Rip Cat Records artist: Forty Fours - Twist The Knife - New Release review

I just had the opportunity to review the most recent release, Twist The Knife, from the 44's and it's hot! Opening with excellent, original instrumental track, Cutting Deep, the band holds a tight blues rally while lead guitar player, Johnny Main tears it up. Excellent style and chops makes this one of the coolest new tracks I've heard this year. With Eric Von Herzen on harp, Mike Hightower on bass, Gary Ferguson on drums and Junior Watson on guitar, this is a massive opener. On Howlin' Wollf''s Howlin', Main sings with a raspy, Wolf like voice and rolls immediately into a nice long guitar solo, also nicely worked over by Von Herzen on harmonica. Very cool. On Morganfield's Champagne and Reefer, Main sings soulfully and Von Herzen really has nice tone with an excellent harp solo. Very cool. Doyle Bramhall II's Rosie is up next with it's swampy drive and droning lower end. Main really takes advantage of this primal feel with wailing guitar soloing, complimented by Von Herzen's fat harp work. Very nice! James Harmon's Helsinki Blues is up next with it's even pace and low key bottom. Excellent vocals and stinging guitar riffs by Main make this another of the best tracks on the release. Very nice. Wrapping the release is T-Bone Walker's 44's Shuffle with a real nice intro by Von Herzen. Main's vocals are smooth and steady Von Hersen really digs in on this one with some of his nicest playing on the release. This is a great shuffle and a really solid closer for a strong release. 

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Rip Cat Records artist: John Clifton - In The Middle of Nowhere - New Release Review

I just had the opportunity to review the most recent release, In The Middle Of Nowhere, from John Clifton and it's quite good. Opening with the excellent, I'm Leaving You Baby, with it's firm Chicago romp style. John Clifton, former leader of MoFo Party Band, has his own gig and on lead vocal and harp, this gig is hopping. Backed by Scott Abeyta on guitar, Jake Finney on bass, Edward Fritz on drums, Bartek Szopinski on piano and John Shafer on tambourine and cowbell this band is tight. On shuffle track, If It Ain't Me, Clifton is howling on harp and his vocals are vibrant. I particularly like Szopinski's piano work and the fluid guitar soloing of Abeyta on this track. Very cool. Cool Spot In Hell is a good name for a laid back jazzy track in the middle of a hot set. Abeyta lays in some really nice lead runs and Szopinski's phrasing is terrific leading up to Clifton's own lush harp scape. Very nice. Four Years Ago is a great driving blues track with a heavy bottom. The contrast between Clifton's vocals and the bass work of Finney really adds raw tension. To really boost the mix, Clifton's relentless harp work sends this track over the top and Abeyta adds heat of his own making this one of my favorites on the release. Breaking way down on a slower blues track, So Tired I Could Cry, the band really gets a chance to wring every drop of blues from the release. Szopinski, Abeyta and Clifton each have their turn upfront and they make me sweat just listening. Wrapping the release is country fused, Honky Tonk Night Time Man with train like running rhythms by Fritz and genuine chickin pickin by Abeyta. 

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Rip Cat Records artists; Johnny & Jaalene - self titled - New Release Review

I just had the opportunity to review the most recent self titled release, Johnny & Jaalene and it's quite good. Opening with Phil Spector's Baby I Love You, Johnny Ramos, son of blues guitar player Kid Ramos and super 16 year old singer, Jaalene DeLeon, breathe fresh air into this 60's classic with solid vocals instrumentation and a great mix. Eddie Cochran's rockabilly tune Teenage Cutie has plenty of spark and tight guitar riffs giving it real oomph. 50's French tune, Let It Be Me, popularized in the US by the Everly Brothers is a real standout here with excellent vocal blending and clear, crisp guitar accompaniment. Lalo Guerrero's Los Chuco Suave is a natural here with excellent Latin styling and accordion by Jesus Cuevas. Excellent! Another huge 60's classic, Rosie (Hamlin) and the Original's Angel Baby is done with little alteration and is a perfect showcase for the purity of DeLeon's voice. featuring a nice sax solo by Ron Dziubla, this is a great retro radio track for the release. Jessie Mae Robinson's rocker, Let's Have A Party features some hot guitar riffs by Kid Ramos led by Deleon on lead vocal. Very cool. Wrapping the release is Danleers', One Summer Night with a twist of doowop (original), zydeco, punk and rock. I actually like this a lot better than the original cut with it's carefree lest. A cool, accordion flavoring by Cuevas and solid vocals by DeLeon make this a perfect closer for a strong new release.

