield and the later release of Ray Charles on this classic number.

The tracks on Rockhouse Party do an extraordinary job of reviving the "golden years" of blues, early rock, and jazz with legends like Louis Jordan, T-Bone Walker, and Fats Domino from that era, as well as introducing the new material that we have come to expect from Big Joe and The Dynaflows. He introduces the new listeners to the veterans on one of his best albums released to date.

Reviewed by Rick Davis Dee Miller Band—Leopard Print Dress Self Released https://deemillerband.com/ 10 Tracks Named "Duchess Of The Blues" and a member of several St. Paul, Minnesota blues bands, Dee Miller's dedication to her career earned her the honor of being inducted into the Minnesota Blues Hall Of Fame in 2018. After performing in multiple bands, she made that leap of faith and started her own band in 2004. Her live performances capture her audiences with each high energy number, as she takes control with her gritty, down and dirty vocals.

Last year, representing Minnesota, she was selected to compete at the 2019 IBC in Memphis, Tennessee. I was fortunate enough to see her and her band take the stage Wednesday and Thursday in the IBC quarterfinals at the Tin Roof on Beale Street. Her performance was all that I expected and more, delivering an electrifying stage show.

The new year also saw Dee Miller releasing her third album Leopard Print Dress, charged with both new material as well as classic tunes done in a style all her own. Joining her on the album

are band members Craig Clark on guitars and vocals, Eric Meyer on bass and vocals, Jesse Mueller on keys, and Mike DuBois on drums. She opens with the volatile original "Hot And Sweaty," featuring some intense boogie woogie piano from Jesse Mueller in addition to Toby Marshall on organ. They call on a tune made famous by Etta James, written by Bekka Bramlett and Gary Tolbert Nicholson, entitled "Strongest Weakness." Craig Clark performs some blistering guitar solos both with and without the wah-wah pedal in a funky-rock rendition of the tune. The band's next selection features John Pinckaers on piano and Toby Marshall on organ as they open on the Eagles hit "Take It To The Limit" performed with deeply soulful vocals from Dee and Craig Clark. The original title track "Leopard Print Dress," is duet with Dee and Craig Clark, featuring Paul Mayasich on a steel slide guitar solo. John Pinckaers delivers a boogie woogie intro for Kelly Hunt tune "Back In The Saddle," a strong rival to the Legendary Rhythm and Blues Cruise performance by Kelly herself.

With Steve Clarke on tenor sax and Kevin Nord on screech trumpet, tenor sax, trumpet, and trombone, this rendition will make you jump to the dance floor with a warning by Dee to "strap on your seat belt and hold on tight, we're gonna go for a ride tonight!" Craig Clark takes the vocals on the R&B classic "Last Two Dollars," by lyricist George Jackson, a tune made famous by Johnnie Taylor. With Clark's passionate, deep, soulful vocals and powerful guitar riffs, this track delivers a quality all it's own. As a tribute to the late great Etta James, her contemporaries as well as new blues artists can't resist covering "I Sing The Blues," the low down dirty blues classic by Earl T. Bridgeman and Philip Wooten. The Dee Miller Band is no exception with Steve "Boom Boom" Vonderharr replacing Etta's Kirk "Jelly Roll" Johnson on harp and Dee Miller delivering those same raw, passionate vocals that will amaze you. If you have ever heard Susan Tedeschi from the Tedeschi Trucks Band sing "Midnight in Harlem," you owe it to yourself to listen to The Dee Miller Band cover this spectacular Mike Mattison/Derek Trucks tune with Dee's Dylan Salfer on slide guitar. Time to get funky, this time with the timeless blues tune "Black Cat Bone" by K.C. Douglas and Albert Collins, both covering the tune with their own rendition. With Eric Meyer defining the funky bass groove and John Pinckaers following up on the keys, the spotlight shines once again on Craig Clark performing vocals and guitar. The Dee Miller Band wraps up Leopard Print Dress with some definitive "bump and grind with blues in mind" as they perform "Steppin" written by Byl Carruthers and Rashonne Carruthers, with Craig Clark taking it to the house, delivering his red hot guitar solos that accentuate the powerful "barrelhouse" vocals of Dee. After hearing the Dee Miller Band live at the IBC, it gave me an in depth appreciation for this all-star band and the versatile vocal abilities and stage presence of Dee Miller. After listening to her new album, you will understand why this "power-house" singer won 2018 Performer of the Year by the Minnesota Blues Society.

Review by Rick Davis

Trevor B Power Band – Everyday Angel Self-Release www.trevorbpowerband.com 10 tracks/43 minutes

The Hooten Hallers – Live in Missouri Garlic Press www.thehootenhallers.com/ 12 tracks

Hailing from New Jersey, Trevor B Power is an experienced musician but this is his debut album, ten originals, predominantly uptempo rock but including blues, even a touch of country. Trevor handles lead vocals and guitar and co-producer Anthony Krizan plays slide and whatever else might be required, turning his hand to bass, B/ Vs, percussion and drums; other musicians involved include guitarists Bob Lanza and Billy Gensch, keyboards man John Ginty, bassists Mark Enright and Niles Terrat, drummers Tom DiCianni and Jim Roffi, saxophonists Nick Conti and CoCo Carmel and percussionist Danny Pompeii; Bobby Whitlock (Derek & The Dominos/Delaney & Bonnie) plays everything except sax and guitar on the title track which was recorded and produced at a different studio.

