Don't Want A Girl Like You - The Producers

One of the most exciting and stylish new wave bands on the circuit, Bournemouth based The Producers are among the leaders of the the current Blues phenomenon topped by Joe Bonamassa and John Mayer. The Producers are something really something special, playing the freshest live blues in Britain today. Concerned with feel and attitude rather than slavishly copying 'hand me down' American music, The Producers move effortlessly between their own well crafted material and seriously reinvigorated classics stamped with their own characteristic identity. By not treating the music as some kind of museum piece The Producers are likely to incur the displeasure of a section of the blues hierarchy, however, at the same time they are barnstorming across the country building a massive audience at sell-out club dates and developing an equally impressive reputation that no one can ignore. Being invited to play prestigious Festival slots is always a sign of a band on its way, however receiving invitations to open concerts from luminaries like John Mayall, Taj Mahal, Dr John, Peter Green and Robert Cray has quickly led to The Producers becoming a major attraction in their own right. With seven acclaimed albums, air play and live appearances across Europe, the States, Australia and New Zealand, The Producers are now playing headline dates and rightfully assuming a prominent position on blues awards podiums. THE PRODUCERS long awaited new CD and Vinyl record ‘London Blues’ will be the first album from the band since their ‘Live Blues’ CD was released in 2000, a gap of 11 years! consequently it is creating lots of excitement within the blues community and the music industry in general. The album features guests Paul Beavis (Go West, Low Riders) Andy Fairweather Low (Eric Clapton, Roger Waters) Ben Waters and 5 times blues award winner Paul Lamb on Piano and Harmonica respectively with all the material being self penned originals. . Dave Saunders and Harry Skinner formed The Producers in 1990. They went on to be one the most popular blues outfit in the country at that time winning the 'Blues Band of the Year' award 4 times, releasing 7 CD albums one of which 'Ain't No Love in the World' was nominated for the 'Best Blues Album' award.. They regularly sold out venues around the country and were among the first to feature an acoustic set in their show which led to Theatre and Art Centre bookings nationwide, the whole acoustic set became almost de rigueur and every band, blues or otherwise, followed The Producers lead. Many festival headliners including Colne, Burnley, Stanley Blues, Dublin Templebar, Cork, Farnham, North Wales Blues Festival and many others were played. Belgium, Ireland, Holland and France played host to Producers tours and a month long tour of New Zealand was also undertaken, the band playing at the Tauranga Blues + Jazz Festival to great acclaim. At the Cognac Blues Festival in France they were joined onstage by headliner Ray Charles' brass section and, memorably, his 'Raelets' shimmying and dancing in front of them! They were featured in session on the Paul Jones Blues Show on BBC Radio 2 and have been praised by both Johnnie Walker and Bob Harris. Playing at the Alexis Korner Memorial Concert at Buxton Opera House they were spotted by Peter Greens management during Peters first major gig and asked to support the Fleetwood Mac guitar legend on his first national tour for 25 years, The Producers also featured on the BBC documentary of the Buxton concert. The Producers gave their last concert on New Years Eve 2001/2 after undertaking a 6 month farewell tour of the UK, needless to say it was a complete sell out. And now they are back! Harry and Dave still front the band ably assisted by Ray Drury on Organ and Piano and Biff Smith on the sticks and percussion. New songs have been written and loyal fans will recognise some reworked stage favourites as they move on from but definitely not forget the past musical history of the 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 favorite band!

Ramblin Kid Blues - Son Sims

Henry "Son" Sims (August 22, 1890 – December 23, 1958) was an American delta blues fiddler and songwriter. He is best known for his accompanist role to both Charlie Patton and a young Muddy Waters. Sims was born in Anguilla, Mississippi, United States, the only son of five children. He learned to play the fiddle from his grandfather. Sims saw active service in France during World War I, whilst serving in the US Army. Sims went on to be the leader of the Mississippi Corn Shuckers, a rural based string ensemble and played with them for a number of years. His profile was extended by joining his childhood friend, Charlie Patton, on a recording session for Paramount Records, which took place in Grafton, Wisconsin in June 1929. Sims both accompanied Patton on fiddle on thirteen tracks, including "Elder Greene Blues", "Going to Move to Alabama" and "Devil Sent the Rain Blues"; as well as recording four tunes of his own. These included "Tell Me Man Blues", his best known composition, and "Farrell Blues". Sims played alongside Patton at times until the latter's death in 1934, when Sims returned to working on a plantation. Sims had by then extended his playing repertoire to include the mandolin, guitar and piano. On August 28, 1941, Sims accompanied Muddy Waters on a recording session. This took place under the direction of Alan Lomax, as part of his recordings for the Library of Congress. In the 1940s, Sims also accompanied Robert Nighthawk on several joint appearances, and continued a solo career in to the 1950s. Sims died following renal surgery in December 1958 in Memphis, Tennessee, at the age of 68. He was buried in an unmarked grave in Bell Grove Baptist Church Cemetery, Clarksdale, Coahoma County, Mississippi 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!

Don't You Ever Leave Me All Alone - Andrew "Voice" Odom

Eminently capable of serving up spot-on imitations of both Bobby "Blue" Bland and B.B. King, Andrew Odom was also a man of many interrelated nicknames: Voice, Big Voice, B.B., Little B.B., B.B. Junior. Perhaps his chameleonic talents held him back; Odom was a journeyman Chicago singer who recorded relatively sparingly. Like the majority of his peers, Odom started out singing spirituals but fell in with Albert King and Johnny O'Neal on the St. Louis blues scene of the mid-'50s and began plying his trade there. He made an unobtrusive recording debut in 1961, singing "East St. Louis" with the band of one Little Aaron for the highly obscure Marlo imprint. He arrived in Chicago around 1960, hooking up with Earl Hooker as the slide guitar wizard's vocalist. A single for Nation Records in 1967 (as Andre Odom) preceded his debut album for ABC-BluesWay (cut in 1969, it remained in the can for quite a while before the label finally issued it). A guest spot on Jimmy Dawkins' encore Delmark LP, All for Business, was a highlight of the '70s for the singer. He cut his own album for the French Isabel label in 1982 in the company of Magic Slim & the Teardrops (reissued by Evidence in 1993), but it was a 1992 set for Flying Fish, Goin' to California (co-produced by guitarist Steve Freund), that probably captured his considerable vocal charms the best. Odom was a popular attraction on the Windy City circuit right up until the fateful night when he suffered a heart attack while driving from Buddy Guy's Legends to another local blues mecca, the Checkerboard Lounge. He's been missed ever since. 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!

