Sweet-Sounding Guitar Ace Dave Widow Is Tommy Marsh's Guest At Wednesday's Ventura County Blues Society Jam At The Tavern

    Tomorrow Night! Wednesday, December 12  

Catch The Sweet Sounds Of L.A. Guitar Ace Dave Widow As He Joins Host 

Tommy Marsh and Bad Dog At SoCal's Best Weekly Blues Jam At The Tavern 

                                                                

  (VENTURA) - Like your Blues with a touch of R&B and a little bit of Soul? Then tomorrow night is for you, as sweet-sounding guitarist/vocalist Dave Widow joins Tommy Marsh and Bad Dog as Special Guest at SoCal's best and most talked-about weekly Blues Jam, Wednesday, December 12 at The Tavern in Ventura. 211 E. Santa Clara Ave.; 8-11 p.m.; no cover. Info: (805) 643-3264. Sponsored by the Ventura County Blues Society.

 

                    What The Press Is Saying About Dave Widow & His New CD,  

                                              Waiting For the World To End  

"Waiting For The World To End" contains fourteen fantastic songs that will keep you grooving track after track...from great vocals to fabulous horns and clever lyrics, they are a tight band! Don't forget about the great axe work by Dave. I am impressed."              WAYNE REINHART/BLUES E-NEWS                                            

"Dave Widow has put together a great lineup of musicians on Waiting For The World To End. 'Piss You Off,' like a lot of the album, has a heavy dose of Soul /R&B stirred in to the blues stew. We've all been there...we've all done that. This song plays out a slice of every-man's life. Dave uses his vocals to express his pain and plays some stinging guitar riffs to make his point."         BMANS BLUES REPORT  

"If you're a Blues lover and dig the same things I dig, you are gonna LOVE Dave Widow's new CD "Waiting For The World To End"...fourteen original tracks laid down by top-notch professionals including Chicago Blues legend Barry Goldberg, Mike Finnegan, Bill Champlain, James Gadsen and Gary Mallaber...from traditional Blues cuts to Californicated styles you hear creeping in, "Waiting For The World To End" is well-produced and engineered. You'll want to buy this one."          CASEY REAGAN/AMERICAN BLUES NEWS            

        

   Tommy Marsh & Bad Dog In The (Blues) News: Check out a brand-new interview with Tommy (gotta love the headline - "Tommy Marsh: Damn Good Music For Damn Good Folks") in European online music publication, Mixalis Blues: http://blues.gr/profiles/blogs/an-interview-with-californian-tommy-marsh-blending-the-blues    

  

                             

                                           

 https://www.facebook.com/pages/Tommy-Marsh-and-Bad-Dog/187328757996121?ref=ts&fref=ts  

      

Ventura County Star - Feature  

All Access Magazine - Interview/Feature

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!

Miles Smiles - Darryl Jones

Wallace Roney (trompeta, discípulo de Miles Davis), Rick Margitza (saxo con Davis en 3 discos y en directos), Joey DeFrancesco (órgano Hammond B3, fichado por Davis con 17 años), Robben Ford (guitarra, con Davis en el 86 y concierto en Montreux), Darryl Jones (bajo, tocó con Davis en los 80′s y dos de sus discos, y luego bajista de The Rolling Stones) y Omar Hakim (batería, aprendió con Davis antes de Weather Report, Sting, Chic, Bowie y muchos más) Darryl Jones (born December 11, 1961), also known as "The Munch", is an American bass guitarist. Jones began his notable career as a session musician, where he gained the experience and confidence to play with some of the most highly regarded recording artists, in jazz, blues, and rock music. Most recently, he has been best known in his role as primary bassist for The Rolling Stones since Bill Wyman's departure in 1993. Jones was born in Chicago, Illinois. As a youth, his father, a drummer, supported his musical interests and initially taught his son to play the guitar. A neighbor who was a bassist convinced Darryl to switch to playing the bass instead. Jones attended Southern Illinois University Carbondale. One musician that Jones first played with in his studio sessions was the nephew of noted jazz musician Miles Davis, Vince Wilburn Jr. He told Jones that Davis was looking for a new bass player, and vouched for him. Jones called Davis, who gave him his first touring gig, and for some years he was mentored by Davis, having joined his band in 1983. As a young protégé, Jones played bass guitar on the Miles Davis albums Decoy (1984) and You're Under Arrest (1985). Jones has worked with jazz recording artists who include Herbie Hancock's Headhunters, Mike Stern, John Scofield, and Steps Ahead, as well as touring pop and rock artists Cher, Sting, Peter Gabriel, Madonna, Eric Clapton and Joan Armatrading. Jones performing with the Miles Davis band, Palais des Congrès, Paris, 1983 Jones has performed and recorded with The Rolling Stones since founding bassist Bill Wyman's retirement in 1993. In the manner of other tour and recording sidemen for the band, such as saxophonist Bobby Keys and keyboardist Chuck Leavell, Jones' stage movement and audience interaction is low-key and he generally wears understated apparel on stage. He is a salaried employee and does not share financial participation in the band's worldwide publishing, recording and concert touring revenues. He is also a member of the Stone Raiders musical band. 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”