The Hooten Hallers’ live performances will melt your face off, and this high-energy blues-rock band captures that white-hot energy in their newest effort, Live in Missouri.

Opening track “Jack” takes its cue from the Rolling Stones with a great guitar riff and powerful drums, a tale of a friend who headed out of town and never returned. Anthony’s slide here is excellent and it’s a solid, rocking start to the album. John Ginty’s Hammond infuses “You Ain’t Acting Right”, another of those songs that deal with a relationship going south, the loping shuffle embellished by Nick’s sax work and Bob Lanza’s central guitar solo. The piano and sax opening sets up the attractive rocker “Future Plans” before “Saddest Thing”, a slow blues in which Trevor seeks forgiveness for past failings and adds an extended solo.

The Hooten Hallers’ new CD barely contains the explosive energy of their live shows, which are fun, energetic and, frankly, a bit like being on a rollercoaster that’s not quite on the track. The moment you hear Kellie Everett’s deep rumbling sax and Andy Rehm’s pounding drum beat during on first frenzied track, “Sticks and Stones,” you know you’re about to listen to some sizzling hot tunes that will stoke the embers your musical soul.

Then John Randall unleashes his unforgettable voice that absolutely scorches the vinyl. If you have never heard The Hooten Hallers before, you should know that thrashing inside the soul of the lead singer and guitarist John Randall is a growling musical beast, clawing to get out. Everett mixes it up between her baritone and bass saxophones, adding a cool urban sound to the punk hillbilly blues tracks. Rehm sets forth screaming falsetto vocals and pounding drumbeats that rocket the music forward.

The end result is gritty blues caked in Missouri mud, a steaming mixture of punk and blues that combines John Randall’s gravely growls and Andy Rehm’s screaming falsetto with Everett’s unrelenting sax to create a deep blues and country punk vibe.

There is a Bo Diddley beat to “Storm Brewin’” but equally a country feel courtesy of Trevor’s guitar and Anthony’s slide work. We get back to rocking with some grungy guitar on “Baby I’m Through With You”, Trevor taking a strong vocal lead and Bob Lanza nailing a big solo. “I Wrote It Down” is a heavy bluesrock track with Ginty’s Hammond and Anthony’s slide winding up the power behind Trevor’s expansive solo. “Murder In The First Degree” is just Trevor and Anthony who plays bass, drums, acoustic guitar and B/Vs to produce a choppy rocker, Trevor’s solo leaning to Southern Rock. Any gospel influence is confined to the title “Lord Have Mercy” as Trevor gives us another chugging rocker before the title track closes proceedings. Bobby Whitlock encouraged Trevor to write his own material so it is appropriate that Bobby plays most of the instruments on “Everyday Angel”, his wife Coco Carmel producing and adding sax to a gentle ballad which celebrates Trevor’s warm relationship with his daughter.

“Albatross” is 2 minutes and 55 seconds of wild, unrelenting, tight energy. “Gravity” showcases Randall’s gritty voice, but Everett holds up her end of the bargain with her unrelenting support on the sax. The band keeps things mixed up with this CD. “Grinding up the Bones” is a dark and driving tune, for example, while “Knew You’d Come Around” is playful, “Trouble Is” is a bit sad and “Charla” borders on sweet. “Mountain of Pain” speaks softly to the broken hearted, and would be well suited for drowning one’s sorrows. The album ends strong with “Rhythm & Blues,” a tune that feels a bit like a musical boxing match.

Whilst there is nothing particularly novel about this disc its mainly rocking feel would be good driving on open roads with the top down. Not a lot of blues but some good moments to enjoy, especially if your tastes run to the rockier end of the spectrum.

Live in Missouri will transport fans back to the concerts where they first saw The Hooten Hallers perform. For others, Live in Missouri will be good incentive to hit the concert tours this year.

Reviewed by John Mitchell

Two songs really stand out. “Hard to Trust Your Baby” is a searing blues tune that laments the costs of life on the road. This song is the reason bands record live albums. “Leave Me Alone” will go through your head every time you see the flashing blue lights in your rear view mirror.

Reviewed by Lynn Hetzler

Popa Chubby - Prime Cuts: The Very Best of the Beast from the East Ear Music https://www.popachubby.com/ 15 tracks/78 minutes Popa Chubby hand selected 15 prime cuts from his 28 years in the music industry and served up a heaping platter of sizzling songs.

Released in November of 2018, Prime Cuts is a group of selfselected “greatest hits” that is sure to please any Popa Chubby fan.

The album starts with “Life is a Beatdown,” a funky blues/rap hybrid about the challenges of life, delivered by a man who sounds as if he has faced a few troubles of his own.

Ted Horowitz, aka Popa Chubby, is an imposing figure in the blues world, both in stature and in his musical performances. He started out nearly three decades ago playing guitar in the NYC punk scene; when he switched to blues, he brought the mosh pit mentality with him. His style of hard-swinging blues/rock feels dangerous by design, but also has an air of empowerment and support.

