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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Thursday, December 13, 2012

MARK PUCCI MEDIA ARTISTS GARNER 17 NOMINATIONS FROM THE BLUES FOUNDATION FOR THE 34th BLUES MUSIC AWARDS

ONLINE VOTING AND TICKET SALES NOW OPEN TO
BLUES FOUNDATION MEMBERS

ATLANTA, GA – Mark Pucci Media proudly congratulates all of our artists who received a total of 17 nominations when The Blues Foundation announced yesterday (December 12) the list of nominees for the 34th Annual Blues Music Awards. The Blues Music Awards are universally acknowledged as the highest honor for musicians and songwriters in Blues music. Winners will be announced on May 9, 2013, at the Cook Convention Center in Memphis. Online voting is now open to Blues Foundation members at www.blues.org.

Heading the list of Mark Pucci Media honorees with three nominations each are Mud Morganfield, who garnered nominations for Album of the Year, Traditional Blues Album and Traditional Blues Male Artist for his Severn Records label debut CD, Son of the Seventh Son; as well as Mighty Sam McClain, who earned nominations for Soul Blues Album, Soul Blues Male Artist and Song of the Year for “Too Much Jesus (Not Enough Whiskey),” the title track from his Mighty Music label CD release.

Canadian roots label powerhouse Stony Plain Records gathered nominations for Eric Bibb, who was tapped for Acoustic Album and Acoustic Artist based on his label debut CD, Deeper in the Well; and perennial nominee Maria Muldaur, who once again received a nomination for the Koko Taylor Award as Traditional Blues Female based on the response to her latest CD, …First Came Memphis Minnie.

El Paso-based Catfood Records had another strong year, capped by former BMA-winner Johnny Rawls, who received two nominations: in the Soul Blues Male Artist and Soul Blues Album categories for his Soul Survivor CD. Johnny is joined this year by singer (and current Living Blues magazine cover girl) Barbara Carr, who received a nod as Soul Blues Female Artist for her Catfood Records debut, Keep the Fire Burning.

Other Mark Pucci Media artists receiving nominations include folk-blues singer/songwriter Doug MacLeod (whose new CD will be coming out in March on Reference Recordings) for Acoustic Artist; Ruf Records’ artists Royal Southern Brotherhood for Rock Blues Album for their eponymous label debut CD; Fabulous Thunderbirds leader Kim Wilson for Instrumentalist – Harmonica; Sweetspot Records artist Al Basile for Instrumentalist – Horn; and Blue Duchess Records artist and former multiple BMA winner David Maxwell for the Pinetop Perkins Piano Player Award.


“It is not uncommon in any arts genre for beloved artists with strong releases to pull in a number of nominations, and that is one of the factors at work this year,” Jay Sieleman, The Blues Foundation’s President, said in announcing the nominations. “Yet there are also more than a dozen first-time nominees, plus the six Best New Artist nominees.  It is gratifying to see both groups rewarded—those who have been near the top for a while and those who are getting the recognition they have been long seeking.”

Tickets for the 34th Blues Music Awards show are now on sale. Members receive seating preference at the Awards show and voting is now underway.  Blues Foundation members are the only fans who vote to decide which nominees will actually take home the Blues Music Award. Anyone can join The Blues Foundation by visiting their website at www.blues.org.

Once again, The Blues Music Awards will be broadcast live in their entirety on Sirius XM's B.B. King's Bluesville Channel and will be subsequently broadcast on public television.

Mark Pucci Media congratulates all of our artists and wishes them much success when the winners are announced in Memphis on May 9; and we encourage voters to consider all of our nominees. See you there!



Mark Pucci
Mark Pucci Media
5000 Oak Bluff Ct.
Atlanta, GA 30350-1069
(770) 804-9555
2008 Blues Foundation Recipient -
"Keeping the Blues Alive Award" -
Publicist

Long Hard Road - Jon Mosey - New Release Review

I just received a copy of the Long Hard Road, the newest release by Jon Mosey. John has a real feel for both Piedmont and delta blues styles as demonstrated by this 16 track set. Duffel Blues has very traditional styling, simple vocal and drop D guitar tuning (where the lowest string is dropped 1 full step giving the player an octave split for his thumb) giving the instrumentation a very bluesy feel. Jackhammer Blues also has a very traditional guitar styling with a solid rhythm but running picking line. Long Hard Road has the distinct sound of Skip James but without his wailing voice. I really love the sound of a James composition so this track is tops. Hummingbird Malarkey is inspired by Joseph Spense and is a very clean little acoustic instrumental. Don't Take Everybody To be Your Friend is an expanded version of the earlier track recorded by Spence and House. This track is a bit more musical and has a few more verses added... a little more modern and polished but effective just the same. Ain't No Farmers features White Boy Slim on harp and the duo creates a fast paced acoustic blues track sure to be enjoyed by most listeners. Baby I Don't Mind, inspired by Mississippi John Hurt, again has a lot of the original blues markers but with a more contemporary feel in delivery. Rollin' Baby Blues, a country rag style blues, shows influence by Blind Blake and takes you on a nice country ride. Easy Rider's Gone is much more of a country style picking track. Mosey continues to show throughout his guitar picking versatility. Blockhead Rag is a very cool guitar instrumental for those who like that fast picked acoustic styling. I find it quite cool. Any Way You Want It has the sounds of a Scrapper Blackwell track, played in quick Piedmont styling, again very nice. Boom, Boom, Boom written over a Blind Boy Fuller track is another really cool track and is sure to please all you acoustic blues lovers. Heartfull Of Nothing has the traditional styling of Hesitation Blues but with a new story. Mosey shows some of his best vocals on this track. Dirtwater Blues, another solid blues track with clean acoustic picking and a creative story line leads us to the final entry on the recording, Hot Dogs And Gravy. This last track is heavily vocal with crisp little acoustic bar leading from verse to verse. This is a slick little acoustic blues release with clever guitar and vocal. I enjoy it and I hope that you will as well. 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”