TAKE A LITTLE WALK WITH ME - Boyd Gilmore

b. 12 June 1910, Belzoni, Mississippi, USA, d. 23 December 1976, Fresno, California, USA. A guitarist, although seemingly not recorded as such, and an exuberant singer, Gilmore recorded for Modern in 1952 with Ike Turner on piano and James Scott Jnr. on guitar; Scott was an early victim of recording technology when an introduction and guitar break by Elmore James were spliced into ‘Rambling On My Mind’. The following year, Gilmore recorded for Sun Records, backed by Earl Hooker’s band, but the results were not issued until later. Gilmore performed in delta juke joints for a while, also playing in St. Louis and Pine Bluff, Arkansas, before settling in California for the remainder of his life. 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!

Drown In My Tears - Troyce Key

b. 1937, Jordon Plantation (70m from Monroe), Louisiana, USA, d. 9 November 1992, Oakland, California, USA. In the early 50s Key became interested in blues after hearing a record by Lightnin’ Hopkins and he began playing guitar following a serious illness that resulted in hospitalization. During this time he was greatly influenced by the records of Fats Domino, Johnny Otis, Muddy Waters, and others. He was signed by Warner Brothers Records in 1958 and had three singles released. Key teamed up with J.J. Malone in 1961 and they recorded together around three years later; they also had two albums released by Red Lightnin’ and enjoyed a near-hit in Britain in 1980 with the single ‘I Gotta New Car (I Was Framed)’. He continued, until his death from leukemia, to present his good-natured, rocking blues in Oakland, California, at his own club called Eli Mile High, which was also the name of his blues record label. 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!

If its News To You - Little Esther

Esther Mae Jones (December 23, 1935 – August 7, 1984) who performed as Little Esther and as Esther Phillips, was an American singer; she performed in the pop, country, jazz, and rhythm and blues fields, including soul music. Born in Galveston, Texas, she entered an amateur contest in 1949 at Johnny Otis’s Barrelhouse Club in Los Angeles. Otis was so impressed that he recorded her for Modern Records and added her, billed as Little Esther, to his travelling revue, the California Rhythm and Blues Caravan. Her first hit record was “Double Crossin’ Blues,” recorded in 1950 for Savoy Records. After several hit records with Savoy, including “Mistrustin’ Blues,” “Misery,” “Cupid Boogie,” “Wedding Boogie,” “Far Away Christmas Blues,” and “Deceivin’ Blues”, she left the company in 1951 after a dispute over royalties. She later left Otis’s revue. She had no further hits until 1962, after being re-discovered by Kenny Rogers. After signing with Rogers’ brother’s record label, Lenox Records, she took the stage name Esther Phillips, and had a pop, country, and R & B hit with “Release Me” (successfully covered in 1967 by Engelbert Humperdinck). Moving to Atlantic Records after Lenox failed, she recorded jazzier material and came to the attention of The Beatles, who brought her to the United Kingdom to perform in her own television special. Despite critical success, she had no more hits until she signed with Kudu Records in 1971. 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!

Matchbox Blues - Sonny Boy Nelson

Sonny Boy Nelson (December 23, 1908 – November 4, 1998) was an American blues musician. He was born Eugene Powell, in Utica, Mississippi, United States, the child of an interracial affair and his white father soon abandoned the family.[2] His family soon moved to a plantation at Lombardy, near Shelby, Mississippi. Nelson learned to play the guitar by the age of seven. Together with his half brother Ben on a mandolin, Nelson began to play as a novelty act at picnics and suppers, and for prisoners at the Mississippi State Penitentiary. In 1915, his half brother, Bennie "Sugar" Wilson, may have been the inspiration for Nelson to learn the banjo-mandolin. Nelson became friends with the Chatmon family (see Sam Chatmon), as both families worked together on the Kelly Drew Plantation in Hollandale, Mississippi. He later married fellow singer, Mississippi Matilda. Nelson played many musical instruments, including banjo, guitar, harmonica, horn, mandolin, violin, and played lead most of the time when accompanied with another musician. Nelson's guitar was a Silvertone and he inserted an aluminium resonator into it similar to those found on the National guitar. He also fitted a seventh string, using the 12 string models as his inspiration. The extra string was a 'C' an octave higher than the conventional string. Later electric styles overhadowed his fame, and he went on to live a quiet life until his death. Nelson died in November 1998, in Greenville, Mississippi, at the age of 89. 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!

Parker's Mood - Frank Morgan

Frank Morgan (December 23, 1933 - December 14, 2007) was a jazz saxophonist with a career spanning more than 50 years. He mainly played alto saxophone but also played soprano saxophone. During the 1950s he was known as a Charlie Parker successor and recorded several bebop albums. Morgan's father was a guitarist with the vocal group The Ink Spots. Frank was playing guitar until seven when taken to see Charlie Parker play. Parker suggested starting with clarinet which he did for two years before switching to sax. He moved to California at age of 14 and started taking heroin at 17, subsequently became addicted and ended up spending time in Californian prisons. Formed a small ensemble at San Quentin prison in the 1960s with another addict and sax player, Art Pepper. The Frank Morgan Quartet featured Dolo Coker on piano, Flip Greene on bass and Larance Marable on drums. In 1985 he started recording again, releasing Easy Living in June 1985. He suffered a stroke in 1998, but subsequently recovered and recorded additional albums. 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!