You can expect plenty of explicit lyrics in any Popa Chubby album, but the vulgarity is somehow necessary to structure and integrity of his music. One of the central themes in Popa Chubby’s music is that the world is an exciting, but dangerous place that sometimes requires a bit of aggression and foul language. As he says on his bio page, “I’m living in a wild time, and that is where the inspiration is drawn from. There are my issues, but the picture is much bigger than me and my situation. Everything is breaking down in the world. The lines are being redefined. We all need something.”

“Sweet Goddess of Love and Beer” is Popa Chubby’s classic heartfelt ode to the amber brew. Popa Chubby unleashes his inner Hendrix with “Hey Joe” and, frankly, Chubby should be the only one allowed to cover this classic. He breathes new life into this old song, but manages to hold onto its thick authenticity with a screaming 6-string. “Caffeine and Nicotine” is perky, high energy and addictive, perfect for a morning buzz. “Grown Man Crying Blues” cries and wails.

Don’t tell Popa Chubby this, but his harsh and edgy version of “Hallelujah” is actually soft, sweet and beautiful, and “I Can’t See the Light of Day” is uplifting and encouraging (that organ, though…). “Somebody Let the Devil Out” is nasty in all the right places, while “Daddy Played the Guitar (And Mama was a Disco Queen)” is just a lot of fun. He closes with his hand-picked Christmas gift, “There On Christmas.”

Popa Chubby is joined by Steve Holley and Larry Crockett on drums, along with Nicholas Damato, Dean Zucchero and Kris Jefferson on base. Dave Keyes, Mike Latrell and Seth Farmer play keys. Popa hits the skins and bass in a few songs.

Willa Vintacore—Choices Self Released www.willaandcompany.com/ 10 tracks Choices might just be your favorite album of the year.

Choices is the second CD from the Hudson Valley singer, Willa Vincitore.

This well-written rootsy collection of mostly original, always listenable tunes proves Vincitore is no onetrick pony. In fact, it might just be simply the next in a long line of hits from this fresh, innovative blues artist.

Vincitore has been performing for nearly twenty years, getting her start with The Chris O’Leary Band. She went out on her own with a collection of extraordinary musicians in 2013, and issued her debut CD Better Days in 2017. Always bold, Willa featured all-original material on this first album.

Reviewers around the world raved about her initial effort. The Blues and Roots Music Report listed it as one of the Top 50 Contemporary Blues releases of 2017, for example, and Reflections in Blue blogger Bill Wilson said, “Willa Vincitore has one of those voices that will stay with you for life.” In fact, she made such a strong impression that she was inducted into the New York State Blues Hall of Fame in August of 2018.

Willa’s sophomore effort, Choices, is every bit as extraordinary as Better Days. She brings back the rotating set of talented musicians that made her first CD so remarkable. Co-producers Lee Falco (drums, vocals) and Brandon Morrison (bass on “These Days”, vocals, engineering and mixing) join Willa for this album, as do regulars Karl Allweier (guitar), Scott Milici (keys, vocals)and Doug Abramson, who plays bass on all but one song. Jay Collins, formerly with Gregg Allman Band, plays the sax on “These Days,” alongside Bruce Katz Band’s own Chris Vitarello on rhythm guitar. Art Labriola plays digital strings on “It Is What It Is.” Together, Vincitore and her band are known as Willa & Company.

In contrast to her first CD, which was strictly blues, Vincitore mixes in soul, rock, funk and just enough pop to this second blues album to add form and flavor. Willa Vincitore penned all the words and music on Choices, with the exception of Annie Lenox’s Money Can’t Buy It, which Vincitore delivers with her powerful voice and incredible vocal range.

“Just Ain’t the Same” starts the CD off with a funky beat. The title track feels thoughtful, forgiving and hopeful. “Need a Little Help” boils up some funky blues while “Trust” simmers smooth, sultry R&B. “I Love You Baby” is contemporary pop while “Everything Hurts” reels it back with a vaudeville piano and vintage guitar.

“Bite Me” is angry, but a contemporary rock and funk backdrop.

Willa changes speed again with the piano ballad and emotional vocals of “It Is What It Is,” and then back to cool blues with “These Days.” Not many singers have the pipes to cover Annie Lenox’s “Money Can’t Buy It,” but Vincitore makes it seem easy.

If you are a Popa Chubby fan, you already know you need this best -of CD. If you have not heard Popa Chubby, Prime Cuts gives you a whiff of some of the beefiest blues you’ll chew all year.

Critics and listeners are likely to love Willa Vincitore’s new CD as much – or more – than her debut effort, and that’s saying quite a lot.

Reviewed by Lynn Hetzler

Reviewed by Lynn Hetzler

Eric Schenkman – Who Shot John?

VizzTone Records https://ericschenkman.com/ 10 Tracks 36:27 During the early 90’s the Spin Doctors were a popular rock band. “Little Miss Can't Be Wrong” was their biggest hit. Eric Schenkman was the guitar player for that group through 1994 (and plays with them today). Boston is his hometown, although he is operating out of Toronto today. Since then, he has worked with some other artists such as Carly Simon, Natalie Merchant, Chico Hamilton, Noel Redding, and Corky Laing.