She Use To Be My Girl - Wayne Bennett

Wayne Bennett (December 13, 1931 – November 28, 1992) was an American blues guitarist. Bennett was born in Sulphur, Oklahoma, and died in New Orleans Louisiana. He worked with blues musicians such as Bobby Bland, Boxcar Willie, Buddy Guy, John Lee Hooker, Alan Haynes and Elmore James, as well as with jazz musicians, including Cannonball Adderley, Sonny Stitt and Dexter Gordon. In 1990, he played on Willy DeVille's album Victory Mixture. Bennett also played with the Chi-Lites, the Lost Generation, the Hues Corporation; among many others and cut his own record in 1968, an instrumental called "Casanova, Your Playing Days are Over" on the now defunct Brunswick label. Bennett was a guitarist originally known for his jazz-tinged blues guitar work with Bobby "Blue" Bland. He worked with Bland for a long time, and his solo on "Stormy Monday" on Bland's album Here's The Man is still considered by many guitarists[who?] to be a classic, drawing both from T-Bone Walker and jazz influences. Another standout solo on Bland's "Wishing Well" displays a compelling virtuosity in the blues idiom that would become a model for young guitarists in England such as Eric Clapton who would become part of the British Invasion of the 1960's. Bennett himself never liked to claim to be a blues player, preferring instead to be as versatile as he could be, and taking pride in being able to quote from a wide variety of popular music, including TV theme songs. In his earlier years he played a Gibson Byrdland hollow-body, but in later years he was also seen playing a custom Tom Holmes Cadillac solid-body. At one time or another Bennett had also been a member of the house orchestra at the Apollo in New York, the Regal Theatre in Chicago, the Howard in Washington, D.C., the Uptown Theatre in Philadelphia and the Royal Theatre in Baltimore. Some of Bennett's training included studying guitar with Harry Volpe in New York for two years; studying harmony with Nate Griffin in Chicago for one year; studying harmony with Junior Mance in Chicago for two years; and studying harmony and ear training with Tony Hanson in Cleveland, Ohio for one year. Bennett died from heart failure, a week before a scheduled replacement could be transplanted, at the age of 60. 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” Bennett was inducted into the Oklahoma Jazz Hall of Fame in 2001.

Five Long Years - Lurrie Bell

Lurrie Bell (born Lurrie C. Bell, December 13, 1958, Chicago, Illinois is an American blues guitarist and singer. His father was renowned blues harmonica player, Carey Bell. Bell started playing guitar at the age of six, and in his teens he polished his skills playing with the legends of Chicago blues scene including Eddy Clearwater, Big Walter Horton and Eddie Taylor. Bell in Paris, May, 30, 1980 In the mid 1970s, he went on to join Koko Taylor's Blues Machine and he toured with the band for four years. He made his recording debut in 1977 appearing on his father's album Heartaches and Pain and also on Eddie C. Campbell's King of the Jungle. It was around that time that he formed The Sons of Blues with musicians including Billy Branch on harmonica. Three tracks of the band's recordings were featured in the Alligator Records compilation Living Chicago Blues Vol. 3 released in 1978. In 1989 he released his first solo effort, Everybody Wants To Win, on JSP Records. Though Bell's career appeared to be headed in the right direction, drawing attention of the blues fans around the world as a young prodigy of the blues, he battled emotional problems and drug abuse for many years, which kept him away from performing on regular basis. He began a comeback in 1995 with the well-received album Mercurial Son, his first of several from the Delmark label. A series of albums followed thereafter, and he started to perform more frequently in the Chicago club and blues festival circuits. Bell is featured on Gettin' Up – Live at Buddy Guy's Legends, Rosa's and Lurrie's Home, a 2007 CD and DVD release from Delmark, where he plays with his father Carey. Soon after this release, Carey died and this became his last recorded effort 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”

