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Issue 7-13, March 28, 2013

Scroll or Page Down! For news, photos, reviews, links & MUCH MORE in this issue!

Cover photo by Marilyn Stringer © 2013

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 In This Issue

Terry Mullins has our feature interview with Theodis Ealey. Marilyn Stringer reviews the 2013 Phoenix Blues Blast Festival.

We have 6 music reviews for you! Steve Jones reviews a new CD from Tinsley Ellis. John Mitchell reviews a new release from Red Lotus Review. Mark Thompson reviews a new album from J.P. Reali. Gary weeks reviews a CD from Diamond Jim Greene. Rainey Wetnight reviews a new album from Shirley Jackson and Her Good Rockin’ Daddys. Rex Bartholomew reviews a new release from Dirty Red & The SoulShakers. We have the latest in Blues Society news from around the globe. All this and MORE! SCROLL DOWN!!!

 From The Editor's Desk

Hey Blues Fans,

It is the last issue of March and time for our Blues Overdose Issue. On the last Thursday of each month Blues Blast Magazine is featuring free Blues music downloads from some of the best new artist releases.

This issue features four new download tracks including music from the new Tinsley Ellis CD, a track from the new Long Tall Deb CD, and tracks from Bad Influence and the Avey Brothers.

Scroll to the bottom of this issue to get these Free Blues tracks now!

Also, please note that the free six download tracks from from February's Blues Overdose are still available until this Saturday. These include music by The Rusty Wright Band, Theodis Ealey, Sunday Wilde, Jason Elmore & Hoodoo Witch, Lil' Cliff & The Cliffhangers and Jason Vivone And The Billy Bats. To check them out and get them while you still can Click Here

Please please help us spread the word on Facebook and Twitter about this FREE Blues music each month. We want as many Blues lovers as possible to take advantage of this great offer from these artists.

Wishing you health, happiness and lots of Blues music! 

Bob Kieser 

 Blues Blast Music Awards Submissions - Deadline Approaching

2013 Blues Blast Music Awards Submissions Now Open

It is that time again to let publicists, artists, labels and Blues industry contacts know that submissions for consideration in the 2013 Blues Blast Music Awards are now open.

We are again offering to put your eligible Blues music releases directly into the hands of our 30 nominators for consideration in this years awards. Submissions are free and must be received no later than 4/15/2013.

Complete information at the link below.

 Featured Blues Interview - Theodis Ealey

As a musician, it has to be a marvelously-blissful thing when you hear that your latest compact disc is “flying off the shelves.”

However, there are certain exceptions to that, as Atlanta-based bluesman Theodis Ealey is about to explain.

“Well, I just got a call from some people out of Mississippi - and in the hood, they’re burnin’ the CDs; bootleggin’ ‘em – and I got word that the bootleggers say that my CD is flyin’ off the shelves,” laughed Ealey. “That’s horrible. Well, it’s good, ‘cause there’s not any record stores anymore except for stores like Wal-Mart and they don’t stock our music unless you’re someone like Eric Clapton that’s got a big label behind them. But a lot of people just don’t have a way to get it (Ealey’s new CD) unless they go online and a lot of the older people don’t really know how to use the internet. But I guess it’s (having CDs bootlegged) good in a way, because at least it lets people know I’m still around and if I ever come around to do a show in their town, hopefully they’ll show up, so that’s positive.”

Bootlegged or not – You and I, Together (IFGAM Records) is piled high with a generous helping of the soulful blues that Ealey has been favoring music lovers with since his debut disc hit the streets in the early 90s. His vocals are impassioned and his guitar-playing glides from down-and-dirty to feel good and funky, but where Ealey has always hung his hat is in his abilities as a songwriter. And on You and I, Together - the album and the title track to it –there is no exception to that rule.

“A friend of mine – a guy known as the founder of West Coast blues and the guy who wrote the song “Tin Pan Alley” – Bob Geddins, was almost like my God-dad. And his son, Larry Geddins and Bob Geddins Jr. and Daryl Geddins all had a group and we used to get together and jam,” Ealey said. “And one day we was at the old shack and Larry came up with the rhythm pattern for that song (“You and I, Together”) and I just started singing and the words just came out of me – just like that. It didn’t take no time at all to write. I love that song. It describes two people that just want to be together.”