This is his third solo release and it contains his mix of Chicago blues, funk soul and pop. Schenkman handles guitar and vocals.

He is joined by Shaun Kellerman on bass, with the drums shared

by Van Romaine and Cody Dickinson. All of the material is originals.

The opening cut “I'm Alright” jumps out of the speakers when the song starts. It is full of blazing guitar work as the trio format fills your ears with a fine blues rock tune. There is a southern rock vibe to “Locked In The House All Day”. There is a real live feel to this cut. “Lincoln’s Feat” has a bit of delta beat and soulful vocals. I bet this one fills the dance floor. The title cut is next.

“Who Shot John?” is a sad tale of Mardi Gras. This one is much more rock than blues. The same is true for “No Pain”. It is a pretty good rock tune, with some solid guitar work.

Brent Barkman adds some fine B3 to the slower blues rock tune “Sign Of The Times”. I like this one. On “Far Away” the group gives a blues rocking performance that reminds me of a Johnny Winter tune. It is a rough and ready tune. “Only A Fool” has a wild solo midway through the song. Overall it is powerful guitar tune. There is a danceable feel to “Fortune Teller”. It is another powerhouse blues rock tune. The closing cut is “Agent Orange Blues”. I hear a real groove in this one, with Hill Country vibes blasting through it. The guys really hit the groove on this one.

Overall this is a guitar laden blues rock gem. There is quite a live feel to the recording. It will not be popular with the acoustic, country or traditional blues fans. You blues rockers out there will groove to this one. Schenkman can handle his guitar and writes some good tunes. Kudos to the other musicians on this one too. Catch him on the road supporting this release and possibly with the Spin Doctors.

Reviewed By Mark Nelson Dale Bandy – Blue.

Elastic Penguin http://www.celsosalim.com 9 tracks/31:00 Dale Bandy hails from Orlando Florida. He has been involved in music and entertainment for the last 40

years as a player and technician. This is his first foray into a solo release. He wrote 5 of the songs. He produced the CD and did the recording. He sang and played guitar, organ, bass on one track and programmed drums and keyboards. Gary Thompson handled bass on all but 2 tracks. Joe Bolero (sax) and Goran Eric (trombone) each appeared on one track. This is a blues recordings and a self made project.

“My Bad Reputation” starts off the release with a funky intro and some solid guitar work. The organ work by Bandy adds a nice touch to the track, though the overall beat seems to not get as pumped up as it could have. Up next is “If I Could Only Take It Back”. It is a slower soulful ballad, with nice guitar work. I like the feel of “Get It On”. This blues shuffle tune gets a taste of trombone added to it. The pace is med-tempo and has an overall Texas feel to it. The first cover is the James Williams written and Freddie King recorded tune “Big Legged Woman”. The guitar work is fine, and a sax adds to the appeal. “Country Star” jumps out of the speakers. It is a rockin’ tribute to wanting to be a star.

The next tune is the famous “The Thrill Is Gone”. It is hard to take this tune to a new place, so all that can be expected is to not botch it up. Bandy does a good job on it, with lots more organ than guitar. “Comin' Down” is the final original on this release.

It has an older mid tempo blues rock feel with heavier bass lines.

Things slow down a bit with the Keb’ Mo tune “I'm On Your Side”. I remember the tune and this version is pretty good. Closing things out is “Trouble In Mind”. This tune is usually done as a jazz tune. Bandy turns it into a guitar and vocal tune. It is not bad, and a clever way to reinvent a song.

Overall there is nothing too wrong here. It is a project for a long term musician to get himself into a permanent record of his musical ideas. He local fans and family will adore it, and buy copies. I don’t know that there is anything here to propel it to a blues hit (whatever that is today). Congrats to Dale Bandy for doing what felt good and right for him. I would go see him if ever in his area.

Reviewed By Mark Nelson Tomislav Goluban - Chicago Rambler Spona http://www.goluban.com/ 12 tracks/47:01 Croatia gives us Tomislav Goluban and his new CD release recorded in Chicago. In a career spanning 2 decades, Goluban had released 10 CDs. He enlisted many of Chicago’s finest players on the release.

Tomislav Goluban (known as Little Pigeon as his last name translates to pigeon) plays harmonica and sings. Kenny “Beedy Eyes” Smith (drums), Eric Noden (guitar) and E. G. McDaniel (bass) play on the tracks. Harmonica ace Joe Filisko guests on 2 tracks with his harmonica. Goluban has represented in the IBC and performed in Europe and in the United States. There are 11 originals and one traditional tune on this release.

In Layman Terms – Strong Roots Endless Blues Records www.3inlaymanterms.com/ 8 tracks/38:46 In Layman Terms hails from Williamsburg, VA. They made it to the semi finals of the 2019 IBC. This is their second release overall. Although a young band, 3 are in college, they are veteran players. The brother sister duo of Logan Layman (bass, cigar box bass and vocals) and Cole Layman (guitar, cigar box guitar and vocals) are the core of the group. Hamed Barbarji (trumpet, flugelhorn, percussion and vocals) and Nick Davidson (drums) are the other members of the band. There is only one cover tune on this release. The music blends blues, jazz, jam and NOLA funk. At an average of almost 5 minutes per track, they stretch the music out.