People Get Ready - Desiree' Bassett and Jeff "Skunk" Baxter

Jeffrey Allen "Jeff Skunk" Baxter (born December 13, 1948 in Washington, D.C.) is an American guitarist, known for his stints in the rock bands Steely Dan and The Doobie Brothers during the 1970s. More recently, he has been working as a defense consultant and chairs a Congressional Advisory Board on missile defense. While working at Manny's Music Shop in Manhattan in 1966, Baxter met guitarist Jimi Hendrix, who was just beginning his career as a frontman. For a short period during that year, Baxter was a member of a Hendrix-led band called Jimmy James and the Blue Flames, along with fellow Manny's employee Randy California. Baxter also worked as a guitar tech and amplifier repairman at the long-defunct "Jack's" Drum shop on 252 Boylston Street in Boston across from the frog pond. Baxter graduated from the Taft School in Watertown, Connecticut and enrolled at the School of Public Communication (now College of Communication) at Boston University in September 1967, where he studied journalism while continuing to perform with local bands. Baxter first reached a wide rock audience in 1968 as a member of the psychedelic rock band Ultimate Spinach. Baxter joined the band for their third and final album, titled III. After leaving the band, he played with the Holy Modal Rounders and backed singer Buzzy Linhart After the breakup of Ultimate Spinach, Baxter relocated to Los Angeles, California, finding work as a session guitarist. In 1972 he became a founding member of the band Steely Dan, along with guitarist Denny Dias, guitarist-bassist Walter Becker, keyboardist Donald Fagen, drummer Jim Hodder and vocalist David Palmer (and session player Elliott Randall on various tracks). Becker and Fagen were employed at the time as staff songwriters for ABC Records, and they formed the band as a vehicle to promote their songs. Baxter appeared with Steely Dan on their first three albums, Can't Buy a Thrill in 1972, Countdown to Ecstasy in 1973, and Pretzel Logic in 1974. Among his contributions was the guitar solo on the 1974 hit single "Rikki Don't Lose That Number". While finishing work on Pretzel Logic, Baxter became aware of Becker and Fagen's intentions to retire Steely Dan from touring, and to work almost exclusively with session players in the future. With that in mind, Baxter left the band in 1974 to join The Doobie Brothers, who at the time were touring in support of their fourth album What Were Once Vices Are Now Habits. As a session man, he had contributed pedal steel guitar on Vices as well as "South City Midnight Lady" on its predecessor, The Captain and Me. Baxter's first album as a full member of the group was 1975's Stampede. Baxter contributed an acoustic interlude entitled "Precis," significant turns on slide and pedal steel guitar, and the guitar solo for the hit single "Take Me In Your Arms (Rock Me A Little While)". While preparing to tour in support of Stampede, Doobie Brothers founder Tom Johnston was hospitalized with a stomach ailment. To fill in for Johnston on vocals, Baxter suggested bringing in singer-keyboardist Michael McDonald, with whom Baxter had worked in Steely Dan. With Johnston still convalescing, McDonald soon was invited to join the band full-time. McDonald's vocal and songwriting contributions, as well as Baxter's jazzier guitar style, marked a new direction for the band. They went on to continued success with the 1976 album Takin' It to the Streets, 1977's Livin' on the Fault Line, and particularly 1978's Minute by Minute, which spent five weeks as the #1 album in the U.S. and spawned several hit singles; Baxter's work on the album includes a noted performance at the end of "How Do the Fools Survive?". In early 1979, Baxter and co-founding drummer John Hartman left the band. Baxter has continued working as a session guitarist for a diverse group of artists, including Willy DeVille, Bryan Adams, Hoyt Axton, Eric Clapton, Gene Clark, Sheryl Crow, Freddie Hubbard, Tim Weisberg, Joni Mitchell, Ricky Nelson, Dolly Parton, Carly Simon, Ringo Starr, Gene Simmons, Rod Stewart, Barbra Streisand, and Donna Summer. He has worked as a touring musician with Elton John and Linda Ronstadt and Billy Vera and the Beaters. In 1990, Baxter joined John Entwistle, Joe Walsh, Keith Emerson and Simon Phillips in a supergroup called The Best. The group released a live performance video in Japan before disbanding. He also produced two albums for the hard rock band Nazareth, Carl Wilson, and Livingston Taylor, The Ventures, and Nils Lofgren. He also appeared in the film Blues Brothers 2000 and can be heard on the cast album. He was producer on a Bob Welch album in 1982, "Eye Contact". In 1994 Baxter performed on the video game Tuneland. In 1991 Baxter also produced a documentary video titled 'Guitar' (Warner Brothers VHS and LaserDisc) where he travels the world and interviews respected guitarists he admires. He continues accepting studio work; his most recent such work involved tribute albums to Pink Floyd and Aerosmith. In 2012, he appeared on keyboardist Brian Auger's Language of the Heart, and The Beach Boys' That's Why God Made the Radio. He also occasionally plays in The Coalition of the Willing, a band comprising Andras Simonyi, Hungarian Ambassador to the United States; Alexander Vershbow, US Ambassador to South Korea; Daniel B. Poneman, formerly of the United States National Security Council and now of The Scowcroft Group; and Lincoln Bloomfield, former United States Assistant Secretary of State for Political-Military Affairs. On June 19, 2007, Baxter jammed with former White House Press Secretary Tony Snow's band Beats Workin at the Congressional Picnic held on the South Lawn of the White House. JBL’s Peter Chaikin interviewed CJ Vanston about his collaboration with Jeff Baxter on their forthcoming album, “Skunk. Baxter fell into his second profession almost by accident. In the mid-1980s, Baxter's interest in music recording technology led him to wonder about hardware and software that was originally developed for military use, i.e. data-compression algorithms and large-capacity storage devices. As it happened, his next-door neighbor was a retired engineer who had worked on the Sidewinder missile program. This neighbor bought Baxter a subscription to Aviation Week magazine, provoking his interest in additional military-oriented publications and missile defense systems in particular. He became self-taught in this area, and at one point he wrote a five-page paper that proposed converting the ship-based anti-aircraft Aegis missile into a rudimentary missile defense system. He gave the paper to California Republican congressman Dana Rohrabacher, and his career as a defense consultant began. Backed by several influential Capitol Hill lawmakers, Baxter received a series of classified security clearances. In 1995, Pennsylvania Republican congressman Curt Weldon, then the chairman of the House Military Research and Development Subcommittee, nominated Baxter to chair the Civilian Advisory Board for Ballistic Missile Defense. Baxter's work with that panel led to consulting contracts with the Pentagon's Missile Defense Agency (MDA) and National Geospatial-Intelligence Agency. He now consults to the U.S. Department of Defense and the U.S. intelligence community, as well as for defense-oriented manufacturers including Science Applications International Corporation ("SAIC"), Northrop Grumman Corp., General Dynamics, and General Atomics Aeronautical Systems Inc. He has been quoted as saying his unconventional approach to thinking about terrorism, tied to his interest in technology, is a major reason he became sought after by the government. "We thought turntables were for playing records until rappers began to use them as instruments, and we thought airplanes were for carrying passengers until terrorists realized they could be used as missiles," Baxter has said. "My big thing is to look at existing technologies and try to see other ways they can be used, which happens in music all the time and happens to be what terrorists are incredibly good at." Baxter has also appeared in public debates and as a guest on CNN and Fox News Channel advocating missile defense. He served as a national spokesman for Americans for Missile Defense, a coalition of organizations devoted to the issue. In 2000, Baxter considered challenging Rep. Brad Sherman for the 24th Congressional District seat in California before deciding not to run. In April 2005, he joined the NASA Exploration Systems Advisory Committee (ESAC). Baxter was a member of an independent study group that produced the "Civil Applications Committee Blue Ribbon Study" recommending an increased domestic role for U.S. spy satellites in September 2005. This study was first reported by The Wall Street Journal on August 15, 2007. Baxter is listed as "Senior Thinker and Raconteur" at the Florida Institute for Human and Machine Cognition. Baxter is a Senior Fellow and Member of the Board of Regents at the Potomac Institute for Policy Studies 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! Click Video

