May-Jun 2014 Newsletter

May-June 2014

2nd Annual Field of Blues Festival Zealand, Aaron Williams and the Hoo Doo, Dave Weld and the Imperial Flames, Toronzo Cannon, Tail Dragger and Willie Buck with the Rockin’ Johnny Burgin Band and Lil’ Ed and the Blues Imperials made for a spectacular day of blues music!

It’s hard to believe it is already time for our second great event at Rockford Aviators Stadium! The first one still echoes in our minds with the great music and fun time we had putting on the first one of these festivals! The Flaming Mudcats from New

This year we have another treat2014 Soul Blues Male Artist Blues Music Award Winner John Nemeth headlines our fest with his sweet blues and soul sound.

Boise, Idaho is hardly the place anyone would conjure up as a hotbed of soul music.

But for John Németh, it’s where his love for the genre began—and the starting point for a journey that’s taken him from his first gigs fronting a teenaged band to five BMA

Keeping the Blues Alive

nominations in 2013 and two more in 2014!

It’s where this preternaturally talented son of a Hungarian immigrant gained his early chops on the harmonica, building on the style of rootsy heroes like Little Walter and Sonny Boy Williamson. Németh’s first paid performance came in 1991, when he was hired to perform drinking songs for a pinochle luncheon held by the Catholic Daughters of America before setting his sights on the Boise club scene, where, for nearly a decade, he played seven nights a week at local pubs, taverns, joints, and parties.

After opening a show for Junior Watson, Németh was tapped as tour opener for the guitar great, a gig that took him across the United States, to Scandinavia, and into the recording studio for his 2004 solo debut, Come And Get It, featuring Watson. When Németh’s girlfriend decided to relocate to California, he knew he couldn’t lose her, so he

FOB Festival Info   

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Gates Open at 11 AM Music Noon to 9:30 PM Sit on field (bring a blanket or chair) or in the stands Schedule:  Noon: Alex Wilson Band  2pm: Liz Mandeville  4pm: The Jimmys  6pm: Doug Deming and Dennis Gruenling with the Jewel Tones  8pm: John Nemeth  Dan Phelps between acts $10 advanced, $15 at gate Rain or shine No cooler or pets, please

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5th Annual Crossroads Blues Festival Moves to Lyran Park It's official! Crossroads Blues Society and the Lyran Society have agreed to co-chair the 2014 Crossroads Blues Festival at Lyran Park. Nestled along the banks of the Kishwaukee River and Kilbuck Creek and just south of Rockford Airport, Lyran Park is a wonderful, private setting for a festival. Located along South Bend Road and just a

quarter of a mile east of it's intersection with Kishwaukee Road, Lyran Park is a beautiful wooded setting with a great stage right along the riverfront. A gently sloping bank affords a great view of the stage from your folding chairs or blankets as you sit in the

shade or sun and enjoy the festivalcontinued on page 4

Inside this issue: News 1-4,7,11,15-17 Music Reviews 5-14,17 Playlist, Members 17 Membership Application 18 Upcoming Events 18

Crossroads Blues Society Newsletter

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Second Annual Field of Blues Festival Set for Saturday, June 28, 2014 packed up the house and traveled west. It was an astute move: shortly after his arrival, Németh was signed by Blind Pig Records to a three-album deal. He also earned critical acclaim placing him in, as Nick Cristiano of the Philadelphia Inquirer put it, “a cadre of young and relatively young artists such as James Junter, Eli ‘Paperboy’ Reed, and Sharon Jones.”

“I learned a lot living in Oakland and San Francisco,” Németh says, “from recording and performing with Elvin Bishop to hearing Jimmy Hughes perform. Oakland is like a truly southern city, only it’s on the west coast. It wasn’t until after I arrived that I discovered that so many great songs I love actually originated there.”

In early 2013, Németh traded his life on the west coast to settle down in Memphis, Tennessee. He and Jaki, that girlfriend he followed to California, had married and started a family, and Memphis made sense for multiple reasons: It’s centrally located for touring, the cost of living is inexpensive, and the river town is the historical ground zero for American roots music.

“I moved to Memphis because it is the epicenter for soul and blues,” Németh confirms. “The wealth of knowledge runs deep in the instincts of its musicians and its studios.” Once there, he immediately began to work on his latest album that was recently released entitled Memphis Grease. Featuring John and the funky soul band the BoKeys, the album embodies everything that sets this artist apart from the revivalist pack: it’s innovative and unique while epitomizing the absolute best of the genre. It’s a deeply forged amalgamation of scorching harmonica-driven blues and sweet blue-eyed soul ala the Box Tops or Roy Head, delivered via two fistfuls of originals and a trio of carefully chosen covers, including Roy Orbison’s “Crying,” reinvented here as a slowburning soul number that matches anything that came out of circa-late 1960s’ Muscle Shoals.

Before Nemeth will be the swinging sound of Doug Deming with Dennis Gruenling and the Jewel Tones at 6 PM. Eastside Detroit native Doug Deming, now hailing from Florida’s Gulf Coast, has garnered widespread attention for his deft guitar work and memorable songwriting. With a nod to the likes of T-Bone Walker and Charlie Christian, as well as Luther Tucker

swinging, highly original harmonica sound and style. Taking equal parts from the harmonica and swing/saxophone traditions and styles, Dennis has pushed the boundaries further for the sound of blues, while in the meantime pioneering a whole new sound and direction for the harmonica.”

and Robert Jr. Lockwood, Doug leaves his own mark whether swingin’ on the big jazz box, or playing straight up blues on the solid body Fender guitar. While playing the local Detroit scene in the early 90′s, major players began to take notice, and Doug spent much of the following years backing many of the day’s top touring blues artists, including Fabulous Thunderbirds frontman Kim Wilson, legendary Louisiana swamp bluesman Lazy Lester, Gary Primich, Chicago greats Johnny “Yard Dog” Jones, and A.C. Reed, as well as Detroit’s own Queen of the Blues, Alberta Adams.

With a decade of touring and recording to his credit, Doug has earned his position alongside today’s heavies on the blues scene. Leading his band, The Jewel Tones, Doug continues to bring noteworthy traditional and original roots music to his audiences. Doug’s latest recording, What’s it Gonna Take, exhibits the outstanding guitar work and remarkable singing and songwriting that have become Doug’s calling card. Paired with acclaimed harp man and touring partner Dennis Gruenling, and backed by the new Jewel Tones line-up of Andrew Gohman on upright and Fender bass, and Devin Neel on drums, What’s it Gonna Take is available now on the VizzTone label.

On the road, Doug teams up with long time road partner, award winning harp man and VizzTone label mate, Dennis Gruenling.

From Dennis’ site: ”Dennis has pulled in countless fans and numerous accolades from critics & musicians around the world for his

Dennis credits Little Walter and George “Harmonica” Smith as his major influences, and calls his style “a mix of Chicago blues harmonica meets swing and R&B sax style of guys like Red Prysock, Paul Williams, and Lester Young”. Catch Dennis Gruenling on the road with Doug Deming & The Jewel Tones, touring in support of their new recordings, Rockin’ All Day and What’s it Gonna Take.

The Jimmys take the stage at 4 PM and they bring their fantastic style of swing and blues that will get everyone on their feet dancing. The Jimmys are Jimmy Voegeli on Hammond Organ, Piano, Electric Rhodes, Vocals, Mauro Magellan on Drums and Percussion, John Wartenweiler on Electric and Acoustic Bass, Perry Weber on Guitars and Vocals, Bryan Husk on Tenor and Baritone Saxophones, Chad Whittinghill on Trumpet and Flugelhorn, Pete Ross on Alto Saxophone, and Darren Sterud on Trombone. And if that is not enough, Bun E. Carlos will be sitting in on drums, too!

Jimmy works his family’s 5th generation dairy farm by day and has played his fantastic brand of swing music by night and weekend for 20 years. Adorned in his

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May-June 2014 Chuck T’s (they supposedly let him control the organ pedals better), he has been with his own band now since 2007 and puts on a great show. Perry Weber on guitar is the newest band member; schooled by Bryan Lee and Luther Allison, his brand of guitar is impeccably cool. Former Georgia Satellite’s drummer Mauro Magellan wows the crowds with his amazing percussion work; we guess he just has a tough time keeping those hands to themselves! Johnny Wartenweiler may play a laid back style of bass but he is no slouch.

He has been compared to the the best!

The “Young Horns” (as Jimmy affectionately calls the guys who form his horn section) are a fantastic amalgamation and accumulation of brass and sax players who will wow the crowd whether they are on stage or starting a parade in the audience. This is a set you will not want to miss!

At 2 PM we have Liz Mandeville. The multi-talented Liz Mandeville is no stranger to hard work! Not content to be ‘just a singer,’ Liz taught herself to play guitar, washboard and porch-board. She has written and produced over 80 original songs, resulting in five critically-acclaimed CD’s. She earned a BA in Music at Chicago’s premier arts school, Columbia College, where she did research on blues history. She gives fun, interactive Blues Music Workshops based on what she learned. Liz writes a column for ChicagoBluesGuide.com, and she is also a Blues DJ for WNUR-FM. A seasoned pro, she has logged thousands of road miles; since 1983, she’s played hundreds of gigs – and people say she just keeps getting better!

Clarksdale, her first release for the new Blue Kitty Music label, an idea fostered by Grammy winner Willie “Big Eyes” Smith, dropped in May of 2012. Smith, best known for his work with the late Muddy Waters, contributed five tracks to the new disc. Clarksdale also features a riotous performance by long time friend and Howlin’ Wolf alum, the Legendary Eddie Shaw and includes tracks with Nick Moss and Donna Herula who was Liz’s

partner in the IBC challenge.

show on the road.

Liz also produced four critically-lauded CD’s for the Earwig Label showcasing her powerful, rich, versatile voice and her creativity as a producer, arranger, guitarist, and song crafter. Her 2008 CD RED TOP shot to #3 in the Roots Time Radio Charts, and stayed in the top 20 for weeks. Amazingly, “Scratch the Kitty”, one of that CD’s tunes, held the #1 spot for 22 weeks on the Cashbox Charts in 2010, making it one of the most downloaded Blues songs ever! RED TOP, like Liz’s other CD’s, has been included in numerous “Best Of” lists. Chicago’s Tom Marker, (a popular DJ in the nation’s third largest commercial radio market) named Liz’s “Illinois National Guard Blues” #5 in his list of the “WXRT-10 best of 2008.”