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Rip Cat Records artist: Alastair Greene - Live from the 805 - New Release Review

I just had the opportunity to review the most recent release, Live from the 805, from Alastair Greene and it's a real rocker (and a double live rocker to boot)! Opening with blues rocker, The Sweetest Honey, Alastair Greene uses classic rock riffs to propel his band into orbit. Backed by Jim Rankin on bass and Austin Beede on drums, these guys are really rocking with excellent guitar soloing by Greene. On boogie track, Big Bad Wolf, Greene's strat has a classic grind and his vocal paired with Rankin are very cool with a ZZ Top edge.  With plenty of swagger and excellent guitar blues bends, 3 Bullets has a great feel. This track is made for Greene's guitar style, really bringing out his tight yet raw attack. Very cool. With a Bo Diddley riff and super fat slide guitar Greene gets a great groove going on Say What You Want. His slide finesse is nicely coupled with his solid vocals and the bands tight bottom. Another track with a cool feel is Love So Strong. Setting a firm footing for the track the band pulls it way back and Greene solos with very light backing. Fiery slide work is the ticket on blues fused Down To Memphis. With just a touch of country in Greene's vocals and a pounding beat by Rankin and Beede, this is a great track. Wrapping disc 1 is jazzy instrumental, Lucky 13. Greene really sets the torch on this one with hot fluid riffs. Excellent closer for disc one. Shuffle track, Back Where I Belong, has a great feel and again Greene really lights it up. Excellent! With a George Thorogood kind of feel, a lumbering bass line and grinding guitar riffs, Green send off the last Train Around The Sun. Using that droning bass line to full advantage, Greene steps up and hits the grand slam with soaring guitar solos and grinding vamps. Very nice. Another track that I really like is Rain Stomp with it's Led Zep like feel and vicious slide riffs. Big Boss Man gets a more modern bounce rhythm and reverb on the rhythm guitar but with straight ahead guitar ripping on the lead. Very cool. . Wrapping disc 2 and the concert is Walking In Circles with it's driving pace and rock solid bottom. With rabid slide guitar and the cohesive feel of the band, this is a terrific closer for a really strong release. 

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Rip Cat records artist: John Clifton - Nightlife - New Release Review

I just had the opportunity to review the most recent release, Nightlife, from John Clifton and it's solid gold blues. Opening with Charlie Musselwhite's Strange Land, John Clifton on lead vocal, harp and guitar, joined by Scott Abeyta on guitar, Matt Moulton on bass, John Shafer on drums and Brian Szopinski on piano set a solid old style groove. Lee Moses' excellent soul number, Sad About It is up next and Clifton's really plays it to the hilt. The band really sits on this one making it one of my favorites on the release. Little Walter's Long As I Have You is another top track with excellent vocals, super harp and excellent guitar soloing by Abeyta. Very nice. Cool original track, Swamp Dump has a smooth Latin blues feel with a nice tandem harp/guitar melody and easy rhythm. Jump track, How About That is an excellent instrumental with a driving bass line fluid lead guitar work along the lines of Gatemouth Brown and hot harp work leading the way. Very cool. Blues rocker, No Better Time Than Now, has a cool funky bass line and stylistic harp work that propels this track nicely. Wrapping the release is Every Now And Again, a slower blues but not without a sweet guitar solo to top off a really strong release.

