2012 BCBF Marks Three Straight Successes for CBS
Nick Moss The third annual Byron Crossroads Blues Festival became a part of history in the late evening hours of August 25th, and it was a day and night that many will remember! Crossroads Blues Society, started this even in 2010 and have nurtured and grown this event into a wellrespected and incredibly professionally run day. We do it with two prime tenetsplanning and hard work.
Festival chairman Steve Jones, came up with the idea to run a festival in Byron near the banks of the Rock River about 11 miles south of Chicago-Rockford International Airport, his home town. As we now know, Byron is a sleepy little town with just about 3,900 people in the City limits and almost 12,000 in the school and fire districts. Steve lives in Byron and he knew the local community would support an event that offered a good time, good value and a way to focus on the community. Rockford is the center of their Blues Society’s operations, but a 50+ page document is part of the application process to run a festival there with a lot of extra costs and restrictions, so Steve and Crossroads focused on a neighboring town that would welcome something like this. The festival is now in its’ third year and has turned a profit every year. We do that
September-October 2012
Keeping the
by partnering, managing costs, sponsorship and selling a sufficient number of advanced tickets. Working with the Downtown Byron Bar Association, who put up the backing for the festival, Crossroads has offered a great lineup at a minimal cost ($5 Laura Chavez and Candye Kane advanced ticket, $10 at the gate) with good values for food and beverages. Beer was $4 for a 16 ounce aluminum bottle, pop and waters was only $1, and the wide assortment of food was from local restaurants and very reasonably priced.
Blues Alive
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BITS Kicks Off With a Bang for 2012-2013 Year It did not take long for Crossroads to start the new school year off right! Two sets of artists from New Orleans kicked off the year for us a in a superb manner! Bryan Lee and the Blues Power Band performed for Spectrum Elementary School in the morning and Carlson Elementary School in the after on Tuesday, September 4th. Bryan and his band really impressed the kids and the blues really were felt
by over 550 students that day. Thanks to Rick Davis and Harmonica Joe for setting this up and escorting Bryan and his band! September 26th marked the return of Spencer Bohren and his “Down the Dirt Road Blues” program. Byron Middle School had 400 students at the AM program and another 400 student spent the after with Spencer at Highland Elementary School in Stillman Valley. Mr. Bohren
also did a great evening show at Just Good Listening room the night before to an appreciative and excited audience. Thanks to Rick Davis, Joe Poluyanskis and Steve Jones who escorted Spencer and set up these programs. More BITS is planned for later in the Fall and into 2013. Gina Sicilia is next on October 17th; stay tuned for additional info!
Spencer Bohren at BMS
Inside this issue: News Music Reviews Playlist Membership Application Upcoming Events
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Crossroads Blues Society Newsletter
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2012 BCBF
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This year’s lineup featured Aaron Williams and the HooDoo as the opening act. This WAMI award winning, Madisonbased trio really nailed their set and Aaron Williams lit a fire under the festival attendees. The early arrives were treated to a delightful high energy time with Aaron (guitar and lead vocals), Eric Shackelford (drums and vocals) and Z (bass and vocals) really putting on a show. They closed their show with their traditional walk around the fest drumming on every possible surface and then Aaron and Eric having their “who can play faster” competition. Joe Filisko got on the stage after Williams to introduce his harmonica workshop. Joe played a couple of songs with his protégé Zoe Savage. The two them went off and conducted their hour long workshop at the outdoor pavilion behind Tailgater’s Sports Bar. About 60 people attended the workshop and kids in attendance received a free harp from Joe. Joe is one of the world’s best harp players and instructors and we were privileged to have him in Byron once again. The Jimmy’s brought their brand of swing and blues to the big stage to a very receptive audience. The band’s fourpiece horn section and Jimmy on B-3 organ are huge crowd pleasers, as is guitar player Perry Weber. Also WAMI winners, these Madison Jimmy Voegeli boys delighted the audience with their skills. Everyone who attended wanted to know the next time these guys would be in town. No matter when that is, it will not be soon enough! The return of the Cash Box Kings to our stage from 2010 was a welcome event. With both Billy Flynn and Joel Patterson on guitar, fest goers were treated to two highly acclaimed guitar players along with
front men Joe Nosek and Oscar Wilson. These guys came ready to play and they played their butts off! Playing a great mix of their music and a few classics, fans can see why this band’s latest CD topped the charts for over a month. Hardtime Cigar Box Guitars were on hand most of the day demonstrating their craft. They raffled off a guitar for Crossroads and the proceeds went to Candye Kane’s medical recovery fund! Nick Moss came on next and his high energy set left the crowd breathless. Heavy rocking blues poured out of Nicks’ guitar while he and Michael Ledbetter handled the vocals. Ledbetter was a crowd favorite and he testified and sang the blues from his heart. Nick’s wife Kate joined the band on guitar while Nick switched to bass and later their daughter Sadie came up and sang for an appreciative crowd. Then 17 year old Sean Ryan McKee came and sat in on guitar- this kid is phenomenal! Nick has always put on a great show every time we have seen him, but this may have been the best! Closing out the grand day was Candye Kane and her band. Candye is touring after recovering from her second pancreatic cancer operation, but she was up to the task. She gave her all as did guitar player and cosongwriter Laura Chavez. Her fretwork was utterly magnificent! Candye turned it on for
Joe Nosek
Billy Flynn
Joel Patterson
Oscar Wilson
day, September 9th for a Volunteer and Sponsor Appreciation Party. Between 60 and 70 people came out and were amazed by this great band. We were so amazed that we hired them on the spot for 2013! Thanks to Tailgaters for hosting the even and to the Bar Association for providing food. 2012 was a successful fest and 2013 is in the planning stages already. The Nighthawks, Doug Deming with Dennis Gruenling and the Jewel Tones, Toronzo Cannon, Bobby Messano and Joe Filisko have already committed to August 24th, so things are shaping up to be another spectacular fest!
Dennis Gruenling
the crowd and made for a headline event that was part of a wonderful day of blues! Doug Deming, Dennis Gruenling and the Jewel Tones came out on Sun-
Doug Deming
September-October 2012
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Music Reviews Fun on Saturday Night The Blasters www.blastersnewsletter.com/ www.ripcatrecords.com 12 tracks/35:42 Over thirty years ago, the Blasters burst on the scene with a potent blend of rock, blues and country influences that the band injected with a hardrocking sound. Led by the Alvin brothers – Phil and Dave – the group was at the forefront of the American roots music movement that continues to this day. Their fire burned bright over five years with four highly regarded studio recordings and one live album. Then it fell apart as Dave decided to pursue a solo career and Phil did post-graduate work in mathematics. Phil reformed the band a few years later and it has endured with a variety of line-ups, including a couple of brief reunion tours with Dave back in the fold. It’s been eight years since the last Blasters studio recording but they quickly establish that they haven’t lost a thing as they open with a spirited take of Tiny Bradshaw’s “Well Oh Well”. Phil’s voice rings out loud and clear with the usual level of barely contained excitement. Guitarist Keith Wyatt rips off the first of his nimble-fingered solos while original members John Bazz on bass and Bill Bateman on drums keep the beat rolling along. Next up is the country music classic “Jackson” with Exene Cervenka – punk band X – joining Alvin for a lusty duet with Wyatt supplying the requisite twangy guitar. “Breath of My Love” is a ballad with outstanding backing vocals from Eddie Nichols and Jeff Neal. The doo-wop style masks the torturous saga of a domestic dispute gone terribly wrong. Then the band reverts to its blues roots with a high-octane rendition of the title song with Wyatt once again playing with distinction while Alvin shouts the blues like one of his hero’s, Big Joe Turner. Wyatt delivers some blistering guitar on Magic Sam’s “Love Me With a Feeling” while Alvin’s robust vocal on “Rock My Blues Away” is memorable moment. All the members had a hand in writing “Penny”, a raw worrying blues that owes a debt to the Howlin’ Wolf legacy. Alvin’s finest moment occurs on Sonny Boy Williamson’s (Rice Miller) “No More Nights By Myself”. With sparse accompaniment, his intimate lamentation on heartache is punctuated by mournful tones from his
harp, connecting with listeners on a primal level. Other tracks include a crackling version of “I Don’t Want Cha”, with more harp from Alvin, and a brief run-through of James Brown’s “Please Please Please” sparked by a gritty vocal from the leader. “The Yodeling Mountaineer” offers a dramatic change of pace. Yodeling isn’t for everyone but Alvin quickly shows he has mastered the style. The final track is an acoustic re-working of one of the Blasters best-known tunes, “Marie Marie”, with Kid Ramos on bajo sexto adding to the south-of-the-border feel. Written by Dave Alvin, the song is retitled “Maria Maria” with lyrics in Spanish over a languid pace to create a more pensive approach compared to the original. The only issue with this one is the relatively short playing time. And, while it falls a bit short of the high points of the Blasters earlier recordings, this one proves that the band can still rock the house in addition to energizing their forays into the blues idiom. Buy a copy but don’t wait for the weekend – put it on, turn it up and dance your blues away! Reviewed by Mark Thompson West Side Wiggle Omar Coleman Honeybee Entertainment www.omarcoleman.com www.honeybeeblues.com
13 tracks/49:50 My first exposure to Omar Coleman came when I heard him on Very Lucky Man, backing Sean Carney on a release from last year. Some of you may have heard Coleman playing harp as a member of guitarist John Primer's Real Deal Blues band. A relative newcomer to the blues world, Coleman has quickly incorporated much of the traditional Chicago blues tradition into his singing and playing. The quality of his work is highlighted by the stellar band that backs him on his first solo release. When you have Billy Flynn on guitar plus a rhythm section of Bob Stroger on bass and Kenny “Beedy Eyes” Smith on drums, you know that the music will be authentic and dig deep into the well of human emotions. Flynn's tasteful licks remind us once again that he has the knack for always playing just the right notes while Stroger and Smith stay deep in the pocket through-