American Folk Blues Festival '83 Complete German TV Show

James "Sparky" Rucker Larry Johnson Louisiana Red Lonnie Pitchford Louisiana Red & Carey Bell Lovie Lee & Band Queen Sylvia Embry & Friends rec. October 30th, 1983, at the Volksbildungsheim, Frankfurt a. M., and November 11th, 1983 at the Music Hall, Würzburg The American Folk Blues Festival was a music festival that toured Europe beginning in 1962. German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person. Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985. The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson, some playing in unique combinations such as T-Bone Walker playing guitar for pianist Memphis Slim, Otis Rush with Junior Wells, Sonny Boy Williamson with Muddy Waters. The Festival DVDs include the only known footage of Little Walter, and rare recordings of John Lee Hooker playing harmonica. Attendees of the first London festivals are believed to include such influential musicians as Mick Jagger, Eric Burdon, Eric Clapton, and Steve Winwood, who were the primary movers in the blues explosion that would lead to the British Invasion. Sonny Boy Williamson's visit to London with the 1963 festival led to him spending a year in Europe including recording the Sonny Boy Williamson and The Yardbirds album, (first released on Star-Club Records in 1965), and recording with The Animals. Sites where the festival was held included London, Hamburg, Paris, and others. Blues musicians who performed included: Muddy Waters, Sonny Boy Williamson, John Lee Hooker, Sippie Wallace, T-Bone Walker, Sonny Terry & Brownie McGhee, Memphis Slim, Otis Rush, Lonnie Johnson, Eddie Boyd, Big Walter Horton, Junior Wells, Big Joe Williams, Mississippi Fred McDowell, Willie Dixon, Otis Spann, Big Mama Thornton, Bukka White Howlin' Wolf (with a band made up of Sunnyland Slim, Hubert Sumlin, Willie Dixon and drummer Clifton James), Champion Jack Dupree, Son House, Skip James, Sleepy John Estes, Little Brother Montgomery, Victoria Spivey, J. B. Lenoir, Little Walter, Carey Bell, Louisiana Red, Lightnin' Hopkins, Joe Turner, Buddy Guy, Magic Sam, Lee Jackson, Roosevelt Sykes, Doctor Ross, Koko Taylor, Hound Dog Taylor, Archie Edwards, and Helen Humes. 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 Hoo Doo Blues - Ma Rainey

Ma Rainey (April 26, 1886 – December 22, 1939) was one of the earliest known American professional blues singers and one of the first generation of such singers to record. She was billed as The Mother of the Blues. She began performing at the age of 12 or 14, and recorded under the name Ma Rainey after she and Will Rainey were married in 1904. They toured with F.S. Wolcott’s Rabbit Foot Minstrels and later formed their own group called Rainey and Rainey, Assassinators of the Blues. From the time of her first recording in 1923 to five years later, Ma Rainey made over 100 recordings. Some of them include, Bo-weevil Blues (1923), Moonshine Blues (1923), See See Rider (1924), Black Bottom (1927), and Soon This Morning (1927). Ma Rainey was known for her very powerful vocal abilities, energetic disposition, majestic phrasing, and a ‘moaning’ style of singing similar to folk tradition. Though her powerful voice and disposition are not captured on her recordings (due to her recording exclusively for Paramount, which was known for worse-than-normal recording techniques and among the industry's poorest shellac quality), the other characteristics are present, and most evident on her early recordings, Bo-weevil Blues and Moonshine Blues. Ma Rainey also recorded with Louis Armstrong in addition to touring and recording with the Georgia Jazz Band. Ma Rainey continued to tour until 1935 when she retired to her hometown. Gertrude Pridgett was born on April 26, 1886 in Columbus, Georgia. She was the second of five children of Thomas and Ella (née Allen) Pridgett, from Alabama.She had at least two brothers and a sister named Malissa, with whom Gertrude was later confused in some sources. She came onto the performance scene at a talent show in Columbus, Georgia when she was 12–14 years old. A member of the First African Baptist Church, she began performing in show tents. Around 1902 she was first exposed to blues music,They sang and danced together in Black minstrel shows, and for several years toured with F.S. Wolcott's Rabbit Foot Minstrels. From 1914, the Raineys were billed as Rainey and Rainey, Assassinators of the Blues. Wintering in New Orleans, she met musicians including Joe "King" Oliver, Louis Armstrong, Sidney Bechet and Pops Foster. Blues music increased in popularity and Ma Rainey became well known. Around this time, Rainey met Bessie Smith, a young blues singer who was also making a name for herself. A story later developed that Rainey kidnapped Smith, making her join the Rabbit Foot Minstrels, and teaching her to sing the blues. This was disputed by Smith's sister-in-law Maud Smith. From the late 1910s, there was an increasing demand for recordings by black musicians. In 1920, Mamie Smith was the first black woman to record a record. In 1923, Rainey was discovered by Paramount Records producer J. Mayo Williams. She signed a recording contract with Paramount, and in December she made her first eight recordings in Chicago. These included the songs "Bad Luck Blues", "Bo-Weevil Blues" and "Moonshine Blues". She made more than 100 more over the next five years, which brought her fame beyond the South. Paramount marketed her extensively, calling her "the Mother of the Blues", "the Songbird of the South", "the Gold-Neck Woman of the Blues" and "the Paramount Wildcat". In 1924 she made some recordings with Louis Armstrong, including "Jelly Bean Blues", "Countin' the Blues" and "See, See Rider". In 1924 she embarked on a tour of the Theater Owners Booking Association (TOBA) throughout the South and Midwestern United States, singing both for black and white audiences. She was accompanied by bandleader and pianist Thomas Dorsey, and the band he assembled called the Wildcats Jazz Band which included Eddie Pollack, Gabriel Washington, Albert Wynn and David Nelson. They began their tour with an appearance in Chicago in April 1924 and continued, on and off, until 1928. Dorsey left the group in 1926 due to ill health and was replaced as pianist by Lillian Hardaway Henderson, the wife of Rainey's cornetist Fletcher Henderson, who became the band's leader. Towards the end of the 1920s, live vaudeville went into decline, being replaced by radio and recordings. Rainey's career was not immediately affected. She continued recording with Paramount and earned enough money touring to buy a bus with her name on it. In 1928, she worked with Dorsey again and recording 20 songs, before Paramount finished her contract. Her style of blues was no longer considered fashionable by the label. In 1935 Rainey returned to her hometown, Columbus, Georgia, where she ran two theaters, "The Lyric" and "The Airdrome", until her death from a heart attack in 1939 in Rome, Georgia. In 1983, Rainey was inducted into the Blues Foundation's Hall of Fame and the Rock and Roll Hall of Fame in 1990 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!

Down Hearted Blues - Miss Rhapsody With Reuben Cole's Orchestra

Miss Rhapsody With Reuben "June" Cole's Orchestra Recorded 11/21/44, NYC Miss Rhapsody=Viola Wells (vo) (died Dec 22, 1984), Frankie Newton (t), Morris Lounds (ts), Reuben "June" Cole (p), Harold Underhill (g), Slam Stewart (b), Cozy Cole (d) 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!