A versatile musician, Alex effortlessly switches between genres. He plays everything from sweet Beale Street blues to West coast swing. From hard Texas grinders to stone cold Chicago grooves with a feeling that’s said to be timeless. Alex’s style and tasty originals matched with his undeniable stage presence and unmistakable guitar style will drive you to the dance floor. His debut CD, Tell Me Why, is on on “Rathskeller Records”. To say that Alex Wilson is one to look out for down the road is an understatement. Taking the Midwest by storm, this young musician is a force to be reckoned with.

The Alex Wilson Band opens things up at noon. Alex Wilson grew up in a family of talented musicians. Alex’s grandmother, Rosa Saviano was a renowned professional jazz singer in Chicago in the 1940′s and 50′s. Tom Wilson, Alex’s father, is a multi-faceted musician who has had the distinct pleasure of accompanying nearly every blues performer to pass through the Milwaukee/Chicago music scene in the last thirty years. Marc Wilson, Alex’s uncle AND drummer, is one of the most sought after drummers in the country. He’s played with B.B.King, Big Walter Horton, Buddy Guy, Jimmy Rodgers, Stevie Ray Vaughn, Susan Tedeschi, Anson Funderburgh and Sam Meyers to name but a few.

Alex picked up the guitar at five years old and never put it down. Immersed in the Milwaukee blues scene, Alex was surrounded, and influenced by such local luminaries as Stokes, Lee Gates, Jim Liban and Milwaukee Slim.

Alex formed his own garage band at thirteen. By seventeen he began to dig deep into the blues, learning the songs and styles of masters such as Muddy Waters, Howlin’ Wolf, Little Walter, Buddy Guy, Jimi Hendrix and Magic Sam. At seventeen Alex began playing professionally and by twenty-one he had joined Milwaukee’s Blue Rubies and was performing regionally while still playing parttime with his own band. Playing up to 25 gigs a month, Wilson honed and sharpened his skills as a singer/songwriter, guitar player and over all entertainer.

In ’05 and ’06 Alex began to focus solely on his own project, booking shows, finding his own sound and the right players from the mid-west music scene to take his

Between acts we will feature local acoustic blues man Dan Phelps up in the covered pavilion on the third base side of the stadium. Acts are on stage on the field, between acts music is up on the concourse. 10 hours of music from noon to 10 PM. Tickets will once again only be $10 in advance and $15 at the door.

Come on out and join us for some great blues! Tickets are available at these locations: Rockford:  Alpine Bank (Main, Spring Creek, East State and Cherry Valley Branches)  Guzzardo’s Music  Rockford Area Arts Council  CD Source  Culture Shock Records  Toad Hall Records Loves Park:  Aviators Stadium  The Hope and Anchor English Pub Beloit:  Gary’s Guitars Check us out at http:// fieldofblues.blogspot.com/ or call 779-5374006 for more information!

Scan this Q Code for the latest on line info for the Field of Blues Festival

Crossroads Blues Society Newsletter

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Fifth Annual Crossroads Blues Festival Moves to Lyran Park continued from page 1

As you enter the park from the main entrance there is ample parking for more people than have ever attended the festival. Camper camping with no electricity is available for $20 per camp vehicle/ trailer. Tent camping is also available for $10 per tent. Entry into the festival is only $5 in advance and $10 at the gate.

After you park, there is a short, paved path down the hill to the festival grounds.

We will have a few golf carts for the handicapped and elderly access. The area will be professionally sprayed prior to the fest to reduce mosquito populations (just in case).

Two acts from above the "Cheddar Curtain" will also be featured. Reverend Raven and the Chain Smokin' Altar Boys will bring their traveling blues revival show back to Rockford. Westside Andy Linderman promised to sit in with Rik and the boys and with like Big Al Groth might actually make the trip down with his sax, too. Add in Danny "Pork Chop" Moore on keys and it will swing! will be in full swing!

Westside Andy Linderman and Mel Ford will also be there, accompanied by incomparable Barrelhouse Chuck on piano and organ. Chuck learned at the feet of masThe lineup is still under review but here is what we have so far. Opening the day will be Australia's top blues and roots band Storm Cellar! Bringing their brand of music to the stage (they call it "Ozicana") at noon, it will be a great opener for this 5th annual event in its new location. Next up will be Dave Weld and the Imperial Flames. Working on their second Delmark Record release, Dave and the band are a rocking good time!

We are still working on one more act, so stay tuned! Between acts we have RAMI Youth Jam winner Justin Boots Gates.

This 14 year old wunderkind plays guitar, harmonica and sings in a great traditional style. He is the real deal and will play in the covered pavilion across from the stage between sets and may stick around afterwards if the crowd wants more!

We have some great food vendors lined up and are looking at a few more, so it will be a goo day all around. We hope you can join us for our fifth and biggest festival yet! Gates open at 10 AM. It should be a blast!

ters like Sunnyland Slim and Little Brother Montgomery and is probably the best blues man on the 88 keys today. Mel and Andy will bring their smooth sound down from Madison and the party

The new venue offers us shade, space, camping, and a great view! Working with the Lyran Society has also been fantastic as they bring their experience and resources to the table as a fantastic partner for Crossroads Blues Society! We intend on having more events at the park and at their 4th Avenue location in downtown Rockford! Come out and support our BITS programs by making this fest a huge success!

Scan this Q Code for the latest on line info for the Crossroads Blues Fest at Lyran Park!

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May-June 2014

Music Reviews Hornet's Nest Joe Lewis Walker Alligator Records www.alligator.com 12 Tracks In 2013, Joe Lewis Walker was inducted into The Blues Hall Of Fame along with blues legends like B.B. King, Hound Dog Taylor, Koko Taylor, Willie Dixon, Muddy Waters, Etta James, and Howlin’ Wolf.

After being recognized, Walker made the statement "I am honored to be in the company of the great artists already inducted."

"I hope to live up to the honor." Joe Lewis Walker is always on the leading edge as a guitar player matching his soul-driven vocals. With the release of his last two albums, it is evident he has reached that pinnacle of success that he has been striving to achieve throughout his musical career.

Joe Lewis Walker returned to Sound Stage Studios in Nashville, Tennessee to record his new CD Hornet's Nest, the follow up to his 2012 Hellfire. Both releases were produced by the talented producer, musician, and songwriter Tom Hambridge, producer of James Cotton’s Grammynominated Cotton Mouth Man, Buddy Guy’s Grammy-winning CDs Skin Deep and Living Proof, as well as albums for Susan Tedeschi, George Thorogood and Walker’s previous CD, Hellfire. Like Hellfire, his new release is being released on Alligator Records. Joining Walker in the studio, is guitarist Rob McNelley, bassist Tommy MacDonald, keyboardist Reese Wynans (formally with Stevie Ray Vaughan), and Tom Hambridge on drums.

Hornet's Nest opens with the high energy, explosive, blues-rock title track "Hornet's Nest," with Walker pushing the boundaries as he kicks his electric guitar into high gear from beginning to end. The title track has the same raw power heard on the Ana Popovic tune "Count Me In." The band is joined by the Muscle Shoals Horn Section on the original soulful tune "All I Wanted To Do." The mournful cry of his guitar licks and equally lamenting vocals create a haunting darkness "As The Sun Goes Down." "Stick A Fork In Me" is an original hard-driven roadhouse style blues number. Walker shifts gears with the gospel/rockabilly tune made famous by Carl

Perkins "Don't Let Go," changing his vocals closer to a 50s Elvis tune backed by The Jordanaires. Walker adds a little slide guitar to the traditional sounding "Love Enough." "Ramblin' Soul" combines the guitar embellishments of Jimi Hendrix, with the slide work of Duane Allman, for an epic rock tune lasting close to six minutes. The second cover shows the versatility of group to cover The Rolling Stones hit "Ride On, Baby." They continue the 60s sound, this time with the soul and funk of "Soul City" which demonstrates an underlying Sly and The Family Stone groove. The album concludes with three more original tunes starting with the slow down home blues tune "I'm Gonna Walk Outside" fueled by Walker's fiery slide guitar and Reese Wynan's keyboards.

"Not In Kansas Anymore" brings back psychedelia rock of the late 60s. On the final R&B tune "Keep the Faith," Walker sings with deep human emotion, unique to this song, combined once again with the backing vocals of Ray Walker, Curtis Young and Michael Black, heard on the earlier tune "Don’t Let Go." Hornet's Nest runs a full gamut of music covering a dozen songs, including nine originals and three covers. I think you will agree that the last two albums are a culmination of Joe Lewis Walker's best work to date.

is still seated behind the drum kit. They share the lead vocal role throughout the disc, getting help on backing vocals from Catherine Russell on four cuts. Other musicians include Chris Bruce on guitar & bass, Glenn Patscha on keyboards and Joe Bonadio on percussion.

A lively rendition of “Stayed At The Party” opens things as Wendell issues a cautionary warning about living too fast for too long over Popsy’s driving rhythm. Ike Turner’s “You’ve Got to Lose” mines similar territory, this time lead by Popsy’s striking singing in the falsetto range. “Lickety Split” finds Wendell in a hurry to exit a bad romance. Sherman’s deep tones get an assist from John Ellis on tenor sax and Antoine Drye on trumpet on the bluesy “Passing Through”. The rollicking, earthy charm of “Last Man Standing” is also a good fit for his weathered voice.

“Soldier of Love” sounds like something the O’Jays would have recorded, filled with outstanding harmonizing with Russell lending a hand. Wendell and Bruce get a chance to stretch out on guitar on “My Word Is My Bond, “followed by the tough groove of Curtis Salgado’s “Drivin’ In The Drivin’ Rain”. Popsy is at his soulful best on “”My Kind Of Girl” while Wendell dominates on his original, “Darkest Hour,” his fervent voice crying out in anguish over failed love.

Review by Rick Davis Brotherhood The Holmes Brothers Alligator Records www.theholmesbrothers.com www.alligator.com 14 tracks/53:58 Over eleven recordings – five for Alligator records – the Holmes Brothers have defined the term Americana music with their potent musical gumbo flavored with strains of blues, R&B, country, soul, and gospel. Brotherhood focuses on the vocal skills of the trio as they shift through a blend of eight originals and six covers that illuminates their versatility and mastery of the roots music genre.