“Strong Roots” is the opening cut. This is funky tune with a dash of New Orleans in the groove. Barbarji adds some fine trumpet to the mix. Logan Laymen lays down a funky beat on her bass. I love the driving beat of “I'm Somebody”. There is some Allman Brothers in the slide work by Cole Layman. The tune is a big blues boogie tune. I like the modern feel of “Make Me Yours”.

The horns add to the motor driven guitar work of Cole Layman.

The band turns it down a bit on the slow grinding blues tune “Ain't Gonna Fake It No More”. At over 6 minutes they really stretch this fine tune out well. The horn of Barbarji takes the place of what might be a B3 in this type of tune, and does a good job.

The 5th cut is “Heartbroken”. This is a powerful mid tempo blues rock tune. Logan Laymen’s vocals are top notch on this song. The lone cover on the release is next. Otis Blackwell’s oft cover “Fever” is a cool tune. The version here is certainly well done. The almost spooky feel this song has is really good. There have not been covered often in recent years, so I take this as a fine choice for a cover for this band. The bass/drum combo really keeps “Notice Me” moving on as a tune. It is the story of a woman wanting to strut her stuff and wanting to be noticed, hopefully by the right guy. Logan Layman is of fine voice and Cole Layman has some fire in his guitar. The ending is quite cool with an almost acapela climax. The funk is in the house on the closing number “Way Too Far”. Logan Layman starts the tune with a 40 second bass solo. It is a love song that funks and rocks, and tears it up.

This is a very cool release. The siblings had a good start on their first CD, but the addition of Hamed Barbarji has really set their sound apart. The group can get the funk, the blues, some Americana and jazz it up. A lot of ground was covered in 8 tunes. I hope to see them live soon and witness this musical feast with eyes and ears. This is a talent to watch for the future. This release will make happy ears for most blues fans so all of you pick up a copy.

Reviewed By Mark Nelson

Danny Lynn Wilson – Peace Of Mind SwingNation Records www.dannylynnwilson.com/ 13 Tracks 43:46 Marilla, NY (western NY) is the hometown of Danny Lynn Wilson.

This solo release follows 4 prior releases since 1992. Those releases contained blues, some swing, bluegrass and Dixieland tunes. This collection is mainly roots music, produced by Dave Gross. Wilson sings and plays guitar on the release. He is joined by Dave Gross (electric guitar, baritone guitar, banjo, mandolin, piano, Hammond organ, wurlitzer, harmonium, percussion), Matt Raymond (bass), Ray Hangen (drums) and a host of other guest appearances. All of the tunes are originals about Wilson’s life experiences. He loves his music and how if connects him with his crowd.

The opening cut is “When Will The Loving Start”. It is a slow tender folk ballad with acoustic guitar and soft sounds from the rest of the band. Danielle Gross and Clare Moses add some backing vocals. The 2nd tune is “Sympathy For Your Man”. This is soft twangy ballad. Sean Daley adds some sweet lap steel and Doug James uses is baritone sax. This has a bit of spaghetti western feel to it., but on the soft side. The title cut “Peace Of Mind” is next. It opens with an almost military old school feel. This is an Americana tune, and a pretty one. There is a nice pickin’ intro to “Long Way Home”. Not a lot of blues here, but a pleasant tune. For “Love Only You”, I hear a lot of hurt in Wilson’s voice, and the music is slow, dark and emotional. There is good sound on “Middle Class Blues”. Charles Burnham adds some sweet violin on the tune.

Wilson’s voice is very nice on this one. I like the island feel to “Shine Is Off”. It is a much more upbeat tune for this recording.

We finally get some harder edge blues on “Arkansas Trotter”. I like this tune and the strong bluesy feel of the start of the tune.

There is a jazzier feel as the tune goes on. “High Water” has an acoustic call and response blues feel to it. It is a simpler tune, with solid vocals and solid guitar work.

“No Walls” is not a political tune, but one about home and not having a place that has walls for his home, though he will keep the memories. April Mae adds some light washboard to the tune.

“Fuss 'n Fight” is a front porch acoustic blues tune. It is a relationship tune. Greg Gumpel really plays well on the resonator. Things rock out on “Too Many Hounds”. Doug James breaks out his baritone to punch up this tune. There are folk and R&B traces to the track. I like this one. “Galway Bay” closes out the release. This tune is a ballad, with Sean Daly back with his lap steel guitar. This one has a sweet soulful sound.

Overall this is much more a Roots/Folk release than a blues release.

Wilson has a great mastery of his guitars, and a voice that holds up well with the types of music played. I like the emotion of many of the songs, and it is clear it has much personal meaning to Wilson.

He remains positive though some of the darkness with his music.

In a small club I would bet Wilson is a captivating performer. My hat is off to Dave Gross for his playing and producing of this release. There is not much here for classic blues fans and blues rock fans. Acoustic guitar fans and folk/roots fans will enjoy this one.

Reviewed By Mark Nelson

The opening tune is called” Pigeon Swing”. This is a Chicago blues harmonica instrumental that really cooks. There is a fast paced Little Walter influenced tune. I like the Slim Harpo feel on “Locked Heart”. Eric Noden picks his guitar with authority, with Goluban pulling every note with emotion from his harmonica. The 3rd cut is “Bag Full Of Troubles”. Joe Filisko adds his harp to this tune. This is a nice shuffle tune. I like the Caribbean dance feel of “Jerry Ricks On My Mind”. Goluban was a friend to Philadelphia Jerry Ricks who left us in 2007.