Things About Coming My Way - Diamond Jim Greene w/ Lamont Harris

I was born and raised on the south side of Chicago until I was 12. My family moved a lot spending time in Alabama, Georgia, Ohio, Kansas and West Virginia. I have performed in numerous blues band configurations over the years including with the Southern California-based, all acoustic, “Blues Ambassadors” during the mid 1980’s. Even while with the Blues Ambassadors I performed gigs solo or with just a harmonica player. For the last 25 years, I have pretty much performed unplugged and solo, or with a harmonica player and/or upright bass and sometimes piano and tuba. The late John Cephas with Phil Wiggins, the late John Jackson, the late Archie Edwards, Paul Geremia, Roy Bookbinder, all of whom I had the pleasure of meeting and playing with during the mid 1980′s, remain constant influences as does fellow Chicagoan, the late “Honeyboy” Edwards. I have toured extensively throughout Europe since 1995, spreading the good news about acoustic blues on major festival stages in the U.S. and abroad, including multiple years in the Chicago Blues Festival; the Long Beach Blues Festival and several years in the International Blues Festival at Lucerne, Switzerland, to name but a few. My instruments of choice are prewar National Steels and 12 string guitars. At most of my gigs I play my Nationals plugged in or in front of an SM-57 Microphone. I have had the unbelievable pleasure of opening shows for James Cotton, Buddy Guy, the late Ike Turner, Otis Clay, the late KoKo Taylor, John Hammond, Duke Robillard, the late John Cephas & the still alive Phil Wiggins, Saffire (the Uppity Blues women), Sherman Robertson, Joe Louis Walker, Mississippi Heat, Lonnie Brooks, and a host of other well-established blues performers. 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”

Try a Little Tenderness - Otis Redding & The Bar-Kays

The Bar-Kays are a popular soul, R&B, and funk group who began performing in 1966 and continue to perform today, although with only one original member. The group had dozens of charting singles from the 1960s to the 1980s, including "Soul Finger" (U.S. Billboard Hot 100 number 17, R&B number 3) in 1967, "Son of Shaft" (R&B number 10) in 1972, and "Boogie Body Land" (R&B number 7) in 1980. The Bar-Kays began in Memphis, Tennessee as a studio session musician group, backing major artists at Stax Records. They were chosen in 1967 by Otis Redding to play as his backing band. On December 10, 1967, Redding, his manager, and band members Jimmy King (born 1949; guitar), Ronnie Caldwell (born 1948; electric organ), Phalon Jones (born 1949; saxophone), and Carl Cunningham (born 1949; drums) died in a plane crash in Lake Monona while on their way to a performance in Madison, Wisconsin. Trumpeter Ben Cauley survived the crash and bassist James Alexander was on another plane, since there were eight members in Redding's party and the chartered plane could only hold seven. Cauley and Alexander rebuilt the group. The re-formed band consisted of Cauley; Alexander; Harvey Henderson, saxophone; Michael Toles, guitar; Ronnie Gorden, organ; Willie Hall, drums and later Larry Dodson (formerly of fellow Stax act The Temprees), lead vocals. The group backed dozens of major Stax artists on recordings afterwards, including Isaac Hayes's Hot Buttered Soul. Cauley left the group in 1971, leaving Alexander, Dodson (vocals, vibes), Barry Wilkins (guitar), Winston Stewart (keyboards), Henderson (tenor sax, flute), Charles "Scoops" Allen (trumpet), and Alvin Hunter (drums) to create the 1971 Black Rock album. Lloyd Smith joined in 1973 and the band changed musical direction during that decade to have a successful funk music career. With the Stax/Volt label folding in 1975, the group signed with Mercury Records. In 1976, Dodson (vocals), Alexander (bass), Lloyd Smith (guitar), Allen (trumpet), Henderson (saxophone), Frank Thompson (Trombone), Stewart (keyboards), and Mike Beard (drums) brought their Shake Your Rump to the Funk track into the R&B Top Five. In the Fall of 1977, the group came out with Flying High on Your Love, an album that featured Shut The Funk Up as a "near-perfect disco song punctuated by the funky horn triumvirate of Charles "Scoop" Allen." In 1983, Sherman Guy and Charles Allen left the group just before the group took a more commercial direction. Nonetheless, the Bar-Kays continued to have hits on R&B charts well into the 1980s. Marcus Price was also a member of the Bar-Kays, until he was murdered coming from rehearsal in 1984, a crime never solved by the Memphis police. The band took a hiatus in the late 1980s, but regrouped in 1991, with Alexander once again being the only original member involved. Since 1991, Larry Dotson, Archie Love, Bryan Smith, and Tony Gentry has been added to the group. Alexander's son is the award-winning rapper and record producer, Phalon "Jazze Pha" Alexander, who was named after deceased band-member Phalon Jones.[citation needed] Bryan Smith's son is concert promoter T.J. Smith. 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! Please click Video to watch Viceo

You Made Me So Happy - Joe Moss Band

Few up and coming young blues performers walk the walk to the degree of Chicago-based guitarist/bandleader JOE MOSS. One of the hardest-working performers on the Windy City circuit, Moss routinely works up to 28 gigs a month. His sound, a winning mix of blues and R&B flavors paired with original songwriting vision, can be heard blasting out of Chicago venues like Buddy Guy's Legends and House of Blues on a regular basis. His stinging guitar and accomplished vocal style have won him fans citywide. His debut CD "The Joe Moss Band" (212 Records) gives ample proof to the rest of the world of what Midwest blues fans have known for some time: JOE MOSS is for real. A guitarist since the age of 15, Moss was given his passport into the blues world by Buddy Scott, who noticed Moss at a jam session at Rosa's Blues Lounge on Chicago's west side. Soon, Moss was playing seven nights a week as a member of Buddy's Rib Tip band. In 1992, Joe toured Spain with Buddy and also recorded "Bad Ave." with him as well. The record was released on Polygram's Verve Gitane Blues label. Moss' guitar skills quickly became notorious on the local scene and made him an in-demand sideman. He played countless gigs with nearly every bluesman and -woman in the city. Some of his past employers include Zora Young, Charles Wilson, Lil' Smokey Smothers, Syl Johnson, Big Time Sarah, Barkin' Bill Smith, Lefty Dizz, Magic Slim, A.C. Reed, Billy Branch, and Little Mack Simmons. Not merely a local hotshot, Joe has backed these artists in places like Canada, Turkey, Switzerland, Holland, Belgium, France, and Germany as well as in Chicago. Not content to remain on the side, Joe felt the pull to be his own man and lead his own band. This desire led to the birth of both The Joe Moss Band and the CD of the same name. Moss is finally able to do things his way and express the music he has been writing. Original tunes like "Coldhearted," "Good Lovin' Groove," and "Jealous" are sure to win over fans of blues, blues/rock, and R&B. Not one to be media-shy, either, Joe has been featured in Gig Magazine, Vintage Guitar, Living Blues, the Chicago Tribune, the Kenosha News, and In The Mix Magazine. He has also received airplay on WLUP 97.9 FM, WXRT 93.1 FM, and WCBR 92.7 FM. JOE MOSS is one representative of the future of the blues. Not just an imitator of the music's glorious past, he strives to find his own sound and material within the styles he chooses to play. His band features some of Chicago's finest blues musicians and Joe himself is a consistent and entertaining performer. Blues fans would be wise to check out JOE MOSS and his band as soon as they can. Any worries about this music surviving in the new millennium will surely be put to rest. 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!