This Train - Elder Roma Wilson

Elder Roma Wilson (born December 22, 1910) is an American gospel harmonica player and singer. A clergyman, Wilson discovered he had a degree of notability later in his life, having originally been unaware of interest in his work. Wilson was born in Hickory Flat, Mississippi, United States, and his father was one-half Muscogee. Wilson was a self-taught harmonica player in his early teens, having utilised the discarded instruments of his elder siblings (he had five brothers and four sisters). He developed an unusual "choking" style, based around the difficulty of soliciting sounds from his well-worn equipment. By the age of fifteen, Wilson was working on the railroad and later at a local sawmill. Wilson married at the age of nineteen. His faith saw him become an ordained minister in the Pentecostal church in 1929, and he joined with the self-styled Reverend Leon Pinson, who played the guitar, in traveling across North Mississippi, both playing and preaching. They developed a strong church following, before Wilson moved to Michigan in 1940 and later to Detroit. He continued his musical interests playing on street corners, which ultimately led to his unbeknownst twist of fate. In 1948, he played in a local record store on Hastings Street, and was recorded by the shop owner. The owner subsequently allowed the tracks to be released, and students of Wilson's style of playing were intrigued. Wilson remained blissfully unaware of the attention. Following the death of his first wife, Wilson moved back to Mississippi and remarried in 1977. By 1989, and following a chance telephone call, Wilson reactivated his playing partnership with Pinson. Finally, he became aware of the global interest in his earlier 'recordings', which he heard for the first time in 1991. Capitalizing on the notability, he and Pinson started to play at music festivals, including the Chicago Blues Festival and New Orleans Jazz & Heritage Festival. In 1993, Wilson was awarded the National Heritage Fellowship, and recorded the bulk of what turned out to be his debut album. The majority of tracks on his 1995 LP, This Train, were recorded when Wilson was in his early eighties. The sides contained a mixture of solo efforts, some accompanied by his wife or with a church choir, and included "Ain't It a Shame," "This Train Is a Clean Train," and "Amazing Grace." The album also included the six harmonica dominated pieces, unwittingly recorded with his own children in 1948 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 Ain't Got Nothing But The Blues - Joe Lee Wilson

Joe Lee Wilson (December 22, 1935 – July 17, 2011[1]) was an American gospel-influenced jazz singer, originally from Bristow, Oklahoma. His voice is best recognized from several Archie Shepp albums recorded for Impulse! Records Wilson was born to farming parents in Bristow. He was part African American and part Creek Native American. As his band's name, Joy of Jazz, suggests, Wilson's baritone personified the life-affirming nature of jazz and blues. Seeing Billie Holiday perform in 1951 began his interest in a music-industry career. He studied in Los Angeles before touring the West Coast, where he sat in with Sarah Vaughan, and down to Mexico. In New York in the 1960s, he worked with Sonny Rollins, Lee Morgan, Miles Davis, Pharoah Sanders, and Jackie McLean; during the 1970s, he operated a jazz performance loft in New York's NoHo district known as the Ladies' Fort at 2 Bond Street. His regular band, Joe Lee Wilson Plus 5, featured the alto saxophonist Monty Waters (from Modesto, California) and for several years the Japanese guitarist, Ryo Kawasaki, before the latter left to lead his own group. Archie Shepp and Eddie Jefferson were frequent collaborators at these sessions. He also sang with Eddie Jefferson, Freddie Hubbard, and Kenny Dorham. He recorded a live radio program at WKCR-FM, Columbia University, on July 16, 1972, which was released as an album, Livin' High Off Nickels & Dimes, on the short-lived Oblivion Records in New York. Wilson's rendition of "Jazz Ain't Nothing But Soul" was a radio hit on New York jazz radio in 1975. While based in Paris, Tokyo, and the United Kingdom, he recorded regularly with the American pianist Kirk Lightsey, including the Candid recording Feelin’ Good. One of his last albums was an Italian recording with Riccardo Arrighini and Gianni Basso, Ballads for Trane (Philology W707.2). Wilson was inducted into the Oklahoma Jazz Hall of Fame in November 2010, where he gave his last public performance. 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!

Down Home Girl - Alvin Robinson

b. 1937, d. 24 January 1989. Robinson was a New Orleans-based session guitarist, and secured a minor hit in 1964 with a recording of a Chris Kenner song, ‘Something You Got’. The single was released on Tiger Records, a short-lived outlet owned by Jerry Leiber and Mike Stoller, who then took Robinson to their next venture, Red Bird. His first release there, ‘Down Home Girl’, was an inspired amalgamation of New York pop and Crescent City R&B. Later covered by the Rolling Stones, Robinson’s single was one of the finest to appear on this impressive label. It was followed by a reshaped version of ‘Let The Good Times Roll’, but the artist was unable to find another success. Robinson moved to the west coast in 1969 and was one of several expatriate musicians who played on Dr. John’s New Orleans ‘tribute’ album, Gumbo. He returned to New Orleans in 1985 and died in 1989. 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!