On “Can't Find Myself” the pace slows way down. This is a deep and dark blues tune. On “Home Made Honey” the band really cooks. The Noden guitar work is good. We get a good train impersonation at the start of “One Way Ticket”. The initial instrumental is fine, and breaks into a slower tune after about 1 ½ minutes sounding a bit like Dire Straits. “Do The Right Thing” breaks out with a Bo Diddley beat, and keeps a fast pace to the end.

tional cover. The style of music mixes blues with soul, rock, jazz and country.

The opening cut “Mad Dog” is a strong blues rock tune. There is strong guitar, piano and vocals. There is a strong jam at the end of the tune. Mo Beeks adds the B3 in a guest capacity. “Locked Out In Misery” is a strong Chicago blues tune. Darryl Carriere guests on harmonica for this tune. “Locked Out In Misery” was a finalist in the 2018 International Songwriting Competition. The music goes to visit Little Feat for some strong boogie-woogie on “Let It Burn”. It is a fast paced tune. Mo Beeks is back on the B3 for the slow burning soulful tune “No Need To Be Alone”. I like this strong tune. “Got To Find That Babe” is the 5th cut. There is some southern funk in this tune. The piano work of Fraser is prominent in this mid tempo rocker. Minque Taylor adds some background vocals on this one.

On “Little Pigeon” we get a true Chicago blues tune from Muddy Waters. Filisko joins again on harmonica on this track. Up next is an acoustic version of “Jerry Ricks On My Mind”. It is a nice touch to hear such a difference in version. Things stay acoustic and in the Delta on “Searchin' For My Baby”. The song is in the call & response style, with fine harp from Goluban. Closing out the disc is the traditional Croatian tune “Išel Budem V Kleticu (I'll Go To My Cottage)”. It is a traditional folk tune given a blues shuffle treatment here, with the lyrics in Croatian.

On “Down the Aisle” hits a country rock/Americana feel. Salim pulls out his dobro and Fraser continues his fine piano playing.

There is a nice jam in the middle of the tune. The title track “Mama's Hometown” won the 2018 Independent Music Award for songwriting. At over 6 minutes, the band really gets to stretch out their chops. I’d imagine it going even longer in a live setting. Beeks and Taylor return for this track. This is a no hurry blues rock track. “Best Of Luck” is a slower ballad that lets Cury show off his vocal prowess. The traditional “In My Time of Dying” closes the set. This tune gets a slow old timey blues feel. It is a good closer.

I like this disc and the fine playing on it. No big new ground broken here. It has to be a big dream for Goluban to record in Chicago with this set of musicians. It is wonderful to see how the blues affects musicians from across the globe. Harp fans and Chicago blues fans check this one out. Not much here for the blues rock crowd. Blues fans should hope we get to see Goluban play in their area one day soon. It would be an interesting show.

I like this release. The CD includes varied types of blues tunes, showcasing the band’s skills. It gives listeners of all types something to enjoy. There is nothing flashy or over the top in the music here. The band fits together well. In current news they finished in 3rd place at the 2019 IBC. Let’s hope they slide through the Midwest so we can catch the live show. Until then, all blues fans should enjoy this release. Go pick it up!

Reviewed By Mark Nelson

Reviewed By Mark Nelson Editor’s Note– Celso and his Band placed 3rd in the IBC

Celso Salim Band – Mama’s Hometown Tower High Music www.celsosalim.com 9 Tracks/42:07 Celso Salim has been a top blues guitarist/vocalist in his native Brazil since the turn of the century. In 2014 he moved his base to Southern California. He quickly established himself there. He made the semifinals of the International Blues Challenge in 2018. For this release Salim handles some vocals, guitar and dobro. He is joined by fellow Brazilian Rafeal Curry (vocals), David Frazier (piano, keyboards, harmony vocals), Mike Hightower (producer, bass, harmony vocals) and Lynn Coulter (drums, percussion, harmony vocals). There are 8 contributions from the band and one tradi-

Bill ‘Sauce Boss’ Wharton – Blind Boy Willie Burning Disk Records https://sauceboss.com/ 7 Tracks 22:28 The state of Florida blues & swampfunk slide guitarist Bill Wharton has been a musician for near a half a century. His releases number near 20, not including appearances on various samplers. He is a great performer and makes his famed gumbo at each show for the fans (over 200,000 bowls have been served. You can buy his brand of hot sauce. In the early 70’s he found a 1933 National Steel Guitar in his front yard. The rest is history. Most of the music comes from Wharton playing his guitar, kick drum, hi hat and singing.

Wharton wrote 5 of the 7 cuts.