Just as a bee has an instinctive knack for making honey, Ealey has long been blessed with the flair and flamboyancy for coming up with instantly clever – and relatable to most - subject matter for his tunes, along with eye-catching names to go along with those songs, as well.

After all, if titles like “What’s Up (Shut the Puck Up),” “Pop That Middle,” “If You Leave Me, I’m Going Wit’cha” and “Stand Up In It” doesn’t beg for immediate attention, then what does?

Heck, even the name for Ealey’s own record label – IFGAM (which stands for I Feel Good About Myself) is a cut off the ordinary and the boring path.

“Normally when I write, I just hear people sittin’ around talkin’ man-talk and things like that. It’s just certain things that people talk about that I find interesting,” he said. “And when I hear that talk, I might say, ‘That would make a great story.’ And then I write a song about it. God has given me the gift to be able to take a thought and make a poem out of it and the poem – since I am a musician – I take and put some music around it and make it happen. It’s (Ealey’s song-writing style) just a way of telling stories or things that happen in life every day, kind of like what the rappers do. They rap about what goes on in their life every day and my songs do the same thing.”

Born and raised in Natchez, Mississippi – just a stone’s throw away from one of the city’s happenin’ juke joints - a lot of the impetus for Ealey’s songs go right back to those early times of his life.

“Back in my childhood days in Mississippi, we didn’t have any TVs to sit around and watch. So we used to sit out on the front porch with the older people and boil some corn and they’d read the Bible to us and stuff like that,” he said. “So instead of watching TV, we would hear all these great stories. And this one older gentleman, Mr. Bob Young, he used to tell us all kinds of stories. Matter of fact, he told us about the time that Jesse James and Frank James came by his house.”

Those stories and the thought of helping to pass them down from one generation to the next play a major role in the way Ealey goes about his business as a bluesman.

And in a nod to some of the stories he heard from a few of the older fellas he hung around, in particular an elderly cat whose ‘manhood’ didn’t quite work so well, the appropriately-titled “The Old Man’s Story (MBFDD)” was born.

“Like I said when I wrote that song, a guy – I won’t call his name – literally told me … ‘Well, I’m just going to tell you the truth, I ain’t the man I used to be, because my best friend died.’ So I thought, ‘That’s a good idea.’ But instead of saying my best friend died, something just popped in my head and I said, ‘My best friend Dick died,’(which is what the MBFDD stands for)” Ealey laughed. But that really happened that way. And with “Stand Up In It,” it was kind of the same thing. All my life I would hear that man-talk and how they would say, ‘Oh, man! I stood up in that thang last night.’ And it stuck with me and I finally said, ‘I need to write a song about that.’”

And write a song about it is just what Ealey proceeded to do. But instead of choosing the easy way out by examining the subject matter viewed strictly through the eyes of a braggadocios male in the song, Ealey switched things up and looked at an intimate encounter from another perspective, one where the female says, ‘You better deliver.’

“Well, I didn’t want to come in and try to tell the story like a man really knows what a woman wants. So I honestly asked a female about the ‘stand up in it’ thing,” said Ealey. “And this female actually told me that was a good thought. So in the song, I say “A little old lady told me …’”

“Stand Up In It,” which has been declared as the ‘Women’s National Anthem,’ had a blistering impact on the record charts when it was released in 2004 and the tune was the number one single on Billboard’s Hot R&B/Hip Hop Singles chart for five straight weeks.

One of Ealey’s long-standing idols also had a way with words, and a few of his tunes topped the charts, too.

“If I could name one artist in the world that I have truly admired since I was a child – and that I even find myself acting like on stage these days – it would be Chuck Berry,” he said. “When you think about it, Chuck Berry is one of the greatest story tellers that there’s ever been. He’s my hero.”

Ealey has been plugging away at the blues ever since the age of 14, when he played bass in a group that his older brothers had formed. It wasn’t too much later that Ealey made the transition to guitar and then later, he went on to ink with the legendary Ichiban Records.

On Ealey’s mantle sits a couple of awards with some pretty heavy-duty names attached to them. In 2006 and 2008, Ealey was tabbed as the Jus’ Blues Lowell Folsom Legend award winner, and in 2004, he took home the “JACKIE” award as the Milton Campbell National Blues Artist of the Year.

“Oh, man … shoot … to me, that’s like getting a black Grammy … for my name to be mentioned in the same breath as those guys means that I’ve arrived,” Ealey said. “But I was fortunate and one time when Little Milton came to Oakland – we had a house band at the place he was playing– and they hired us to back him. That was really a special time.”