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Rip Cat Records artist: Alastair Greene - Dream Train - New Release Review

I just had the opportunity to review the most recent release, Dream Train, from Alastair Greene and it's a smokin' rocker. Opening with title track, Dream Train, Greene on lead vocal and guitar, joined by Jim Rankin on bass and Austin Beede on drums really hit the road hard including fiery slide work by Greene. Big Bad Wolf is a great boogie rocker with grinding guitar rhythm and slashing solos. Excellent! Billy Gibbons penned, Nome Zayne  has a heavy bottom and cool pinched guitar harmonics. One of my favorite tracks on the release is blues ballad, Another Lie, featuring features Walter Trout on guitar and Mike Finnigan on organ and some of the best Greene guitar riffs on tape in a while. Excellent! Acoustic instrumental, Song For Rufus, shows Greene's guitar virtuosity with serious intent. An exceptional piece of recording and playing. Dare Devil is a cool 12 bar number with a nice solo from Dennis Gruenling on harp, Mike Finnigan on organ and of course Greene on guitar for one of the most balanced tracks on the release. Blues guitar super star, Debbie Davies joins Greene on funky rocker Grateful Swagger with both artists really ripping some great riffs. Tight bottom instrumental... very cool! A beautiful instrumental tune, Iowa shows colors of electric guitar in lead soloing over tom tom. This is a very nice presentation and a nice showcase for sensitivity and guitar craft. Thick power rocker, Down To Memphis,  adds super guitarist Mike Zito with a lot of girth. Very nice. Wrapping the release is jazz fused, Lucky 13, with snappy drums, a driving beat and fluid guitar runs. This is a great track to wrap a really solid release.

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Rip Cat Records artists: Blue Lunch - Above The Fold - New Release Review

I just received the newest release, Above The Fold, from Blue Lunch and it's lush! Opening with Ain't Trying To Kill Nobody, a cool groove with cool guitar work from Bob Frank and hot sax work from Chris Burge. With a cool story on vocals Frank makes for a cool track. On more laid back jazz track,  One Fine Day, Burge is joined by Bob Michael on trombone and Mike Rubin on trumpet for some real nice solo work. Pete London lays down cool harp work and Mike Sands on piano with Ramond DeForest on bass and Scott Flowers on drums make this a tight instrumental. Very nice! On boogie track The Long Game, London gets the chance to really blow out his harp and Frank takes a nice stretch on the fretboard. On swing track, Everybody's On The Phone, these guys really set a super groove with great harp work and solid vocals. Sands steps up with a cool piano solo coaxed along by the horn section. Excellent! On bluesy ballad, Woman I Bleed, the band pulls a nice contrast between a slow tear jerker and a hot swing. Frank sets the pace with his fast fingered guitar riffs. Very nice! No Time Like The Present opens with a strong big band sound featuring Burge, Michael and Rubin. Burge takes the lead and flies high on a super sax solo. Michael steps up right behind with smokin slide bone. Frank is tight on his heels with a cool jump solo of his own. Burge circles back as does Michael clearing room for hot riffs from Flowers and DeForest. Rubin rips a nice one of his own both open and muted. Hot! On spiritual/R&B styled track Where Do You Think It's Going, the band really hits it's stride with crisp vocals and warm organ work backing. London steps up on harp and with emphasis on bass and drums the band is almost in Ike and Tina land. Lake Erie Highball is another great jump track with hot horns. Michael is first up with his bone flaring. Burge slips in a never misses a step. With his warm sax tone and fluid runs, he's on fire. Excellent! Venita opens with beautiful chord work from Frank. A slow T-Bone Walker like track, this track oozes the blues. The horns are behind the vocals and Frank is at the ready with his blue jazz chords. Frank leads the way on this track instrumentally and plays those double stopped guitar riffs squeezing out the blues. Clocking in at over 6 minutes, this track seems to end too shortly. Very nice! With an almost calypso march, Love No More is short and sweet with tight horns and vocals. All I Needed is a classic pop ballad with standard jazz structure. An open invitation to radio airplay, the horns are strong and a super sexy sax solo by Burge sets the track off. Tossin' & Turnin' & Burnin has a bit of a Jimmy Reed feel but of course with a solid horn base. Burge again pulls out some super sax riffs and Frank fans the guitar with a tasty riff of his own. Vocal duet gives the track a more complex feel. Kattin' Around With Moe gets London back up front with harp and a cool blues swinger. Franks is chasing the beat on rhythm guitar and he and London duel their way down the blues trail. Very cool. Wrapping the release is the traditional Good News acapella with all male vocals - almost barbershop style. London, Frank, DeForest blend nicely for an memorable conclusion to another stellar release from Blue Lunch.  