Opening things up is “Blind Boy Billy” This one is a bit Cajun, bit old time jazz and a lot of fun. David Davidson (violin), Joe Murphy (sousaphone) and Dennis Holt (snare drum) add to this opening track. This is a fast paced and a bit raucous track, and full of fun. The second track is a cover of the Jimmy Buffett fun tune “I Will Play For Gumbo”. Joe Murphy is back on the sousaphone. It is a fun tune. “Lonely Girl” is a soft ballad. Davidson adds a viola to this gentle tune. “Little Driver “ is a strong slide guitar driven track. This one rocks out in fine fashion. Joe Murphy brings his sousaphone back for the classic “Dock Of The Bay”. The Boss plays on his acoustic guitar for a cool version of this great tune from Otis Redding. Wharton cuts loose on his electric guitar on “What She Gonna Do”. It is just him on guitar and vocals on this one. Closing out this short CD is “Pleasures Of The Deep”. Violins, viola and cello support the acoustic guitar of Wharton on this soft ballad.

This release gives you a taste of how Wharton entertains his fans.

HE loves what he does and is good at it. It is not all blues but it is fun. He has also released a book called “The Life and Times of Blind Boy Billy: Y'all Don't Know the Half of It”. It tells his story, and is a songbook and cookbook. Check it out, and enjoy this release of music.

Reviewed By Mark Nelson

Lineup Changes for the Crossroads Blues Festival • • • •

Kevin “B.F.” Burt is not able to come to our event Chris O’Leary Band is now at 2 PM Nick Moss Band featuring Dennis Gruenling on harp are now at 6 PM Added to the lineup is John Primer w/Steve Bell on harp at 8 PM

Vinny Bond’s Music On The Couch Vinny Bond (born Marini) hosts an on line radio program called Music On The Couch that is live on the internet on Mondays at 9 PM central time. He also hosts live broadcasts throughout the IBC week with a host of blues artists, blues societies, writers, and promotors. The show is at http://www.blogtalkradio.com/ musiconthecouch Crossroads President Steve Jones was on the show during the IBC talking about their festival, newsletter, upcomig events and their BITS program. The interview is at http:// tobtr.com/11055357 and you will find it at about the 17:30 minute mark.

home.

Music On The Couch grew out of an online group revolving around Taylor Hicks back in 2005. My intial blog is Big Leather Couch, where I did reviews of the American Idol shows that season. It grew to include personal posts and observations on life each day.

Eventually, my love of music entered the scene and I began to write reviews of current albums and conduct wrtten interviews with musicians. These archives are now found at Tuneage Tuteledge.

I also began sharing some of my fiction (dark and spooky), which you can find at Couch Matinees and my love of food and cooking, which is found at Mangia Y'all.

In 2010, I decided I needed to do something more and Music On The Couch was born on Blogtalk Radio. Since then I have been honored to speak to hundreds of musicans and those in the business about their lives and careers. I have cataloged these shows for you in the Internet Radio Section of this site. You can also go to iTunes and subscribe to the weekly shows and they will be automatically be downloaded to your iTunes Podcast Collection each week.

Since 2012, I have also set up the show at the Rum Boogie Cafe on Beale Street in Memphis, TN during International Blues Challenge Week. For that week I interview the Challengers in town competing, music industry executives, other musicians who come in for the networking and fun and even fans. You will find all of these shows in the IBC Section of this site.

Vinny has been at this a long time. Here is his bio, quite an interesting read!

I was born in The Bronx, NY in 1954. My family moved to Commack, LI when I was 3 years old and I lived there until I went to college in Rochester, NY in 1972. At the age of 16, a friend and I began using his CB radio to broadcast music and do our own "radio show" - my love of sharing music was born.

On day 2 at R.I.T., I walked into the radio station on campus, WITR, and began doing a show the very next day. Over the next four years I did shows late in the evening and early in the morning. With a music library of over 50,000 albums, and no playlist, I was able to explore and grow my knowledge of music. I also spent two years as Program Manager during the time we went from a 'carrier current' station to an FM station. My last show on WITR was the day before I left the campus having graduated.

I did do some fill-in shows at the local FM station and after graduation, continued my love of radio with a show on The Kalidescope Network (they supplied pre-recorded shows to radio stations who did not want to hire overnight staff, so I was heard on small stations around the country).

In my 30's, I worked as a wedding DJ/Entertainer, which allowed me to stay in music, though playing songs that were not on my playlist at

In 2013, I expanded further to include Club and Festival Booking Services for a small group of talented Blues Artists. You will find their pages in the Artist Booking Section of this site.

That same year I began offering TOUR SUPPORT for acts looking to increase their exposure while on the road. You can learn more about this on the Tour Support page.

If you need an MC for your event, I am your man. Whether it is a small affair or a Festival, I will bring my years of experiance to your event. Learn more on the Festival Partnership page.

Please contact me with questions about any of this, or just to say HI!

January and February Crossroads Shows Photos by Rick Davis

Written Warning at the Lyran Society

Sistah Beth Blues Band at the Lyran Society

Tas Cru at Mary’s Place

Mike Wheeler Band at the Hope and Anchor

Recently Paroled at the Lyran Society Ivy Ford at the IBC Semi-Finals at Wet Willies Steve Jones photo

Ivy Ford IBC Quarterfinals Wednesday at the Flying Saucer and Thursday at the Flying Saucer

Ivy Ford at the IBC Finals

Photo by Rick Davis

Photo by Rick Davis

Photo by Anthony Earl

Karen Howard Memorial Scholarship Crossroads Blues Society is soliciting inputs for their Second Annual Karen Howard Memorial Scholarship. Awarded annually beginning last year, the scholarship targets High School Seniors moving into post-secondary music education at college, vocational training, technical training, apprenticeship or via some other formal music program. The scholarship is for students residing in Winnebago, Ogle, Stephenson, Boone or Dekalb Counties. The form below can be used to apply or contact your HS principal or guidance counsellor. We have sent the application to all High Schools in those counties.