The trio includes Wendell Holmes on guitar and Sherman Holmes on bass. Their brother-by-another-mother, Popsy Dixon,

The trio’s vocal talents shine through on “I Gave Up All I Had,” passing around the lead on a beautiful acoustic ballad written by street singer Ted Hawkins. Popsy’s soaring voice grabs your heartstrings on “My Kind Of Girl” while the intertwining of Wendell and his daughter Felicia’s voices create memorable angelic harmonies.

The group closes with an extended version of venerable gospel hymn “Amazing Grace,” a highlight of their live shows.

Wendell takes the lead to start, and then Popsy takes two verses, switching to falsetto on the second before they finish the song with some group harmonizing. It is the type of performance that is cherished by long-time fans of the Holmes Brothers, wrapping up an album that ranks with the best releases in their stellar catalog. Make sure that you check this one out!

Reviewed by Mark Thompson

May-June 2014

Page 6 Songs From the Road Royal Southern Brotherhood Ruf Records www.royalsouthernbrotherhood.com www.rufrecords.de CD - 12 tracks/68:54 DVD – run time 74 minutes For their second release, the Royal Southern Brotherhood opted to give their fans a live package that includes a DVD of their show from October, 2012 at the Harmonie in Bonn, Germany. The audio disc includes all but one song from the DVD program. Most bands work through several studio recordings before considering offering a live show but the Brotherhood is no ordinary band.

The core of the band is the funky bass lines courtesy of Charlie Wooten (Bonerama) and the powerhouse beat from drummer Yonrico Scott (the Derek Trucks Band). Add in the dueling guitars of Devon Allman and Mike Zito, spice things up with fiery vocals & percussion from Cyril Neville and you have a band capable of coming at you from a variety of directions, generating a fierce rocking sound the entire time.

The DVD gives you the band at their finest. Check out “New Horizons,” beginning with Scott’s pile-driving rhythm behind Neville’s spirited vocal, which gives way to Zito’s passionate plea, punctuated by Allman’s wah-wah-enhanced guitar licks. By the end of the song, all of the elements have coalesced into a ferocious sound that would fill any rock concert hall. The opening tune, “Fired Up,” features Neville’s soulful vocal and Allman’s blazing fretboard magic. “Gotta Keep Rockin’” does just that as Allman belts out the lead vocal while Zito gets to show off his guitar skills.

Neville wrote “Moonlight Over The Mississippi” with help from Zito, crafting a tune thick with the sound of the Louisiana swamp, compliments of Wooten’s fat bass tone. The pace slows for “Left My Heart In Memphis,” and Allman delivers a passionate performance on his beautiful original.

Now that they are warmed up, the band unleashes all of their musical firepower on a rousing take on Mickey Hart & Robert Hunter’s “Fire On The Mountain,” steadily building on a Zito slide solo that leads into an intense jam sequence that celebrates the spirit of the Grateful Dead while testifying to instrumental prowess of the Brotherhood.

Zito’s soul-shaking performance on “Ways About You” is a highlight and his slide guitar leads the way on “Sweet Jelly Donut,” Neville’s ode to a sweet woman that always manages to stay just out of his reach. “All Around The World” has the three singers trading the lead vocals before building to another hard -rocking conclusion. For the blues fans, the band includes a heavy rendition of “Sweet Little Angel” the extra tune that starts off with an intense solo from Zito. Allman & Zito each sing a verse, leading to a guitar explosion from Allman that sparks the two guitarists to go toe-to-toe. For their final number, the band tears through a rousing rendition of “Gimme Shelter,” guitar chords ringing out as Neville prowls the stage like a man possessed, belting out a gutty vocal over the propulsive groove laid down by Wooten and Scott.

The DVD has two bonus cuts – a ten minute bass and drum solo segment plus an equally long interview with Allman, Neville and Zito, who do an impromptu runthrough of “Fired Up” at the end. If you are searching for some music to rock your world, look no further. The Royal Southern Brotherhood has evolved and grown into masterful musical aggregation that allows its members to indulge in music that would typically fall outside the scope of their individual musical universes. Don’t miss this opportunity to hear – and see – them work their magic!

Now we see a new release called Blues With Friends. This disc was Best selfproduced CD Finalist – 2013 International Blues Challenge. Band members wrote all the songs here.

The friends include Lee Roy Parnell and Jack Pearson (ABB). Everyone together made an inspiring blues/southern rock CD. It opens with “Too Much Trouble”. It is a strong guitar soaked song. Stanley offers his rough vocal style as a strong compliment. “Pork Chop Blues” sizzles in it’s opening and is supported by a 4 piece horn set. Pearson and Parnell join on guitar here adding some nice picking.

Things slow down on “Night Rider”. I hear song great guitar here, with maybe more of a southern rock appeal than blues.

The 4th cut is “Coming Home Tonight”.

This is a fine acoustic cut with about ‘losing his baby’…how blues is that! Up next is “Don’t Want To Wait”, a gospel tinged mid tempo song. Etta Britt adds vocals to this song. Parnell returns on guitar to support it also. Overall the song is upbeat and catchy. “Bottle Hymn Of The Republic” is an all instrumental song.

Stanley, Parnell and Pearson all take slide solos on this tune. It opens slow and then revs up to a more up tempo song. It does not suffer from a lack of vocals. Etta Britt rejoins on vocals for “Trouble With Love”.

It is a bit darker talking about love being tough. There is again nice guitar work here.

Reviewed by Mark Thompson Blues With Friends Dixie Peach Big Shew Records dixiepeach.com 10 Tracks Let’s flashback to Ohio in the early 70’s. Ira Stanley and friends have a band. There is a huge Allman Brothers influence with dual lead and slide guitars, nice vocal harmonies and a love of the blues. In 1975 a self titled LP was released and the band toured in the area supporting rock and blues legends of the time (Joe Walsh, Cheap Trick, Roy Buchanan, Johnny Winter and others). Life and the grind of touring led to the band taking different, but friendly directions. Flash forward to 2002 at the Rock N Roll Hall of Fame, where Ira Stanley wins the “Best Guitarist” at the Fortune Battle of the Corporate bands.

Gibson Guitars started to use the band for support of touring performers. The band cut a second recording Butta in 2002.

“It’s Cryin’ Time” is the 8th cut of the CD. This is an inspiring favorite cut on the CD. There is a bit of swamp pop in it, with fine piano and a sweet guitar work. The tempo picks up with the next cut “Wait A Minute” There are some southern rock riffs here to keep the song moving. The solos are tasty but not overdone. Closing out the CD is “Rick’s Shuffle”. This is another instrumental. It employ a nice shuffle with some truly nice guitar playing. It’s all done with taste and without excess.

Wow, this is a great CD. I would love to catch up with the live show too. These veteran players are doing what they love.

This CD is well produced. It has a very nice package to go with it. Go buy it and have a great time listening to it.

Reviewed by Mark Nelson

May-June 2014 Panther Burn Jim Suhler Underworld Records http://underworldinderecords.com 14 Tracks Many blues greats have been associated with the "Lone Star State," including the Vaughan brothers, Lou Ann Barton, Angela Strehli, The Fabulous Thunderbirds, Doyle Bramhall, Johnny Winter, W. C. Clark, ZZ Top, Freddie King, Albert Collins, Johnny Copeland, Omar Kent Dykes, Denny Freeman, Lightnin' Hopkins, Smokin' Joe Kubek, Alan Haynes, Mark May, Mike Morgan, T-Bone Walker, Johnny "Guitar" Watson, Blind Lemon Jefferson, Bugs Henderson, Blind Willie Johnson, and Andrew "Jr. Boy" Jones, just to name a few. Most of these contemporary blues artists are familiar the famous Texas blues venues like Antone's, Stubb's Bar-B-Q, Continental Club, Lucky Lounge, Cactus CafĂŠ, and Blue Cats Blues.

I would be remiss not to mention another veteran blues artist who has long been a part of this Texas blues tradition. Playing these venues and others with such blues, country, and rock masters like Mike Morgan, George Thorogood, Johnny Winter, AC/DC, Buddy Whittington, Billy F. Gibbons, Joe Bonamassa, Elvin Bishop, Buddy Guy, Les Paul, James Cotton, Hank Williams, Jr., Duke Robillard, Peter Wolf, Willie Nelson, Irma Thomas, Dr. John, Pinetop Perkins, Lazy Lester, Steve Miller, Son Seals, The Fabulous Thunderbirds, Johnny Rivers, Cross Canadian Ragweed, and Alan Haynes has transformed Jim Suhler into one of the next generation of great Texas songwriters and guitar slingers.

Suhler played early in his career (1980) at St. Christopher's with a bar band called The Stray Cats, which was one of Stevie Ray Vaughan's hangouts in Dallas. He continued with the hard rock band Overload in 1985 and from 1986-1988 with a group called The Roadhogs. From 1989 1991 he played with a group called The Homewreckers before forming his current band in mid 1991, a power trio called Monkey Beat, with drummer Paul Hollis and bassist/vocalist Carlton Powell. Their first two releases were Radio Mojo in 1992 and Shake in 1995. The group followed with Bad Juju in 2001, Starvation Box in 2003, and Tijuana Bible in 2009. In 2008 they released a live DVD entitled Jim Suhler and Monkey Beat Live in Texas. He collaborated with Mike Morgan in

Page 7 1994 to record the studio album Let The Dogs Run, and in 2000 the live CD was released with Alan Haynes Live At Blues Cat Blues. Suhler's only solo album was the acoustic CD, Dirt Road in 2002.

Panther Burn is proof of Jim Suhler's experience as a musician, songwriter, vocalist. He hit a homerun with this solo project, hopefully with more to come soon.

Reviewed by Rick Davis

His latest studio album is Panther Burn, released February 18, 2014 by Underworld Records in Nashville, Tennessee.