Ealey also backed up another set of instantly-recognizable players, even if they were a group that started out as a skit on a television show before blowing up into a cultural phenomenon.

“When the Blues Brothers came to Atlanta – this was after John (Belushi) had died and Jim (Belushi) was with Aykroyd – they rode in on their motorcycles and stuff and I backed them up on the steps of city hall,” he said. “So it was Dan Aykroyd, Jim Belushi and John Goodman, backed up by me and my band on the steps of Atlanta City Hall.”

In addition to his Mississippi roots and current home of Atlanta, Ealey, who was in the U.S. Air Force, was stationed in Hawaii for six years. While in the service, he still found time to play music, even if it wasn’t always 100-percent blues music.

“I was as guilty as most young blacks in that we hear so much blues growing up, that as we get older, we want to hear or play everything but the blues. And I did play some blues over there (Hawaii) but I mostly played the top rhythm-and-blues stuff of the day, stuff like James Brown, Chicago, Blood Sweat and Tears … the mainstream stuff of the day,” he said. “But, guess where I saw Elvin Bishop at in 1966? - at the International Marketplace in Waikiki Beach, playing the cold-blooded blues. That’s why I admire people like him and Eric Clapton and Stevie Ray Vaughan – they’re our white brothers and even when we decided that we didn’t want to play the music, they did and they helped keep it alive. They took it to their people. If it hadn’t been for guys like that, the blues might have stopped with B.B. King, instead of continuing to go on and grow and spread and prosper.”

Part of the price for of keeping the blues alive in this day and time requires playing anywhere and at any time, regardless of the venue’s size or location. And as far as Ealey is concerned, he’s more than willing to do just that.

“Artists like myself, Lattimore, Bobby Blue Bland, Bobby Rush … we very seldom get to be on shows that go to the coliseums and the civic centers and places like that. So, therefore in order for people to see us, they have to go to places like the little juke joints that we have in the neighborhood, or the Elk’s Club, little place like that,” he said. “That’s the only place people can go and see artists like us. So as long as there’s a place for us to go and play … like the old saying goes, ‘If you build it, they will come.’ But we’re not mainstream performers and we have to take our show to the people instead of waiting around for them to come to us.”

Not just limited to entertaining with a guitar or through a song, Ealey is also a card-carrying actor and has been seen on an NBC Movie of the Week, as well as on the big screen in “The Fighting Temptations” and “Daddy’s Little Girls.”

“It’s (acting and playing music) pretty much the same thing. But actors work really, really hard. And it was even harder for me, because I had to learn how to act,” he said. “You know, with music, I’ve played my guitar so much over the years that when I get up on stage, I don’t have to think about it. I’ve already prepared for it, so it’s easy for me. But to be an actor, you have to learn how to be at a certain place at a certain time … but I think that music and acting does shake hands at a point. Being a good musician on stage is like acting, because in order to deliver a song, you have to get yourself into that song and turn yourself into the character that you’re portraying in that song. If I’m going to sing my song “Looking up at the Bottom” I’ve got to really go off into the way that I felt at the time that I wrote that song. I was really low-hearted and down-and-out, so I have to sense that feeling while I’m singing that song on stage. Hopefully the audience can feel that and see that I’m not jivin.”

Visit Theodis Ealey's website at

Photos by Marilyn Stringer © 2013

Interviewer Terry Mullins is a journalist and former record store owner whose personal taste in music is the sonic equivalent of Attention Deficit Disorder. Works by the Bee Gees, Captain Beefheart, Black Sabbath, Earth, Wind & Fire and Willie Nelson share equal space with Muddy Waters, The Staples Singers and R.L. Burnside in his compact disc collection. He's also been known to spend time hanging out on the street corners of Clarksdale, Miss., eating copious amounts of barbecued delicacies while listening to the wonderful sounds of the blues.

For other reviews and interviews on our website CLICK HERE.

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 Featured Blues Review 1 of 6

Tinsley Ellis - Get It!