The Groove - Crossroads Blues Society Newsletter

Membership News We continue to grow with new members and renewals continuing! Thank you for supporting live music and helping to keep the blues alive to all our new and returning members!

New members: Gavin Oldigs

Tickets for the 25th Anniversay Party can be purchased at www.timberlakeplayhouse.org/ crossroads-blues-society/

The picnic on June 1st is free, but we are taking donations for the band!

Renewing Members: Gary & Susan Ainsworth Barbara Bartlett and Ed Butler Jerry Bueche Steve Dougherty Rich & Monica Gordon Beth Heuer Gloria Hyatte & Sam Barmore Steve Keppen Rev Milhone Karen &Wayne Naleway Christine Olson Dennis Peabody Roger Thompson New members get a CD upon joining and new family members get two CDS. If you did not get any please let us know the next time we see you! The Email newsletter averages about 40 pages an issue and is in full color, delivered as a PDF to members. Mail newsletters are 12 pages and printed in greyscale. Mail members have a $5 surcharge to help with printing and postage costs. We produce six newsletters a year with about 30 reviews and all sorts of other great information related to the Society and our events. Again, we thank our members for their support and helping us to keep the blues alive! See the membership form on page 3 of this newsletter to sign up. It’s a great way to help keep the blues alive!

www.bluesblastmagazine.com

Hope and Anchor English Pub Second Saturday Blues The Hope and Anchor Second Saturday Blues is a fun monthly event at a super restaurant and pub!

Shows are from 8 to 11:30 PM. There is a $5 cover charge. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers and liquors, and great live music! Located at 5040 N 2nd Street, Loves Park IL, USA, phone 815-6332552 for info!

3/9/19 John Primer 4/13/19 The Cash Box Kings 5/11/19 Corey Dennison Band 6/8/19 The Blues Hawks with Dave Hanson 7/13/19 The Ivy Ford Band 8/10/19 Dave Weld and the Imperial Flames 9/14/19 Blues Blast Awards Post Jam 10/12/18 The Jimmys 11/9/18 Reverend Raven and the Chain Smoking Altar Boys featuring Westside Andy Linderman 12/14/19 The Ivy Ford Band

Lyran Society First and Third Friday Blues The Lyran Society featured blues, a fish fry, other great food and a lot of fun.

The Lyran Club has great shows twice a month outside of summer. 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 our members and friends, all ages are welcome! Shows are 7 to 10 PM. 3/1/19 Hobson’s Choice 3/15/19 Milwaukee Slim with Billy Flynn 4/5/19 Dave Fields 4/19/19 Oscar Wilson and Joel Patterson 5/3/19 Olivia Dvorak 5/17/19 Studebaker John 6/21/19 Steve Ditzell 7/19/19 Wheatbread Johnson CD Release Party

Ice Hogs Friday Home Game Blues Friday night Rockford Ice Hog home games are also home to the blues at the BMP Harris Center.

5:45 to 6:45 pm features music in the Blues Flame Lounge. A ticket to the game and you are in for music and the game!

3/1/19 Country Night

Crossroads Blues Society P.O. Box 840 Byron, IL 61010 On the web at: crossroadsbluessociety.com/ Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com Email us at: sub_insignia@yahoo.com Call us at: (779) 537-4006

THE

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee 2005 Rockford Area Music Award Winner– Musical Outreach Organization

Mail to:

Award Winner

Blues News and Upcoming Events The year got off to a great start with some fun shows, fantastic BITS and The Ivy Ford Band making it to the finals at the IBC. March and April have lots more to offer and the summer portends even more great music for us.

At the Hope and Anchor we have John Primer with Steve Bell on harp on March 9th and then in April we have the Cash Box Kings on the 13th.

Inside we have the full schedule inside for the remainder of the year with lots of great music coming!

At the Lyran Society we have a lot of good music coming, too. Hobson’s Choice from Madison is playing there an March 1st and then Billy Flynn will be there on the 15th with Milwaukee Slim. The two of them also will be doing BITS programs with us. Then in April Lyran features Dave Fields on the 5th and Oscar Wilson and Joel Patterson on the 19th. They all will be doing BITS programs for us!

We have Tas Cru and his Band of Tortured Souls coming back to town on Sunday March 10th for a show at Mary’s Place at 7 PM. There is a $5

cover charge.

Chris O’Leary returns to Mary’s Place for a show on Wednesday April 3rd, $10 cover. Our good friend Dave Hanson also has a gig with the Blues Hawks on April 27th at 7:30 PM. All in all there are 8 great shows we are involved with in March & April!

In early May of the 4th we have our 25th Anniversary party in Mount Carroll and June 1st as picnic in Byron.

2019 is going to be a hell of a year!

Stay tuned for more info……..