Still with him from Monkey Beat on this new solo album, is bass player Carlton Powell. Joining Suhler on this project, with many seasoned musicians, are musical guests Kim Wilson of the Fabulous Thunderbirds, Ray Benson from Asleep At The Wheel, Carolyn Wonderland, and Jason Elmore. The band opens with the title track "Panther Burn," shaking it all down with a delta sound much like the late R.L. Burnside. "I Declare," another original, is a Texas shuffle featuring Kim Wilson on harmonica. "Across The Brazos" is slow ballad with an underlying accordion throughout the song and a haunting melody. In my opinion "Leave My Blues Behind" is the hottest blues original on the album, with a strong horn section adding that element of jazz. Shawn Phares adds intense keyboards on this track which also features Ron Jones on sax and Galen Jeter on trumpet. Jim Suhler rips things loose, center stage, with his guitar solos along with a driving beat from the rhythm section. Beau Chadwell's drums are the heart and soul on the track "I See You," with Suhler handling vocals, guitar, bass, and even some riveting slide cigar box guitar. Tim Alexander adds an unusual presence on accordion. The only cover song is the very haunting instrumental "Remember Mama" from the soundtrack "To Kill A Mockingbird" by Elmer Bernstein. "Texassippi" is a laid back country blues tune with melodic guitar solos. They pick up the pace on "Sky's Full Of Crows" with smooth slide guitar and a driving drum beat. "Between Night And Day," featuring musical guest Jason Elmore on guitar, along with Suhler, create a high energy Southern rock tune. "Dinosaur Wine" is a hard driven road song, rolling' down that fast pace highway. "Amen Corner" is a short instrumental lead in, featuring Suhler on guitar Tim Alexander on keyboards for the following gospel, county, blues tune "All God's Children Get The Blues Sometimes." "Jump Up, Sister" opens like an old, hill country 78 RPM vinyl record with a little Cajun flavor. They complete the studio project with another hard drivin,' roadhouse tune, "Worldwide Hoodoo" with numerous red-hot guitar riffs and an overall solid performance from the entire band.

Sponsors Make 2nd Annual Field of Blues Fest a Reality Thanks go out to our many sponsors for the Field of Blues Festival. In Kind and cash donations allow us to make things happen and ensure that the fest is a success.

Sponsor Rockford Area Arts Council UAW Local 1268 Townsquare Media/The Eagle WNIJ 89.5

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We thank the Rockford Area Arts Council for their support of a $1,500 grant towards the Second Annual Field of Blues Festival and our fundraising to support Blues in the Schools!

Crossroads Blues Society Newsletter

Page 8 Guitar Angels James Armstrong Catfood Records www.catfoodrecords.com 11 tracks If surviving a home invasion stabbing was not enough, James Armstrong underwent therapy to regain some use of his left hand so he could professionally play guitar again. He no longer has the speed of a Hendrix but he does have even more soul than before the attack. He uses his slight impediment as a means to focus on the feeling of his blues and he does a fine job of it.

This West Coast bluesman started with Smokey Wilson and was the youngest axe man ever in his band. Tutored by others over the years, Armstrong’s approach is heavily into the R&B mode. If mentoring by Albert Collins did not turn him into a high energy styled player, nothing will. He offers here songs fueled by his life’s experiences, with 9 originals and 2 interesting covers.

The CD begins with a tune that almost anyone who has been single and dating in their middle age can relate to. Funny yet true, “Grandma’s Got a New Friend” offers the listener insights into the dating and relationship world of the single grandparent. Reminiscent of perhaps a Commander Cody tune, Armstrong offers humor while relating life as a middle-aged “mover and shaker” as the privileged musician friend of a grandma. Armstrong gets a nice funky groove going for “Healing Time” where he sings of loss and the healing time afterwards. It’s a moving piece. The first cover is next, an Eagles song that gets a bit of a soulful spin. “Take It To The Limit” loses the pop schmaltz that was classic Eagles (so I was never an Eagles fan) and replaces it with a bluesy and more up tempo beat than the original. I like it! The title track follows, where Armstrong introduces us to the concept of guitar angel who look after him. They may be deceased or alive, playing rock, country or blues- they will be there for you. A thoughtful ballad, Armstrong names the names of the guitar angels who have impacted his life and style.

He tells us how his work may be slower than it was but we can easily see that what he lacks in fretboard speed in makes up in technique and feeling.

“Moving to Nashville” describes the pitfalls of living up North and the flight of the urban snowbird musician who is moving south to Nashville. He gets into a groove and testifies about moving to Nashville. He shows restraint in his style here and throughout,

but it works ever so nicely in his musical approach. “Last Kiss” describes the man who left his woman and never returned, another slow tempo piece delivered poignantly. He finds real affection at the “Bank of Love,” where the guitar stings and punctuates the vocals. “Saturday Night Women” is another very funky cut where Armstrong talks to us about Saturday night women who work hard all week and then find their special Saturday night man.

Johnny Copeland’s “Blues Ain’t Nothing” is the other cover and Armstrong is spot on and George Papageorge offers some great organ work as he did on the prior cut.

“Runaway Train” offers up some nice horn work in support of Armstrong. He closes with the radio version of the cover song.

I enjoyed this CD. Armstrong is a savvy and effective blues man who delivers well paced and thoughtful songs with biographical and descriptive lyrics. He is supported by a cast of 15 musicians who help make this CD a great listen- this is a CD that will grow on you as comfortable shoe does on a long walk. I recommend this to anyone who wants to hear a master bluesman offer up songs about his life.

Reviewed by Steve Jones Taking Sides The Terry Quiett Band Lucky Bag Records www.terryquiettband.com 13 tracks If you are in search of a blues rocker to savor then look no further. The Terry Quiett Band from Kansas City will fulfill all your needs. This trio of high-energy musicians offer up for us a dozen original tracks and a cool cover on this super new CD. In addition to Terry on guitar and vocals we have Nathan Johnson on bass and Rodney Baker on drums that form the main part of this hot band.

The album begins with Terry on resonator and guest “Mississippi” Hal Reed on harp.

“Come The Morning” gives us some very well appointed slide and Mississippi saxophone that serve well as a statement to the listener that this is going to be a great album. It is a fiery piece that really sets the tone for the rest of the cuts. “Nothing at All” continues that vein, another high energy cut where we get a nice big dose of Scott Williams on keys along with the rest of the band doing it up well. “Cut the Rope” tones things down a bit temp-wise as Quiett applies the wah pedal and sings of a relation that is fizzling out. The band shuffles nicely with “Wheelhouse Blues” as

Terry tells us that he is free from his shackles of a relationship and on a new road with his head back in the game. Quiett slides and Williams testifies on the organ along with him.

The boys switch back to the rocking mode with “Voodoo Queen” where the trio and Willaims give us a hot ride. “Weak Minded Man” gives us some more of Reed’s sweet harp as Quiett sings of a weak minded, indecisive guy with too much pride. More cool slide abounds. “A Fool Should Know” tones things down with a ballad where Quiett sings soulfully and Williams thoughtful taps out the piano accompaniment before switching off to the organ for the choruses.

Quiett really bares his soul to the listener here. “Two Hearts” is anther thoughtful shuffle with a great guitar intro and solos.

The horns come out for “Gimme Some,” a rocking soul number with Brad Turgeon on trumpet and Jordan Northerns on trombone and Williams plays a little sax. Quiett gets pretty explicit as he describes, “I been thinking a long time about how good it must feel to have your legs wrapped around my neck, Long slow kisses along those thighs” as the organ moans and backing vocals chant “Gimme some.” The horns stay around for “I Come Running,” a very cool R&B number. “Get Back On” continues in that general direction where the horns and organ support a more rocking soulful song as Quiett goes into another pretty mega guitar solo.

“You Can’t Come Back” concludes the original cuts where we get a little funk added to the mix with the keys stepping it up.

Another journey to the guitar stratosphere ensues and then Quiett takes things down a few notches as the sol gets a bit reflective. He then builds things back up into a finale frenzy with stinging guitar licks and a huge organ accompaniment as the backline gives it their all. The CD concludes with Quiett offering a very nice cover of “Let’s Get It On” that would make Marvin Gaye proud. He does not overdo it and offers up very thoughtful vocals as the organ and keys support. The horns also support him well here again, too.

There are no clinkers her- a baker’s dozen of cut that will take your pulse up a few notches and then take you back down.

Beautiful original songs with great lyrics sung emotively and with the songs played with outstanding musicianship. This is an outstanding album by an artist who I think is the real deal; we will be hearing a lot more from this guy! Highly recommended!

Reviewed by Steve Jones

May-June 2014 Special - 30th Anniversary Deluxe Edition Blue Lunch Rip Cat Records http://ripcatrecords.com 16 Tracks Listening to The Blue Lunch is like taking a step back into time, entering the famous Cotton Club in Harlem New York or the Regal Theatre in Chicago, homes of legends like Duke Ellington, Count Basie, Bessie Smith, Cab Calloway, Ella Fitzgerald, Fats Waller, Louis Armstrong, Nat King Cole, and Billie Holiday. The Cleveland Ohio eight piece band delivers a jump-blues sound all their own. They have a special blend of jump-blues, blues, R&B, and swing, capturing the classic sound of bands like Glenn Miller, American R&B singer Jackie Brenston and His Delta Cats, the up-tempo jump-blues of Louis Jordan, and the music of the dynamic blues legend Big Joe Turner.

Since 1984, Blue Lunch has probed into 1940s jump-blues, 1950s New Orleans style music, Chicago blues, and doo-wop harmonies, to develop an authenticity to their music. Pete London, founder, lead vocalist, and harmonica player made the statement "To call us a blues band is accurate, but it doesn't tell the whole story."

The band has performed at the 2004 Presidential Inaugural Ball, The Pittsburg Blues Festival, and shared the stage with legends like Robert Lockwood, Jr., Little Milton, The Muddy Waters Band, and Pinetop Perkins.

Celebrating 30 years of award winning performances, they decided to release a special 30th Anniversary deluxe edition of The Blue Lunch Special consisting of 16 hand picked tunes from previous performances, debuting on the California label, Rip Cat Records. The group led by two vocalists, Bob Frank also on guitar and Pete London on harmonica, are surrounded by an all-star cast of musicians with Mike Rubin on trumpet, Bob Michaels on trombone, Mike Sands on piano, Raymond Deforest on bass, Scott Flowers and Mike Janowitz sharing drums, Bob Michael on trombone, and tenor sax players Norman Tischler, Keith McKelly, and Christopher Burge. If that is not enough, the album features special appearances

by Tim Longfellow on piano, Konrad Aukerman on Trombone, "Sax" Gordon Beadle on tenor sax, Kenny Leegrand on alto sax, with Dick Ingersoll and Tim Miller on baritone sax.

Special - 30th Anniversary Deluxe Edition

Page 9 opens with an original instrumental written

by Bob Frank, "Sideswiped," showcasing horns, guitar, piano, and saxophone. The band does a superb job of harmonizing on another Frank tune "Cold Day Down Below." The full power of the horn section can be heard on the third Frank, jumpblues tune "Skin Bones and Hair." Be prepared to wear your dancing shoes for this tune and the next Pete London song "Cuttin' Out," as London takes the vocals.