Tore My Heart - Barry Darnell and the Mobile Slim Band

Mobile Slim was born to a boogie-woogie ivory-tickling mother and a construction-working harmonica-playing father in the segregated Southern gulf coast: Mobile, Bay St. Louis, and New Orleans. He eventually moved to Georgia, where he played juke joints and honky tonks all over the Southeast, and sang for spare change on the streets of Underground Atlanta. Ever the rolling stone, he spent several years in Mississippi, where Jesus strummed a funky chord in his soul and inspired Mobile Slim to become a minister of the Lord. He preached in many churches throughout the area, and meanwhile wrote a newspaper column and became active in the Civil Rights movement. But Mobile Slim was still restless. He returned to the blues rhythm he had found in Georgia, this time to Macon, where he continued to make music and live out his groove. Things were pretty mellow, until Mobile Slim suddenly vanished after playing a gig downtown. Some people close to him reported that a few months before his disappearance he became very moody and secretive. He would be gone all night and return at ungodly hours in the morning. No one knew where he went during this time. He had been known to hang with some pretty cool cats at Wild Bean Recording Studio, and one day, a mysterious unlabeled tape was found there, and it was put on the stereo. First there was nothing, and then out came a blast of the funkiest rhythm and blues anyone could ever dream of, a six-course serving of soul food for the soul. They knew immediately what it was: the last known recording of Mobile Slim. 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!

The Jeremiah Johnson Band w/The Sliders

Don’t be fooled by the baby boy good looks. With lyrics like “I was born in a tavern on the banks of the Mississippi” and a horn section that hammers the groove, Jeremiah Johnson is the new face of Mississippi River blues. Walk into a gin joint in St. Louis and you’ll likely hear the familiar “blues” sound that made the area famous. It’s lyrics about the struggles of daily living with the hallmark blues style guitar that rips at your soul and soothes the spirit.Johnson takes that rich heritage but also blends influences that shaped his rugged youth like Eric Clapton, Jimmy Hendrix, BB King, Albert Collins, Albert King, Johnny Winter, Alvin Lee from Ten Years After, Les Paul, Chet Atkins, and Hank Williams Sr. and Jr., to name just a few. On top of a rich gumbo of solid songwriting, Johnson kicks it up a notch with The Sliders, Jim Rosse (trumpet) and Stuart Williams (sax). In their 25-year tenure together, The Sliders have toured with Little Feat, Johnnie Johnson, Bob Weir of Rat Dog, and have played with too many great players to mention them all. Paired together with The Jeremiah Johnson Band, you get an energized entertainment experience that will put the honky tonk in major venues to come. 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!

Secret Records release:Trouble Up The Road - Ike Turner - New Release Review

I just received a copy of Trouble Up The Road, Volume 3 in a series of recordings from the career of Ike Turner. Volume 1 in this series, That Cat Sure Can Play 1951-1957 and Jack Rabbit Blues 1958 - 1960 were earlier released by Secret Records and this recording demonstrates that there is a wealth of material that is so important that Ike was involved with. Included along with the 26 track CD is a 9 page liner notes with a cool documentary section as well as a discography and some cool photos. Some of my favorites are I Idolize You (Ike and Tina Turner) with raw vocals and shimmering guitar work, Trouble Up The Road (Jackie Breston with Ike Turner & his Kings of Rhythm) a straight uptempo blues track and super vocals, My Man Rock Head (Eloise Carter), I Can't Believe (Jimmy and Jean with Ike Turner) getting into the R&B/rock fusion, I'm Hurtin' (Billy Gales), Poor Fool (Ike and Tina Turner) with the classic shout to start the lead vocal/backing vocal echo , What Kind of Love (Ernest Lane) just at the edge of R&B and Blues with a cool honkin' sax solo, the classic Don't Throw Your Love On My So Strong (Albert King) delivered with all of the power you'd expect from Albert and his Flying V, You Can't Love Me (Ike & Tina Turner) a classic R&B ballad showing Tina maturing as a controlled singer, Sleepless (Ike and Tina Turner) showing strong influences toward soul music and early James Brown styling and wrapping up with Chances Are (Ike and Tina Turner) which shows the maturity of Tina as a singer in just a year. This is not just a documentary of one man's work and in my opinion not just some money grubbers trying to squeeze the last few dimes out of a great reputation. This is really strong stuff that deserves to be heard by a much larger audience. 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”

Caravan's 40th anniversary UK tour starts January 8

JANUARY 2013 UK TOUR
Plus special guest Garron Frith

Tickets on sale Monday June 18th
24hr Box Office: 0844 478 0898
www.eventim.co.uk

40th Anniversary tour of their seminal 1973 album
"For Girls Who Grow Plump In The Night"

Caravan, the quintessential precursors to the British Prog Rock movement, have announced a very special UK Tour that kicks off on January 8th 2013 at London’s prestigious Queen Elizabeth Hall, at the Southbank Centre.
The UK tour will see Caravan celebrating the 40th Anniversary of what many critics regard to be the quintessential prog album of all time; 1973’s “For Girls Who Grow Plump In The Night”. Tickets for the tour go on sale Monday June 18th from the 24 hour box office - 0844 478 0898, www.eventim.co.uk.