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Obviously not from this release but a good representation of the band's work:

Rip Cat Records artist: Blue Lunch - The Blue Lunch Special - New Release Review

I just received the newest release (February 18, 2014), The Blue Lunch Special, from Blue Lunch. This is a compilation release but the debut on Rip Cat. A selection of hot tracks from previous releases spanning 15 years opens with Sideswiped, a cool rocker with hot horns from Keith McKelley (sax), Mike Rubin (trumpet), and Bob Michael (trombone), cool keys from Mike Sands and stinging guitar from Bob Frank. Cold Day Down Below has a real New Orleans style with luscious piano work from Sands. Nicely blended vocals from Pete London, Frank and bassist Raymond DeForest is tight over a Chuck Berry (Almost Grown) like delivery. Jump track Skin Bones and Hair really moves and a tight horn (sax by Frank Tischler) section compliments super vocals from Frank who also takes a really tasty guitar solo on this number. Cuttin Out is another jump style track with authentic backing vocals and vocal / guitar/ horn exchange. Tim Longfellow handles piano and Scott Flowers handles drums on this number. A very cool guitar solo caps this track. Very nice! The Fidget is a super instrumental number featuring London on harp. Horns blazing, and Mike Janowitz keeping things on top with drums this is a real toe tapper. IC Boogie is a cool piano rocker with nice horn work and a great bass line. One of my favorite tracks on the release it's too short! Jackie Brenston's Leo The Louse is a really cool jump track with great instrumentation. With flavors of Louis Jordan this track is way cool!  Kenny Leegrand plays a really hot solo on this track making it one of the choice tracks by fans for sure! Best I Can is more of a bluesy ballad featuring Frank on lead vocal and London on harp. Nice double stopped guitar work and clean articulation makes the solo on this track one of the must hears of the release. Deforest takes the lead vocal spot on Sixty Minute Man with his deep thundering voice. A simple track, it cool to hear Deforest step forward as he has a really cool voice. Robert Jr Lockwood's Little Boy Blue is a authentic delta style blues with a rag style twist. A simple laid back track it sets a nice opening for the next track to hit. Sonny Rollin's Tenor Madness is absolutely the hottest track on the release featuring a full out sax blowout featuring Keith McKelley, Christopher Burge and Tony Koussa. This track would make this release worth buying if it were the only track on it...and fortunately the rest is super as well. Excellent. Sands and Flowers do notable jobs on keys and drums which really add to the effects of this literal sax off! The Lonely One is a nice slow jazzy blues track featuring Frank on lead vocals and a sweet trumpet solo from Mike Rubin. Cleveland Ohio Blues is another snappy track with a cool back beat. T - Bone like guitar work from Frank and cool key work from Sands is nicely supported by Tischler on sax and Janowitz on drums. Monkey Hips & Rice has a vintage vocal harmony and Deforest's bottom is key. Sax Gorgon Beadle hits the note on sax on this track playing over the top! Ernie K Doe's Mother In Law is the wrapping track on the release. Everybody knows and loves this track and it's a perfect ending to a great release.

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Rip Cat Records artist: Gino Matteo - Sweet Revival - New Release Review