Frank's guitar prowess can be heard on both of these tunes. The band really explodes with another instrumental, "The Fidget," a tune with some New Orleans flavor, written by London, featuring unsurpassed harp solos by London himself.

Time to board the train as it heads out of Chicago with the "IC Boogie," one of the hottest original tunes on the anniversary compilation. Sometimes our destination is unknown, as heard in the up-tempo Bob Frank song "Which Way To Go." Check your front door as it could be "Leo The Louse," the humorous tune written by the American R&B singer and saxophonist, Jackie Brenston from the Ike Turner band.

Chicago blues comes to mind on the Frank tune "Best I Can." Raymond DeForest takes the vocals "Sixty Minute Man", a humorous tune written by Billy Ward of Billy Ward and his Dominoes, a successful R&B group of the early 1950s. After sharing the stage with him, it is only fitting that the band does the Robert Lockwood, Jr. blues tribute song "Little Boy Blue."

They then travel a different path with Sonny Rollins jazz instrumental "Tenor Madness," featuring Christopher Burge on tenor sax. The melancholy New Orleans style jazz tune "The Lonely One" written by brothers Jan and Jerry Crutchfield follows. With his roots firmly planted, Bob Frank emphatically expresses his intensions in his tune "Cleveland Ohio Blues."

They complete this award winning anniversary collection with "Monkey Hips and Rice," written by guitarist Lowman "Pete" Pauling of The "5" Royales' and "Motherin-Law," the number one hit written and produced by Allen Toussaint.

Not many bands can boast, not one but two experienced vocalists, songwriters, and musicians as their leaders, supported by an all-star cast of this caliber. You will find it difficult to hear a collection of Chicago style blues, traditional blues, jazz, jump -blues, swing, R&B, doo wop, soul, and gospel like this one!

Review by Rick Davis

That Thing Called Love Debbie Bond and the TruDats Blues Root Productions www.debbiebond.com/ 9 Tracks Alabama based Debbie Bond gives us her 3rd personal CD with That Thing Called Love. She has also appeared on many recordings of Willie King. She and her husband Rick Asherson wrote all but 2 of the songs delivered here. The two covers come from the Holmes Brothers and their 2010 CD Feed My Soul recording. The album was recorded with WRFN’s Mando Blues Showcase in a tent run by automobile batteries. It is a recording that stands on its own as it was laid down in this bit of a raw recording site.

The disc opens with ”You're The Kind Of Trouble”. This rocking well played cut is a good intro for the CD, though Debbie’s vocals seem buried and not as strong as I had hoped for. You may recognize it from the Holmes Brothers. Next up is “Steady Rolling Man”. It grabs attention with a fine New Orleans piano intro (Rick Asherson). It reminds a bit of some Marie Muldaur songs penned in the crescent city. There is some fine sax work here too (Tom Pallardy). The next song is one of the Holmes Brothers tunes “Feed My Soul” It is a gospel soul fueled track. I liked it on the Holmes Brother CD and here too.

“I Like It Like That” is the 4th cut on the CD gives us a blues call/response tune. A nice solos from sax, piano, and harp help the song out. I imagine this is a well fueled song in their live shows. Continuing on the next song is “Still Missing You”. This slow paced love song. The sax pitches in again with some sweet guitar work to go with it.

This is a pretty good tune! Up next is “Tarragona Blues”. Debbie pulls a latin type beat in with her sweet guitar. The band did play in the Tarragona Blues festival in 2012 and 2013.

“Falling” is a soulful ballad by the band. I like the piano work on it, and Debbie’s vocals are better than the other cuts. The last original we have not heard is “That Thing Called Love”. Debbie puts some fine fretwork on this mid-tempo soulful song. The CD closes with an extended mix of “Tarragona Blues”. It has some fine percussion. It is a finer cut than the live version.

That Thing Called Love is a pretty good disc. I wish the vocals were more powerful.

That wish may be just form how it was recorded. I would go see them live if they were in the area. I look forward to the next disc.

Reviewed by Mark Nelson

Crossroads Blues Society Newsletter

Page 10 Rattlesnake Cage Steve Dawson Black Hen Music www.blackhenmusic.com www.stevedawson.ca 11 tracks/42:00

Live In Hamilton The Smoke Wagon Blues Band Indie Pool SMBBCD05 www.smokewagonbluesband.com 68:60

Steve Dawson’s Rattlesnake Cage, released on the Black Hen Music label, contains eleven songs, clocking in at 42 minutes. The sound quality is pristine and full of warmth. Dawson’s playing is a showcase of his years of training to present such dazzling expertise and immense technical ability.

The Smoke Wagon Blues Band formed in 1997, in Hamilton, Ontario, and, since then, have been nominated for a Hamilton Music Award three times for Blues Album of the Year and by the Toronto Blues Society and the Maple Blues Society for Best New Blues Artist, so they are no strangers to some serious recognition. Considering their world-wide airplay and rave reviews everywhere and you know this band can deliver some fine blues. If you like their studio work you will love their live energy.

Rattlesnake Cage is a completely acoustic CD featuring only Dawson and his guitar.

It's very stunning artistically in it's simplicity. This is music for the soul and soothing to one's ears. Dawson is easily a master guitarist who presents an instrumental CD with a level of expertise that has a certain satisfying flow. Best known to those north of the border as a producer, solo artist and label owner of Black Hen Music, Dawson recently relocated to Nashville. This recording might not be typical of his more song-oriented output, but it’s a wonderful side road. Simplicity because there’s only Dawson, and acoustic guitar(s), all recorded with an ancient tube microphone, rescued from an old Detroit theater. Dawson accomplished exactly the sound and interpretation he intended. Obvious influences from Leo Kottke, John Fahey, Richard Thompson, and Ry Cooder throughout it seems near impossible for two hands to create this much sound. But amazingly, there are no overdubs or editing to create that illusion.

These songs were all written and recorded throughout the latter half of 2013. In between tours and working on albums with other artists. Dawson stuck a Neumann 49 microphone that had been hanging from the rafters of a church in Detroit for 50 years in front of himself to yield these results. No overdubs or effects. Just his fingers, slides, and guitars the likes of a jumbo Larivee, a Weissenborn built by Michael Dunn, a National Tricone, and a Taylor 12 string. Amazing and recommended!

Reviewed by Bill Graw

Such is their latest album, “Live In Hamilton,” which finds them rockin’ the house at Hamilton’s Stonewalls Music Hall on May 4, 2013, in front of a very-appreciative crowd that obviously knows good blues when they hear it!

Smoke Wagon consists of Corey Lueck on harp and vocals, Mike Stubbs on guitar, Nick Succi on keys, Gordon Aiechele on sax, Jason Colavecchia on bass, and Tibor Lukacs on drums. The evening kicks off with an eight minute heavy laden sax rendition of “Ain’t No Sunshine,” where virtually everyone gets a chance to solo, and sets the tone for the rest of the night. In this live intimate setting, the band seems relaxed and in the groove, trading solo after solo throughout this nearly seventy minute set.

The CD is a nice mix of cover and original songs all presented with some very satisfactory arrangements and deliveries. Not to mention the upbeat barnyard shuffle of “Hen House Hopping,” or the feverishly funky “Josephine.” The crowd gets into the call-and-response of the “Smoke Wagon Boogie,” followed by some cool “country” blues with “Barton Street Blues,” the tale of a “lady of the evening” and her various charms! They close the set with the piano-infused “Feeling Of The Witch,” with it's instantly-recognizable killer riff and finish the set with a sweet rendition of Muddy Waters “Blow Wind Blow.”

All along this blues journey The Smoke Wagon Blues Band does a nice job showcasing both Corey’s harp and Gordon’s sax, often in the same song. Although I would have enjoyed hearing more of Corey's harp playing throughout this CD. All in all, “Live In Hamilton” is a mix

of good music, good musicianship, and a good time for those playing and those listening to this successful live event. Accolades are in order for The Smoke House Blues Band and Live In Hamilton.

Reviewed by Bill Graw Blues In The Key Of Sea Doug Prescott Band Howlin' At The Moon Music www.dougprescott.com 11 tracks North Carolina’s Doug Prescott has been playing since the 60’s and he and his experienced band give us a very diverse set of material across a broad range of blues and Americana styles on his third release.

Doug handles lead vocals and shares bass with Ken Johnson who also plays rhythm when Doug is on bass: Tommy Hartley is the lead guitarist except on one track where Johnny Gallagher guests and Andy Cheek on drums completes the core band. Keys are added to most tracks by Tony Bowman though Little Feat’s Billy Payne stops by on the title track to add Hammond and grand piano. Horns are added to four tracks by Eric Kulz (trumpet) and Jim Henderson (sax), with Mark Gloden adding a further sax on one cut.

Backing vocals come from a variety of people across most of the songs: Melanie Olsen, Abigail Johnson, Christina McNair, Alexis Nelson, Keith Buckley, Jeff Hart adds harp to one cut and additional percussion comes from Beverley Botsford on two – a huge cast list! This is truly Americana, with a root of blues rock, with influences from Little Feat to The Neville Brothers, and from The Eagles to Bob Marley.

Most of the music and lyrics are influenced by Prescott's own personal love for the sea and fishing along with political and world views. This is a well-played and produced CD. All the material is original and the sheer variety means that there will be something for most fans of Americana music here. Not much of the album is straight blues but there is plenty to enjoy. I personally am not a big fan of this style of "Blues" but certainly worth a listen to and then you can decide for yourself! Something for everyone.

Reviewed by Bill Graw

May-June 2014 Double Crossing Blues Adrianna Marie And Her Groovecutters Midnight Owl Records www.adriannamarieandhergroovecutters.com/ 11 Tracks It is no surprise that Adrianna Marie developed her ability as a singer at an early age, since she was the daughter of two members of the 60's folk group, The Carolee Singers, traveling the eastern seaboard with her musical parents. Her early influence came when she was exposed to many genres of 40's, 50's, and 60's music from her parent's collection, including names like The Kingston Trio, Louis Jordan, and Memphis Minnie. She started her career at the age of 10, by performing in summer stock theaters in the New England area. As a teen, she studied both music and drama, allowing her the opportunity to perform on the stages of New York’s off-Broadway.