Caravan, featuring original founding member and chief songwriter Pye Hastings (guitar, lead vocals,) and Geoffrey Richardson (Viola, Guitar, Flute) will perform a number of songs from their aforementioned critically acclaimed 4th album. The show will also include songs from “In The Land Of Grey And Pink”, plus other songs spanning their dazzling career.
Caravan are considered by many to be the undisputed, unsung heroes of the British Prog movement. Often quoted as being one of the most formidable acts to emerge from the '60s progressive rock scene, over the years they have managed to achieve cult status and have maintained a passionate and diehard following.

Originally formed in Canterbury in 1968, Caravan were at the heart of the 1970s burgeoning Canterbury rock movement, and produced their own brand of “superior pop music, full of taste, craftsmanship and hard work” (New Musical Express) and packed venues worldwide. 
The current Caravan line-up includes Pye Hastings (1968 founding member: guitar, lead vocals), Geoffrey Richardson (joined 1972: viola, guitar, flute, vocals), Jan Schelhaas
(keyboards), Jim Leverton (bass, vocals) and Mark Walker (drums, percussion).

CARAVAN
JANUARY 2013 UK TOUR
Plus special guest Garron Frith

24hr Box Office: 0844 478 0898
www.eventim.co.uk

LONDON QUEEN ELIZABETH HALL
Tuesday 8th January
Tickets: £25.00
Box Office: 0844 847 9910
Doors: 7pm / Stage: 7:30pm
Format: Seated
Queen Elizabeth Hall at Southbank Centre, SE1 8XX
www.southbankcentre.co.uk

CAMBRIDGE JUNCTION
Wednesday 9th January
Ticket Price: £22.50
Box Office number: 01223 511 511
Doors: 7pm / Stage: 8pm
Format: Seated
Clifton Way Cambridge CB1 7GX
www.junction.co.uk

WOLVERHAMPTON ROBIN
Thursday 10th January
Tickets: £20.00
Box Office: 01902 401 211
Doors: 7.30pm / Stage: 8pm
Format: Standing
20-28 Mount Pleasant, Bilston,
Wolverhampton, WV14 7LJ
www.therobin.co.uk

GATESHEAD SAGE
Saturday 12th January
Ticket Price: £22.50
Box Office number: 0191 443 4661
Doors: 7.30pm / Stage: 8.00pm
Format: Standing / Seated
St Mary's Square, Gateshead Quays,
Gateshead, NE8 2JR
http://thesagegateshead.org

EDINBURGH QUEEN’S HALL
Sunday 13th January
Tickets: £22.50
Box Office: 0131 668 2019
Doors: 7pm / Stage: 7.30PM
Format: Seated
85-89 Clerk Street,
Edinburgh, EH8 9JG
www.thequeenshall.net

SALFORD LOWRY
Monday 14th January
Tickets: £22.50
Doors 7.30pm / Stage 8pm
Format: Seated
The Lowry, Pier 8,
Salford Quays, M50 3AZ
www.thelowry.com

BRIDPORT ELECTRIC PALACE
Wednesday 16th January
Tickets: £22.50
Box Office: 01308 424901
Doors: 7pm / Stage: 8pm
Format: Seated
35 South Street, Bridport, Dorset, DT6 3NY
www.electricpalace.org.uk

BATH KOMEDIA
Thursday 17th January
Tickets: £22.50
Box Office: 0845 293 8480
Doors 7.30pm / Stage 8pm
Format: Seated
22-23 Westgate Street, Bath, BA1 1EP
www.komedia.co.uk/bath

TAVISTOCK THE WHARF
Friday 18th January
Tickets: £20.00
Box Office: 01822 611166
Doors: 8pm / Stage: 8.30pm
Format: Standing
Canal Street, Tavistock, PL19 8AT
www.tavistockwharf.com

FALMOUTH PRINCESS PAVILION
Saturday 19th January
Tickets: £22.50
Box Office: 01326 211222
Doors 7.30pm / Stage 8pm
Format: Seated
Melvill Road, Falmouth, TR11 4AR
www.princesspavilion.co.uk

CONNECT WITH CARAVAN

CARAVAN – OFFICIAL WEBSITE
www.caravan-info.co.uk

CARAVAN - OFFICIAL FACEBOOK
www.facebook.com/OfficialCaravan

CARAVAN - OFFICIAL TWITTER
www.twitter.com/officialcaravan

CARAVAN - OFFICIAL YOUTUBE
www.youtube.com/officialcaravan

 

Congratulations Carolina Chocolate Drops!