I just received the newest release, Sweet Revival, by Gino Matteo and it's quite interesting. Matteo, a So Cal based singer songwriter has put together 9 new tracks using his own unique style and voice. Opening with Here Comes The Lord, Matteo blends rock ballad with gospel and tops it off with clean guitar riffs and warm backing vocals for a overall cool track. Pulpit In The Graveyard takes clues from southern rock and Matteo really shows that his melody writing is up to his vocal talents. Coming Clean features Jason Ricci on harp and on a country rockin track Trevor Monks really holds down the bottom on drums with James Breker on bass. A nice groove and a great feel in vocal delivery from Matteo with great backing vocals from Jade Bennett, Steve Delgado and Sherri Pruitt. A unique approach to soloing is the key that binds the funk to the bottom on this track actually sounding more like Govt Mule than any other band I can think of. Take A Chance On Me opens with some really sweet piano work from Dave Kelley and Matteo plays guitar melodically opening a wide path for his vocals. primarily a ballad, this is really strongly composed and performed and possibly my favorite track on this release. Childhood Games is a uptempo blues rocker with a cool radio hook. This is a track that I could easily see being picked up as a TV or Movie theme song. Grandma Told Me opens with some really cool instrumentals on electric keys and guitar with heavy reverb. Played over the solitary sound of light percussion this heavily Latin influenced track is absolutely beautiful. Matteo's vocals blended at time as a duet is very soothing, contrasted by a controlled burn on open guitar soloing with hot Spanish styling. Excellent! The Longest Night blends the sounds of the Clash with surf guitar and creates once again a unique style with an 80's pinch. Matteo again shows that he's a finisher with guitar anthem soloing concluding this track. We Can Find A Way has a light funky / R&B rhythm and with the addition of B-3 takes on a little Stevie Wonder flavor but staying in the Latin vein. Another cool track that should easily find airplay. Listen To Your Mother closes the release with a quiet ballad with light keys and brushes on the bottom and crisp acoustic guitar soloing and dabs of textural harp work from Ricci to round out the sound. This is a cool, interesting release and one that could easily have multiple frequent radio play tracks.

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Rip Cat records artist: Mike Eldred Trio - Elvis Unleaded - New Release Review

I just received the newest release, Elvis Unleaded, from Mike Eldred Trio and it's a real rocker. Eldred (vocal and guitar), John Bazz (Bass) and Jerry Angel (drums)breathe new life into music from my dad's generation. Opening with one of my least favorite Elvis tracks ever, Burning Love, Eldred makes it sound fresh and plays a stirring guitar solo to boot. Up next is I Feel So Bad, which I have always identified with Little Milton and Foghat. I can't hear Elvis in it at all (which is good) and this is a true rocker and a great track. Rip It Up, another track that I identify more with Bill Haley or Little Richard is another great track. Eldred really works the rockabilly riffs on this track and the band is hot and tight. Gene Taylor plays some hot piano riffs on this track as well. Don't, more of a traditional ballad is nicely presented with authentic 50's style vocal backing. Bossa Nova Baby definitely has an Elvis sound.... like Eddie Murphy said, Elvis could sing about anything and make it sound cool. Eldred play it up and even ... back in with Scott Yandell on trumpet. Keeping the authentic era sound these boys rock it. Next up is Little Egypt, a track that I associate with the Coasters and Eldred really does a super number on this lost track. Jerry Donato smokes the sax and the track has all of the campy humor of the original but it's still a great track. On You're So Square, Eldred definitely captures Elvis for sure but not the old ballad Elvis or the young rocker but the movie Elvis. The enthusiasm which is produced by the band carries this track. Love Me, another ballad captures Elvis in his crooner era. You like nostalgia in music...this is it. Lawdy Miss Clawdy is a great old rocker and Eldred and crew find a great swing groove. Eldred adds a nice guitar interlude n this track as well. Treat Me Nice is really trademark Elvis style but Eldred again breaths freshness into the track while keeping much of the realism of the original backing. Girls, Girls, Girls... yeah ...what would Elvis think of next. Eldred keeps the track rockin and it really doesn't sound like a cover as much as a band playing authentic 50's music. Cool era correct guitar riffs help to reinforce the track. Donato puts icing on the cake with hot sax work. Nice job. Jailhouse Rock is an excerpt of Elvis at his best. Hell, even Jeff Beck covered this track. This is a great track and a great cover of a great track. She's Not You, I think is an old Lieber and Stoller track and has a real southern swing country sound to it. Excellent! Blackwell track Long Tall Sally is a great rocker and Eldred is relentless as a rocker. Gene Taylor plays great driving keys on this track and Eldred's vocals are a good as any. Jimmy Reed's Big Boss Man is up next and it actually sounds like Eldred doing Elvis doing Jimmy Reed. Donato does a really nice job on sax on this track and Angel keeps the bottom simple and clean. Fats Domino's One Night of Sin retains a lot of the Bayou but definitely has a dose of Elvis in it. Nice double stop rocking guitar riffs are the tops on this track. Witchcraft has a strong New Orleans sound but with a bit more of a rockin beat. Donato and Eldred both take some of the best of their solos on this track. Ok... Heartbreak Hotel... pretty hard not to sound like Elvis doing this track. Eldred does a nice job of keeping the song straight forward and not overemphasizing Elvis' singing techniques. I think this enhances the song as a whole. Again Taylor on piano does a nice job throughout this track. King Creole is performed with a lot of thought to making the best track and with minor rearrangements I like this much better than the original. Eldred again plays a really cool guitar solo on this track. Wrapping up the release is T-R-O-U-U-B-L-E, a fast rocker and Eldred and the band do a nice job of tying the set together. Never been a big Elvis fan but I did enjoy this quite a bit. If you like pure rock and roll...you will too!