With her background and musical education, she was soon drawn to the music scene in California, where her eclectic, folk, jazz and blues style vocals were introduced to blues artists like LA Jones who worked with Pine Top Perkins, Otis Rush, and Joe Houston, Wali Ali who worked with Marvin Gaye and Aretha Franklin, and John Marx who worked with William Clarke and Mitch Kashmar.

According to Tom Hyslop, Senior Writer of Blues Music Magazine, Adrianna Marie possesses the same voice qualities as Dinah Washington, American singer and pianist, the saucy R&B diva Helen Humes, and the versatile vocalist Esther Phillips, known for singing R&B, pop, country, jazz, blues and soul. You simply have to judge for yourself and listen to her latest release entitled Double Crossing Blues to get an idea just how well she can recreate the talented female singers of 30's, 40's & 50's. She was featured as a vocalist on the Mannish Boys "Double Dynamite," a double album which won the 2013 Blues Music Award for "Best Traditional Blues Album." Her earlier recordings were selfproduced albums Spellcaster in 2010 and Can’t Change It in 2008.

Double Crossing Blues does more than just feature her backing vocals. From this latest project, you really get a good idea just how this remarkably talented vocalist can deliver on stage and in the studio.

She is joined by LA Jones on guitar, Dave DeForest on upright bass, Ron Felton and David Kida on drums, Ron Dziubla on

Page 11 tenor and baritone saxophones, Lee Thornburg from Tower Of Power on trumpet and trombone, and Larry "Big House" David Cohen on piano. The CD is a 2014 Blues Music Award Nominee for "Best New Artist Debut." The album is a collection of tunes sung by some of Adrianna Marie's idols like Helen Humes, Little Esther Phillips, Big Maybelle, Louis Jordan, and Billie Holiday. The CD opens with the Lucky Millinder/Sister Rosetta Tharpe tune "Tall Skinny Papa." This opening song blows the roof off the place with vocals and a big band sound that can't be matched anywhere. The Claude Thornhill tune "I Ain't In The Mood," done originally at the Cotton Club by Helen Humes, typifies the down and dirty blues of the era.

Adrianna Marie And Her Groovecutters take this one to the house. If Louis Jordan could hear this musical arrangement of his tune "Is You Is Or Is You Ain’t My Baby," he would be speechless. Adrianna Marie puts the "S" in smooth vocals on this tune.

Henry Glover, American songwriter, arranger, record producer, and trumpet player had two singers in mind when he wrote "Cherry Wine," Esther Phillips and of course Adrianna Marie. Adrianna earns the title of "sophisticated lady" with her performance of the Edna Alexander, Sidney D. Mitchell, and Maceo Pinkard tune "Sugar," made famous by Billie Holiday.

Get your dancing shoes on for the Priscilla Bowman/Jay McShann song "Hands Off." This cut exudes superb harp and keyboard solos by Larry David Cohen to match the stellar guitar solos by LA Jones.

The title track "Double Crossing Blues," a 1949 Johnny Otis tune, will send you into a trance with the sultry vocals of Adrianna.

The rhythm section sets the mood for the amazing piano solos of Cohen and deeply blue guitar riffs of LA Jones. This tune, originally sung as a duet by Johnny Otis and Little Esther, is covered this time as a duet by LA Jones and Adrianna Marie. Big Maybelle’s R&B tune "That’s A Pretty Good Love," written by Bryant Lucas and R&B songwriter and record producer Fred Mendelsohn, is the second fiery duet by LA Jones and Adrianna Marie. The rhythm section keeps that steady beat for Jones on guitar and Cohen on piano, with Dave DeForest taking center stage on the upright bass, on the 1941 Lil Green blues tune "I Won't Sell My Love," written by Robert Brown. Adrianna Marie And Her Groovecutters save it all for the next song, the Helen Humes / Little Johnny Taylor hit "He May Be Your Man." The entire band jumps, jives, and wails, leaving you breathless on this arrangement. You won't want this debut album to come to an end but they do it with class, covering the

"King" himself, the cavalier Freddy King instrumental "Sad Night Owl" written by Freddie King and Sonny Thompson.

Double Crossing Blues is truly one of the finest debut albums that I have had the pleasure of reviewing. Adrianna Marie And Her Groovecutters capture an entire generation of music that is slipping away from us rapidly. Their performance is off the charts!

Review by Rick Davis

Benefits of Receiving Our Email Newlsetters Our thanks go out to those members who receive our newsletter via email instead of paper copies through the mail. By using our email service, you get a lot more information, save the society money and create a less wasteful world.

The obvious savings are that there is no paper involved. Trees do not have to be cut down to print more newsletters. We send out hundred and hundreds of email copies and save a lot of paper in so doing.

Second, we save postage. First class mail is always on the rise, so by getting this email version you save us costs via mail.

Third, we save in printing costs.

Less to mail, less to print.

Fourth, you get a full color edition whereas the print issue had to revert to black and white due to the cost of printing in color.

Lastly, you get more information.

This edition is 16 pages long. It varies from 14 to 24 pages, depending on what we have to review and write about. The print edition is fixed at 12 pages. You get more articles, pictures and reviews.

Steve Jones President and Editor P.S. We are looking for a new newsletter editor to produce these newsletters for us. If interested, please email me at sub_insignia@yahoo.com or call me at 779-537-4006. We go to print with 6 editions per year.

Crossroads Blues Society Newsletter

Page 12 Mississippi Mick Mick Kolassa Swingsuit Records http://mimsmick.com 12 tracks/48:40 Each day seems to bring at least one request for funding, whether through the postal service or one of the social networking sites. Some seek funding to help a gravely ill musician like the on-going campaign to help guitarist Walter Trout pay for the expenses associated with his pending liver transplant.

Many musicians have reached out to their fans for support for new recording projects or funds to purchase a new van for touring. And then there is the steady stream of solicitation requests from a wide-ranging group of worthwhile not-for-profit organizations. Sometimes it is hard to muster any enthusiasm for giving amidst the avalanche of requests.

Here is one fund-raising project that should appeal to every self-respecting blues fan. Mick Kolassa is a member of the Board of Directors of the Blues Foundation, as well as a serious saltwater flats fisherman, former university professor and successful business owner. Gathering up some of the best blues musicians in Memphis, Kolassa is using his CD project to raise money for two programs administered by the Blues Foundation. The HART Fund provides assistance for musicians and their families for health concerns. The other program, Generation Blues, awards scholarships to younger musicians interested in getting formalized instruction on their instrument of choice.

The unique aspect of this project is that Kolassa is donating 100% of the gross proceeds to the programs – not the profit after expenses, not some percentage of the profit on disc sales but every dollar that comes in. It makes this project unique and potentially worthwhile, especially if the music is up to snuff.

The disc opens with a reworking a W.C. Handy classic, “New Beale Street Blues”, with Kolassa’s deep, warm voice laying down the various alluring aspects of the famous Memphis thoroughfare. Producer Jeff Jensen’s shows off his guitar talents on “Blues Are All Around”, which also features strong accompaniment on the organ

by Chris Stephenson. The band has a great time on “Reefer Man” with the rhythm section of Bill Ruffino on bass and Doug McMinn on drums giving the track a sprightly groove. Guests Brandon Santini on harmonica and Victor Wainwright on

piano deliver top-notch solos on “TimeAin’t on My Side”, a Kolassa’s humorous original about the effects of aging.

Other highlights include a searing slow blues, “Baby’s Got Another Lover,” with Jensen’s building a dramatic solo behind the leader’s weathered vocal. The group transforms “The Letter” into a bluesy lament with hints of Memphis soul with Reba Russell adding the backing vocals. She also makes an appearance on the fast shuffle “Burned That Bridge” while Santini’s harp dances around the acoustic guitars of Kolassa & Jensen on the darker “Land of the Crossroads”. The classic “Blues in the Night” gets a late-night treatment, sparked by Dedrick Davis on trumpet. Singer Redd Velvet engages in a lusty vocal duet with Kolassa on “Blowtorch Love,” which also features more of Santini’s deep harp tones.

An acoustic version of Jimmie Rodgers’ “Mississippi River Blues” closes the disc with a back-porch feel, a fitting end to a project that covers blues in its many forms, reinventing older tunes and bringing new songs to life. Mick Kolassa is trying to make a difference. Along with his accomplished supporting cast, he has put together a fine disc of music that holds up to repeated listens. So help the cause – buy a copy of Mississippi Mick, support Blues Foundation efforts and get some fine music too!

Reviewed by Mark Thompson Eddie Ate Dynamite Jason Vivone and The Billy Bats Self Released www.billybats.com/ 9 Tracks Out of the Kansas City area we get Jason Vivone and The Billy Bats. This is a follow up to their 2012 release Lather Rinse Repeat. They have 7 musicians on the CD. Seems everything is written by the band. There seems to be many influences which I’ll discuss below.

The CD opens with a swing inspired song called “Cut Those Apron Strings”. Paula Crawford and Joanna Berkebile trade some vocals on top of some nice slide by Jason Vivone. There are added horns from Bryan Redmond on sax and Chad Boydston on trumpet. This one will get your fot tapping. Vivone is known to be a bit quirky, and it comes thru on “Placebo”.

This one falls between Frank Zappa and Johnny ‘Guitar’ Watson. The horns are on this track also. You have to admire lyrics of ‘Your love is like a placebo’. “Mean” is the 3rd cut on the CD. It opens with a haunting riff, followed by some eerie vocals from Paula Crawford.

The title cut is the 4th cut on the CD. It is a happy sounding song with a swing background and some fine slide guitar. Hill country blues meets slide guitar and a fun story. “Analog” is a tribute to LP and their scratchy sounds. It has a slow bluesy beat, with a good solo. One of my favorites on the CD. Next is a story telling song about aliens coming to earth to visit the blues jam. “The Blues & the Greys” has a churning blues beat with a fun story about how the aliens want to be with the blues, no take us to your leaders.

“Me Thinks The Lady Doth Protest Too Much” opens with a Led Zeppelin bass intro. This slow paced song has some nice piano spread out over the bass line.

Up next is “Where Did The Day Go”. This tune was in their Kickstarter campaign.

It’s very much a blues jam, allowing all to stretch out a bit. The CD closes out with “I Can Never Say Goodbye”. This one owes to Ray Charles and other R&B greats. Great piano here, it keeps the tune moving. Vivone provides the vocals.

Certainly an interesting and different release was done by the band. It’s a more listening CD than dancing. They have their own style, and it should be enjoyed by many. Blues purists may get a bit offended, but this one should get a listen.