Carolina Chocolate Drops nominated for Grammy! Music Maker Next Generation artists and Board Members the Carolina Chocolate Drops have been nominated for a Grammy for their recording "Leaving Eden." This is the second nomination in the Best Folk Album category for the group, the first, in 2010, resulted in a win for their album "Genuine Negro Jig." The Drops have received acclaim internationally for their take on traditional folk music, and for drawing attention to the African-American contributions to American folk and traditional music. Don't miss the Grammys on CBS, 8pm February 10th! Good luck Drops! Ben Payton partners with Music Maker! Music Maker first met up with Ben Payton when working with him at the Southern Mississippi Roots Festival in October. Now, Ben is coming to our neck of the woods, and will perform at Hillsborough music venue Billsborough on 12/13 from 8-10pm! Scott Baretta, from Living Blues, says, "Ben Payton, from Brandon, Mississippi, has his roots in Chicago's Blues scene - playing with musical acts ranging from Bobby Rush to jazz pianist Randy Weston until the late 70's.  He returned to music in the early 2000s. He has since recorded two albums, performed in Europe, and appeared at prestigious venues across the States. Payton writes many of his own songs but is also keenly interested in exploring - and exposing to new audiences - the music of Mississippi's blues pioneers." Don't miss the Billsborough show on 12/13 - located at 106 South Churton Street in Hillsborough. See you there! Leyla McCalla launches Kickstarter to fund her new album! Music Maker Next Generation artist Leyla McCalla, currently on tour with the Carolina Chocolate Drops, has launched a Kickstarter campaign to fund her new album, Vari-Colored Songs. It was featured as a staff pick on Kickstarter's main website this week! As Leyla describes it, the album is "an album of songs written to Langston Hughes' poetry, Haitian folk songs and original compositions."    Leyla received a $3000 grant from the Louisiana State Arts Council, but that only covers some of the costs. She needs to raise at least another $5000 to begin work on the album in January.  Leyla needs help to make this recording a reality and you can help! Check out her campaign here!   Keep up with Music Maker!        Support Music Maker, and help keep the music alive!  Upcoming Shows: Click here for more info on upcoming events  12/13- Ben Payton - Billsborough, Hillsborough, NC 12/14 - Ironing Board Sam - The Depot, Hillsborough, NC 12/15 - Beverly "Guitar" Watkins - Northside Tavern, Atlanta, GA 12/27 - Beverly "Guitar" Watkins - Steve's Live Music, Sandy Springs, GA 12/31 - Beverly "Guitar" Watkins - Fatt Matt's Rib Shack, Atlanta, GA 12/31 - Cool John Ferguson - First Night, Raleigh, NC 1/04 - Boo Hanks - The Eddy Pub, Saxapahaw, NC 1/13 - Ironing Board Sam - NC Museum of History, Raleigh, NC 2/01 - Ironing Board Sam - The Eddy Pub, Saxapahaw, NC   Music Maker Relief Foundation, Inc. helps the true pioneers and forgotten heroes of Southern music gain  recognition and meet their day to day needs. We present these musical traditions to the world so American culture will flourish and be preserved for future generations.

ROLLING AND TUMBLING - EDDIE ONE STRING JONES

In most blues reference books, the name Eddie Jones refers to the given handle of the New Orleans guitarist better known as "Guitar Slim." But this time, we take pause to relate what little information exists on another Eddie Jones, this one a street musician situated in Los Angeles' Skid Row. Eddie "One String" Jones was, by no stretch of the imagination, a professional musician. Nor, like his more famous namesake, was he even a guitar player. Had it not been for his chance discovery by folklorist and ethnic musicologist Frederick A. Usher in February of 1960, it's a pretty safe bet that no recorded document of him would probably exist. Usher was in Los Angeles' Skid Row section on business with an associate when he was accosted by two panhandlers. One of those two men (Jones) was holding a rough cut 2'x4' plank, a homemade one-stringed instrument of the crudest construction. After a bit of cajoling from Usher, Jones reached into his pocket and fished out the other two working tools he used to make music with the board, a half-pint whiskey bottle to slide with and a carefully whittled stick to bang the single string with in place of a guitar pick. The sound was raw, jangly, and chaotic, as far removed from normal slide or bottleneck techniques as Usher (or anyone else) had ever heard. This was evidently a direct tie to the African instrument known as the "diddleybow," but Jones' technique with the stick gave the music an otherworldly edge, multiple tones to be derived from a single note, and a total departure from what most folklorists had previously known about the instrument. Sensing that Jones was a modern-day link to an African art form long since dissipated, Usher was bowled over and ran back home as fast as he could to grab his portable tape recorder. After hooking up to a nearby store's electricity in a deserted back alley, Usher made the first recordings of Eddie "One String" Jones. But Jones's lifestyle as a homeless person made all attempts by Usher to mainstream him into folk music circles a virtual impossibility. "One String" was most secretive about his technique, the origin of the instrument, even his given name, which -- it turns out -- could have been Eddie Jones or Jessie Marshall. After scheduling two more informal recording sessions (one of which he appears to be a no-show) and a chance to play for a group of Usher's friends in Hollywood, Jones slipped back into obscurity and has eluded all modern-day blues detective work to even try and append his bio with a date of his death. If there's a romantic, mystery figure in blues history, Eddie "One String" Jones would certainly be at the top of the list. 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”

Take Me Back - Linda Hayes

Linda Hayes (born Bertha Williams, December 10, 1923, Linden, New Jersey) is an American jazz, and R&B singer. Sister of The Platters' lead singer, Tony Williams, in the early 1950s she recorded two singles backed by the Red Callender Sextet, with Callender on (bass), Maxwell Davis (tenor sax), Floyd Turnham (baritone sax), Chico Hamilton (drums) and Monroe Tucker (piano). The first, "Yes I know", entered the Billboard R&B chart on February 7, 1953 and reached #2 (behind The 5 Royales' hit "Baby Don't Do It"), while the second single, "What's It to You" / "Atomic Baby" was recorded in spring 1953. In late 1954 and early 1955 she recorded a series of singles for King Records with The Platters as backing. She was also backed by Big Jim Wynn's Band. In the mid 1950s she headed the billing of the Hollywood Records Revue, which also included Roy Brown, Johnny "Guitar" Watson and the Tommy Jones Orchestra. She would later record in 1956 with the Earle Warren Orchestra and in 1959 with the Ray Scott Band. 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”