Wednesday, December 12, 2012

Ian Stewart - Junior Wells - Keith Richards - Ronnie Wood

Ian Andrew Robert Stewart (18 July 1938 – 12 December 1985) was a Scottish keyboardist, co-founder of The Rolling Stones and inductee to the Rock and Roll Hall of Fame. He was dismissed from the line-up in May 1963 but he remained as road manager and pianist. Born at Kirklatch Farm, Pittenweem, East Neuk, Fife, Scotland, and raised in Sutton, Surrey, Stewart (often called Stu) started playing piano when he was six. He took up the banjo and played with amateur groups on both instruments. Stewart, who loved rhythm & blues, boogie-woogie, blues and big-band jazz, was first to respond to Brian Jones's advertisement in Jazz News of 2 May 1962 seeking musicians to form a rhythm & blues group. Mick Jagger and Keith Richards joined in June, and the group, with Dick Taylor on bass and Mick Avory on drums, played their first gig under the name The Rollin' Stones at the Marquee Club on 12 July 1962. Richards described meeting Stewart thus: "He used to play boogie-woogie piano in jazz clubs, apart from his regular job. He blew my head off too, when he started to play. I never heard a white piano player play like that before." By January 1963, Bill Wyman and Charlie Watts had joined, replacing a series of bassists and drummers. Stewart had a job at Imperial Chemical Industries. None of the other band members had a telephone; Stewart said, "[My] desk at ICI was the headquarters of the Stones organisation. My number was advertised in Jazz News and I handled the Stones' bookings at work." He also bought a van to transport the group and their equipment to their gigs. In early May 1963, the band's manager, Andrew Loog Oldham, said Stewart should no longer be onstage, that six members were too many for a popular group and that the older, burly, and square-jawed Stewart did not fit the image.[8] He said Stewart could stay as road manager and play piano on recordings. Stewart accepted this demotion. Richards said: "[Stu] might have realized that in the way it was going to have to be marketed, he would be out of sync, but that he could still be a vital part. I'd probably have said, 'Well, fuck you', but he said 'OK, I'll just drive you around.' That takes a big heart, but Stu had one of the largest hearts around." Stewart loaded gear into his van, drove the group to gigs, replaced guitar strings and set up Watts' drums the way he himself would play them. "I never ever swore at him," Watts says, with rueful amazement. He also played piano and occasionally organ on most of the band's albums in the first decades, as well as providing criticism. Shortly after Stewart's death Mick Jagger said: "Stu was the one guy we tried to please. We wanted his approval when we were writing or rehearsing a song. We'd want him to like it." Stewart contributed piano, organ, marimbas and/or percussion to all Rolling Stones albums released between 1964 and 1986, except for Beggars Banquet. Stewart was not the only keyboard player who worked extensively with the band: Jack Nitzsche, Nicky Hopkins, Billy Preston, and Ian McLagan all supplemented his work. Stewart played piano on numbers of his choosing throughout tours in 1969, 1975–76, 1978 and 1981–82. Stewart favoured blues and country rockers, and remained dedicated to boogie-woogie and early rhythm & blues. He refused to play in minor keys, saying: "When I'm on stage with the Stones and a minor chord comes along, I lift my hands in protest. Stewart contributed to Led Zeppelin's "Rock and Roll" from Led Zeppelin IV and "Boogie with Stu" from Physical Graffiti, two numbers in traditional rock and roll vein, both featuring his boogie-woogie style. Another was Howlin' Wolf's 1971 The London Howlin' Wolf Sessions album, featuring Eric Clapton, Ringo Starr, Klaus Voorman, Steve Winwood, and Bill Wyman and Charlie Watts. He also played piano and organ on the 1982 Bad to the Bone album of George Thorogood and the Destroyers. Moreover, he performed with Ronnie Lane in a televised concert. In 1981 Stewart and Charlie Watts contributed to the song "Bad Penny Blues", which appeared on the album, These Kind of Blues by The Blues Band. Stewart also played with Rocket 88. Stewart contributed to The Rolling Stones' 1983 Undercover, and was present during the 1985 recording for Dirty Work (released in 1986). In early December 1985, Stewart began having respiratory problems. On 12 December he went to a clinic to have the problem examined; he suffered a heart attack and died in the waiting room 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!

Louisiana Two Step - Clifton Chenier

Clifton Chenier (June 25, 1925 - December 12, 1987), a Creole French-speaking native of Opelousas, Louisiana, was an eminent performer and recording artist of Zydeco, which arose from Cajun and Creole music, with R&B, jazz, and blues influences. He played the accordion and won a Grammy Award in 1983. In 1984 he was honored as a National Heritage Fellow and in 1989 was inducted posthumously into the Blues Hall of Fame. He was known as the 'King of Zydeco' and also billed as the 'King of the South' Chenier began his recording career in 1954, when he signed with Elko Records and released Clifton's Blues, a regional success. His first hit record was soon followed by "Ay 'Tite Fille (Hey, Little Girl)" (a cover of Professor Longhair's song).This received some mainstream success. With the Zydeco Ramblers, Chenier toured extensively. He also toured in the early days with Clarence Garlow, billed as the 'Two Crazy Frenchmen'. Chenier was signed with Chess Records in Chicago, followed by the Arhoolie label. In April 1966, Chenier appeared at the Berkeley Blues Festival on the University of California campus and was subsequently described by Ralph J. Gleason, Jazz critic of the San Francisco Chronicle, as "... one of the most surprising musicians I have heard in some time, with a marvelously moving style of playing the accordion .. blues accordion, that's right, blues accordion." Chenier was the first act to play at Antone's, a blues club on Sixth Street in Austin, Texas. Later in 1976, he reached a national audience when he appeared on the premiere season of the PBS music program Austin City Limits. Three years later in 1979 he returned to the show with his Red Hot Louisiana Band. Chenier's popularity peaked in the 1980s, and he was recognized with a Grammy Award in 1983 for his album I'm Here. It was the first Grammy for his new label Alligator Records. Chenier followed Queen Ida as the second Louisiana Creole to win a Grammy. Chenier is credited with redesigning the wood and crimped tin washboard into the frottoir, an instrument that would easily hang from the shoulders. Cleveland Chenier, Clifton's older brother, also played in the Red Hot Louisiana Band. He found popularity for his ability to manipulate the distinctive sound of the frottoir by rubbing several bottle openers (held in each hand) along its ridges. During their prime, Chenier and his band traveled throughout the world. 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!

DRIVIN WOMAN BLUES - WILLIE WILLIS

Dallas bluesman William "Willie" Willis (b. December 12, 1931)didn't receive too many grand opportunities in his career until fairly late in his life. As for the first 50 years of singing, playing, and bandleading, Willis would be described as someone who had never really made it, not only as a bandleader and sideman, but as a barber and mortician as well. These were two other careers that he trained for but found wanting, the former because there were no customers, and the latter because it made him nervous. As for music, which could provide either or both drawbacks, Willis has similar influences as Chuck Berry, meaning a combination of traditional blues and country & western. The Willis brood was in the two-digit range, but only one of his sisters played music. The pressure coming from behind her perch on the piano bench and from his mother was for him to get in on any and all church-going serenading opportunities. The blues won in this classic battle of good and evil, repeated like a mantra in almost every biography from the genre. Speaking of mantras, Willis remembers the first song he learned to play being "Boogie Chillun" by John Lee Hooker, inspiring female schoolmates to bribe him to play it endlessly with piles of peanut butter sandwiches. These musical influences, Hooker and peanut butter, would have to be combined with hillbilly music for a realistic Willis table of contents. Down Home in Dallas Despite the obvious appeal of this combination, the man's recording career never seemed to really click. He bid a "Good Black Night" on a 1956 single for the Ride label, but did not get to cut his first album until 33 years later. His Down Home in Dallas CD in 1994 was the one that really hipped the international blues audience to the location of this unique talent. He had many formative experiences as a professional musician in the military, ironically, where a small combo he formed felt the excitement of a building career, getting allotted larger and larger broadcast spots and taking command of regular gigs at various base dances. Willis' main collaborator in the band was Grady Young, likewise a guitarist who was playing both blues and country. Young also sang, which Willis was not doing at this point. Through the '50s, Willis was back in Dallas trying to figure out how to pay the rent, going through disappointing experiences which included attending barber school, battling layers of bureaucracy connected to actually opening a hair chop shop, emotionally failing at the rigors of a job in a funeral home and winding up employed as a dishwasher. The Willis tale does not end up with a dull thud, however, nor with the sound of piles of dishes breaking in frustration. Even in the restaurant business, he was able to reverse his fortunes, working his way up to the top of the food chain as a kitchen steward. In the meantime he played the blues, mostly on weekends, in the company of many greats including Lowell Fulson, T-Bone Walker, Johnnie Taylor, and Joe Simon. He also tried to keep his own combo Willie Willis & the Wildcatters busy in small clubs. Some of his closest associates included the dynamic guitarist Freddie King, with whom he sometimes played bass, and Mercy Baby, a singer and drummer whose name is absolutely brilliant considering that his wife killed him. 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!