Heart Fixer Music

10 tracks

Tinsley Ellis is known for his fiery guitar and soulful vocals, but the Atlanta native has decided to forsake the vocals and go with a straight up instrumental album. He gives us eight new songs and a couple of interesting covers; we can still hear his “voice” in the superb guitar play throughout. After eleven disks and a long solo career, he returns to his roots with the Heartfixers and he showcases a variety of guitars and styles that he has loved and absorbed over the years. I was impressed and sat their listening intently to each track as they came up; this is perhaps the best he’s ever done on record, at least in my humble opinion. Thoughtful and touching at times, evocative and wild at others, Ellis shows us the full range of emotions through the voice of his guitar and with some assistance from his great band here.

Ellis opens in Albert Collins style with “Front Street Freeze;” he gets funky on his Strat and Leslie, with the charm and flavors of Albert’s tone and style. It is a well done tribute with an authentic sound done in an original and tasteful manner. He sets the stage well for the listener and then gets with “Sassy Strat” he gets really into the funk and struts back and forth in this cool little number.

The “Milky Way” gives us the round, rich sound of, say, a Duane Eddy, but in a slow and thoughtful format. The strings vibrate and are almost chilling as Ellis emotes and he describes the solemn loneliness of space as described by his guitar and Kevin McKendree’s organ work. What a wonderful track! He stays old school and follows that with Bob Diddley’s “Detour;” it’s a 12 bar romp where he does Bo at times and adds his own flair to give us a fun, hip shakin’ ride. The echo and tone of his guitars (a 1967 ES-345 and a Leslie) is beautifully displayed.

“Anthem for a Fallen Hero” pays tribute to Roy Buchanan and he uses his Les Paul and Echoplex to deliver a solemn eulogy for Buchanan. It’s is a stunningly impressive guitar attack as Ellis winds his way through the ballad and building on emotions with his guitar (along with the rest of the band). It is a truly emotional piece. He then shuffles into the title track Texas-style, a cool piece of work one would had expected from SRV or other Lone Star greats. He steps up the game even further with the blues rocking “Fuzzbuster” as his wah wah pedal gets a work out so he can give us one, too.

The album takes a turn as Ellis goes down a few notches in tempo with the wonderful cover “Freddy’s Midnight Dream.” He adds some beautiful layers to this solemn piece with the organ and the keys and guitar give substance and meat to this song. It goes almost church-like with the organ, and the rich guitar tones just sing out like a choir. Magnificent! “Berry Tossin’” pays homage to the great Chuck Berry. Ellis throws Berry’s licks around effortlessly in a nice blues shuffle. At times he seems to morph into Freddy King but then he’s back to Berry as the guitar rings out true. Kudos to the piano work here, too. The album concludes with “Catalunya” as Ellis takes a trip to Spain and gives us some nice electrified Spanish guitar influenced stuff. This is something like Carlos Santana might write and play. Evocative, stinging guitar notes climbing down the neck, the congas banging out a mellow thumping beat and Ellis just pulls up the covers for us and puts us and the album to bed as he completes our journey.

I used the term magnificent in the last paragraph. I must say I rarely use that word with regard to blues albums. Sumptuous foods and wines, massive symphonic pieces and stunning art work I might label as that but this album also allows me honestly use that adjective. Ellis delivers his best work yet here. He provides all the guitars here and plays bass on half the tracks. Kevin McKendree on all keyboards adds depth and color to the mix. His backing work is super as are his solos; I was very impressed with his efforts. Lynn Williams provides all forms of drums and percussive support and Ted Pecchio is on bass on the other tracks. It’s a solid quartet of musicians and the sound and production work is also spotless; McKendree did the production work.

Tinsley Ellis has stepped back into his roots and offers us a great look into the masters whom he respects and influenced him in his formative years (and who still influence him today). Get It is an exciting and expressive album and Ellis proves that he can make his six string axe sing as well as a person. If you don’t own any of Tinsley’s other disks, in my mind this would be the one to buy if you had to only have one. I don’t recommend that owing only one of his disks is the best thing for your music collection (since he has a number of other great ones already to his credit), but this is my new favorite. I highly recommend this CD become part of any blues fans’ collection!.

Reviewer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and work with their Blues In The Schools program. He resides in Byron, IL.