Oh Pretty Woman - ALBERT KING

Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer, and a major influence in the world of blues guitar playing. On December 11th, 2012, it was announced that King would be posthumously inducted into the 2013 Rock and Roll Hall of Fame One of the "Four Kings of the Blues Guitar" (along with B.B. King, Earl King and Freddie King), Albert King stood 6 ft 4 in (1.93 m) (some reports say 6 ft 7 in (2.01 m)) and weighed 250 pounds (110 kg) and was known as "The Velvet Bulldozer". He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church where his father played the guitar. One of 13 children, King grew up picking cotton on plantations near Forrest City, Arkansas, where the family moved when he was eight. He began his professional work as a musician with a group called In The Groove Boys in Osceola, Arkansas. Moving north to Gary, Indiana and later St. Louis, Missouri, he briefly played drums for Jimmy Reed's band and on several early Reed recordings. Influenced by blues musicians Blind Lemon Jefferson and Lonnie Johnson, the electric guitar became his signature instrument, his preference being the Gibson Flying V which he named "Lucy". King earned his nickname "The Velvet Bulldozer" during this period as he drove one of them and also worked as a mechanic to make a living. King moved to Gary, Indiana in the early 1950s, then to Chicago in 1953 where he cut his first single for Parrot Records, but it was only a minor regional success. He then went back to St. Louis in 1956 and formed a new band. During this period, he settled on using the Flying V as his primary guitar. He resumed recording in 1959 with his first minor hit, "I'm a Lonely Man," written by Little Milton, who was Bobbin Records A&R man, a fellow guitar hero, and responsible for King's signing with the label. It was not until his 1961 release "Don't Throw Your Love on Me So Strong" that King had a major hit, reaching number fourteen on the U.S. Billboard R&B chart. The song was included on his first album The Big Blues, released in 1962. He next signed with jazz artist Leo Gooden's Coun-Tree label. King's reputation continued to grow in the Midwest, but a jealous Gooden dropped him from the label. In 1966, King moved to Memphis, where he signed with the Stax record label.Produced by Al Jackson, Jr., King with Booker T. & the MGs recorded dozens of influential sides, such as "Crosscut Saw" and "As The Years Go Passing By". In 1967 Stax released the album, Born Under a Bad Sign. The title track of that album (written by Booker T. Jones and William Bell) became King's best-known song and has been covered by many artists (from Cream to Homer Simpson). The success of the album made King nationally known for the first time and began to influence white musicians. Another landmark album followed with Live Wire/Blues Power, from one of many dates King played at promoter Bill Graham's Fillmore venues. It had a wide and long-term influence on Jimi Hendrix, Eric Clapton, Robbie Robertson, and later Gary Moore and Stevie Ray Vaughan. Albert King playing at the Fillmore East in October 1968 with his Gibson Flying V guitar. Photo: Grant Gouldon In 1969, King performed live with the St. Louis Symphony Orchestra. During the early 1970s, he recorded an album Lovejoy with a group of white rock singers, an Elvis Presley tribute album, Albert King Does The King's Things, and a cameo on an Albert Brooks comedy album A Star is Bought. According to Bill Graham, "Albert was one of the artists I used many times for various reasons. He wasn't just a good guitar player; he had a wonderful stage presence, he was very congenial and warm, he was relaxed on stage, and he related to the public. Also he never became a shuck-and-jiver. One of the things that happened in the '60s – it's not a very nice thing to say, but it happens to be true – was that blues musicians began to realize that white America would accept anything they did on stage. And so many of them became jive. But Albert remained a guy who just went on stage and said 'Let's play.'" On June 6, 1970, King joined The Doors on stage at the Pacific Coliseum in Vancouver, Canada. He lent his distinctive guitar to blues cuts such as “Little Red Rooster,” “Money,” “Rock Me” and “Who Do You Love.” In the 1970s, King was teamed with members of The Bar-Kays and The Movement (Isaac Hayes's backing group), including bassist James Alexander and drummer Willie Hall adding strong funk elements to his music. Adding strings and multiple rhythm guitarists, producers Allen Jones and Henry Bush created a wall of sound that contrasted with the sparse, punchy records King made with Booker T. & the MGs. Among these was another of King's signature tunes "I'll Play the Blues For You" in 1972. King influenced others such as Mick Taylor, Derek Trucks, Warren Haynes, Mike Bloomfield and Joe Walsh (the James Gang guitarist spoke at King's funeral). He also had an impact on contemporaries Albert Collins and Otis Rush. Clapton has said that his work on the 1967 Cream hit "Strange Brew" and throughout the album Disraeli Gears was inspired by King. By the late 1980s, King began to muse about retirement, as he had health problems. He continued regular tours and appearances at blues festivals, using a customized Greyhound tour bus with "I'll Play The Blues For You" painted on the side. Shortly before his death, he was planning yet another overseas tour. His final album, Red House - named after the Jimi Hendrix song - was recorded in 1992. The album was largely ignored because of bad production quality and original copies of it are scarce. King died on December 21, 1992 from a heart attack in his Memphis, Tennessee home. His final concert had been in Los Angeles two days earlier. He was given a funeral procession with the Memphis Horns playing "When The Saints Go Marching In" and buried in Edmondson, Arkansas near his childhood home. On December 11th, 2012, it was announced that King would be posthumously inducted into the 2013 Rock and Roll Hall of Fame 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!

Drayman Blues - Clifford Gibson

Clifford "Grandpappy" Gibson (April 17, 1901 — December 21, 1963) was an American blues singer and guitarist. He is best known for the tracks, "Bad Luck Dice" and "Hard Headed Blues". Born in Louisiville, Kentucky, United States, he moved to St. Louis, Missouri in the 1920s and lived there for the rest of his life. He played in St. Louis clubs, and in 1929 began recording for the QRS and Victor labels. He is regarded as one of the earliest urban blues performers, with no pronounced rural influences. His guitar playing style resembled that of Lonnie Johnson, with an emphasis on vibrato and improvisation. Among the many themes touched on in his songs, "Don't Put That Thing on Me" is notable for its references to hoodoo, an African American form of folk magic. Gibson accompanied Jimmie Rodgers on a Victor single, "Let Me Be Your Side Track", in 1931, then spent parts of the next three decades playing in the streets around St. Louis. Gibson resurfaced on recordings in 1960 on the Bobbin label, and worked another three years in St. Louis' Gaslight Square, before his death from pulmonary edema in 1963. 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!