Tony Williams

Tony with Dizzy,McCoy Tyner,Ron Carter and Freddie Hubbard. Anthony Tillmon "Tony" Williams (December 12, 1945 – February 23, 1997) was an American jazz drummer. Widely regarded as one of the most important and influential jazz drummers to come to prominence in the 1960s, Williams first gained fame in the band of trumpeter Miles Davis and was a pioneer of jazz fusion Williams was born in Chicago and grew up in Boston. He was of African, Portuguese, and Chinese descent. He began studies with drummer Alan Dawson at an early age, and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's Second Great Quintet. Williams was a vital element of the group, called by Davis in his autobiography "...the center that the group's sound revolved around." His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures). Williams was an integral participant in the early-mid 60's avant-garde movement, playing on such classics as Jackie McLean's One Step Beyond, Grachan Moncur III's Evolution and Some Other Stuff, Sam River's Fuchsia Swing Song, Andrew Hill's Point of Departure, and Eric Dolphy's Out to Lunch. His first album as a leader, 1964's Life Time, was also in the avant-garde vein. Many of these progressive albums are considered amongst the greatest jazz recordings of all time. In 1969, he formed a trio, The Tony Williams Lifetime, with John McLaughlin on guitar, and Larry Young on organ. Jack Bruce joined on bass later. Lifetime was a pioneering band of the fusion movement, a combination of rock, R&B, and jazz. Their first album, Emergency!, was largely rejected by the jazz community at the time of its release. Today, Emergency! is considered by many to be a fusion classic. After McLaughlin's departure, and several more albums, Lifetime disbanded. In 1975, Williams put together a band he called "The New Tony Williams Lifetime," featuring bassist Tony Newton, pianist Alan Pasqua, and English guitarist Allan Holdsworth, which recorded two albums for Columbia Records, Believe It and Million Dollar Legs. In mid-1976, Williams was a part of a reunion of sorts with his old Miles Davis band compatriots, pianist/keyboardist Herbie Hancock, bassist Ron Carter, and tenor saxophonist Wayne Shorter. Miles was in the midst of a six-year hiatus and was replaced by Freddie Hubbard. The record was later released as V.S.O.P. and was highly instrumental in increasing the popularity of acoustic jazz. The group went on to tour and record for several years, releasing a series of live albums under the name "V.S.O.P." or "The V.S.O.P. Quintet." (The CD reissues of these albums are sold under Herbie Hancock's name – making things a bit confusing since the original V.S.O.P. album, which alone was a Hancock album, is not currently available on CD.) In 1979, Williams, guitarist John McLaughlin and bassist Jaco Pastorius united for a one-time performance at the Havana Jazz Festival. This trio came to be known as the Trio of Doom, and a recording of their performance was released in 2007. It opens with a powerful drum improvisation by Williams, followed by Mclaughlin's "Dark Prince" and Jaco's "Continuum," Tony's original composition "Para Oriente" and Mclaughlin's "Are You the One?" With the group Fuse One, he released two albums in 1980 and 1982. In 1985, Williams recorded an album for Blue Note Records entitled Foreign Intrigue, which featured the playing of pianist Mulgrew Miller and trumpeter Wallace Roney. Later that year he formed a quintet with Miller, Roney, saxophonist Bill Pierce, and bassist Charnett Moffett (later Ira Coleman). This band played Williams' compositions almost exclusively (the Lennon–McCartney song "Blackbird," the standard "Poinciana," and the Freddie Hubbard blues "Birdlike" being the exceptions) and toured and recorded throughout the remainder of the 1980s and into the early 1990s. This rhythm section also recorded as a trio. Williams also played drums for the band Public Image Limited, fronted by former Sex Pistols singer John Lydon, on their 1986 release album/cassette/compact disc (the album title varied depending on the format). He played on the songs "FFF," "Rise" (a modest hit), and "Home." Bill Laswell (see below) co-wrote those three songs with Lydon. The other drummer on that album was Ginger Baker, who had played in Cream with Jack Bruce, later the bass player with the Tony Williams Lifetime. Williams lived and taught in the San Francisco Bay Area until his death from a heart attack following routine gall bladder surgery. One of his final recordings was The Last Wave by the trio known as Arcana, a release organized by prolific bass guitarist Bill Laswell. 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!

From The Delta To You - John Weston

John "So Blue" Weston was much more than a self taught blues musician, he was a man that saw no color. John loved "what" people were, not "who" they were. John was a true treasure of the Delta hidden away in Smale, AR where he composed and played in a small studio behind his home. In 2004, a BHS high school senior, John's chosen "Nephew" was able to visit with John on camera. This short documentary gives the viewers some insight concerning John's personality and his unique philosophy. John was inducted into The Arkansas Entertainers Hall of Fame in 2005, the same year he lost his fight with cancer. John Weston is greatly missed but the compassion he had for his fellow man as well as the lessons learned from him, live on in the the hearts of those fortunate to have known this great and talented person! 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!

2012 A Good Year For M.C. Records

 
 

2012 A Good Year For M.C. Records
 
Rick Holmstrom & Debbie Davies' Releases
Gettin' The Love From Radio & Reviewers
 
 
Contact: Mark Carpentieri                                         
Phone: 631-754-8725                                              
E-Mail: mc@mc-records.com                                     
 
 
Northport N.Y - M.C. Records wants to take a pause for the cause and thank everyone at radio, media and the fans for making this a great 2012! Also, we hope to have an announcement of a new signing over the next few weeks.
 
After The Fall by Debbie Davies released in July and Rick Holmstrom's
Cruel Sunrise in August have received some of best radio play and reviews in our 21 year old history. Both releases have spent multiple months on the Roots Music Report. In fact they are both still on the top 15! You can see for yourself.
 
 
That's not the only radio chart that's been feeling the love for both releases. Both releases have been on The Living Blues Radio Chart. Debbie Davies spent a total of three months and Rick landed on chart for the month of October. The complete chart can be viewed here,
 
Click on the covers to check out the music!
 