out the disc. The set-list contains eight Coleman originals that show he has cultivated a real understanding of the elements that add up to a noteworthy song. The lazy pace of “She's Too Fast for Me” serves as a backdrop for Coleman's emotionally charged vocal with Aryio on piano filling out the arrangement. “I'm a Good Provider” sports an aggressive tempo with immaculate phrasing from Flynn as Coleman provides a frank description of the end of a love affair. The opening tune, “You Got a Hold on Me”, finds the singer describing all he does to keep his woman happy. Coleman resorts to more generic lyrics on “Sit Down Girl”, but the cut is rescued by surging rhythm punctuated by Brian Leach on the organ. Coleman penned two instrumentals that spotlight his prowess on the harmonica. The title track finds him playing robust lines that extend into some high, reedy licks before he finishes things off with some hard blowing that Chicago's west side. “Giardinara Blues” is a barn-burner that leaves no doubt that Coleman knows his way around a harp. The legacy of Little Walter looms large for any harp player and Coleman acknowledges his debt with a vigorous cover of Walter's “Ah'w Baby” with a hardy vocal from Coleman while “Crazy Mixed Up World” features a brief harp solo that leaves you wanting more. On the much-covered “Scratch My Back”, Coleman's lusty singing injects plenty of life into the classic. Stroger sits out on Lightnin' Hopkin's “Mojo Hand” with Flynn switching to acoustic guitar. Smith supplies a driving beat as Coleman again sings and plays with conviction. Equally fine is the low-keyed rendition of “It Hurts Me Too” with one of Coleman's best vocals and more powerful harp work. If you love the more traditional blues styles, this recording is just what the doctor ordered. I don't remember hearing much about this one when it came out last year. That's a shame because, as this disc shows, Omar Coleman deserves the attention of the worldwide blues community. And in case you need any more incentive to purchase a copy of this fine release, proceeds from the sale benefit the Northern Louisiana Brain & Spinal Cord Injury Foundation (www.brainhelp.org). Don't let this one slip by! Reviewed by Mark Thompson
September-October 2012
Page 4 Jump Start Lil’ Ed and the Blues Imperials Alligator Records www. alligator.com 14 tracks Lil’ Ed’s new release on Alligator records offers up 14 cuts for his fans, with one cover of uncle JB Hutto’s “If You Cahnge Your Mind” and the other 13 written by Ed, Ed and his wife Pam or Ed and Harrison Sumner. Featured on the CD along with Ed are Michael Garret on guitar, James “Pookie” Young on bass and Kelly Littleton on drums. Marty Sammon also appears on organ and piano on five tracks. “Jump Right In” is a cute and innuendofilled cut where Williams and Sumner have crafted an over the top blues song that will be covered by others because of the catchy lyrics and cool slide parts. In fact, I would have to say that the cuts by Ed and Sumner and the Hutto cover are probably the highlights of the disc. “You Burnt Me” and House of Cards” are the other two co-authored by Williams and Sumner. “You Burnt Me” opens to a guitar solo and Ed hollering about how he’s been tossed out on the streets. Well done! “House of Cards” begins with a stinging guitar sound that is featured throughout. I liked these tracks a lot. Ed’s homage to Uncle JB is also excellent. “If You Change your Mind” has a sweet slide and Ed as the penultimate blues shouter of this era. It’s got a big, rich sound and hearkens back to those great old days when West Side music was king. The two cuts from Ed are also pretty good ones. “Musical Mechanical Electrical Man”, an amusing song that runs 100 miles per hour as Ed sings about being his woman’s ,am who can provide music along with electrical and mechanical repairs. On “My Chains are Gone”, Ed and his guitar wail and moan and the organ fills in as he sings about being free of the women who wronged him. Where the album drags a bit are the songs Ed and his wife wrote. They begin to merge together in the Ed Williams songbook of stuff that maybe we have heard before. Good stuff– don’t get me wrong, but it’s stuff that is similar to past efforts. Maybe I’m being picky here; the CD is fun and gives us a huge dose of high energy. Lil’ Ed fans will eat it up, but it seems a little repetitious at times. Ed’s fans will enjoy this CD top to bottom
and new fans will get a good listen to one of the top high energy acts in the blues world. There’s some great new stuff here for those looking for Lil Ed the artist to wow them. I just think trying to get 14 new songs with a lot of variety and freshness is a tough task and a few of the songs fell short because of that. But there are some gems here and at least one if not several that will become classic Blues Imperial songs for all time. Reviewed by Steve Jones Live Long Day Willie McBlind Free Note Music www.williemcblind.com 10 tracks/49:55 “Live Long Day”, the 3rd CD release from Willie McBlind, is a very interesting recording. This band is headed by guitarist, singer and song writer Jon Catler. He plays microtonally fretted and unfretted guitars. These guitars are based on a 64 note scale and enable the guitarist to play the notes between the notes. I think that a bunch of blues guitarist do this anyways. I kind of get an Eastern jazzy type vibe from them. I will let you do the research on this as it gets complicated. I am just here for the music from the group. Babe Borden does a powerful job on vocals as well as adding some autoharp to the mix. Babe is a New England Conservatory trained singer and is capable of taking us on a vocal venture that is quite enjoyable. Like it or not, I get this strong feel of Adam Lambert, Prince and Janis Joplin from her vocals. This is not a bad thing but as I see it. Matt Fielder pumps out a solid bass line on his fretless bass while Lorne Watson carries the music down the tracks on the drum kit. This all makes up one solid sound for “Live Long Day’. This CD is a mix of ten train based songs and by purpose was released on National Train Day. These tunes hit on jump, boogie and minor blues for their base point and travel from there to a new place. “Down The Road” lets us travel with an
upbeat country blues tune. Catler and Borden take us on a vocal venture while trading lyrics back and forth as he chugs along on with his guitar licks. On a rework of Robert Johnson’s “Love In Vain”, Borden takes us to a place that shows off her talent as a very versatile vocalist. Catler’s searing guitar licks along with Fieldes’ bass line make “Love In Vain” a hit for me. It just ends too soon. “Boogie Train” takes us on a ride that showcases off Jon Cater’s awesome guitar skills as well as his vocal ability. On this tune Babe and Jon again play lyrics off of each other and create a bunch of great sounds. Again I must say that I can’t explain Harmonic rhythm and Harmonic lyrics to you in this short space. But his band takes us on a different music journey and does reach out to get your attention. Their music is very innovative and kind of sucks you in and makes you listen. Willie McBlind’s “Live Long Day” is to me a very interesting and enjoyable recording. I have spent several hours listening to the CD and researching this group on line. I do not agree with some reviews the Willie McBride “represents a major step forward in the evolution of American blues”,*(All About Jazz) *clue*. As for the future of American blues I guess that I am still just stuck in the Mud. I do say that I like Willie McBride and did enjoy “Live Long Day” to the point that I still listen to it because it takes me to an enjoyable music space. Check it out for yourself. Reviewed by Harmonica Joe Poluyanskis
Laura Chavez
Candye Kane
September-October 2012 When I Left Home – My Story Buddy Guy – with David Ritz Da Capo Press www.dacapopress.com 267 pages Buddy Guy has experienced a meteoric rise in popularity that makes him, along with B.B. King, the current elder statesman for blues music. The guitarist has achieved world-wide fame through his high energy live performances, outstanding recordings that successfully explored the full scope of Guy’s artistry plus his club, Legends, that is the preeminent blues bar in a city filled with live music venues. But all of this success did not come easily - it was decades in the making. We are fortunate that we now get a closer look at the Buddy Guy story, as told by the man himself. When I Left Home is divided into three sections. The first six chapters detail the early years of Guy’s life down the backroads of Louisiana. The son of Sam & Isabell Guy, his childhood wasn’t out of the ordinary. He stood next to his father and started picking cotton at the age of nine. He enjoyed baseball, especially when he could listen to a Brooklyn Dodgers game on the radio and take pride in Jackie Robinson’s accomplishments. Guy also had a knack for taming wild horses. His father made sure that the young man knew the meaning of respect. Each Christmas, a family friend named Henry Smith – nickname “Coot” – joined the Guy’s for dinner, after which Coot told stories and played his two-string guitar. Buddy loved the sound Coot was able to pull out of those two strings. He began to experiment with building his own guitar, stealing wire from his Mama’s new window screens and using rubber bands. Later, the family acquires an old phonograph just as John Lee Hooker’s “Boogie Chillen” was released and became the favorite record in the Guy household. A chance meeting with guitarist Lightnin’ Slim deepened Guy’s interest in the guitar. Finally his yearning is satisfied when his father buys Coot’s instrument. As a teenager, Buddy lived with his sister, Annie Marie, in Baton Rouge. He continued playing guitar, discovered girls and worked a variety of jobs. He returned to help his father after his mother suffered a stroke but life wasn’t the same. Eventually, Guy’s father decides to leave the rural life and move everyone to Baton Rouge, where another life-altering experience was waiting. Guitar Slim had a huge hit with “The Things I Used to Do” and when he made a local appearance, Buddy was there to experience the frenzy of Slim’s live show with his flamboy-
Page 5 ant clothes and wild entrances courtesy of a 300 foot guitar cord. Everything Buddy would ever need to know about capturing the attention of an audience stems from what he learned from Guitar Slim. The next section, titled When I Left Home, is a single chapter that finds Guy making the decision to leave home and head for a new life in Chicago. He had gotten encouragement from a friend, Lawrence “Shorty” Chalk, who was already living up north and promised that Buddy could stay with him. It seemed like Shorty was living the good life but upon his arrival in September, 1957, Guy discovers that the reality of big city life is far different than the bright picture Shorty had painted. The bulk of the narrative is contained in the final section, After I Left Home. Guy describes his initial visit to Chess Records in an attempt to capture the attention of Leonard Chess. Soon he meets Muddy Waters and Otis Rush. It quickly becomes clear to Guy that he can’t compete with the guitar prowess of masters like Rush, Earl Hooker and Magic Sam. So he dazzles audiences and club owners with his showmanship while steadily proving his understanding of deep blues to other musicians and band leaders. Guy relates plenty of stories about many of the legendary musicians from that generation. And chapter titles like “Wild Little Nigger From Louisiana” make it readily apparent that Guy isn’t about to pull any punches. He has plenty to say about Willie Dixon on the issue of song copyrights and covers his long-running partnership with Junior Wells in several chapters. Points are made regarding excessive alcohol use and womanizing without dwelling on the topics. And Guy openly admits his own shortcomings. In 1972, deciding he wanted to curtail being on the road so much for the sake of his family, Guy decides to buy the Checkerboard club on Chicago’s south side. The experience set the stage for him to open Legends in a better neighborhood seventeen years later. The only short-coming with the book is that the last forty years of Guy’s career are briefly covered in an equal amount of pages that conclude the book. Given that during that time Guy has played countless highprofile gigs and shared the stage with too many legendary musicians to count as he achieved international fame, one would think that there are still many stories untold.