DON'T HANG MY CLOTHES ON NO BARB WIRE LINE - PEETIE WHEATSTRAW

Peetie Wheatstraw (December 21, 1902 – December 21, 1941) was the name adopted by the singer William Bunch, an influential figure among 1930s blues singers. Although the only known photograph of Bunch shows him holding a National brand tricone resonator guitar, he played the piano on most of his recordings Wheatstraw is assumed to have been born in Ripley, Tennessee, but was widely believed to have come from Arkansas. His body was shipped to Cotton Plant, Arkansas for burial, and fellow musician Big Joe Williams stated that this was his home town. The earliest biographical facts are those of fellow musicians such as Henry Townsend and Teddy Darby who remember Wheatstraw moving to St Louis, Missouri in the late 1920s. He was already a proficient guitarist, but a limited pianist. By the time Sunnyland Slim moved to St Louis in the early 1930s, Wheatstraw was one of the most popular singers with an admired idiosyncratic piano style. Wheatstraw began recording in 1930 and was so popular that he continued to record through the worst years of the Great Depression, when the numbers of blues records issued was drastically reduced. However, he made no records between March 1932 and March 1934, a period in which he perfected his mature style. For the rest of his life, he was one of the most recorded blues singers and accompanists. His total output of 161 recorded songs was surpassed by only four pre-war blues artists: Tampa Red, Big Bill Broonzy, Lonnie Johnson and Bumble Bee Slim (Amos Easton). Among the clubs of St Louis and East St Louis his popularity was outstanding, rivalled only by Walter Davis. Despite rumours of his touring, there is little evidence that he worked outside these cities, except to make records By the time Bunch reached St Louis, he had discarded his name and crafted a new identity. The name 'Peetie Wheatstraw' has been described by blues scholar Paul Oliver as one that had well-rooted folk associations. Later writers have repeated this, while reporting that many uses of the name are copied from Bunch. Elijah Wald suggests that he may be the sole source of all uses of the name. It would have been in character for Bunch to invent a name with a whimsical folkloric flavor. All but two of his records were issued as by 'Peetie Wheatstraw, The Devil's Son-in-Law' or 'Peetie Wheatstraw, The High Sheriff from Hell'. He composed several 'stomps' with lyrics projecting a boastful demonic persona to match these sobriquets.There is some evidence that the writer Ralph Ellison might have known him personally. He used both the name 'Peetie Wheatstraw' and aspects of the demonic persona (but no biographical facts) to create a character in his novel Invisible Man. Elijah Wald suggests that Wheatstraw's demonic persona may have been the inspiration for Robert Johnson's association with the Devil. African-American music maintains the tradition of the African "praise-song", which tells of the prowess (sexual and other) of the singer.　Although first-person celebrations of the self provide the impetus for many of his songs, Wheatstraw rings the changes on this theme with confidence, humour and occasional menace. Blues singer Henry Townsend recalled that his real personality was very similar: "He was that kind of person. You know, a jive-type person." Blues critic Tony Russell updates the description: "Wheatstraw constructed a macho persona that made him the spiritual ancestor of rap artists. Wheatstraw was still riding the crest of his success when he met his premature demise. On December 21, 1941, his 39th birthday, he and some friends decided to take a drive. They tried to entice Wheatstraw's friend, the blues singer Teddy Darby, but Darby's wife refused to let him join them. Wheatstraw was a passenger in the back seat when the Buick struck a standing freight train, instantly killing his two companions. Wheatstraw died of massive head injuries in the hospital some hours later. There is a legend that his death drew little attention, but the accident was fully reported in St. Louis and East St. Louis newspapers and obituaries appeared in the national music press. Down Beat led the front page for January 15, 1942 with the story of the accident, and an appreciation of Peetie's career under the headline, Blues Shouter Killed After Waxing "Hearseman Blues" 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 American Monster Burlesque & Blues Show

The American Monster Show = Sex and booze and dirty blues come crashing together in a way only Harvelle's seems able to pull off these days. Led by ring master Pink Arguello, this night of excellent debauchery features a host of fiery hot burlesque dancers led by Ms. Molly D'amour performing to the loud, raucous blues stylings of Smokehouse Brown, Johnny Mastro, Bobby Tsukamoto and Henry Carvajal. The American Monster Burlesque and Blues Show has everything your depraved little heart could ask for—soulful singing, strip-tease dancing, tassle-twirling, some offbeat vaudevillian stuff—so throw a few back and enjoy this "very colorful cast of under-achieving misfits" rock, wail and gyrate all for your Friday night enjoyment. — By Erin DeWitt - LA Weekly 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!

Stormy Monday - Rui Veloso with BBKing

Rui Manuel Gaudêncio Veloso, commonly known as Rui Veloso, CavIH (born in 30 July 1957, Lisbon), is a Portuguese rock and blues singer and musician. This composer and interpreter had a great impact on the Portuguese music scene with the record Ar de Rock (April 1980), which influences were Eric Clapton and B.B.King. Songs such as Chico Fininho and A Rapariguinha do Shopping became instant classics in the 1980s. His lyrics, normally written by Carlos Tê, are strongly influenced by the Porto culture. An unconditional lover of the blues, he has played with B.B. King several times. He became one of the most productive and renowned Portuguese musicians, as his discography clearly shows today. 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!

A New Book - In The Belly Of the Blues - Terry Abrahamson - New Book Review

Looking for the perfect gift for your favorite blues lover or just like me, love to look at candid photos of blues legends? This is your ticket. Storyteller, Designer, Songwriter, Satirist, Filmmaker, Photographer, Playwright, Illustrator, Chicagoan and Basketball Coach Terry Abrahamson has compiled a fabulous book of memories and personal snap shots of many of the blues greats including Muddy Waters, Howlin' Wolf, Blind Jim Brewer, George Thorogood, Hollywood Fats, Bob Margolin, Mojo Bruford, Pinetop Perkins, Big Eyes Smith, Hubert Sumlin, Eddie Shaw, Hound Dog Taylor, Big Walter, James Cotton, Johnny Winter, koko Taylor, Freddie King, Taj Mahal, John Lee Hooker, Willie Dixon, The Stones.... the list goes on. This is really a terrific coffee table book, one that won't overtax your thinking capacity while you're enjoying your yule time blues break or watching your favorite holiday football drubbing. I haven't seen these photos anywhere else and as you all know, I love the old photos. The supplemental stories make the photo montage all the more enjoyable and brings you to the time. This is a really cool piece of memorabilia and one that I'm certain most real blues lovers will dig into. Have a Happy Holiday http://inthebellyoftheblues.com/store Bman 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”

Chris Leigh & the Broken Hearts Set to Launch New CD, "Broken Hearted Friends," on Feb. 12

Chris Leigh & the Broken Hearts Set to Launch New CD,

Broken Hearted Friends, February 12 on

Blue River Records

LOUISVILLE, KY – Country/Americana singer Chris Leigh announces a February 12 release date for his new CD, Broken Hearted Friends, on Blue River Records. The new CD, produced by Jim “Moose” Brown and recorded at his Moose Lodge Studios in Nashville, showcases Chris Leigh’s exciting mix of honky-tonk country, rockabilly and roots-driven music backed by a host of Music City A-list pickers, including Brown on guitar/keyboards/bass/backing vocals, Troy Lancaster on guitar, Kevin “Swine” Grantt on bass, Scotty Sanders on pedal steel/dobro, Tommy Harden on drums and Curtis Wright on backing vocals. “Moose” Brown is also a Grammy-winning songwriter (“It’s Five O’Clock Somewhere”) and multiple ACM keyboard award nominee. The album was mixed by 10 Time Grammy-winner Benny Faccone.