 
Since the release of After The Fall on July 17 Debbie Davies has toured the U.K., the Midwest and the West coast. The 10 time Blues Music Award nominee has received fantastic reviews and has been interviewed on XM/Sirius B.B. Kings Bluesville and The Guitar Show with Andy Ellis and Music On The Couch.
 
Check out these great reviews!
 
her fiery fretwork and emotive vocals reflect a commitment to the material that helps her transcend the standard MO.  Blurt
 
"After the Fall" (M.C. Records) is an 11-track LP of slashing hooks and cathartic riffs that echo the hardships Davies endured and her efforts to overcome them. The Connecticut Post
 
Prepare to be moved, and also to have a good time Blues Revue

Searing, pulsating riffs and house-rockin' performances with clever lyrics and gut-check emotion are featured on "After the Fall," The Toledo Blade
 
This might be one of the best blues releases this year.
Blues Blast Magazine
 
The Debbie Davies Band is booked by Piedmont Talent.
 
Cruel Sunrise is Rick Holmstrom's first solo recording in five years and features Mavis Staples on two tracksRick and his band have been recording and touring with Mavis Staples for the last five years. He received a Grammy in 2010 for his work on Mavis'  "You Are Not Alone," produced by Jeff Tweedy (of Wilco). Rick has been interviewed on The Guitar Show with Andy Ellis and Music On The Couch.
 
Check out these great reviews!
 
The fetching tones of Holmstrom's vocals combine with the warm atmospherics of the rhythm section lure us into emotionally involving original tunes that have his guitar cutting as sharply as the thorns of a honey locust tree. Downbeat
 
Coming up with an original instrumental group voice is as hard as finding one’s own guitar style, but Holmstrom (and band) succeed in both respects  Vintage Guitar
 
Songs  like “It’s Time I Lose,” “I’m Not Afraid” and “By My Side” showcase Holmstrom’s development as a songwriter and the band’s soulful finesse, while Staples adds fire to “Owe You Everything” and the killer gospel-blues groove “Lord Please.” Pasadena Weekly
 
Rick Holmstrom is just too talented and restrained to release anything less than professionally crafted. All Music Guide
 
Each track is blissfully inventive. Holmstrom creates a blues that is effortless to vibe to. Where Y'At
 
The Rick Holmstrom Band is booked by M.C. Records,
info@mc-records.com - 631-754-8725

Lost Without Love - Lonesome Sundown

Cornelius Green (December 12, 1928 – April 23, 1995), known professionally as Lonesome Sundown, was an American blues musician, best known for his recordings for Excello Records in the 1950s and early 1960s. Green was born on the Dugas Plantation near Donaldsonville, Louisiana. At the age of 18, he moved to New Orleans and worked in various jobs including as a porter at the New Southport Club, a casino in Jefferson Parish. He returned to Donaldsonville by 1948 and, inspired by Muddy Waters and John Lee Hooker, began taking guitar lessons from a cousin. In 1953, after a brief period as a truck driver in Jeanerette, Louisiana, he moved again to work at the Gulf Oil Refinery in Port Arthur, Texas. By this time he had begun to take his music more seriously, jamming at local clubs, and in 1955 was invited by Clifton Chenier to sit in with his new band, the Zydeco Ramblers, at the Blue Moon Club in Lake Charles. Chenier offered him the post of second guitarist in the band, alongside first guitarist Phillip Walker. Green toured with them as far as Chicago and Los Angeles, where Chenier's recording of "The Cat's Dreaming" was inspired by Green falling asleep during a session, and where Green auditioned for producer Bumps Blackwell but failed to get a contract. Green married later in 1955, left the Zydeco Ramblers, and moved to Opelousas, Louisiana where he began playing with Lloyd Reynauld and writing his own material. He recorded a demo tape, and took it to producer J. D. "Jay" Miller in Crowley. Miller was impressed, gave the singer/ guitarist the stage name "Lonesome Sundown", and recorded his debut single, "Leave My Money Alone" b/w "Lost Without Love", which he leased to Excello Records in 1956. The follow-up, "Lonesome Whistler" b/w "My Home Is A Prison", was more successful, and Sundown became one of Miller's south Louisiana stable of musicians. Although he never had a chart hit, he recorded for Miller for eight years, and his records sold in respectable quantities, his output including "Don’t Say A Word" (featuring Lazy Lester on harmonica), "I'm a Mojo Man," "You Know I Love You," "I Stood By (And Watched Another Man Steal My Gal)," "My Home Ain't Here," and the much covered, "Gonna Stick To You Baby." Unusually for Louisiana musicians, Sundown's style of the blues was more in keeping with the sound of Muddy Waters than that of Jimmy Reed,and his sombre and melancholic recordings and instantly recognizable style were described by Miller as "the sound of the swamp". Sundown continued to work with Miller into the early 1960s, and in 1964 recorded "Hoo Doo Woman Blues" b/w "I’ve Got A Broken Heart", recordings which have been described as among "the last ethnic down-home blues 45s aimed exclusively at the Negro market". However, by 1965 Sundown had become disillusioned with his lack of success, experienced a traumatic divorce, retired from the music industry to work as a laborer, and joined the Lord Jesus Christ of the Apostolic Faith Fellowship Throughout the World Church, where he eventually became a minister. He was persuaded back to the recording studios in 1977, and recorded another blues album, Been Gone Too Long, co-produced by Bruce Bromberg and Dennis Walker, originally for Joliet Records. Despite its quality, disappointing sales ensued, even after being reissued on Alligator. His final single release was 1977's "I Betcha". Sundown did several concerts, including an appearance at the 1979 New Orleans Jazz & Heritage Festival, and tours of Sweden and Japan with Phillip Walker, but then walked away from the music business for good. In 1994 he suffered a stroke, and he was no longer able to speak. Sundown died in Gonzales, Louisiana, in April 1995, aged 66. He was posthumously inducted into the Louisiana Blues Hall of Fame in 2000. 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”

I'm Down Now, But I Won't Be Down Always - Leroy Dallas

b. 12 December 1920, Mobile, Alabama, USA. Dallas travelled the south in the 30s and 40s, teaming up for some time with Frank Edwards, and sang in the Chicago streets for a while before settling in New York from 1943. His 1949 recordings for Sittin’ In With are in a small group format with Brownie McGhee (with whom Dallas had played guitar and washboard in the 30s) and Big Chief Ellis; they bear little sign of urbanization (indeed his springy guitar rhythms positively countrify ‘Jump Little Children, Jump’, usually a preserve of blues shouters). By 1962, he had ceased to play professionally, but was still a capable guitarist and a convincing singer. His subsequent whereabouts is unknown. 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”