this opportunity to hear Buddy’s story in his own words. This is one of those books that draws you in and quickly puts you in the can’t-put-this-down mode. It is a worthwhile read that provides an insider look at the glory days of Chicago blues and one of its indisputable legends. Reviewed by Mark Thompson Try Me Meena Cryle RUF www.rufrecords.de 12Tracks/57:28 Twenty years ago Meena Cryle, Austrian born and raised, formed her first group, a psychedelic rock band, at the age of 15. During the ensuing years she traveled to Mozambique, throughout Europe, northern USA( Chicago ), and back to Europe, all the time honing her vocal skills. After returning to Europe she experimented with different types of music until she was signed by Thomas RUF Records. RUF flew Meena and her guitarist, Chris Fillmore who is featured on several tracks, to Memphis where together with producer Jim Gaines (Stevie Ray Vaughan, Walter Trout, Santana, The Steve Miller Band to name a few) they recorded her first official CD "Try Me". The CD opens and closes with 2 great covers, the title track "Try Me" that made James Brown a star fifty some years ago, and the closer "Just As I Am" a Luther Allison tune. Meena's well done renditions of both of these tunes are complimented by guest artist Joanne Shaw Taylor, guitarist on "Try Me", and guitarist Coco Montoya with vocalist Shakura S'aida on "Just As I Am". A third cover "I'd Rather Go Blind", a blues classic first recorded by Etta James, has guest artist Donna Grantis on guitar. The remaining 9 tracks were all written or cowritten by Meena. Although this CD has an impressive list of guest artists, including Eric Sardinas and Erja Lyytinen, the standout performance on all 12 tracks is Meena' s classic voice, a voice with power, range, style, emotion and intensity, a voice that fits perfectly with American Blues. She does such a great job on all 12 tracks it is difficult to choose standouts, some are bluesy, some are rockers, all are well done. I can't wait to see Meena on stage in person, but for now I've got "Try Me". Do yourself a favor and give Meena a try. Reviewed by Dennis Barker
David Ritz provides a big assist in helping Guy keep the narrative sharp and focused without stripping away the vital elements of Guy’s character. We are fortunate to have
Crossroads Blues Society Newsletter
Page 6 Drink My Wine Darren Jay & the Delta Souls Self-released www.darrenj.com 11 tracks/47:07 This new release marks several significant points in Darren Jay's career. It features his new band of Memphis-based musicians including several high-profile guests. And it appears just as Jay left for a tour of duty in the middle East as a member of the US Naval Reserve. He certainly deserves our thanks for his service to our country – and we can show our appreciation by making a point to check this out. It won't take long for you get caught up in the strong performances on this one. Jay is an engaging singer and a guitarist with chops to spare. He burns through the opening instrumental, “Rider”, spurred on by the swirling Hammond B-3 organ chords from Tony Thomas while “Zilla” has a big beat supplied by Rodd Bland, son of legendary singer Bobby “Blue” Bland, on drums. Jay's musical partner, Laura Cupit, lays down a thick bass line while Jay supports himself, adding rhythm guitar behind his measured lead work. Two tracks feature a three piece horn section consisting of Art Edmaiston on sax and Marc Franklin is joined by Wayne Jackson of the legendary Memphis Horn on trumpet. They get a chance to stretch out at the end of “Workday Blues”, a lively number that bears a strong resemblance to “Everybody Needs Somebody to Love” with some searing guitar licks from the leader. “Too Late Baby” is rousing Texas-style shuffle with the horn blasting away behind more greasy organ from Thomas and Cupit on backing vocals. “(Baby) Don't You Lose My Number” is a fun little blast of rock & roll with Thomas impressing with his keyboard prowess while Jay's guitar work elevates “Everybody Get Together”, which suffers from generic lyrics. Drummer Hubert Crawford sets the pace on the title track, his muscular pulse the perfect backing for Jay's blistering guitar. Another one of Jay's impressive originals, “River's Edge”, closes the disc in dark fashion as the singer heads to Memphis to search for his woman. Once again, Jay sparkles on lead and rhythm guitar. The band's version of “Hoochie Cootchie Man” veers away from a blues feel in favor of a heavy rock performance that scores points for at least opting for a a different approach to this well-worn classic. Jay shows off his skills on the other cover, “Tin
Pan Alley”, his soul-wrenching playing offering a fine counterpoint to his understated vocal. Edmaiston to form a one-man horn section on tenor and baritone sax. Darren Jay & the Delta Souls can take a lot of pride in this release. They offer up a varied program that features earnest original tunes performed with the expertise you would expect from a band of veteran Memphis musicians. And this one will have you looking forward to the date when Jay will have completed his military service and is able to showcase his talents on stage. I certainly want the opportunity to catch his live show. Until then, this solid effort will remind me of what we are missing. Reviewed by Mark Thompson Show of Strength Michael "Iron Man" Burks Alligator Records 12 Tracks Michael Burks had just completed his new CD Show of Strength, soon to be released on Alligator Records. Unfortunately it will be his final statement, leaving the blues world with a legacy of remarkable modern blues music. This blues veteran was in route home to Arkansas after a European tour, when he collapsed at the Hartsfield-Jackson Atlanta International Airport and died on May 6th, 2012 at the age of 54. He started playing guitar at the age of two with his father Frederick, who was a bass player in Milwaukee blues clubs, often backing Sonny Boy Williamson II and other touring or local artists. Michael's grandfather, Joe Burks, played acoustic Delta blues guitar in Camden, Arkansas. By the age of 14, Michael was touring as a guitar player with Michael Clay and the Fabulous Souls. In the early 1970s, his family moved to Arkansas and built a juke-joint named the Bradley Ferry Country Club, where he was hired as the house band leader and backed big names in the blues and R&B world. When the club closed in the 1980s, he left music only to return in 1994. He released his self-produced debut CD titled From The Inside Out in 1997, launching his career as one of the hardest working bluesman in the business. He followed up after signing with Alligator Records with Make It Rain in 2001, I Smell Smoke in 2003, and Iron Man in 2008. Michael was nominated for numerous blues awards for Iron Man earning him a top spot among contemporary blues guitarists. He was at the top of his career with his latest Alligator release ironically titled Show
of Strength. Burk's high powered guitar and strong, soulful vocals are very distinctive both live and on disc. He is backed on this latest CD by Wayne Sharp on organ, piano, and backing vocals, Terrence Grayson on bass and backing vocals, and Chuck “Popcorn” Louden on drums and backing vocals. Additional musicians are Roosevelt Purifoy on keyboards and Scott Dirks on harmonica. Show of Strength opens with fiery guitar licks on "Count On You," along with deep vocals straight from the heart. "Take A Chance On Me, Baby," the first of five tunes Michael either wrote or co-wrote, delivers the same guitar attack at a much slower pace. He will take you to the top on "Storm Warning," and "Can You Read Between The Lines," blues numbers that typify just how well Michael can tear it up on lead guitar, combined with other band members contributing great rhythm guitar and keyboards. It is really a solid performance by the entire band! Next on the set list is "Cross Eyed Woman" featuring Michael opening with his typical lead guitar style and quickly moving into some burning slide guitar leads scorching the fret board along with superb keyboards from Wayne Sharp. "Little Juke Joint" brings back memories of growing up in his family juke joint where he recalls playing blues from sun down to sun up. It features some exceptional harmonica playing by Scott Dirks. "24 Hour Blues" is one of most powerful, soul drenched tunes on the CD, with searing guitar leads once again. It is followed up by the hard drivin' powerful "Valley Of Tears." "Since I Been Loving You," a self-penned tune, delivers a slower, straight ahead, smooth blues sound with Michael once again center state with his guitar solos. His vocals are very convincing on the song "I Want To Get You Back." Another original song, "What Does It Take To Please You," in my opinion, is the is the best cuts on the CD offering well executed West Coast guitar solos by Burks. "Feel Like Going Home," with a spectacular piano introduction, is very fitting for his final studio recording, with Michael Burks seemingly reflecting on life and going out with one of the best guitar solos of his studio career. I had the opportunity to meet Michael at Bamfest (Bellville American Music Festival) in Bellville, Wisconsin in 2007. Michael was one of those recording blues artists who had time to discuss the blues with any of his fans at any given time. He had a voice that would captivate audiences much like the late great Albert King. He will certainly be missed by blues fans the world over! His legacy will ring out in the blues world forever! Reviewed by Rick Davis
