VizzTone artist: Bob Corritore & Friends - High Rise Blues - New Release Review

 I just had the opportunity to review the most recent release, High Rise Blues from Bob Corritore & Friends and I really like it. Opening with Last Time featuring Jimmy Rogers on vocal and guitar, this band is in the groove. With Chico Chism on drums, SE Willis on piano, Johnny Rapp on guitar, Bruce Lopez on bass and Bob Corritore on harmonica, this is a solid opener. Title track, High Rise Blues, features Chism on vocal and he does a great job.  Rapp is joined by Luther Tucker who rips some great guitar riffs backed by Gordo Moraga on bass and Chism on drums. Chicago blues, Honey Where You Going has a great feel with Corritore upfront on harmonica joined by Sam Lay on vocal and drums. Rapp and Chris James on guitar Patrick Rynn on bass round on this great track. Pinetop Perkins is featured on vocal and piano leading Grinder Man. His quiet yet firm vocal style provides great balance for his deliberate piano style and Corritore gets the harmonica humming on this one. With Brian Fahey on drums, Rynn on drums and James on guitar, it's a solid Pinetop track. Willie Big Eyes Smith  leads off on She's Alright, a Morganfield classic with Corritore punctuating the lead. Joined by Rapp on guitar, and Fuzz Jones on bass, classic Chicago. Shuffle, Sail A Ship features Eddie Clearwater on vocal and guitar with Chris James on guitar, Rynn on bass and Hiller on drums. Closing the set is Caught In The Act, with Lil Ed on guitar and lead vocal. Ed lays out some really nice guitar soloing, trading with Rapp, Corritore adds harmonica, all backed by Paul Thomas on bass, and Chism on drums. Strong closer.

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

BLUESCENTRIC.COM ANNOUNCES LAUNCH OF NEW PRODUCT LINES

FOLLOWING OTIS REDDING ESTATE AND STAX RECORDS AGREEMENTS

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

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

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

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

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

Hey Bo Diddley - BO DIDDLEY

He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range. But even more important, Bo's bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling. Before taking up blues and R&B, Diddley had studied classical violin, but shifted gears after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound." Billy Boy Arnold, a fine blues harmonica player and singer in his own right, was also playing with Diddley when the guitarist got a deal with Chess in the mid-'50s (after being turned down by rival Chicago label Vee-Jay). His very first single, "Bo Diddley"/"I'm a Man" (1955), was a double-sided monster. The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff. But the result was not exactly blues, or even straight R&B, but a new kind of guitar-based rock & roll, soaked in the blues and R&B, but owing allegiance to neither. Diddley was never a top seller on the order of his Chess rival Chuck Berry, but over the next half-dozen or so years, he produced a catalog of classics that rival Berry's in quality. "You Don't Love Me," "Diddley Daddy," "Pretty Thing," "Diddy Wah Diddy," "Who Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover" -- all are stone-cold standards of early, riff-driven rock & roll at its funkiest. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, "Say Man," that came about almost by accident as the pair were fooling around in the studio. As a live performer, Diddley was galvanizing, using his trademark square guitars and distorted amplification to produce new sounds that anticipated the innovations of '60s guitarists like Jimi Hendrix. In Great Britain, he was revered as a giant on the order of Chuck Berry and Muddy Waters. the Rolling Stones in particular borrowed a lot from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things also covered Diddley standards in their early days. Buddy Holly covered "Bo Diddley" and used a modified Bo Diddley beat on "Not Fade Away"; when the Stones gave the song the full-on Bo treatment (complete with shaking maracas), the result was their first big British hit. The British Invasion helped increase the public's awareness of Diddley's importance, and ever since then he's been a popular live act. Sadly, though, his career as a recording artist -- in commercial and artistic terms -- was over by the time the Beatles and Stones hit America. He would record with ongoing and declining frequency, but after 1963, he never wrote or recorded original material on par with his early classics. Whether he'd spent his muse, or just felt he could coast on his laurels, is hard to say. But he remains a vital part of the collective rock & roll consciousness, and occasionally reached wider visibility via a 1979 tour with the Clash, a cameo role in the film Trading Places, a late-'80s tour with Ronnie Wood, and a 1989 television commercial for sports shoes with star athlete Bo Jackson. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

I'M A MAN - Bo Diddley

Ellas Otha Bates (December 30, 1928 – June 2, 2008), known by his stage name Bo Diddley, was an American rhythm and blues vocalist, guitarist, songwriter (usually as Ellas McDaniel), and inventor. He was also known as "The Originator" because of his key role in the transition from the blues to rock & roll, influencing a host of acts including Buddy Holly, Jimi Hendrix, The Rolling Stones, The Velvet Underground, The Who, The Clash, The Yardbirds, and Eric Clapton. He introduced more insistent, driving rhythms and a hard-edged guitar sound on a wide-ranging catalog of songs. Accordingly, he was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation and a Grammy Award from the National Academy of Recording Arts and Sciences. He was known in particular for his technical innovations, including his trademark rectangular guitar.
Bo Diddley died on June 2, 2008 of heart failure at his home in Archer, Florida. Garry Mitchell, a grandson of Diddley and one of more than 35 family members at the musician's home when he died at 1:45 a.m. EDT (05:45 GMT), said his death was not unexpected. "There was a gospel song that was sung (at his bedside) and (when it was done) he said 'wow' with a thumbs up," Mitchell told Reuters, when asked to describe the scene at Diddley's deathbed. "The song was 'Walk Around Heaven' and in his last words he said 'I'm going to heaven.'"

His funeral, a four-hour "homegoing" service, took place on June 7, 2008, at Showers of Blessings Church in Gainesville, Florida and kept in tune with the vibrant spirit of Bo Diddley's life and career. The many in attendance chanted "Hey Bo Diddley" as a gospel band played the legend's music. A number of notable musicians sent flowers, including: George Thorogood, Tom Petty, and Jerry Lee Lewis.[27][28] Little Richard, who had been asking his audiences to pray for Bo Diddley throughout his illness, had to fulfill concert commitments in Westbury and New York City the weekend of the funeral. He took time to remember Bo Diddley, his friend of a half-century, performing his namesake tune in his honor.

After the funeral service, a tribute concert was held at the Martin Luther King Center, also in Gainesville, and featured performances by his son and daughter, Anthony McDaniel and Evelyn Kelly, long-time background vocalist Gloria Jolivet, co-producer Scott "Skyntyte" Free, Diddley's touring band, The Debby Hastings Band, and guest artist Eric Burdon.

In the days following his death, tributes were paid to him by then-President George W. Bush, the United States House of Representatives, and an uncounted number of musicians and performers, including Eric Burdon, Elvis Costello, Ronnie Hawkins, Mick Jagger, B. B. King, Tom Petty, Robert Plant, Bonnie Raitt, George Thorogood, Robert Randolph and the Family Band, the Black Lips and Ronnie Wood. He was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music and in its "People in America" radio series about influential people in American history, the Voice of America radio service paid tribute to him, describing how "his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him." Mick Jagger stated that "he was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones. He was very generous to us in our early years and we learned a lot from him." Jagger also praised the late star as a one of a kind musician, adding, "We will never see his like again. As his bass player Debby Hastings said: he was the rock that the roll was built on."

The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley's last on-camera interview.

In November 2009 the guitar used by Diddley in his last-ever stage performance sold for $60,000 at auction.
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