Good Time Feeling - Dickey Betts and Great Southern

Forrest Richard "Dickey" Betts (born December 12, 1943) is an American guitarist, singer, songwriter, and composer best known as a founding member of The Allman Brothers Band. He was inducted with the band into the Rock and Roll Hall of Fame in 1995 and also won with the band a best rock performance Grammy Award for his instrumental "Jessica" in 1996 Recognized as one of the greatest rock guitar players of all time, he had early on in his career one of rock’s finest guitar partnerships with the late Duane Allman introducing melodic twin guitar harmony and counterpoint which "rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe". Dickey Betts was ranked #58 on Rolling Stone's 100 Greatest Guitarists of All Time list in 2003, and #61 on the list published in 2011 Born in West Palm Beach, Florida, Betts grew up in a musical family listening to bluegrass, country and Western Swing music. He started playing ukelele at five and, as his hands got bigger, moved on to mandolin, banjo and guitar. At sixteen and feeling the need for something "a little faster," he played in a series of rock bands on the Florida circuit, up the East Coast and into the midwest before forming the Second Coming with Berry Oakley in 1967. According to Rick Derringer, the "group called the Jokers" referenced in "Rock and Roll, Hoochie Koo" was one of Betts' early groups.He is currently living in Sarasota, Florida. 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”

AFTER HOURS - Eddie Barefield

Eddie Barefield (December 12, 1909, Iowa – January 4, 1991, New York City) was an American jazz saxophonist, clarinetist and arranger most noteworthy for his work with Bennie Moten, Fletcher Henderson, Don Redman, Coleman Hawkins, Sammy Price, Bernie Young, and Ben Webster. Barefield's musical career also included work with ABC and WOR radio as well as appearances in several films. Barefeld died of a heart attack at Mount Sinai Hospital in New York on January 4, 1991 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”

She Got Me Walkin' - Lazy Bill Lucas

Lazy Bill Lucas (May 29, 1918 - December 11, 1982) was an American blues musician, who was part of the birth of the Chicago blues scene during the 1940s, 1950s and early 1960s, before taking his talents to Minneapolis, Minnesota, and becoming an important part of that city's blues history until his death. Born to sharecroppers in Wynne, Arkansas, United States, Lucas's family was always looking for better living conditions and worked their way north to Southern Missouri, then to St. Louis in 1940 and Chicago the year after. As a youngster, he sang on the streets of Advance, Missouri, where the mostly white audience preferred hillbilly songs, but in St. Louis, he teamed up with blues singer Big Joe Williams and started singing for a black audience. Until 1946, Lucas played guitar on the streets, often at the side of Sonny Boy Williamson II. Later that year, he formed a trio with Willie Mabon and Earl Dranes, joined the Musicians Union, and enjoyed a two week gig at the Tuxedo Lounge. For several years, he played in various blues combos and played in various clubs, bars and street settings. During this time, he played with Johnny "Man" Young, Jo Jo Williams, Homesick James, Little Hudson, Snooky Pryor, and Little Walter. In 1950, Lucas switched from guitar to piano and worked as a sideman for various blues bands, and appeared on records by the Blue Rockers, Willie Foster, Homesick James and Snooky Pryor. In 1953, while leading the trio Lazy Bill and the Blue Rhythm, he secured a recording contract with Chance Records, who gave him one recording session. The company released one 78 rpm phonograph record – "She Got Me Walkin'" b/w "I Had a Dream". As the 1950s progressed, work became harder to find, and during the 1960s, Lucas tried to get into the folk-blues scene but could not secure any contracts. From 1964 and well into the 1970s, Lucas straddled two careers: playing in various groups led by George "Mojo" Buford and playing solo or leading his own small groups. In 1970, he played a benefit show at the Guthrie Theatre organized by Minneapolis's black establishment to show the range and history of Afro-American music. The same year Lucas appeared at the Wisconsin Delta Blues Festival, and the Ann Arbor Blues Festival, with Jeff Titon and John Schrag. In the 1970s, Titon helped record and produce Lucas's material for Philo Records. In 1979, Lucas, who had played live on the radio in the 1960s, started hosting his own regular radio show, The Lazy Bill Lucas Show on KFAI in Minneapolis. Lucas died of natural causes in Minneapolis in December 1982, at the age of 64 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!

Basie Boogie - Andy KIRK & His Band

Andrew Dewey Kirk (May 28, 1898 – December 11, 1992) was a jazz saxophonist and tubist best known as a bandleader of the "Twelve Clouds of Joy," popular during the swing era. Kirk grew up in Denver, CO, where he was tutored under the wing of Wilberforce Whiteman, Paul Whiteman’s father. He started his musical career playing with George Morrison's band, but then went on to join Terrence Holder's Dark Clouds of Joy. In 1929 he was elected leader after Holder departed. Renaming the band to Clouds of Joy, Andy Kirk also relocated the band from Dallas, Texas, to Kansas City, Kansas. Although officially titled as the Clouds of Joy, the band has also been known to be called the Twelve Clouds of Joy due to the number of musicians in the band. They set up in the Pla-Mor Ballroom on the junction of 32nd and Main in Kansas City and made their first recording for Brunswick Records that same year. Mary Lou Williams came in as pianist at the last moment, but she impressed Brunswick's Dave Kapp, so she became a regular member of the band. The pianist she replaced, Marion Jackson, did not take well to this[citation needed] but otherwise Kirk's band would be fairly stable with the incorporation of Williams. Kirk moved the band to Kansas City, and since their first recordings in 1929-1930, they grew highly popular as they epitomized the Kansas City jazz sound. In mid-1936, he was signed to Decca and made scores of popular records until 1946. He presumably disbanded and reformed his band during that 6 year recording layoff. In 1942, Kirk and His Clouds of Joy recorded "Take It and Git", which on October 24, 1942, became the first single to hit number one on the Harlem Hit Parade, the predecessor to the Billboard R&B chart. In 1943, with June Richmond on vocals, he had a number 4 hit with "Hey Lawdy Mama". 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!