Reviewed by Mark Nelson

May-June 2014 Goin' To The Delta Kim Simmonds And Savoy Brown Ruf Records www.rufrecords.de www.savoybrown.com 12 Tracks/60:18 Savoy Brown, the British, blues, rock band, has been led by the venerable Kim Simmonds for nearly fifty years.

Although going through many lineup changes over that span,(60 plus members), Simmonds has been the constant driving force behind the group. On the latest effort, "Goin' To The Delta", Savoy Brown has returned to a basic power trio format with Kim on guitars/vocals, Pat DeSalvo on bass, and Garnet Grimm on drums. Consisting of mostly basic twelve bar, Chicago style, blues, all twelve tracks were written and produced by Kim. The opener, "Laura Lee", is a straight -up blues shuffle with interesting guitar from Simmonds. Next is "Sad News" a solid blues tune with excellent guitar from Kim followed by the driving blues rocker "Nuthin Like The Blues".

A definite highlight is track number four "When You've Got A Good Thing" with, as usual, some fine guitar from Mr. Simmonds. What sets this tune apart is the excellent bass track from Pat DeSalvo, outstanding.

The next cut, "Cobra", is an uptempo boogie instrumental, somewhat of a rarity these days.

"Just A Dream", a slow blues tune, is a fine example of the prowess of Kim and the boys, nicely done by all. "I Miss Your Love", a wistful tune with excellent slide guitar from Kim is followed by, "Sleeping Rough", a well done shuffle with, once again, fine guitar from Kim. Savoy Brown closes with "Going Back" an appropriately named tune for a band that has returned to its roots, a British version of a Chicago blues band. If you are looking for something out on the edge of the blues, you won't find it here. "Goin' To The Delta" is an hour of well done bluesy rock from one of the pioneers of modern blues music, very enjoyable and worth a listen.

Reviewed by Dennis Barker

Page 13 First Name Lucky Tweed Funk Self- Released www.tweedfunk.com 11 songs Tweed Funk’s latest release offers the listener a tasty choice of cuts that expresses the musicality and feel of the band performing live. By limiting overdubs and minimizing production efforts, the sound is raw and everything was done in one or at most two takes.

Tweed Funk is a Milwaukee based group of blues/soul/funk musicians who can tear up a stage. Led by the effervescent and cool Smokey on lead vocals, their swinging sound will get fans up on their feet and moving! JD Optekar provides the guitar, Eric Madunic is on bass (and lead vocals on one cut), Nick Lang is on drums, and John Lovas (sax) and Kevin Klemme (trumpet) are the horn section.

The CD is a fun mix of originals and four covers. The CD blasts off with”Blues In My Soul,” where they get into the funk right off the bat. Smokey is crooning he’s “got the blues down in my soul” while the boys chime in on a nice vocal harmony. Optekar plucks out a dirty guitar lead and the horns punctuate the the solo nicely. That transitions into a forthright and driving cut entitled “Time to Burn.” Optekar takes the first solo and later Lovas offers up a little homage to the saxophone gods.

“Hoodoo Power” has some of that grooving Philadelphia soul sound to the guitar line and horns. Smokey testifies how he’s worked to make his woman happy because she’s go that hoodoo power. JD gives us a short solo and the horns plays some nice transitional stuff between choruses, verses and the bridge. “Divided” is a slow social commentary about the divisiveness of our land where Smokey asks “if we will ever be one again?” JD lays out a thoughtful solo in keeping with the tone of the cut and later Lovas again gives us a nice solo in the latter half of the tune.

The band switches to a swinging sound with “Deed is Done” as the guitar and horns set the tone with a pretty intro. Smokey bounces through the vocals and occasionally the horns together answer his calls. The sax and then trumpet so-

los go first here and Klemme gives us sweet some fluttering lip effects to finish the solo off. What would a good blues album be without a song about adult beverages and other pursuits?

“Sippin Misery” is a beautiful slow blues where Smokey really bares his soul and Klemme puts the trumpet cup to great use as he make the horn flutter and moan in a blissful, bluesy manner. The down tempo here is a big contrast to the rest of the stuff and really lets the boys show some variety in their approach. Lang’s using the brushes thoughtfully and the whole sound is really slow and well done. The last original is “Get It On,” not to be confused with the almost similarly named Marvin Gaye song. Brian “Looper” Lucas appears here on harp as he and Smokey share the front of the band. He blows some mean stuff here in support of the band. Optekar wails on a later solo that is big and hairy and fun.

Lucas and Smokey and the band take us home to close things out quite well.

The covers are also pretty darn good.

“Let the Good Times Roll” is given a nice coat of new paint as Smokey shouts his ass off to sell this one.

“Sugarfoot” also features Smokey in his role as one of the coolest blues shouters out there expressing himself as few can. “I Got Loaded” and “Knock on Wood” strike me more as big and fun party songs than a means to go out and do something new and different, but they do represent the band’s fun side and they are executed well with the big and diverse sound of this band. Madunic holds his own vocally on the latter number.

So album number three from this band is now out and available and I must say I think it is the best of the three so far! If you want to swing and jive with the Wisconsin kings of funk, blues and soul, then pick this album up and enjoy- you won’t be disappointed! Highly recommended!

Reviewed by Steve Jones

Crossroads Blues Society Newsletter

Page 14 Belle of the Blues Lisa Biales Big Song Music www.LisaBiales.com 11 tracks Lisa Biales’ newest CD is an excellent effort. Produced by the ever popular chanteuse E.G. Kight and legendary producer Paul Hornsby, the CD features Tommy Talton on guitar, Randall Bramlkett on B3 organ, and Bill Stewart on drums along with Kight, Hornsby and others in support of this effort. Kight produced Biales’ 2012 Just Like Honey and sang duets with her as she does here, along with playing a little acoustic guitar.

Biales starts off with the title track where Hornsby joins in on piano and Kight backs Lisa up as Talton picks out some nice acoustic guitar and and Paul Bergeson adds some sweet harp.

Biales is the star of the show, however, and she really sets the tone for this CD with her astoundingly good vocals. She has transitioned from wanting to be the most desired back up singer on the planet to being out front and firmly in charge as a star. Kight and Tom Horner have written a super song to start the CD and name the album for!

Bramlett makes his first appearance with some down home B3 as Biales testifies on “Sad Sad Sunday.” Talton’s dobro is sweet, but Biales again steal the show with her soulful vocal prowess. “Bad Things” features Biales sexily sing how her lover makes her do bad things as Kight back her. Sweet and sexy stuff! “Mask” has Ken Wynn on lead acoustic guitar and Biales laments in this little ballad where she sings about hiding her true feelings behind a mask; she can hide her feeling swell because part of her has died. Very emotional stuff here.

“Graveyard Dead Blues” is a simple yet soulful delta blues with Talton again on dobro. Biales co-wrote this with Kight and Horner and sings a pre-nuptial agreement to her man where she explains he’ll be more than dead if he cheats on her- he’ll be graveyard dead. Superb vocals and dobro make this a winner.

With “Baby Won’t You Please Come Home” Biales shows subtleness and restraint in this down tempo and very soft vocal where she asks her lover to return home on this great old Bessie Smith song that she covers in a new way. A few tracks later she does another cut, “Black and White Blues,” a biographical piece about Smith written by blues historian Dalton Roberts. Very movingly sung, Biales again shows restraint behind the powerful vocals chords that she has and delivers another special performance. A duet with Kight “In My Girlish Days” is a Memphis Minnie number and the two of them really are emotional. Biales is sweet and powerful while Kight is earthy and gritty. The two join forces again on “Peach Pickin’Mama.” The singing is primo as is Bergeson on harp and Talton on the six stirngeed instruments. The double entendre of peaches is carried off well, especially when Kight notes hers are from Georgia while Biales’ hail from Ohio. As they recorded the song,

Biales joked with Kight that the Ohio versions are just smaller.

“Trouble With a Capital T” features Wynn again on guitar and Kight in backup. We get a little spelling lesson as Biales offers up another cool number penned by Kight and Richard Fleming.

She concludes with a tune Ann Rabson wrote with Kight and Horner and she dedicates the song to her sexy spirit.” Wynn plays electric guitar here as Talton provides acoustic and slide. Biales is sultry as she sings how she can’t hold back because her man makes her, “feel like a bad, bad girl.” Bramlett has a nice B3 solo which is followed by a short one by Wynn. The song builds to a big conclusion with Biales and Wynn blasting along together.

I can’t believe how Biales continues to improve with each new release. Her confidence and purity of voice is amazing. I love to listen to her sing and am becoming a huge fan of hers. I highly recommend this to anyone needing a nice fix of traditional, acoustic blues from one of the hottest female singing acts in the blues world!

Reviewed by Steve Jones Take Your Time Bernie Pearl Bee Bump Records http://bernie pearl.com 13 tracks This album features Bernie doing tunes that have recently grabbed his attention and he has challenged himself to play or interpret them by expending whatever effort that was necessary to master them. Working with the jazz and blues legend Barbara Morrison on this project, the two perform some great duets. Her base is also in Los Angeles, and the two hit it off well. Both are fans of Eddie “Cleanhead” Vinson, whom Pearl dedicates this effort to.

The CD starts off with “Worried Life Blues” where Pearl takes off from Fred McDowell’s “Done Tol’ Everybody,” a Big Maceo original.

Pearls’ dobro starts us off and the band then joins in. Pearl starts the first verse and Barbara comes in on the chorus and then takes the second verse. They alternate the verse throughout and do the choruses jointly and it’s just a cool old school with a West Coast twist opener. Pearl picks out some mean guitar as Albert Trepagnier, Jr., stomps and beats out a nice drum/percussion accompaniment. Lightnin’ Hopkins “Katie Mae” follows, a soulful and solemn piece. It really hearkens to what Fred McDowell told Bernie about the blues; “Take your time, buddy.” Slow, easy, pensive and the complete opposite of today’ life. Blues delivered slow and easy, where deadlines and work do not matter. Barbara moans and groans and adds some very nice layers to the end of this one. He dedicates the next original to his Kickstarter angels on this sweet instrumental with just Pearl on guitar and some drums to make you want to dance. “Rock Me Mama” follows, Big Boy Crudup’s classic and Pearl brings out

his classic electric guitar to make this one even cooler. Mike Barry on bass appears for the first time along with more simplistic drumming by Trepagnier. Pearl takes his time and shows restraint, giving us a very interesting interpretation here. Mance Lipscomb’s “Mama Don’t Dog Me” is next and Pearl goes solo on this cut, relying on his acoustic guitar and smooth vocals to sell this one.