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Rip Cat Records artist: Ron Dziubla - Nasty Habit - New Release Review

I just received the new release, Nasty Habit from Ron Dziubla and it's far out! I mean it's far out! This is a time machine musical trip with a man and his sax. Opening with Fine Time, Dziubla shows what sexy sax sounds like. An instrumental track when Dziubla isn't blowing the doors off, James Intveld is playing some mighty fine guitar riffs. Second up is Loose, a sax driven surf tune backed by Sam Bolle on bass and Pete Curry on drums. Get out your board moon doggie! (Stilladog ... check this one out! It's got your name on it!) Moan is a seductive sax ballad with some real grinding tone. Dziubla really groans this one out pulling out really great sounds. Featuring a nice light guitar solo this track could easily be a soundtrack from a 50's TV show. Slapped, another surf like rocker, showing hot sax riffs not seen on a blues record in such a collection in years. This track is also complimented by great guitar work from Intveld. The title track, Nasty Habit,continues in the surf vein but this time featuring R.J. Ronquillo on guitar and some really authentic riffs he has. Shaken and Stirred has a real burlesque sound to it and Dziubla really shows that he has really mastered the sax with great grind and breath control. If you like sax and you like blues...it's hard not to like this release. Lemon Drop Martini really has a 50's soundtrack sound and is likely to get revelers out on the dance floor. I'll be shocked if this track isn't played a lot and may even make a Tarantino movie... really! Classic Harlem Nocturne gets a really sweaty workout. With a richly written rhythm bottom, this track is a candidate high on the list for airplay. Spy Step, also a strong candidate for a TV theme song ... think the Munsters... is cool, driving and simple. Night Train, another classic R&B track gets a real honking work over. Dziubla plays this track like it's his own child shown for the first time. Great job! The release wraps up with Bordello, a smooth full throated sax ballad. Excellent choice for the wrap and a really solid composition and performance.  

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Rip Cat Records artist: Lisa Cee - My Turn - New Release Review