September-October 2012 33 1/3 Shemekia Copeland Telarc Records www.shemekiacopeland,com 11 tracks No one can sing like Ms Copeland. I love her ability to belt out a song as well as anyone or to take it down and mellow and get the goose bumps up on my arms. Buddy Guy, JJ Grey “Lemon Pie” opens the album, and Shemekia and guitar player/producer Oliver Wood just serve it up big time. Shemekia is in great form and the guitar solos complement this young lady’s fantastic voice. The song talks about societies haves and have-nots, apt commentary on what we have become. “Can’t Let Go” follows, Lucinda Williams hit penned by Randy weeks, and Copeland tells the story of a love she knows if over but she can’t let go in a bluesy way. The distortion gets turned up here on guitar and the Oliver Wood solos add grit to this cut about lost love. “Aint’ Gonna Be Your Tatoo” is a way down tempo song about a gal who does not want to wind up being just a guy’s faded and blue tattoo. Shemkia sings as she leaves his hotel room and ends their relationship because she was a victim of abuse from the same arm that featured her image; she implies continued “exposure” to that arm would make her faded and blue like the tatoo. Buddy Guy offers a stinging guitar solo in the middle of this, again an excellent effort. Copeland wails and moans and gives us a great performance here. Three songs in and the emotions are running quite high! Copeland gives us a great tale of a phony preacher who worships “Somebody Else’s Jesus.” The guy’s priorities are money and material things, and Copeland calls him out for it. The song is country blues song, with a twangy guitar and bouncy beat. She stays country with JJ Grey’s “A Woman,” giving us a nice little ballad while taking the tempo back down. “I Sing the Blues” offers up Copeland in a mid-tempo track with some pretty harp adding the mix as Copeland alludes that “My Daddy sang the blues to her Mama and I’ll sing the low -down dirty stinkin’ blues to you.” Guttural and visceral stuff here. “Mississippi Mud” gives us a little funky beat and a great sound (JJ Grey also sings with her here) while “One More Time” offers up slow blues penned by dad
Page 7 Johnny Copeland and done here with some pretty harp by John Liebman in the mix. Sam Cooke’s “Ain’t That Good News” swings and swings as Copeland joyously sings about her baby coming home tomorrow. “Hangin’ Up” goes back to ruined loves and relationships as she takes her packed up bags and goes. She closes with “I’ll Be Your Baby Tonight”, a soft and sultry cut. She almost whispers as she calls for her man in this Dylan classic. Copeland expresses a lot of emotion and feelings here in her experiences from 15 years as a touring artist. I think it shows that these songs all have some sort of personal meaning for her. She adds her touches to the covers and makes them her own as she does the new material. Her fans will not be disappointed with this CD nor will those new to her– this CD just grabs you and grows and grows in intensity and feeling with each listen. I love listening to Shemekia and this is a great offering from her! Reviewed by Steve Jones Been There Done That Linsey Alexander Delmark Records www.linseyalexander.com 12 tracks/62:32 Delmark Records has just done another fine job with the release of Linsey Alexander’s CD “Been There Done That.” Alexander is truly a blues icon having playing the blues his way for several decades now. Having been born in Mississippi and being raised in Memphis Tennessee, Linsey left the South to head for Chicago to play the blues. After playing the Southside for many years he now has been on the Northside for at least the last 15 years. He has played with many of the great blues greats including Buddy Guy, AC Reed, Magic Slim and BB King to name just a few. Over the years he released several CDs on his own and now “Been There Done That” is here to let us know what Linsey Alexander is all about. Joining Alexander on this recording we have Roosevelt Purifoy on piano and organ, Greg McDaniel on bass, James Wilson on drums and Billy Branch blowing harp on 3 tunes. Add the horns of Ryan Nyther (trumpet) and Bryan Fritz (sax) plus Mike Wheeler and Fabrizio “Breezy” Rodio adding rhythm and solo guitar we have a great 9 piece band for this CD. This whole recording was basically recorded as is with just a few guitar over-
dubs. Right from the start with a blues shuffle, “Raffle Ticket”, I know that I am in for a real treat of Chicago blues. Billy Branch walks us into the tune with some of his awesome harp playing as “Hoochie Man” Alexander takes over with his powerful blues vocals. Behind all of this fine stuff is Purifoy pounding the ivory as James Wilson and Greg McDaniel keep the blues train running down the track. Linsey also showcases his guitar style with a couple of solos. This is really a great tune to open this recording. “Been There Done That” takes us to that smooth place of rhythm & blues and features Purifoy on organ and the horns of Nyther and Fritz. Here Linsey give us the chance to just kick back and take in his voice and lyrics. In the same mode, he takes on the Willie Kent tune, “Looks Like It’s Going To Rain”. This is a swell tribute to his now departed long time friend. Alexander showcases his vocals and some Albert King sounding guitar work on this track. Also standing out here is Purifoy on keys and the tasteful horns in the background. If you have a craving for some awesome harmonica licks, you can listen over and over to Billy Branch on “My Mama Gave Me The Blues”. This is truly some great stuff and what blues harp is all about. Good job Billy! “Hoochie Man” is just that on this tune as his vocals and guitar work are powerful on this slow blues tune. This, to me, is the best song on this recording. Linsey Alexander has nailed the true meaning of the blues with this project. He does the blues his way and it is the blues. “Been There Done That” is over an hour of blues pleasure performed by one fine group of musicians. Having reviewed several CD’s in the recent past that just barely touch upon the genre of the blues I consider this a real treat to listen to. Reviewed by Harmonica Joe Reviews on Line Our Music Reviews in the newsletters have also been posted on line since mid-2007. Also there are the overflow from our ever-expanding inputs to the newsletter that do not fit into the mailed version. All of our reviews are on line at: http:crossroadsreviews.blogspot.com We have over 500 CD, DVD and book reviews on line now. The search field on the upper right of the web page allows easy access to find an artist, album or other text quickly. If you would like to find out how to become a reviewer, email us at sub_insignia@yahoo.com.
Crossroads Blues Society Newsletter
Page 8 'Gotta Strange Feeling' Li'L Ronnie & the Grand Dukes EllerSoul Records ESP www.lilronnie.com www.ellersoulrecords.com 14 tracks/ One might wonder why someone would decide to start a new record label in the middle of a devastating economic downturn. EllerSoul Records deserves credit for opting to move ahead, beginning their business venture with a slim roster populated by musicians that were still searching for their turn in the spotlight. The label's release by singer Marion James, Essence, garnered plenty of praise from the critics while two other solo releases by guitarists Andy Poxon and Ivan Appelrouth are nominated for the 2012 Blues Blast Music Award in the Best New Artist Debut Recording category. Another release had Li'L Ronnie Owens on harp teamed with guitarist Terry Garland as an acoustic blues duo. Now Li'L Ronnie steps out with his regular band, the Grand Dukes, which features Appelrouth on six strings, John Sheppard on bass, Mark Young on drums and John Fralin on piano. Janet Martin handles the backing vocal on five cuts. Three tunes switch line-ups with Owens getting support from Stu Grimes on drums, Mike Moore on bass and Jim Wark on guitar. The program features two Li'L Ronnie originals along with ten others he co-wrote with Appelrouth. Owens is a twenty-five year veteran based out of Richmond, VA with three independent releases under his belt, all featuring the Dukes... His singing is quite compelling on “Screaming & Crying” with Appelrouth on acoustic guitar and North Side Slim sitting in on maracas and his duet with Martin on “I Won’t Take it Any More” is another highlight. The slower pace of “Love Never Dies” is another good fit for the leader’s pleading voice and Appelrouth adds a spell -binding solo. Owens delivers enthusiastic vocals on most tracks but on a few cuts, like a cover of Chuck Berry’s “C’est la Vie” and the title track, he falls short of matching the level of excitement that the band creates. Tracks like “Sweet Sue” and the infectious “Can’t Please Your Wife” give Li’L Ronnie plenty of space for his robust harp blowing and Fralin makes good use of his solo opportunity. The swinging groove on Louis Jordan’s “Buzz Me” offers a nice change of pace while the opener, “Can’t Buy My Love”, finds the band sounding very comfortable in the traditional Chicago style. Owens gives the reeds on his harp a work-
out on “She’s Bad Bad News”, alternating a reedy sound in the upper register with a fatter tone on the other end of his instrument. On the appropriately-named instrumental “Late Night Blues”, Owens and Appelrouth engage in an impeccable musical dialogue, expertly playing off each other’s lines. “Fat City” is a showcase for more of the leader’s raw harp, spurred on by a pounding beat from Young. This very solid effort gives EllerSoul another little gem to add to their growing catalog. Li’L Ronnie, Appelrouth and the rest of the band consistently deliver tight performances that feature quality musicianship without resorting bursts of gratuitous showboating. I hope that I get the chance to see the band live. No doubt that it will be a rockin’ good time!!! Reviewed by Mark Thompson Cee Cee James Blood Red Blues FWG Records 12 Tracks Christina (Cee Cee) James started her first band at the age of 12, after moving from Portland Oregon to California. She continued to work with rock, blues cover, and original bands until she formed her first original blues band, Stone Blue in San Diego. She improved her songwriting skills in the late 1990s and began recording song demo's in San Diego and Los Angeles. She released her first CD, Spiritually Wet, in 1999 taking home the Los Angeles "Independent Artist of the Year Award." By 2004, she decided to move back to Portland, Oregon due to some traumatic life changes. She followed up in 2008 with her second CD title, Low Down Where The Snakes Crawl, co-written with Rob "Slideboy" Andrews, Cee Cee's husband and Slide/Rhythm guitar player, with 11 original cuts depicting her life of heartache. It was released by FWG Records and rereleased by Blue Skunk Music in February 2010, gaining considerable air time and finally reaching #8 on the National Roots Music Report, #7 on XM 74 B.B. Kings Bluesville, and #15 on the Living Blues Report. She received the Klamath Falls, Oregon International Blues Challenge and was sent to Memphis, Tennessee to compete in the January 2010 IBC finals. In May of 2010, FWG Records released Cee Cee’s live CD Seriously Raw, recorded at the Sunbanks Blues Festival in eastern Washington. After being picked up again by Blue Skunk Music and re-released for world wide distribution in October, 2010, the CD rose to #1 on Cashbox, and dropped in the top 20 on the XM 74 B.B.