Bernie and Barbara offer up another duet on the religious favorite “Jesus on the Main Line.”

Fred McDowell and his wife taught Bernie this one and he seems to have taken well to his lesson. Pearl singing and plucking his dobro while Morrison testifies with even more emotion; by the time it’s over you’d be happy to fill the old collection plate. Pearl then improvises on MacDowell’s “Como” and gives us his “Mississippi Raga.” Sliding electrically like we were in South Asia, Pearl gives quite an emotive performance on his guitar, slow and easy.

“One Room Country Shack” is one of three tunes Pearl learned from Dr. Daniel SmithChristopher from his lecture, “The Bible and the Blues.” Mercy Dee Walton penned this one and it is a soft and sublime, solo, slow and testifying blues. One of my personal all-time favorite songs is Big Joe Williams “Sloppy Drunk,” a take-off on a Sonny Boy I song. Another solo performance, Pearl hits this with a medium or so tempo and finger picks his way cooly through this one. “Tough Times” comes next, a John Brim cover. Lap steel is used here, showing Pearl fluency over every stringed version of the guitar. Morrison sings with him here again and the introduction of Bobby “Hurricane” Spencer on sax makes it even suave-er. More suave. Whatever; it’s cool.

The two sing their asses off as the guitar and sax wail and the dums and cymbals tap out a thoughtful beat.

“10:00 am Blues” is named for the start time of their first recording session an their warm-up improvisation became the 11th cut on the disc.

Pearl and Barry finger pick up and down the necks of the guitar and bass and it is a great little instrumental to enjoy. Robert Johnson’s “Travelling Riverside Blues” follows. Everyone and their brother have covered this one, but Pearl gives us his take on Johnson’s riffing and I’m sure you’ll like it just as I did. Eddie Boyd’s “Third Degree” has some acoustic guitar layered over his lap steel and Spencer returns to moan on his sax. Slower than normal and dirtier, this is a very interesting cover! Spencer does an outstanding job here. “Old Fool” is a song Pearl wrote a while back but updated with accompaniment. He says that it helped “An old fool tell his story,” by adding the bass and drums. Pearl almost raps out the vocal line and it is a biographical ending t this album buit to be taken and listened to while taking your time.

I really enjoyed this one. Nothing is overdone, the sound is minimalistic, yet solid and evocative. Pearl with abandon and sings with a beautiful tone. The addition of Morrison makes for some very excellent duets and the two horn cuts really stand out with the addition of Spencer to the mix. Nicely done!

Reviewed by Steve Jones

May-June 2014

Page 15

Recent Crossroads Related Events for March and April Dan Phelps at Leombruni’s Italian Village

Bobby Messano at the Hope and Anchor

Jared James Nichols at Mary’s Place

Justin “Boots” Gates at RAMI Ceremony After Winning RAMI Youth Jam

Reverend Raven at the Hope and Anchor Pub

Westside Andy at the Hope and Anchor Pub

Page 16

Crossroads Blues Society Newsletter

Hope and Anchor English Pub Monthly Saturday Blues The 2014 Hope and Anchor Saturday Blues Schedule is fully fleshed out now for 2014 and now into 2015 for the second Saturday of each month. 8 PM to Midnight, $5 cover after 7 PM. 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 815.633.2552 for info!

5/10/2014 Tweed Funk 6/14/2014 Aaron Williams and the Hoo Doo 7/12/2014 Joel Patterson and the Modern Sounds with Jim Liban 8/9/2014 Toronzo Cannon 9/13/2014 The Nick Moss Band 10/11/2014 The Cash Box Kings 11/8/2014 The Jimmy's 12/13/2014 Bobby Messano and Dave Fields 1/10/15 Tail Dragger with the Rockin’ Johnny Band

ST CIAL GUE WITH SPE RLOS! BUN E. CA

Crossroads2014 Blues Society Newsletter May-June

Top Blues Releases April 2014 Sunday Morning Blues WKGL-FM 96.7 The Eagle Rockford, IL The Robert Cray Band / In My Soul / Provogue The Terry Hanck Band and Friends / Gotta Bring It on Home to You / Delta Groove Tweed Funk / First Name Lucky / Tweed Tone Leon Russell / Life Journey / Universal The Holmes Brothers / Brotherhood / Alligator Bob Corritore / Taboo / Delta Groove Cathy Lemons / Black Crow / Vizztone Beth Hart and Joe Bonamassa / Live in Amsterdam / J&R Adventures Mikey Junior / Traveling South / Vizztone Swingnation Billy Branch and the Sons of the Blues / Blues Shock / Blind Pig John Mayall / A Special Life / Forty Below Jarekus Singleton / Refuse to Lose / Alligator Albert Castiglia / Solid Ground / Ruf Brent Johnson / Set the World on Fire / Justin Time

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107

Page 17

Membership News Our members are very important to us.

We want to recognize our new and returning members in our newsletters.

Our current membership sits at 210 people, 125 individuals and 85 people as part of 42 family memberships! Thanks to all our new and returning members!

New members: Cecile Flowers Danny Grayless Mindy Thompson Julio and Mary Weiss Renewals: Bonnie Fox Steve and Beth Fridley Joe and Jeanette Geraghty Rebecca and Andrew Heaslip Ted Schulz Charles & Lylia Stull Set the World on Fire Brent Johnson and the Call Up Justin Time Records https:// www.facebook.com/ brentjohnsonband 11 tracks Every so often something exciting and special comes around. Brent Johnson is something special. Brent spent eleven years under the wing of Bryan Lee as part of his Blues Power Band. Now out on his own, his skills are apparent and he has learned well at the foot of the Braille Blues Daddy. Johnson and his new band are hitting the clubs and festival circuit with reckless abandon and their brand new CD is something that is setting the blues world on fire! Featuring Brent and his regular band of John Perkins on drums and Bill Blok on bass, the CD also features Wayne Lohr on keys and guest appearances by Sonny Landreth and Alvin Youngblood Hart. This is an amazing album of seven great original cuts and exceptional four covers.

Landreth joins Johnson on Brent’s “Long Way Back to New Orleans,” a slick original where Landreth wails as Brent does

www.bluesblastmagazine.com

the slide work– great stuff! Alvin Youngblood Hart appears on the Dylan song “Meet Me in the Morning” and on John Lee Hooker’s “Meet Me in the Bottom.”

Brent again takes up the slide guitar and shows he has the chops to hang with the big guys in these songs. The dual guitar work is impeccable and Johnson’s vocals and slide show us how hard this young musician has come in his short but outstanding career!

The other covers are the ever cool instrumental “The Hucklebuck” and the extremely soulful and poignant rendition of, “As the Years Go Passing By.” The latter goes on for over thirteen minutes as Brent demonstrates his prowess on the guitar in this beautiful slow blues. Lohr adds a nice dimension of coolness on the organ with his solo and backing work. Albert King would be proud of Brent and this rendition!

Johns opens the CD with “Don’t Make a Sound” where he mixes blues and funk to captivate the listener. He concludes with the title track, a cut where he talks to us about his life and relationships. His stark lyrics and delivery has him baring his soul for us. Lots more nice solos both on guitar and the organs. “The Ticket” is a sweet rockabilly cut while “So Glad You are Mine” is another nice soul filled cut delivered by Johnson. “Glass Ceiling” is a powerful cut with some great social commentary and stinging guitar.

This is an amazing debut CD that I most highly recommend. Johnson is a masterful blues man and musician who shows us with his music that he is ne of the leaders of the new generation of blues players.

Do not miss this one!!!

Reviewed by Steve Jones Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones Vice-President: Bill Graw Secretary: Bonnie Fox Treasurer: Terry Keller Board of Directors: Denny Barker Rick Davis Bob Haendler Ken Pearson

sub_insignia@yahoo.com williamjgraw@gmail.com bonitafx@gmail.com terry@markpack.com harkthebark@mchsi.com rick_davis_937@comcast.net rhaendler@comcast.net cntrylivng@aol.com

Crossroads Blues Society P.O. Box 840 Byron, IL 61010 News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com/ Music Reviews: http://crossroadsreviews.blogspot.com/ Field of Blues Festival: http://fieldofblues.blogspot.com/

Keeping the Blues Alive Since 1994

Byron Crossroads Blues Festival: http://byroncrossroadsbluesfestival.blogspot.com/ Email us at: sub_insignia@yahoo.com Also on the web at: www.crossroadsbluessociety.com/

Blues on Local Radio WNIJ - 89.5 FM  Friday evenings from 9 PM to midnight with Harold Brown  Saturday afternoons from 1 to 4 PM with Patrick Sheehan  Saturday evenings from 9 PM to midnight with David James The Eagle - 96.7 FM  Sunday Morning Blues 6 AM to 8 AM with Rich Gordon

Blues News and Upcoming Events We are racking up the honors this year! On June 8th the Society will be inducted into the Blues Hall of Fame. The ceremony and show will be at Buddy Guy’s Legends.

May is busy for us– Tweed Funk at the Hope and Anchor Saturday, May 10th at 8 PM. We have two shows at Mary’s Place, Terry Quiett at 9 PM on Saturday, May 17th and Luca Giordano and Quique Gomez at 8 PM on Saturday, May 24th. Leombruni’s Italian Village in Byron hosts another pair of shows, with Luca and Quique on Friday, May 23rd at 8 PM and Dan Phelps on Saturday, May 31st.

The Jimmys are in Mount Morris Friday, June 6th. Tentatively, we have Saturday, June 7th set for a benefit for our good friend Bob Levis. That is in planning at publishing time, but stay tuned for more info. Our Second Annual Field of Blues Festival is Saturday, June 28th. See the front page and inside for more on that and

the 5th annual Crossroads Blues Festival on Saturday, August 23rd; this will now be at Lyran Park.

The local fests are the Chicago Blues Fest (June 13th-15th), Blues on Chicago is in Freeport June 13th with the Jimmys and the Bird Dog Blues Band, Blues on the Fox (June 27th-28th) in Aurora (which is now competing with our date), and the Mississippi Valley Blues Festival (July 3rd to 5th) in Davenport, IA. Snail mail readers will note the new 12 page booklet styled, side stitched format in a very professional looking grayscale. The email version remains in color and features as many as 24 pages per issue!

Summer is coming– support live music and help keep the blues alive!

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

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

Returning Member

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

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

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