“I was very lucky to have worked with such an amazing group of Nashville cats on this album,” exclaims Chris Leigh. “Each of these guys brought their own unique style and talent to my music, which really helped to shape the songs into what we hear. Most of the tunes were done in one take, which is pretty amazing when you consider they had never heard these songs before. The energy in the room was amazing!”

Broken Hearted Friends contains 10 all-original songs penned by Chris Leigh that feature his soulful vocals performed in a style influenced by blue-collar, hard-core country. It’s a sound that’s filled with rockin’ honky-tonk anthems and powerful ballads that tug at the heartstrings. The title track is destined to become a live sing-along favorite, as Chris and his rowdy friends blast out the chorus, “Here I am again, with my broken hearted friends,” in the tale of a poor soul whose girl’s “got something against football,” among other negative attributes. Chris Leigh is a bona fide barroom poet and prophet who clearly wears his broken heart on his sleeve in many of these songs.

The rest of the tracks on Broken Hearted Friends are chockfull of dazzling country music imagery, whether Chris is telling the story of a wild odyssey in “Ramblin’ Man,” offering up the powerful ballad, “If You Make It to Heaven,” laying down a cool rockabilly groove in “Heartache and Misery,” crafting a Western Swing dancehall two-step in “Who’s That,” spinning the crying-in-your beer lament, “Money” (another future live fan favorite), or closing the album with an homage to Willie Nelson, “Whiskey River.”

“I suppose I owe a certain amount of gratitude (in some weird way) to my ex-wife for this album,” reflects Leigh. “Had she not divorced me I probably would not have written these songs. Most of these tunes are based on actual events that took place after our divorce a couple years ago. It was a very tough time for me but it also gave me a chance to reflect on my life and what was truly important to me: my kids and my music.”

Chris Leigh’s life story reads like a classic country song. One of 10 kids raised by very devout religious parents in a small red brick home in Kentucky, he hitched to California while still in his teens to try to make it in the music business; but after several years of trying he returned home to Kentucky. After additional years of trying, he abandoned his musical aspirations for a while, got a job as a salesman, married and raised a family. After his marriage ended in heartbreak, he picked his guitar back up in 2010 and started writing and singing again. All of those life experiences gave Chris the fuel for the songs that would become Broken Hearted Friends.      

“Each of these songs - some funny, some sarcastic, some sad and some downright depressing - are all very real and very personal for me,” says Leigh. “They also reflect much of the music that I grew up hearing. It was the music my father listened to that I wanted to bring back to life on this album. The roots of my family run deep in Kentucky. The bluegrass is here, the people are real and it makes me happy when I think back about my dad singing along with the country radio in our old Ford truck or singing an old family folk song to me when we would go squirrel hunting or work on the farm. Sometimes the whole family would sing together when all 10 of us would pile in the station wagon and head to the Smokies. We worked hard but had a lot of great times, even though we were somewhat poor.”

Chris Leigh is touring in support of the new CD backed by his aptly named road band, “The Broken Hearts,” which includes some of Kentuckiana’s finest and most respected country and rock musicians. For more information, visit www.chrisleighmusic.com.

Harmonica Slim

Over the history of the blues, there's been at least three different people plying their wares as Harmonica Slim, with one of them being far better known as Slim Harpo. But this Harmonica Slim was born Travis L. Blaylock down in Texas. He picked up the instrument around the age of 12 and was soon working as part of the Sunny South Gospel Singers gospel group, broadcasting over radio station KCMC in his hometown of Texarkana from the mid-'40s on. By 1949, he moved to Los Angeles, ingratiating himself into the burgeoning blues community, working package shows with Lowell Fulson and the like. He first recorded as a sideman on a group of dates in the mid-'50s for West Coast labels like Aladdin, Spry, and Vita. After spending most of the '60s working dates with Percy Mayfield, Harmonica Fats, B.B. King, T-Bone Walker and others, Slim finally got to record a full album under his own name for the Bluestime label in 1969. 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”

The Hucklebuck - Panama Francis

David "Panama" Francis (December 21, 1918, Miami, Florida – November 13, 2001, Orlando, Florida) was an American swing jazz drummer. He began performing at the age of eight, and booked his first night club at the age of thirteen. His career took off after he moved to New York City in 1938. Early collaborations included Tab Smith, Billy Hick's Sizzling Six, the Roy Eldridge Orchestra, and six years with Lucky Millinder's Orchestra at Harlem's Savoy Ballroom. Panama Francis spent five years recording and touring with Cab Calloway. He also played with Duke Ellington, Tommy Dorsey, Ray Conniff, and Sy Oliver, becoming a highly successful studio drummer. He recorded with John Lee Hooker, Eubie Blake, Ella Fitzgerald, Illinois Jacquet, Ray Charles, Mahalia Jackson and Big Joe Turner. As rhythm and blues and rock and roll went mainstream Francis became even more sought after. He drummed on the Elvis Presley demos, and he is featured on hits by the Four Seasons ("Big Girls Don't Cry" and "Walk Like a Man"), the Platters ("Only You", "The Great Pretender", "Smoke Gets in Your Eyes" and "My Prayer"), Bobby Darin ("Splish Splash"), Neil Sedaka ("Calendar Girl"), and Dion ("The Wanderer"). He drummed on "Prisoner of Love" for James Brown, "What a Difference a Day Makes" for Dinah Washington, "Drown in My Own Tears" for Ray Charles, and "Jim Dandy" for LaVern Baker. Many music reference books indicate that he also played drums on Bill Haley & His Comets' 1954 version of "Shake, Rattle and Roll", but producer Milt Gabler denied this; Francis is also believed to have played drums for at least one other Haley recording session in the mid-1960s. In 1979, Panama Francis reestablished the Savoy Sultans touring, recording several Grammy-nominated albums, and keeping residence at New York's prestigious Rainbow Room through the mid-1980s. He appeared in several films with Cab Calloway: Angel Heart, Lady Sings the Blues, The Learning Tree 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”