Kings Bluesville chart, staying there for 10 weeks. It was also successful enough to earn Cee Cee the well deserved title of "Best Blues Songwriter" and "Best Blues Vocalist" for the Washington Blues Society in 2010. Dubbed the "vocal volcano" by Robert Horn from the Washington Blues Society, James has combined the early funk and soul heard on her first CD, her later powerful, gritty vocals, and her superb songwriting to create her latest CD Blood Red Blues. The CD, released July 17, 2012 on FWB Records, produced by the legendary Jim Gaines, contains twelve original blues tunes again co-written with Rob Slideboy' Andrews. Her vocals, compared at one time to the legendary Janis Joplin, have that same style combined with the seductive vocal style of Alannah Myles on this new release. The title track "Blood Red Blues" combines the slow deliberate slide guitar of Andrews, piercing leads by Rocky Athas, soulful vocals from James, and deep gospel background vocals into a masterful opening number. It is followed by "Let's All Get Loose" a heart pounding, hard drivin' tune, driven by the scorching leads of Athas and gripping vocals that will capture your soul. Cee Cee delivers passion and soul along with the smooth slide guitar work of Andrews on the tune "Feel My Love Come Down." Cee Cee will put you into a trance with her sultry, soulful voice heard on "Comfort of a Good Heart." Her gritty, Joplin style vocals return on "I Got A Right To Sing The Blues" with the slide guitar of Rob Slideboy' Andrews brought to center stage. In this tune, James shares the pain of her life experiences only to expand on those painful times and what they offer in the quiet tranquil song "Wounds." In "Worn Out Sins," Cee Cee asks the Lord for help to free her mind by healing the 'worn out sins' that have burdened her, sung in her gritty, Joplin style voice. "Walk On" is a powerful, raw tune about coming to grips with the problems plaguing society today, featuring superb guitar solos of Rocky Athas. The up-tempo tune "Cover Me With Love" and the slow blues number "100 Ways To Make Love" deliver a message about the passion and power of love. Cee Cee completes this new CD with the rocker "I'm Takin' Mine" as she tells us she has paid her dues and it's now time to give those hard earned ‘diamonds’ in her soul. Her powerful vocals will chill you to the bone on Blood Red Blues, another masterpiece produced by Jim Gaines. It will captivate you from beginning to end, as you listen to this incredible new CD on FWG Records. Reviewed by Rick Davis
September-October 2012 Pleasure and Pain Chris Watson Band Gator Music www.chriswatsonband.com 12 tracks/45:48
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www.ChicagoBluesGuide.com
“Pleasure and Pain” is the Chris Watson Band’s new CD after their first recording “Just For Show” in 2010. The first recording got Watson and is band plenty of air time as well as being recognized by the Blues Underground Network as the winner of the Future of the Blues award. Watson has been playing guitar since he was 13.He took to it with a purpose, to play the blues. Soon he was able to play in the style of Stevie Ray Vaughan, Albert Collins and Albert King to name some of his influences. Not long after he was playing local venues honing his talent as a guitarist and finally ending up as the lead guitarist in his dad’s band. With the Up All Night Band he also became a singer as well as a song writer. In 2006, Watson formed the Chris Watson Band and surrounded himself with a good group of musicians. Playing along with Chris’s vocals and guitar on the CD are bass players Billy Acord and Chris Gipson on different tracks, Jon Zoog and Jason Thomas switching off on drums. Sharing the keyboard duties are Scott Morris and Eric Scortia while Justin Barbee horns in with his trumpet Jeff Dazey adds a tasteful sax to the mix. Backup vocals are added to the mix by a great sounding Kristin Major completing the lineup of musicians on the CD. “Pleasure and Pain” presents a good mix of 9 tunes penned by Watson and also 3 well done covers that also includes Chris’s take on Sean Costello’s “Hard Luck Woman”. On this track Chris plays a couple of rock solid guitar solos as well as singing the lyrics with deep feeling and clarity. Jason Thomas pushes the drum backing as needed to accent Watson’s guitar work. This is a good track to listen to. “Heart On My Sleeve” has a good Texas rock blues feel to it which gives me a sense of Hamilton Loomis to it. This song has that funkiness to it but does not drift away from the genre. Watson’s vocals seem just to flow with his guitar work creating a great balance between the two. Kristin Major also brings her well placed vocals to the stage on this track. Chris leaves plenty of space during his guitar solo and leaves us with a sense of music that we pay attention to. A standout tune on “Pleasure and Pain” is the slow ballad, “Heartache”. Watson shows that he can bring out true emotion from his guitar as it cries out and whines. This is a tale of the heartache of love dragging one down to the depth of pain. In the lyrics he states he will overcome lost love, “but I’ll carry Lord I won’t cry, I’ll be gone in the blink of an eye”. This is what the blues is all about. The addition of the horns and Major’s
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GUIDE TO THE CHICAGO BLUES SCENE! backing vocals add a bunch to “Heartache”. This is a fine blues tune. Chris Watson and his band can take us into many places from straight blues, Texas rock blues. Gospel, boogies and even into funky. In all of this, what stands out is Watson’s ability to bring his guitar, vocals, lyrics and band to that place that it is all enjoyable to listen to. “Pleasure and Pain” has the type of music that we listen to and say this is the blues. The Chris Watson Band should travel a long ways with their style of music. Reviewed by Harmonica Joe Poluyanskis They Call Me The Professor Professor Harp (Hugh Holmes) The Undaunted Professor Harp www.professorharp.com 10 tracks/46:10 “They Call Me The Professor”, Hugh Holmes’ debut CD release, has been a long time coming. Born in Boston in 1951. Holmes has refined and defined his musical talents over the past 35 years. His main influences on harmonica were Little Walter, Big Walter and George Harmonica Smith while Magic Sam and Muddy Waters shape his vocal qualities. Sharing the stage with Luther Guitar Johnson, Muddy Waters and Soloman Burke is the base for his stage performance. The ten tracks, on this recording, showcase Professor Harp’s harmonica, vocal and song writing skills in a strong way. The three instrumental tracks are all of different styles
and are true examples of his awesome harmonica talent. “Texago At Doyle’s” is a full blown Little Walter electric harp type tune featuring Holmes’ long solos. We become aware that the Professor has paid his dues and really blows the blues. The guitar work from both Tom Ferraro and John Packer keep things moving as Mark Teixeir takes us down the road on the drums. This is one standout tune on this CD. “Eine Fur Herr Schmidt” brings the Professor’s chromatic harp skills to the forefront. This track is dedicated Harmonica Smith and is a great example of how chromatic harp is to be played. Marty supports Holmes on guitar as Mike Labelle carries the drum line. The Undaunted Professor Harp is truly not discouraged or dismayed as he tells his life story with “Fighting The Battle”. After all his struggles, coming up to the present, he has overcome the obstacles in his path. This is a well written tune that hits hard upon the social issues present in our society. Holmes’ vocals standout clear and are very emotional on this song. Keith Munslow lends some strong keyboard to the lyrics which is a big plus here. This could be another best track on the CD. “They Call Me The Professor” is a powerful statement of Professor Harp’s ability to play harmonica and be a true blues artist. The tough road that he walked upon seems to have been worth it. The benefit of the journey culminated in the release of this outstanding blues recording featuring tem tracks of blues pleasure. This is really a treat for all harmonica fans. Reviewed by Harmonica Joe Poluyanskis
Crossroads Blues Society Newsletter
Page 10 Room to Move The Dave Potter Trio Self-released CDR www.davepottermusic.com 14 tracks
Sunshine” before recovering with a solid effort on “Sunny”. Potter effectively navigates the up-tempo “In My Room” but he sounds a bit off at a similar pace on “Big Jim”, which benefits from his fiery guitar solo.
Anyone who has ever attended one of the Monday night Blues jams held in Beloit over the last three and half years will know that guitarist Dave Potter has been the host of that series since its inception. Others will remember that Dave was the original guitar player for the Jimmys, appearing on their CD Gimme the Jimmys. Potter has a number of weekly gigs throughout southern Wisconsin, giving him the opportunities to develop a tight sound with his band. Recently Potter took two of his favorite musicians, keyboardist Dave Hernandez and drummer Steve Dougherty, into the studio for a five hour session that produced fourteen cuts recorded live on tape without overdubs. Some cuts would have benefited from the addition of a bass guitar but overall the sound quality is quite acceptable
Potter continues to put a lot of time, energy and enthusiasm in promoting blues music in southern Wisconsin and northern Illinois. This recording is an accurate – and highly enjoyable – statement on the current state of his musical artistry. You can check tunes out at his website. If you like what you hear, Dave is selling copies on-line for only $9.95 including free shipping. Give it a listen. Dave deserves the support !!!