Trouble Don't Last - Guitar Slim

Eddie Jones (December 10, 1926 – February 7, 1959), better known as Guitar Slim, was a New Orleans blues guitarist, from the 1940s and 1950s, best known for the million-selling song, produced by Johnny Vincent at Specialty Records, "The Things That I Used to Do". It is a song that is listed in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Slim had a major impact on rock and roll and experimented with distorted overtones on the electric guitar a full decade before Jimi Hendrix Eddie "Guitar Slim" Jones was born in Greenwood, Mississippi, United States. His mother died when he was five, and his grandmother raised him, as he spent his teen years in the cotton fields. He spent his free time at the local juke joints and started sitting in as a singer or dancer; he was good enough to be nicknamed "Limber Leg." After returning from World War II military service, he started playing clubs around New Orleans, Louisiana. Bandleader Willie D. Warren introduced him to the guitar, and he was particularly influenced by T-Bone Walker and Clarence "Gatemouth" Brown. About 1950 he adopted the stage name 'Guitar Slim' and started becoming known for his wild stage act. He wore bright-colored suits and dyed his hair to match them, had an assistant follow him around the audience with up to 350 feet of cord between amplifier and guitar, and would occasionally get up on his assistant's shoulders, or even take his guitar outside the club and bring traffic to a stop.[citation needed] His sound was just as unusual — he was playing with distorted guitar more than a decade before rock guitarists did the same, and his gospel-influenced vocals were easily identifiable. He got together with Muddy Waters in Los Angeles, California for some lively playing. His first recording session was in 1951, and he had a minor rhythm and blues hit in 1952 with "Feelin' Sad", which Ray Charles covered. His biggest success was "The Things That I Used to Do" (1954). The song, produced by a young Ray Charles, was released on Art Rupe's Specialty Records label. The song spent weeks at number one on the R&B charts and sold over a million copies, soon becoming a blues standard. It also contributed to the development of soul music. He recorded on a few labels, including Imperial, Bullet, Specialty, and Atco. The recordings made in 1954 and 1955 for Specialty are his best. His career having faded, Guitar Slim became an alcoholic, and then died of pneumonia in New York City at age 32. Guitar Slim is buried in a small cemetery in Thibodaux, Louisiana, where his manager, Hosea Hill, resided. 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”

JAN AKKERMAN

Jan Akkerman (born 24 December 1946) is a Dutch guitarist. Akkerman is a distinctive guitar player, constantly experimenting with new equipment and guitars. Akkerman's distinctive sound is characterised by his pioneering use of volume swells which produce a smooth, fluty, sustained tone, and other complex techniques such as sweep picking, tapping, and high-speed alternate picking. He also pioneered the use of the lute in a rock band, reflecting his interest in medieval and Renaissance music and culture. He first reached world acclaim in the 1970s when he was seen as the core of the Dutch rock band, Focus, together with Thijs van Leer. Akkerman was born near the Waterlooplein, in the center of Amsterdam, the son of a scrap iron trader. At age five he took guitar lessons and his first single was released in 1960, when he was thirteen years old. He was a member of Johnny and his Cellar Rockers, The Hunters (with whom he scored the 1966 Dutch pop hit "Russian Spy and I") and Brainbox (which also garnered several Dutch hit singles, including a cover of Tim Hardin's "Reason to Believe"). Akkerman joined the Thijs van Leer Trio in late 1969 which, as the nascent band Focus was the pit band for the Dutch theatrical production of "Hair" (recorded as an album in 1969). Continuing under the name Focus, the band explored the progressive rock genre (an amalgam of classical, jazz, and rock music in short and extended instrumentals) and scored a few worldwide hits in the seventies (the singles "Hocus Pocus" and "Sylvia" and the certified Gold albums "Moving Waves" and Focus III). In 1973 Akkerman was chosen 'Best Guitarist in The World' by the readers of the UK magazine, Melody Maker. His standing was such that he teamed up with manufacturer Framus to produce one of the first 'signature' guitar models. In early 1976 Akkerman left Focus and continued his solo career, and collaborations with other musicians. The concept album "Eli", recorded with Kaz Lux on vocals, won the Dutch Edison Award for best album in 1976. A brief Focus reunion with Thijs van Leer in 1985 came in the form of several concerts supported by an album which turned out to be unsuccessful. The classic Focus lineup also reunited in 1990 for the Dutch television program "Goud van Oud" (Old Gold) for one last time. Akkerman continued to produce several albums. At the same time he was active as a session musician with André Hazes and others. He also played alongside Vlatko Stefanovski, Alan Price, Herman Brood, Peter Banks, Phil Collins, Jack Bruce, Charlie Byrd, Ice-T, Paco De Lucia, and B.B. King. In 1992 he was involved in a serious car accident, but resumed playing in 1993. In the late 1990s, after an absence of nearly 20 years, he was persuaded to tour the UK again and has continued to do so on a regular basis. He writes for the Dutch magazine, GitaarPlus. In 2011, Akkerman released his latest album, "Minor Details". 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 Hear The Blues - Victoria Spivey