I just received the debut release, My Turn, by Lisa Cee and there are some hot riffs in here! The recording opens with a blues rocker, What Good Am I, along the lines of Messin' With the Kid. This track, featuring Cee vocal talents with heavy influence of R&B, gets the listener energized and ready for what's to come. Fire In The Sky has a funky beat and BR Millon takes a real nice guitar solo displaying great tone. Ron Dzuibla pushes up the bottom with his sax on this track. Lost You, a soulful bluesy ballad is up next giving Cee a great opportunity to lay it all out there and she does a really nice job. Scott Abeyta and Millon play some real soulful guitar riffs on this track. Good-Bye Baby has a solid Texas boogie style and again Abeyta and Millon team up to play some really hot guitar riffs. Fire is a really funky track with Dzuibla adding some over the top sax riffs on a cooking bass track laid down by Mike Hightower. My Turn is a quiet ballad with minimal accompaniment. A track that is highly airplay friendly with Abeyta adding nice slide guitar work. Cee does an interesting take on I'll Take You There, adding a little jazz and a little Latin guitar to an already swinging gospel style track. Likely the best overall track on the release, Right Man opens with a real nice harp solo from Johnny Mastro. A swinging blues track, gives Mastro the opportunity to stretch out a bit and Cee's voice is as comfortable on this track as most anywhere on the release. Stop Trying, a short radio player is again driven buy the funky bottom of Hightower and with drums by Albert Trepagnier Jr. Millon rips some strong accents on guitar on this track as well. Blues ballad Bright Shiny World, is strongly constructed along the lines of Albert Kings, As The Years Go Passing By. Cee shows her natural talent as a vocalist on this track, with some smooth B3 action by Edo Guidotti and nice ripping guitar work from Millon. Cold Hearted Woman takes a march down Bourbon Street with smart jazz march drumming from Trepagnier Jr. Millon again has a real nice spot to show his touch as a guitarist, not dominating the track but very tasty. Evil Mind has that smokey, funky R&B sound and Cee blends her voice nicely into the mix. Again I like the quiet soloing of Millon under the tune carried by Hightower and Trepagnier Jr. who also add backing vocals. Cee steps into the mist covering a sacred cow, White Rabbit (Grace Slick). She does a nice job on this track and the horn work of Dziubla is really cool. Already Free is a solid acoustic style vocal ballad with Chris McCarthy on cello. This is not a blues track but I think it may be my favorite vocal work on the release. All in all a very interesting release.
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 favorites band! -  ”LIKE” Although not off of the release, a fair example of Cee's work.

News from 3 Sunz Consulting and Management

POUR YOURSELF A GLASS OF ALLIGATOR WINE! (ANAHEIM, ORANGE COUNTY, USA!) K.K. Martin Takes the blood out of an alligator, Takes the left eye out a fish, Takes the skin off of a frog,  mixes it all up in a dish and gets his  Newest Video Release: Alligator Wine KK Martin is a blues guitarist, singer and songwriter in the true spirit of the Mississippi Delta. He is a musicians musician, a true Delta Blues Artist. Weaned on Jimmie Rodgers, Hank Williams, Robert Johnson, Blind Lemon Jefferson and a host of others who influenced his mom and dad and the music they played all their lives. Alligator Wine is the newest video release from his recently remastered Rip Cat Records CD, Naked Blues II   Alligator Wine

About 3 Sunz Consulting and Management We are a Social Media/Website Management and Music Consultation Service. K.K. Martin is one of the clients whose career we manage.

KK Martin www.kkmartin.com  www.facebook.com/kkmartinplaystheblues  3 Sunz Consulting and Management Rick Snyder www.facebook.com/3sunzconsulting

Kiss Me When I Kiss - Whiteboy James and The Blues Express feat. Catfish

Something amazing happens the moment you witness a White Boy James show. You’ll either: Tap your toes maniacally. Dance until the soles burn off your shoes. Or both.

Having just completed their second album, Whiteboy James and the Blues Express are a detonative force to be reckoned with. Since reuniting in 2006 after a five year absence, the crew has reestablished themselves as the legendary band they were during the Southern California blues explosion of the ’80s and ’90s. Whiteboy James brings a mesmerizing, driving and sonic stage presence to the table. Combine that with three gifted, well-seasoned musicians…and chances are, chairs at one of their shows simply won’t be necessary.

James Page was born in Compton, California and spent most of his formative years bouncing around sunny Southern California. As a youngster, he listened to whatever music he could get his hands on. But his musical influences changed radically when he first heard his uncle’s Deep South rhythm & blues and country vinyl. Although “Whiteboy” found it difficult to fit into the Southern California “Beach Boy” culture by which he was surrounded, his heart, soul and ears were dialed into the likes of Cab Calloway, Louis Jordan, Sam “Lightning” Hopkins, and Big Joe Turner – as well as the usual suspects: Elvis, Jerry Lee Lewis, Bob Wills and even Spike Jones.