There is a good mix of vocal tracks and instrumental numbers. The opener, “Fine”, showcases Potter's skill at developing intriguing guitar lines without overplaying while Hernandez lends support utilizing the organ setting on his Yamaha keyboard. The trio is equally effective on a soulful rendition of Curtis Mayfield's classic “People Get Ready” while “Blue Bossa” gives Potter the chance to show off his jazz chops. Another instrumental, “Coming Home Baby” finds Potter and Hernandez trading solos over Dougherty's propulsive drumming. Plenty of guitarists over the years have cut their teeth on the instrumental standard, “Sleepwalk”. Potter's version finds the guitarist again showing tasteful restraint, sticking close to melody line while managing to add a few of his own embellishments that make the tune one of the highlights. “Coming Home Baby” finds Hernandez laying down some greasy organ licks. Hernandez shows off his vocal skills on a fine rendition of “Groovin'”. Add Potter's tasteful solo and you have another high point on the disc. The group slows the pace on “Yonders Wall”, giving the tune a funky groove. Potter is at his best on “After the Rain”, his voice capturing the intense longing expressed in this Damon Fowler classic. Dougherty takes listeners to the west side of Chicago with a soulful rendition of Magic Sam's “Easy Baby”. You get mixed results on other tracks with Hernandez missing the mark on “Ain't No
Reviewed by Mark Thompson Clarksdale Liz Mandeville Blue Kitty Music www.lizmandeville.com 11 tracks With five CDs now under her belt, Liz Mandeville remains a fresh and exciting presence in the blues world. Now on her own record label, Mandeville began this effort with good friend Willie “Big Eyes” Smith and bassist Darryl Wright and got five tracks down before Smith left to honor some tour dates. Willie, who had urged Mandeville on to start her own label, promised to return to finish the album after his tour, but the Big Man upstairs had other plans for Muddy Water’s old beat keeper. Mandeville pressed on after Smith’s passing and cut a half dozen more songs in his honor, half of them with her 2012 IBC duo partner Donna Herula.
his stinging electric guitar. Liz sings “My Mama Wears Combat Boots.” When kids would kid each other about other’s mom’s , Mandeville sings that her mama might not be fat or ugly as kids may chide, but she does wear combat boots and carries a gun that shoots! An apt song for today’s military where women serve as proudly as men do. A visit to the Delta inspired this album, and in “Clarksdale/Riverside Hotel Blues” we have Liz singing along with Leandro Lopez-Varady tickling the keys with equal aplomb to Mandeville. She sings of the history and wonder of this birthplace of the blues. “4:20 Blues” take politicians to the wood shed for their war mongering. This cut could be something lifted from the peace movement of decades past, with Liz irate and at her gutsiest. Smith appears on drums on all of the tracks he participated in. His shuffling is always a pleasure. He adds his harp to the opener “Roadside Produce Stand” and “Walking and Talking to You” and vocally backs Mandeville on the opening cut. It rocks and swings with the vocals and slick harp, and sets a high standard for the other songs to follow. “Walking and Talking” is real Chicago blues with Liz at the bottom of her vocal range and Willie’s harp just laying it out there. Also on the CD is Jim Godsey, wjho engineered, mixed and mastered the album in addition to playing bass and drums in support of Liz and Nick Moss on their cut. The production is clean and balanced. All the cuts are new and pretty darn good. Mandeville’s efforts here are fairly inspired and I think she holds her own with the blues women of today. She had some surgery and her trip to Clarksdale helped her recover physically while inspiring her musically. I think most blues fans will find something here to savor!
What I really like about this album is Liz’ voice. Grit, guts, and feeling really pop– she’s got the blues and lets you know about it. The songs range over a variety of topics, from the lamentations of “A SolReviewed by Steve Jones diers Wife” to the double entendres of “Sweet Potato Pie” she shows she Michael Ledbetter and Kate Moss can slow it down with feeling or deliver the heat. The latter features none other than Eddie Shaw on sax, who adds a nice layer of grease to the jumping and swing “”Pie”. Herula’s slide on the former cut is also inspiring. Mandeville bares it all in an acapella cut with deep Gospel roots called “No Fear/Everything.” She blends blues and Gospel in this song of hope and restoration. Nick Moss is featured on the last track, adding
Crossroads Blues Society Newsletter
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Music is Medicine Zac Harmon Urban eagle (self released) www.zacharmon.com 11 tracks
tion and lack of fulfillment, they do a nice job here. Up next is “Healer”; Harmon mixes blues and funk as he sings about how his music can heal the soul. He closes with a big sounding “Joanna”, again showing the West Coat and soul influences.
It did not seem like it’s been three years since Zac Harmon released a new CD, but is has. Zac is always involved in something in the blues world, whether it is working with the Blues Foundation or touring for our troops. He is always doing something and when he sits down to give us new music it’s always a thrill.
Zac’s vocals are clean and sweet throughout and the production is tight. Harmon can entertain while describing his feelings in this somewhat autobiographical set of tunes. Joining Harmon are Cedric Goodman of vocals and drums, Lacy as noted on keys (and vocals), Buthel on bass, Chris Troy on keys for a couple of tracks, and others filling in here and there.
Born in Jackson, Mississippi and a fixture in the West Coat music scene, Harmon is an outstanding musician and songwriter. His diverse skills and styles of music infused into his blues range from he sublime to the extraordinary.
This is a funky and soulful album where the blues are there but sometimes taking a back seat, although they do get out and about and make themselves heard. I have always been impressed with what Harmon produces for others and his own work is equally impressive. For fans of funky blues, this is a CD for you!
Here he opens with a cut called “Miss American Girl” where he picks out a sweet guitar line and Corey Lacy adds sultry and funky keyboard work to make this a pop-ish sort of funky R&B tune. He then transitions into deep blues with “Blue Pill Thrill”; the wawa peddle is out and the bass is deep in this one. He sings about the blue pill thrill, what Jack and Jill went up the hill for. His song about his doctor’s prescription has a stinging guitar solo that is quite nice. “Running from the Devil” is a story of personal challenges that we have to run away from to “keep up with the lord.” It’s up tempo beat is quite nice. He follows with his “Grandma’s Prayer”, a slow and funky number where he and his band mates pay homage to their Grand Mothers who prayed and cared for them. It’s perhaps a little overdone but none the less is still touching. “Drowning in Hollywood” picks it back up and we have Harmon singing of his woes in Hollywood. The hustling and bustling there causes him to crown in the environment. “Country Boy” is some slower rocking funked up blues with a big sound. The guitar intro is huge, and then he breaks into this cut about his youth in Jackson, MS. “I’d Rather Be With You” is somewhat of a calypso number. That feel continues in “I’d Rather Be With You’. He then breaks into a big, soulful story in “Talk to Me”, with the keys providing an orchestral sound and an up front bass drum pudding out the beat. A classic sounding soul tune. “Wounded” shifts gears. Much more stark and bare, Harmon opens with his guitar and then comes in on vocals. Sueann Carwell then comes in and after her lines the two of them do a duet backed by the rest of the band. Singing of a relationship with decep-
Reviewed by Steve Jones My Kinda Blues Dennis Jones Blue Rock Records www.dennisjonescentral.com 13 tracks Live at the Temecula Theater (DVD) Dennis Jones Band Leroy’s Boy Music (self produced) 18 tracks (14 plus 4 bonus tracks) Blind Racoon publicist sent this great dual package of music from Dennis Jones and his band. Let me tell you that if you need high energy music with cutting edge lyrics and topical songs, this is some stuff to get hold of. Jones is a great guitar player who is also in touch with today’s world and its’ plight. The CD is all new stuff from Jones. Joining him on “Same Train” is Kenny Neal on harp and vocals. Jones is noted for shifting from edgy blues over to the country. Here he goes acoustic, adds some humorous commentary how he and his woman have opposite talents and likes, but they are on the same train, just different tracks. Neal and his harp blend and bend into this really well, making the song even better. Guitar Shorty is with Jones on “You Took My Baby”, straight ahead, driving Chicago blues with huge guitar sound. Shorty and Jones are a great combo!