You Send Me - Sam Cooke

Samuel Cook (January 22, 1931 – December 11, 1964), better known under the stage name Sam Cooke, was an American gospel, R&B, soul, and pop singer, songwriter, and entrepreneur. He is considered to be one of the pioneers and founders of soul music. He is commonly known as the King of Soul for his distinctive vocal abilities and influence on the modern world of music. His contribution in pioneering soul music led to the rise of Aretha Franklin, Bobby Womack, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, and popularized the likes of Otis Redding and James Brown. Cooke had 30 U.S. top 40 hits between 1957 and 1964, and a further three after his death. Major hits like "You Send Me", "A Change Is Gonna Come", "Cupid", "Chain Gang", "Wonderful World", and "Twistin' the Night Away" are some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and a publishing company as an extension of his careers as a singer and composer. He also took an active part in the American Civil Rights Movement. On December 11, 1964, Cooke was fatally shot by the manager of the Hacienda Motel in Los Angeles, California, at the age of 33. At the time, the courts ruled that Cooke was drunk and distressed, and that the manager had killed Cooke in what was later ruled a justifiable homicide. Since that time, the circumstances of his death have been widely questioned. 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!

It's My Own Fault - Andrew Brown

Tragically under-recorded until late in his career, Chicago blues guitarist Andrew Brown still had time enough to wax a handful of great singles during the mid-'60s and two '80s albums (unfortunately, both of them were only available as imports) that beautifully showcased his fluid, concise lead guitar and hearty vocals. Living Chicago Blues, Vol. 2 The Mississippi native moved to Chicago in 1946. With Earl Hooker teaching him a few key licks, Brown matured quickly; he was playing in south suburban clubs -- his main circuit -- by the early '50s. His 45s for USA (1962's "You Better Stop") and 4 Brothers (the mid-'60s sides "You Ought to Be Ashamed" and "Can't Let You Go") were well-done urban blues. But it wasn't until 1980, when Alligator issued three of his songs on its second batch of Living Chicago Blues anthologies, that Brown's name began to resonate outside the Windy City. Producer Dick Shurman was responsible for Brown's only two albums: the Handy Award-winning Big Brown's Chicago Blues for Black Magic in 1982 and On the Case for Double Trouble three years later. But Brown was already suffering from lung cancer when the second LP emerged. He died a short time later. 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!

Early One Morning - Big Mama THORNTON

Willie Mae "Big Mama" Thornton (December 11, 1926 – July 25, 1984) was an American rhythm and blues singer and songwriter. She was the first to record the hit song "Hound Dog" in 1952. The record was #1 on the Billboard R&B charts for seven weeks in 1953; the single sold almost two million copies. Its B-side was "They Call Me Big Mama." Three years later, Elvis Presley recorded his even more broadly successful rendition of "Hound Dog," based on a version performed by Freddie Bell and the Bellboys. Similarly, Thornton wrote and recorded "Ball 'n' Chain", which became a hit for her, yet Janis Joplin's later recording of it made a bigger impact in the late 1960s. Thornton was born in Ariton, Alabama, United States. Her introduction to music started in a Baptist church, where her father was a minister and her mother a church singer. She and her six siblings began to sing at very early ages. Thornton left Montgomery at age 14 in 1941, following her mother's death. She joined Sammy Green's Georgia-based Hot Harlem Revue. Her seven-year tenure with them gave her valuable singing and stage experience, and enabled her[vague] to tour the South. In 1948, she settled in Houston, Texas, where she hoped to further her career as a singer She was also a self-taught drummer and harmonica player, and frequently played each instrument onstage. Thornton began her recording career in Houston, signing a recording contract with Peacock Records in 1951. While working with another Peacock artist, Johnny Otis, she recorded "Hound Dog," written by young songwriters Jerry Leiber and Mike Stoller as requested by Johnny Otis. Both songwriters were present at the recording with Leiber singing the song in the style they had envisioned. The record was produced by Johnny Otis, and went to number one on the R&B chart. Although the record made her a star, she saw little of the profits. She continued to record for Peacock until 1957 and performed with R&B package tours with Junior Parker and Esther Phillips. In 1954, Thornton was one of the eyewitnesses to the accidental self-inflicted handgun death of blues singer Johnny Ace. Thornton's account was that Johnny was sitting with girlfriend Olivia on his lap, waving his pistol around, pointing it at Willie Mae. "Don't snap that on me," she told him. Johnny grinned and put the gun to Olivia's head. "Stop that, Johnny, you'll git someone killed," Willie Mae shouted at him. "Nothin' to worry about," Johnny replied, coolly, "ain't but one bullet here and I know exactly where it is." He turned the gun on himself, put it to his temple and pulled the trigger. Her career began to fade in the late 1950s and early 1960s. She left Houston and relocated to the San Francisco Bay Area, where she mostly played local blues clubs. In 1966, Thornton recorded Big Mama Thornton With The Muddy Waters Blues Band, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). Songs included "Everything Gonna Be Alright", "Big Mama's Blues", "I'm Feeling Alright", "Big Mama's Bumble Bee Blues", "Looking The World Over", "Big Mama's Shuffle", and "Since I Fell For You", amongst others. Her Ball 'n' Chain album in 1968, included other artists: Lightnin' Hopkins and Larry Williams. Big Mama's portion included only the songs "Wade in the Water", "My Love" and "Ball 'n' Chain". Songs by Hopkins included "Money Taker" and "Prison Blues". One of Thornton's last albums was Jail (1975) for Vanguard Records. It captured her performances during a couple of mid 1970s concerts at two northwestern prisons. She became the talented leader of a blues ensemble that featured sustained jams from George "Harmonica" Smith, as well as guitarists Doug Macleod, B. Huston and Steve Wachsman, drummer Todd Nelson, saxophonist Bill Potter, bassist Bruce Sieverson, and pianist J.D. Nicholson. Thornton performed at the Monterey Jazz Festival in 1966 and 1968, and at the San Francisco Blues Festival in 1979. In 1965 she performed with the American Folk Blues Festival package in Europe. While in England that year, she recorded Big Mama Thornton in Europe and followed it up the next year in San Francisco with Big Mama Thornton with the Chicago Blues Band. Both albums came out on the Arhoolie label. Thornton continued to record for Vanguard, Mercury, and other small labels in the 1970s and to work the blues festival circuit until her death in 1984, the same year she was inducted into the Blues Hall of Fame. During her career, she appeared on stages from New York City's Apollo Theater in 1952 to the Newport Jazz Festival in 1980, and was nominated for the Blues Music Awards six times. In addition to "Ball 'n' Chain" and "They Call Me Big Mama," Thornton wrote twenty other blues songs. In the 1970s years of heavy drinking began to hurt Thornton's health. She was in a serious auto accident but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie "Cleanhead" Vinson, a recording of which is called The Blues—A Real Summit Meeting on Buddha Records. Thornton died of a heart attack in Los Angeles on July 25, 1984, at age 57 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!