By the mid 1980s, also known as the peak of the Southern Californian blues explosion, blues bands were forming everywhere — from garages and backyard parties to all night blues jams in various beer-soaked nightclubs. During this time, “Whiteboy” James had several tunes in his repertoire and was willing and ready to sit in, sing, jam, crush and blow some harmonic sounds with whoever had the “cajones” to invite him up on stage. And good thing, too, because his tenacity paid off in spades. A few of the takers included The Mighty Flyers, William Clarke, James Harman, The Blasters (Phil and Dave Alvin), Johnny Dyre, Joe Houston, Little Charlie and the Night Cats, Top Jimmy and Juke Logan, to name just a few.

It was at one of these jams that the original Blues Express was formed. Soon thereafter, this raucous foursome was jamming, gigging and grinding all over the Southern California blues circuit. “Whiteboy” James became quite the buzz on blues stages and dance floors across the southland. People couldn’t ignore this entertaining “jump and jive” madman who, not unlike his boyhood hero Cab Calloway, strutted the stage leading a top blues band, but dressed in a trench coat (as opposed to Cab Calloway’s tux and tails – talk about a dichotomy!) ”Whiteboy” James and the Blues Express continued to play throughout the 1990s and after a well-deserved break, they’re back and as unruly as ever. Simply put, you don’t “listen” to “Whiteboy” James and the Blues Express. You experience it. You feel it. You dance on a lot of broken glass.
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RIP CAT RECORDS WELCOMES THE NEW YEAR WITH THE BLASTERS AND LOTS MORE

Los Angeles, Calif.--The Rip Cat Records slogan “Our Cats Rip!” is spot-on, especially now that the world-class roots-rock band The Blasters has joined the label. At a time when the rosters of most blues labels are filled with well-meaning but jaded, uninspired musicians, Scott Abeyta’s young label thrives with artists that explode with creative energy. Showcasing many of the best musicians in Southern California, Rip Cat had a fine 2011--superlative releases, extensive radio play and print/cyberspace media coverage, great public response-- and the momentum has carried over into 2012.

The Blasters—singer-guitarist Phil Alvin, guitarist Keith Wyatt, bassist John Bazz, drummer Bill Bateman--have recorded their first album since 2005 and it will be released May 17th. The Mighty Mojo Prophets, leading advocates of West Coast jump-blues, have been nominated for a prestigious Blues Music Award in the “Best New Artist” category. The 44s have their second album “Americana” coming your way on April 15th, produced once again by Kid Ramos, they’ll be touring nationally and internationally this spring and summer; noteworthy too: they were named “Blues Band of the Year” by the online magazine American Blues News. Johnny Mastro & Mama’s Boys, a hard-charging band that tours Europe to much acclaim when not playing West Coast venues, have a new album which will be released on May 17^th along with The Blasters. Not least, City Hall Records, a good friend to leading independent labels, will continue to distribute Rip Cat releases in North America, Europe, Japan, and in Australia.

Rip Cat’s affiliation with The Blasters is a big deal. Abeyta has known the band members for years, and not long ago he had a casual conversation with Phil Alvin about the record business. The band’s front man got excited when Abeyta spoke of his refreshingly respectful treatment of label artists—the Rip Cat boss takes a recoupable amount of money out of his end, the record company’s, rather than from the musicians’ royalties. Alvin later called him to say The Blasters were planning a tour and they wanted to have a new album available to sell to fans. Not suspecting Alvin had an interest in joining the Rip Cat family, Abeyta explained to him his method of recording, mixing, and getting a record ready for release. Abeyta recalled: “Phil asked me if I had time to help. I said, ‘For you, I’d take a few days off from work [his day job].’ He said, ‘OK, let’s do it!’ and I [replied], ‘Are you talking about releasing this on Rip Cat?’ ‘Phil said, ‘Oh, yeah!’” Soon they were in the studio, working on what turns out to be The Blasters’ most blues-oriented album ever, their passion for the 12-bar music at the same sky-high level as their ardor for rockabilly and other roots-music styles central to their glorious sound.