RED HOT - BILLY THE KID EMERSON

William Robert Emerson, known during his recording career as Billy "The Kid" Emerson and more recently as Rev. William R. Emerson (born December 21, 1925, Tarpon Springs, Florida, United States), is an African American preacher and former R&B and rock and roll singer and songwriter, best known for his 1955 song, "Red Hot." Born in Florida, Emerson learned the piano, playing in various local bands. In 1943, he joined the United States Navy, and after World War II he began playing around Tarpon Springs, and following a spell in one group, dressed as outlaws, he picked up the nickname, "Billy The Kid". He joined the United States Air Force in 1952, and on his discharge met up in Memphis with bandleader Ike Turner, who recruited him into his Kings of Rhythm. In 1954 he released his first record on the Sun label, "No Teasing Around", following which he left Turner's band and joined a group led by Phineas Newborn. He stayed with Sun as a songwriter, writing and recording "When It Rains It Really Pours", later recorded by Elvis Presley, and "Red Hot", which later became a hit for both Billy Lee Riley and Bob Luman but was not a commercial success for Emerson. In late 1955 he joined Vee-Jay Records in Chicago, making records such as "Every Woman I Know (Crazy 'Bout Automobiles)", released a year later but with little commercial success, and soon afterwards moved to Chess Records. However, he continued to have more success as a songwriter, writing for Junior Wells, Willie Mabon, Wynonie Harris and Buddy Guy during the early 1960s, often in conjunction with Willie Dixon. After recording for several smaller labels, he formed his own Tarpon Records in 1966, releasing Denise LaSalle's debut single as well as his own records. He also continued to play in clubs and on European blues tours. In 2005 he was reported as having a church in Oak Park, Illinois, as Rev. William R. Emerson. Emerson was inducted in the Rockabilly Hall of Fame. A compilation album, Red Hot: The Sun Years, was released by Bear Family Records in 2009 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”

Washboard Serenaders / Jerome Darr

For a player who rates only three lines of biographical information in one major jazz reference book, Jerome Darr had an incredibly versatile and prolific career, showing up on sessions from blues to bebop and even strumming a few arpeggios behind Frankie Lymon & the Teenagers. He was one of many fine players to hail from Baltimore and his first major professional affiliation was in sort of a jug band, the Washboard Serenaders. The guitarist was a member of this group from 1933 through 1936, a tenure that included a well-received European tour. Jazz researchers find great, glaring holes in Darr's activities from this point, either picking back up on him in the classic jazz context of Buddy Johnson's band in the early '50s, or wondering about his involvement with the much more modernistic Charlie Parker during roughly the same period. The guitarist was not hiding in a closet during the '40s, however: he simply focused on work as a studio musician during an era when the efforts of such players went largely uncredited. Discographer Tom Lord, for example, lists less than 20 recording sessions in total for this artist between 1935 and 1973. Such a thin statistic indicates that the hefty, complete list of recordings Darr appears on include many other styles besides jazz. Simply fitting in may have been the main requirement in these contexts, and it is indeed difficult to pinpoint whether it is Darr or someone else such as Skeeter Best playing on some of the Lymon tracks, as studio bandleader Jimmy Wright made use of several different players. In his final years, Darr was mostly swinging in the busy band of trumpeter Jonah Jones, in a sense coming full circle with the type of playing he had started out with. collapse 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”

Playlist-links for Dec 20 2012 'Rock-it Science'

Merry Christmas!...

ROCK-IT SCIENCE Dec 20 2012 with Greg Lewis

 

91.9 WNTI Hackettstown NJ Thursdays 8-10pm wnti.org

 

hr 1  http://www.sendspace.com/file/0pmebb

 

hr 2  http://www.sendspace.com/file/k3fkhu

 

PLAYLIST SONGS-

 

-SONG----------ARTIST--------------ALBUM------------

 

	Christmas Tree, Tony McPhee & Joanna Deacon, Blues At Ten Start: 20:01:00 End: 20:05:00 Duration : 4:00
	Candy Cane, Lee Gray Blues Band, Box Wine  Woman Start: 20:06:00 End: 20:09:00 Duration : 3:00
	Winter, Carla Olson [with Mick Taylor], The Ring Of Truth Start: 20:09:00 End: 20:21:00 Duration : 12:00
	They Don't Make Them Like You Anymore, Rory Gallagher, Etched In Blue Start: 20:27:00 End: 20:31:00 Duration : 4:00
	People Like Me, Renegade Creation, Bullet Start: 20:31:00 End: 20:35:00 Duration : 4:00
	Happiness, Marci Levy, The Upside Of Being Down Start: 20:35:00 End: 20:40:00 Duration : 5:00
	Belly Of The Beast, David Grissom, Way Down Deep Start: 20:43:00 End: 20:49:00 Duration : 6:00
	Wishing Well, Nimmo Brothers, Brother To Brother Start: 20:49:00 End: 20:52:00 Duration : 3:00
	Nobody, Rocky Athas Group, Voodoo Moon Start: 20:52:00 End: 20:57:00 Duration : 5:00
	The Lonely One, Joe Wood & The Lonely Ones, Blues Out Of Long Beach Start: 20:57:00 End: 21:00:00 Duration : 3:00
	Beyond the Crossroads, Peter Karp & Sue Foley, Beyond The Crossroads Start: 21:01:00 End: 21:05:00 Duration : 4:00
	Howling For My Darling, Sue Foley, Big City Blues Start: 21:19:00 End: 21:24:00 Duration : 5:00
	Boom Boom, Harmonica Shah, If All You Have Is A Hammer Everything Looks Like A Nail Start: 21:27:00 End: 21:32:00 Duration : 5:00
	Satan's Blues, Junior Walker & The All Stars, Ultimate Collection Start: 21:32:00 End: 21:35:00 Duration : 3:00
	Honey, Rainer Ptacek with Joey Burns john Covertino, Roll Back The Years Start: 21:35:00 End: 21:38:00 Duration : 3:00
	Jellyfish, Pete Cornelius, Gonna Burn Start: 21:38:00 End: 21:41:00 Duration : 3:00
	I Ain't Got The Feeling, Oscar Benton Blues Band, Blues Gonna Wreck My Life Start: 21:45:00 End: 21:48:00 Duration : 3:00
	CS Opera, Stan Webb, Stan 'The Man' Live Start: 21:48:00 End: 21:59:00 Duration : 11:00