Victoria Spivey (October 15, 1906 – October 3, 1976) was an American blues singer and songwriter. During a recording career that spanned forty years, from 1926 to the mid 1960s, she worked with Louis Armstrong, King Oliver, Clarence Williams, Luis Russell, Lonnie Johnson, and Bob Dylan. She also performed in vaudeville and clubs, sometimes with her sister, Addie "Sweet Pease" Spivey. Among her compositions are "Black Snake Blues", "Dope Head Blues" and "Organ Grinder Blues". In 1962 she initiated her own recording label, Spivey Records. She was born Victoria Regina Spivey in Houston, Texas, United States, the daughter of Grant and Addie (Smith) Spivey. Her father was a part-time musician and a flagman for the railroad; her mother was a nurse. Her sisters were Addie "Sweet Peas" Spivey (1910–1943), also a singer and musician, who recorded for several major record labels between 1929 and 1937; and Elton Island Spivey (1900–1971), who also followed a professional singing career. Spivey's first professional experience was in a family string band led by her father in Houston. After Grant Spivey died, the seven-year-old Victoria played on her own at local parties and, in 1918, was hired to accompany films at the Lincoln Theater in Dallas. As a teenager, she worked in local bars, nightclubs, and buffet flats, mostly alone, but occasionally with singer-guitarists such as Blind Lemon Jefferson. In 1926, she moved to St. Louis, Missouri, where she was signed by Okeh Records. Her first recording, "Black Snake Blues", did well, and her association with the record label continued. She made numerous Okeh sides in New York until 1929, then switched to the RCA Victor label. Between 1931 and 1937, more recordings followed on the Vocalion and Decca labels, and, working out of New York, she maintained an active performance schedule. Spivey's recorded accompanists included King Oliver, Louis Armstrong, Lonnie Johnson, and Red Allen. She recorded many of her own songs, which dwelt on disease, crime and outré sexual images. The Depression did not put an end to Spivey's musical career; she found a new outlet for her talent in the year of the crash, when film director King Vidor cast her to play "Missy Rose" in his first sound film, Hallelujah! (1929). Through the 1930s and 1940s, Spivey continued to work in musical films and stage shows, often with her husband, vaudeville dancer Billy Adams, including the Hellzapoppin' Revue. In 1951, Spivey retired from show business to play the pipe organ and lead a church choir, but she returned to secular music in 1961, when she was reunited with an old singing partner, Lonnie Johnson, to appear on four tracks on his Prestige Bluesville album, Idle Hours. The folk music revival of the 1960s gave her further opportunities to make at least a semblance of a comeback. She recorded again for Prestige Bluesville, sharing an album Songs We Taught Your Mother with fellow veterans Alberta Hunter and Lucille Hegamin and began making personal appearances at festivals and clubs. In 1962, Spivey and jazz historian Len Kunstadt launched Spivey Records, a low-budget label dedicated to blues and related music. They recorded prolifically such performers as Sippie Wallace, Lucille Hegamin, Otis Rush, Otis Spann, Willie Dixon, Roosevelt Sykes, Big Joe Turner, Buddy Tate and Hannah Sylvester, as well as newer artists including Luther Johnson, Brenda Bell, Washboard Doc, Bill Dicey, Robert Ross, Sugar Blue, Paul Oscher, Danny Russo and Larry Johnson. In March 1962, Bob Dylan contributed harmonica and back-up vocals, accompanying Victoria Spivey and Big Joe Williams on a recording for Spivey Records. The recordings were released on Three Kings And The Queen (Spivey LP 1004) and Kings And The Queen Volume Two (Spivey LP 1014). (Dylan was listed under his own name on the record covers.) In 1964 Spivey made her only recording with an all-white band: the Connecticut based Easy Riders Jazz Band, led by trombonist Big Bill Bissonnette. It was released first on an LP and later re-released on compact disc. Spivey married four times; her husbands included Ruben Floyd and Billy Adams. Victoria Spivey died in New York on October 3, 1976, at the age of 69, from an internal hemorrhage. 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!

Red House - Jon Butcher

Grammy-nominated Jon Butcher is one of a select handful of influential recording artists comprising the legendary Boston music scene. MTV vids and hit songs, "Life Takes A Life" ,"Wishes", "Holy War", "Goodbye Saving Grace", "Miracles", "Send Me Somebody" comprise the underpinnings of a recording/ touring career that continues today. Two critically acclaimed CD's, "Positively The Blues" and "Electric Factory" mark Jon's enduring love affair with all things Americana- blues, jazz, Dixieland, folk, swing, Cajun and more. Recorded with colleague and longtime friend Charlie Farren, "FBI", the self-titled Farren Butcher Incorporated CD continues the relationship Jon has had with earthy, guitar drenched R&B. Including two re-written/ re-recorded hits from their respective early careers, the songs on "FBI" are explosive, cinematic and deftly recorded at Farren's Boston-based FMansion Studios. Additionally Jon and Charlie appear as celebrity Judges on the Emmy Award-winning tv broadcast, Community Auditions. Jon's ELECTRIC FACTORY provides film score, soundtrack and music licensing services for television and film companies looking for something decidedly unique. With it's launch at FOX in 1991, ELECTRIC FACTORY has provided music for all of the major network/cable television carriers through shows like; the currently running hit show, Shameless (Showtime), United States of Tara (Showtime), Ugly Betty [ABC], The Simpsons (Fox), Six Feet Under (HBO), Deadwood (HBO), My Name Is Earl (NBC), and many more. 2012 is already a busy year for Jon Butcher and ELECTRIC FACTORY. With a discography of 17 international CD releases, international critical and Guitar Press acclaim and a hit TV show preparing for its third season it's hard to argue the point. Share the Vision. 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!

Messin' With The Kid - Junior Wells

Junior Wells (December 9, 1934 – January 15, 1998), born Amos Wells Blakemore Jr., was an American Chicago blues vocalist, harmonica player, and recording artist. Wells, who was best known for his performances and recordings with Muddy Waters, Earl Hooker, and Buddy Guy, also performed with Bonnie Raitt, The Rolling Stones, and Van Morrison Junior Wells was born in Memphis, Tennessee, United States, and raised in West Memphis, Arkansas, though other sources report that his birth was in West Memphis. Initially taught by his cousin, Junior Parker, and Sonny Boy Williamson II, Wells learned how to play the harmonica by the age of seven with surprising skill. He moved to Chicago in 1948 with his mother after her divorce and began sitting in with local musicians at house parties and taverns. Wild and rebellious but needing an outlet for his talents, he began performing with The Aces (guitarist brothers Dave and Louis Myers and drummer Fred Below) and developed a more modern amplified harmonica style influenced by Little Walter. In 1952, he made his first recordings, when he replaced Little Walter in Muddy Waters' band and appeared on one of Muddy's sessions for Chess Records in 1952. His first recordings as a band leader were made in the following year for States Records. In the later 1950s and early 1960s he also recorded singles for Chief Records and its Profile Records subsidiary, including "Messin' with the Kid", "Come on in This House", and "It Hurts Me Too", which would remain in his repertoire throughout his career. His 1960 Profile single "Little by Little" (written by Chief owner and producer Mel London) reached #23 in the Billboard R&B chart, making it the first of two Wells' singles to enter the chart. Junior Wells worked with guitarist Buddy Guy in the 1960s, and featured Guy on guitar when he recorded his first album, Hoodoo Man Blues for Delmark Records. Wells and Guy supported the Rolling Stones on numerous occasions in the 1970s. Although his albums South Side Blues Jam (1971) and On Tap (1975) proved he had not lost his aptitude for Chicago blues, his 1980s and 1990s discs were inconsistent. However, 1996's Come On in This House was an intriguing set of classic blues songs with a rotating cast of slide guitarists, among them Alvin Youngblood Hart, Corey Harris, Sonny Landreth and Derek Trucks. Wells made an appearance in the film Blues Brothers 2000, the sequel to The Blues Brothers, which was released in 1998. Wells continued performing until he was diagnosed with cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells died in Chicago, after succumbing to lymphoma on January 15, 1998, and was interred in the Oak Woods Cemetery, Chicago. Wells was mentioned in the Steppenwolf song, "Tighten Up Your Wig", in which the lyrics explicitly state that they copied the music from Junior Wells' tune, "Messing with the Kid". 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!