The rest of this is Jonesing. And it’s really good Jonesing. He opens with “Jesus or The Bottle”, the tale of sinning televagelists and their hypocritical life styles. This is a heavy and hot song, and this man from Baltimore nails it. Adding some voiceovers of “confessions” by some real televangelists, it is a monster cut. “Text Us Girl” comments on us as a society. “We used to have sex, now we just text dirty words all the time.” I don’t think an explanation is needed there. The title cut is another hot and driving song, with Jones laying on heavy with his guitar. He sings of his kind of blues, stating “Sit back and let me do my own thing.” He does not want to do what the forefathers have done, he wants to be himself. There is hot rocking blues throughout this CD. Jump blues like “They Say” swings like others who do jump and swing, but it’s got Jones and his edginess. Jones gives us some Hendrix-styled stuff in “Good For Me;” raw, visceral, with minimalistic and breathy vocals. “One More Dance Follows” with more huge guitar and solos. “I Want You” is a another bouncing track. “Don’t want your problem, I want you” is the theme here. This is not a relationship built on conversation and doing things together, except one. The guitar fills in the missing information. He closes with slow blues in “Baltimore Blues”, playing and testifying instrumentally about his home town. Huge, great cut. This CD is filled top to bottom with a rocking good time! Accompanying the CD was a DVD of live music from older albums. With a total of 18 tracks, there is a great sampling of his works. Whether he is doing his thing on the strat, playing his Les Paul or honoring his grandfather on the telecaster, the fret work is spectacular. Big guitar, but it is not oppressive nor over done. There is air between the notes on the solos, and we get to hear how this man can express him self with his fingers. Michael Turner on drums, percussion and backing vocals and Samuel Correa on bass appear both here and on the CD. They are a powerful backline and stay with and support the front man nicely. This is a hot CD and DVD. If you need an intro to Mr. Jones, this is a good way to get it. If you are already a fan, what are you waiting for? Go get them. Reviewed by Steve Jones
Crossroads Blues Society Newsletter
Page 12 Just Like Honey Lisa Biales Big Song Music (selfreleased) www.lisabiales.com14 tracks I was very impressed by the packaging, liner notes, photos and information. I'm not familiar with Lisa's previous works. She mentions five other releases (Editor– there are actually six other albums she has released), but the band that's assembled is more than just average. Tommy Talton on guitars, Bill Stewart on drums, Marshall Coats on bass and Paul Hornsby on Hammond B3 and piano. This group creates a nice base for the material that lisa has gathered. The Etta James cover of "Damn Your Eyes" and "When You Were Mine", a song by producer E.G. Kight. are the two showcase numbers. The fourteen tracks make quite a mixture of her musical tastes, which range from Memphis Minnie to Bonnie Raitt and back to Candy Kane. However, the melodies she writes seem to outweigh some of her lyrical content. The band does an outstanding job on "When You Were Mine", and a few other titles when the vocals are lacking. I wish she would sing more in the Patsy Cline style like she does on "When You Were Mine". I think the Album would work well at an afternoon deck gathering but I don't think I'd take it on a night drive. Reviewed by Michael Taylor We Juke Up in Here! Various artists Broke & Hungry Records Cat Head Delta Blues & Folk Art, Inc. www.brokeand hungryrecords.com www.cathead.biz DVD – 57 minutes CD- 15 tracks/48:14 Juke joints have been a major part of the history of blues music. In the early days, legendary blues performers like Robert Johnson and Son House regularly performed in backwoods shacks on weekends so that the local African-American population had a place to go to blow off steam, dance and forget about their hard scrabble existence. This culture prevailed for decade after decade, enjoying a revival in the 90's when musicians from the Mississippi hill country like R.L. Burnside
and Junior Kimbrough brought world-wide attention back to the Delta area and renewed interest in the juke joints. In 2008, Jeff Konkel of Broke & Hungry Records and Roger Stolle, founder of Cat Head Delta Blues & Folk Art, took a weeklong trip to the Delta region where they interviewed some of the best musicians working the jukes, men like Big George Brock and Robert “Bilbo” Walker. The material they gathered was used to create an award-winning documentary entitled M for Mississippi. Feeling like they had only told part of the story, Konkel and Stolle, along with filmmaker Damien Blaylock, made a return visit to the area last year to shift their focus to the juke joints and the people who operate them. What they discovered is a dying culture under siege from the economic downturn, the growth of casinos in the Delta region and a lack of jobs in the smaller communities that restricts the amount of cash that is available to support local businesses. Many of the jukes still in operation have switched to having DJs to play music instead of a live band, figuring that hiring one DJ instead of a 4-5 piece band is a smart business decision. One man bucks the tide. Red Paden, owner of Red's Lounge in Clarksdale, MS, has been dedicated to providing a home for blues music for more than thirty years. Paden has owned a number of clubs over the years, one of which was the Red Wine. Konkel & Stolle take Paden back to the club, now closed, and Red takes great pride in describing how he manage to make the Red Wine the place for music, effectively shutting down the competition. But Red's Lounge has been his mainstay location, where Paden books genuine blues bands every weekend. The DVD includes scenes from his club with bands laying down a relentless rhythm designed to fill the dance floor. Anthony “Big A” Sherrod drives that point home on the first track on the CD that is part of the package. Backed by James “Jabo” Nelson on bass and Frank Vick on drums, Sherrod exhorts members of the audience to get up and dance with anybody close by as he belts out the title cut and adds some of taut guitar licks. A second track finds “Big A” bragging his lovemaking abilities over a driving rhythm track. Big A & the All Stars are featured on several extended clips on the DVD. The changing juke culture is highlighted when Stolle and Konkel visit Po Monkey's Lounge in the middle of a cotton field near
Merigold, MS. Owner Willie Seaberry has been in the business for 55 years and wants no part of the hip hop clientele. While he remains committed to the blues, he hires DJs to provide the music for his patrons. Seaberry says the area around the club was once filled with other jukes that were eventually torn down. He survived because he keeps a tight rein on things. The same conditions exist in Shelby, MS where the Do Drop Inn has also shifted away from live bands. Paden gets space to expound on his philosophies of life and his passion for downhome music. He admits to losing a step to age but still gives musicians like Louis “Gearshifter” Youngblood a chance to sing and play guitar for an appreciative crowd. His solo version of “Get Rich and Marry You” is a highlight of the cd. Big George Brock talks about the clubs he used to run in the St. Louis area while Terry “Harmonica” Bean relates that as he travels through Europe, he finds plenty of people who know about Red's Lounge. Shots throughout the DVD show a predominately white audience. Bean delivers an intense performance on “Baby (Do Anything for Me)” that typifies the juke style as he sings, plays guitar and plays harmonica on a rack. One final trip takes viewers to the Blue Front Cafe in Bentonia, MS where Jimmy “Duck” Holmes tries to book blues or R&B bands every other weekend. Holmes will often get things started by playing a short set of brooding acoustic blues, as witnessed by his original tune ”Could've Been Married” on the CD. Other musicians featured include Robert Lee “Lil' Poochie” Watson on guitar and Hezekiah Early, who manages to play drums and harmonica at the same time. They generate a lot of heat on “You Know I Tried”. Elmo Williams and Early acknowledge the role of alcohol in the juke culture on “Jug of Wine”. This package offers a fascinating look at a culture that is a century old and now in danger of disappearing. Konkel and Stolle don't offer any solutions – nor do the various owners and musicians interviewed. Stolle does note that the traditional blues culture has lost its appeal to the traditional black audience. Whether anything can be done to preserve the culture remains to be seen. In the mean time, grab a copy of this package, get educated about juke joints, enjoy some raw, blues music and start planning your trip to Red's Lounge !! Reviewed by Mark Thompson
September-October 2012 Newsletter Editor Wanted Correction. Our newsletter editor has just finished his eighth year of newsletter production and he is looking for a new editor to replace him. Steve Jones has produced the last 48 regular issues plus a number of special editions for Blues In The Schools, holidays and other events and he’d like a break. The newsletter is formatted in Microsoft Publisher. The new editor can continue this format or develop a new one; we are flexible! If you would like to edit and layout the Crossroads Newsletter, the pay is nonexistent but the satisfaction is great. Contact Steve Jones at 779-537-4006 or sub_insignia@yahoo.com for more information. Luke's Dream Johnny Mastro & Mama's Boys Rip Cat Records 13 Tracks Johnny Mastro & Mama's Boys, a southern California blues band was formed in 1993 in the Los Angeles blues club Babe's & Ricky’s Inn, named after the club’s owner “Mama” Laura Mae Gross. She was Johnny's mentor with advice offered in her three lessons: finding your own sound, keen listening, and the importance of soul in music being the most influential. Revisiting the last ten years finds the band consistently playing 250 gigs each year in Southern California. In addition to touring with Johnny Mastro & Mama's Boys, Johnny has been a co-host of Big Blend's 'Rants, Raves & Rock'n Roll' radio show. They were selected to play at the Moulin Blues 25th Anniversary Festival in 2010. They have toured all through countries like Germany, France, Holland, Denmark, Belgium, and 2 weeks in the UK, playing the National BBC, the Burnley National Blues Festival, and the 100 Club. Europe is finding out what Southern California has known for years, that this is simply one of the best contemporary blues bands performing today! With Mastro's unique vocals and his Sonny Boy Williamson/Paul Butterfield fired harmonica sound, prepare yourself for this compelling blues sound, borrowing from the past and at the same time producing a heart -stopping, rough brand of contemporary blues. Johnny Mastro & Mama's Boys represent the essence of a hard-driven roots sounding band, creating blues music similar to the late Lester Butler and the California
Page 13 based blues group The Red Devils. That raw and dirty sound blended with the West Coast blues can be heard in a lot of their music. With the explosive slide guitar, guitar, and acoustic guitar of Smokehouse Brown, the vocals and harmonica of Johnny Mastro, the bass and acoustic bass of Michael Hightower, combined with drums from Jimmy Goodall, makes their latest release Luke's Dream one of the premier contemporary albums in the US and Europe. Luke's Dream opens with the Delta stomp "Luke's Stomp" that will captivate your soul. It's an infectious acoustic number with a haunting groove that you absolutely can't stop playing! "Thunder Roll" opens and continues with an unusual distorted groove, blended with sizzling slide guitar solos and Mastro's vocals and high-energy harmonica. "Knee High" is a explosive rocker featuring Kirk Fletcher and Smokehouse Brown both on guitar. Johnny's vocals are reminiscent of the late great Lester Butler with harmonica solos paralleled to those of Paul Butterfield on this tune. "Junker's Blues," a Jack Dupree tune with a gritty sound and Bo Diddley's "Roller Coaster," showcasing Mastro's superb harmonica work, are the only tunes that aren't original tunes. "Mr. JJ's" Man" is foot tapper with Mastro sounding more like Sonny Boy Williamson on harp. Peter Atanasoff and Smokehouse Brown both tear into the fretboard on the song "Hurt." "Tonight We Ride" and "My Rocket" have more of 60's blues sound, blended with that dirty, raw slide guitar sound that was typical of the legendary Elmore James. The original tune "The Light," sounds like a chapter taken right from the Los Angeles-based Red Devils. "Francine," with the high-energy distorted slide guitar and heavy, hard drivin' drum beat, would top any blues/rock chart. "Spider" is an acoustic tune sounding like it could have been resurrected right out of the Mississippi Delta. The CD concludes with the distorted guitar-driven song "Temperature," typical of the 60's psychedelic blues artists like Jimi Hendrix. The Long Beach, California blues group Johnny Mastro and Mama’s Boys will take you on a journey through time, as they have evolved into the masterful, innovative contemporary blues band that you will hear when you listen to Luke's Dream. One listen and you will captivated by this exciting blues group! Reviewed by Rick Davis I'm Gone Omar & The Howlers Big Guitar Music 12 Tracks Omar and the Howlers I'm Gone is Omar's 50th anniversary CD and represents the first Omar & the Howlers release with all new
material since his Boogie Man album in 2004. After working on his last two projects, On the Jimmy Reed Highway and Big Town Playboy, Omar was ready to return to the studio with Omar and Howlers to complete an original CD like none other in his career. As a result of playing music for 50 years, and being heavily influenced by genres like rockabilly, country, and blues, Omar Kent Dykes decided to release his new CD, which is a collection of music to commemorate his 50th year. He makes the statement "I wanted to put out a CD with everything I like on it. It includes rockabilly, country, and blues, which are genres of music that I grew up with." Joining him on the CD are Casper Rawls and Derek O'Brien on guitar, Wes Starr and Mike Buck on drums, and Bruce Jones and Ronnie James on bass. I'm Gone opens with the heart pounding rockabilly title track "I'm Gone" with fretwork from Dykes and Casper Rawls matching legends like Scotty Moore and Brian Setzer complete with the raw vocals typical of Omar Kent Dykes. "All About The Money" is a tune that could be right from the Jimmy Reed songbook. For the Johnny Cash fans, the country western gem "Drunkard’s Paradise" will meet your needs. "Wild And Free" will keep you tapping your feet to that Bo Diddley beat reminiscent to a tune on Omar and The Howlers Muddy Springs Road. "Down To The Station," a typical guitardriven Texas shuffle, featuring the Texas guitar veteran Derek O'brien, is instrumentally one the best cuts on the CD. Omar's superb solo guitar work is delivered on the instrumentals "Lone Star Blues" and "Omar's Boogie." Dyke's longing for the Lone Star State can be heard on the song "Goin' Back To Texas." The slow ballad "Let Me Hold You" will surprise Omar and The Howlers fans with something a little different for this blues based group. Omar returns to the rockabilly side once again with the tune "Move Up To Memphis." Dykes finishes the collection with a slow steady groove on the blues original "I'm Mad Again" and the swamp vocals synonymous with the name of Omar Kent Dykes. The final song "Take Me Back" is a recollection of going back to Mississippi with a perfect blend of all the influential music genres incorporated into one final tune. This long awaited studio CD has something for everyone. Omar and his band take a trip down memory lane, capturing 50 years of musical experience that remains as the Omar Kent Dykes legacy. Hopefully this legacy will continue for years to come! Reviewed by Rick Davis
Crossroads Blues Society Newsletter
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Crossroads Blues Society and the Downtown Byron Bar Association would like to say thank you to all of our Sponsors who helped make the 2012 BCBF such a great success! We appreciate your support in helping us keep the blues alive!
Platinum Platinum Gold Gold Gold Gold Gold Gold Gold Gold Gold Gold Gold Silver Silver Silver Silver Silver Silver Silver Silver Silver Basic Basic Basic Basic Basic Basic
Exelon Nuclear UAW Local 1268 King Blacktop Byron Bank Karlberg Tanning BluesBlast Magazine Byron Chamber Byron Forest Preserve City of Byron Cumulus 96.7 The Eagle E.A. Jones Design Underground Printing WDCB Chicago Methods Machine Tool Co. Steve and Annette Jones Brad Miller/Miller Electric Area Rental McDonalds of Byron RE/MAX Professional Advantage Thomason Machine Chicago Blues Guide WNIJ 89.5 FM Adriatic CafĂŠ and Blues Bar Caseys IMFS Lighting, Inc. King Sealcoat Kiwanis of Byron Jim & Sallie Krebs
Platinum sponsors gave at least $1,000 in cash, goods and services, Gold Sponsors gave at least $500, Silver Sponsors gave at least $200, Basic Businesses gave at least $100 and Basic Individuals gave at least $50.
Crossroads Blues Society Newsletter
Top Blues Releases August 2012 Sunday Morning Blues WKGL-FM 96.7 The Eagle Rockford, IL Robert Cray Band / Nothin But Love / Provogue Chris Smither / Hundred Dollar Valentine / Mighty Albert - Signature Sounds Omar & The Howlers / I'm Gone / Big Guitar Music Barbara Carr / Keep the Fire Burning / Catfood The Nighthawks / Damn Good Time / Severn Johnnie Bassett / I Can Make It Happen / Sly Dog - Mack Avenue Michael Burks / Show of Strength / Alligator Magic Slim & The Teardrops / Bad Boy / Blind Pig Taj Mahal / The Hidden Treasures of Taj Mahal 1969-1973 / Columbia Legacy Linsey Alexander / Been There Done That / Delmark Deanna Bogart / Pianoland / Blind Pig Janiva Magness / Stronger for It / Alligator Honey Island Swamp Band / Good to You / Threadhead
This list is submitted to Living Blues Magazine for inclusion in the August 2012 National Radio Chart. This list is compiled for actual radio airplay statistics. WKGL-FM broadcasts 2 hours of the blues per week. Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107
Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones Vice-President: Karl Dahlin Secretary: Bonnie Fox Treasurer: Al McNary Board of Directors: Denny Barker Rick Davis Rich Gordon Bob Haendler Terry Keller
sub_insignia@yahoo.com baile12@t6wireless.com bonitafx@gmail.com agm22@hotmail.com harkthebark@mchsi.com rick_davis_937@comcast.net usblue5@aol.com rhaendler@comcast.net terry@markpack.com
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www.thebluesblast.com The free internet blues magaDo You Want More Music Reviews? Our email newsletter has been expanded! The snail mail edition remains as it has been, 12 pages jammed with great stuff. First class postage constraints and color printing costs limit the hard copy format. We had been putting reviews that do not fit in the 12 page format on line, but we are now also going to include them in the PDF version of the newsletter. Since we are not restricted electronically, we want to give our email members a bonus. If you want to switch to email delivery, send an email note to us at sub_insignia@yahoo.com today! The Language of the Blues - From Alcorub to Zuzu Author – Debra Devi Foreword by Dr. John Guitar International Group, LLC Amazon Kindle/ 184 pages Have you ever heard an old blues song and been left a bit puzzled by some of the song's lyrics? We all have encounter phrases in songs that seem to speak a different language than what we encounter in our daily lives. Some lyrics reference a by-gone era that most of us have never experienced, so we are hard-pressed to understand them given that we lack the proper context. Thanks to punk rock guitarist Debra Devi, you now have a book that can serve as your Blues dictionary. First published in book form in 2006, this award-winning project provides readers with over 150 easy-to-read definitions that will definitely expand your appreciation for blues songs. The author first became interested in the music after being moved to dance at a Koko Taylor show in Milwaukee, followed a few weeks later by a equally stunning B.B. King performance. Eventually Devi became an associate editor for Blues Revue magazine, gaining an even greater appreciation for the imagery and history of the music.
Don't be put off by the term “dictionary” this is not a dry, scholarly treatise on the origin of language. Devi conducted interviews with a number of well-known blues artists including Little Milton, Hubert Sumlin, Robert Jr. Lockwood, and Jimmie Vaughan. It was the Sumlin interview that really inspired Devi as Hubert related a little-known tale about the song “Killing Floor”, written by Howlin' Wolf after his wife emptied a shotgun full of buckshot into him in a fit of jealousy. These stories and comments bring the definitions into greater focus. And the author does not shy away from the sexual references. You can read explicit explanations for “coffee grinding”, “lemon squeezer”, “salty dog” and “stingaree”. Devi did extensive research in putting this book together, as witnessed by her ten pages of notes listed at the end. She dug deep into the African tribal roots in many cases, tracing links to specific cultures while discussing how words retained a similar meaning in a new land after harrowing voyages on slave vessels. There are helpful readings on terms associated with the practice of hoodoo and VooDoo “black cat bone”, “goofer dust”, “John The Conqueror root” and “mojo hand”. In six pages, Devi offers a succinct description of “blues” and its African heritage that really forms the basis for the rest of the book. There are plenty of photos of legendary blues performers spread throughout the book, with many sure to be familiar to blues fans. Another bonus feature is the menu of songs and performers that accompanies each listing, songs that feature the word or phrase under consideration. Just be forewarned that you are going to have to have a very large collection of blues recordings to be able to play most of the material the author recommends. The only drawback is that some of the material is repeated in several definitions due to similarities in usage. In the end, Debra Devi provides insight, personal anecdotes and humor in a wellwritten format. If you want to increase your appreciation and enjoyment of the music, make sure you check out this “blues dictionary”. Reviewed by Mark Thompson
Crossroads Blues Society P.O. Box 722 Freeport, IL 61032 On the web at: www.crossroadsbluessociety.com/ Our blogs: News: http://crossroadsbluessociety. blogspot.com/ Music Reviews: http://crossroadsreviews.blogspot.com/ Email us at: sub_insignia@yahoo.com
Keeping the Blues Alive Blues on Local Radio WNIJ - 89.5 FM Friday evenings from 9 PM to midnight with Jerald Fitzpatrick 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 Gina and her band are coming back! Wednesday October 17th will be a great night and it’s early so no excuses! Schools are still being set up for the AM and PM sessions. If you’d like to come out to one or both, all members are welcome to attend. Just let us know in advance.
Membership Application www.crossroadsbluesociety.com Yes! I’d love to be a part of the Crossroads Blues Society! Name_____________________________________________ Phone_____________________________________________ Street Address___________________________________ City________________ State______ Zip Code________ Email Address____________________________________ New -orSend newsletter by:
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Please cut out or copy and mail this form and payment to: Crossroads Blues Society Bring this to P.O. Box 722 our next meeting Freeport, IL 61032 and get a free CD!