John Henry - Carolina Chocolate Drops w/ Joe Thompson

It is not widely known in this day that the fiddle and banjo were commonly played by African Americans from slavery times to well into this century. The two instruments in combination once provided much of the dance music for the balls and frolics of both white and black Southerners. And thousands of dance tunes--waltzes, schottisches, and reels--were adapted and composed for the fiddle and banjo. Scholars have long established the African origins of the banjo, the prototype of which was made of hollow gourds and animal hides. The fiddle, of course, is the familiar name for the European violin, which was brought by early settlers from the British Isles and Germany. No one knows exactly when or how the instruments were first played together, but it was a marriage of two radically different cultural traditions, giving rise to one of America's first truly indigenous musical forms. Joe and Odell Thompson were among the few "old-time" stringband musicians who remained active in the South. They were first cousins who made their homes near the Alamance and Orange County line north of Mebane. Born and raised on farms in the area (Odell in 1911; Joe in 1918), they grew up helping their parents tend crops of tobacco, cotton, corn, and wheat. Music-making was much valued in their households, and the sounds of the banjo and fiddle could be heard often in the evenings and on weekends, whenever the work was done. Their fathers, Walter and John Arch Thompson, were constantly sought after by neighbors, black and white, to play for square dances. The Thompson boys soon began performing at Saturday-night dances with their dads. Joe recalled taking his position in the doorway between rooms filled with dancing couples. "We were playing [four- and eight-hand square dance] sets--I was only seven years old. We had straight chairs, and my feet couldn't touch the floor. And we were running them folks, man, a half an hour." As popular tastes in music and dancing changed through the years, there was less call for fiddlers and banjo players. Joe played his fiddle at dances and parties throughout the 1920s and '30s, while Odell took up the guitar and learned the blues. But their love of the old-time dance music persisted in more private settings, and they continued to perform favorite traditional standards such as "Georgia Buck" and "Hook and Line" at home and family reunions. The early 1970s brought a revival of interest in African American folk music traditions. The Thompsons were "discovered" by folklorists who encouraged them to play publicly again, only this time for predominately white audiences at folk festivals and special events. They appeared at the National Folk Festival at Lowell, Massachusetts, the Festival of American Fiddle Tunes in Washington state, and at New York's Carnegie Hall. They received a N. C. Folk Heritage Award in 1991. Until Odell's untimely death in 1994, the Thompsons’ playing was as inspired and vigorous as ever, thanks in large part to the love and support of their wives, Susie and Pauline. Their dynamic instrumental styles and soaring vocals packed plenty of punch and brought attention to the rich tradition of African American stringband music in the South. Joe Thompson received the National Endowment for the Arts Heritage Fellowship in 2007 and continued to play his fiddle for appreciative audiences in North Carolina into his 90s. He passed away in February 2012. 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!

Can I Reach Johnnie Taylor - Paul Harrington with Smokey Logg

Smokey Logg is fine blues guitar player, harp player, vocalist, and song writer who has called Dallas home since the early 80's. Not content to wait for someone else to produce his albums, Smokey has put out four good albums on his own Gila Monster label. He's opened for a who's who of Blues including B.B. King, Bobby Bland, Buddy Guy, John Mayall, Albert Collins, and just about anyone else you can name. You can often catch him around town with harmonica wizard Paul Harrington. 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!

Helpless - Ollie Jones

Combined into one oversized threat of a songwriter, some might call it a "du-ollie-ity," Ollie Jones (b Dec 9, 1929)wrote adorable pop songs for Perry Como but years later choked out titles such as "Impaled" and "Murder in Mind," not to mention the dreaded and presumably messy "Bathroom Autopsy." In actuality, the songwriting phenomena of Ollie Jones must be examined in plural. The guy with roots in early-'50s doo wop and the member of a band whose name itself is a Desecration are different people, from different generations and, as established, representing different points of view. The larger, although less shocking, songwriting catalog belongs to the earlier Ollie Jones. His first professional stirrings were in the Blenders, the combo frothing up out of the more daring members of a New York church choir in the late '40s. Jones was known as the group's leader and was also linked to other vocal groups of the period, including the Ravens and the Four Notes. On recordings, the group began establishing a reputation after signing with Coral. This subsidiary of Decca had a largely deserved reputation for being oh-so-hep with R&B. Jones and bandmates, including Abel DeCosta, continued recording for the latter firm and MGM into the early '50s, then became aligned with producer Joe Davis, by then a recording industry veteran. the Blenders were part of a typical Davis ruse, supposedly recording under other group names even after the actual band had broken up. Jones and DeCosta started a new ensemble, the Cues, and originally intended the project as an in-house accompanying unit for R&B recording stars. Such performers immediately saw the value of such a venture, if not swearing allegiance to its chosen name. As the group went to work it was known under a variety of other monikers, depending on who was in charge: the Rhythm Makers, the Ivory Tones, and so forth. Efforts to score a hit without a frontman and as the Cues were in vain, but the group continued to work as a background unit. Publishing must have become more worthwhile than the weary road, Jones and co-writers such as Tommy Smith coming up with a series of songs that many pop vocalists felt worthy of covering. "Tiger" roared into the international hit jungle; the Latin version was "El Tigre." "Send for Me" has been one of Jones' most recorded works, suggesting that the song's title works as some kind of automatic command when read by a producer. Fans of Elvis Presley may know of Jones as an author of "Finders Keepers, Losers Weepers. 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!