For other reviews and interviews on our website CLICK HERE

 Featured Blues Review 2 of 6

Red Lotus Revue – Fourteen Stories

Self-released 2012

15 tracks; 50 minutes

Taking their name from where they made their debut in San Diego, Red Lotus Revue consists of Jimmy Zollo and Pete Fanzini on guitars, Karl Cabbage on harp and vocals and Kurt Kalker on drums. There is no bass on these recording which gives a slightly shallower sound and places the onus on the drums to set the rhythm. The result is authentic mid-period Chicago blues. Seven of the songs here were written by Cabbage/Zollo with seven covers from the likes of Howling Wolf, Jimmy Reed, Sonny Boy Williamson and Johnny Shines. The CD was recorded in Kurt Kalker’s home studio in Normal Heights, CA and was a finalist in the recent IBC competition for best self-produced album.

Taking a look first at the original songs the CD opens strongly with “Suzanne”, a moody shuffle with tough sounding vocals, menacing guitar and harp. “Pass This Way” is a slow piece with almost Native American pattern drums underneath some interesting guitar interplay between atmospheric slide and country blues picking. Alongside the excellent vocals and harp this is a strong and unusual track. “Homebody” is also quite a sparse piece but “Barkin” is a fast shuffle, the harp leading the way on a song that finds Karl acting like a dog in search of his lost love. “River” opens with solo slide, followed by a harp flourish before the drums set a terrific pace on a tune that reminded me of “Crossroads”. “Smoker” is a ballad and the guitar’s insistent accompaniment is one of the features that make this sound like a lost 1950’s recording. “Santee” is the final original, a real joy as the band set off on a piece that musically recalls “Red Hot” and a lyric that suggests that Santee is not a very friendly place to visit; “If you’re coming to Santee, bring some ID”. In fact the band seems to have enjoyed this one so much that a second, very similar version appears immediately afterwards (presumably ‘hidden’ in order to preserve the “fourteen stories” of the title).

The covers include two Johnny Shines numbers: “Please Don’t” has some similarity to “Don’t Bite The Hand That Feeds You”, including a great chorus of “Don’t put your hand where your money ought to be”; “Fish Tail” is more of a country blues with some elegant slide work. Calvin Carter’s “I Ain’t Got You” has been recorded many times and this version sticks closely to familiar versions such as the Yardbirds’. Smokey Smothers’ “Drinkin’ Muddy Water” sets a fast tempo with some solid slide work and strong vocals from Karl. Howling Wolf’s “You Can’t Be Beat (Go To Sleep)” is not covered often and the band do a solid job on this rocking little piece. “Key To Your Door” manages to recreate that classic SBW feel, Carl’s harp being particularly accurate. Finally Jimmy Reed’s “Honest I Do” is beautifully done, gentle guitar chords set against Carl’s high-pitched harp.

This is a CD that takes a traditional approach to the blues and succeeds in getting that 50’s feel, whether they are playing their own songs or covers from that era. Those who enjoy traditional electric blues should definitely check this one out.

Reviewer John Mitchell is a blues enthusiast based in the UK. Current favorites from recent releases include Michael Burks, Little Feat, Sugar Ray and The Bluetones, Albert Castiglia, Johnny Rawls and Doug Deming.

For other reviews and interviews on our website CLICK HERE

 Featured Blues Review 3 of 6

J.P. Reali - The Road to Mississippi

Reali Records

12 tracks/35:31

With partisan politics continuing to virtually gridlock our federal government, the Washington, D.C. area would seem to be fertile ground for material for blues songwriters. On his latest release, acoustic bluesman J.P. Reali prefers to concentrate on everyday, common themes for his songs. Whether playing guitar in bands or on his own, he has enjoyed a thirty year career that includes several trips to Memphis where he competed in the International Blues Challenge.

Playing slide on a resonator guitar, Reali lays down a solid rhythm on the title cut as he describes a tour through the Mississippi Delta, hitting all of the spots and images that figure prominently in the legacy of the music. After a brief finger-picked segment to open the disc, he delivers a stark performance on “Jefferson Lament” as the slide guitar phrases answer his frayed-around-the-edges vocal. “Busted Boy Blues” scores points for Reali's seductive slide playing but the lyrics, which describe the singer's desperate financial plight, fail to excite due to a reliance on simple images.

“Dark, Strong and Steaming” shares a similar fate as Reali picks a delicate melody on guitar. He tries hard to sell the tale about his coffee-drinking woman but falls short of developing a compelling narrative. As a singer, Reali has a direct style, operating in a narrow vocal range. He varies the strength of his attack on “Cold Blue Steel” but the track reveals the limits of expression his voice is capable of pulling off. His efforts are also hampered by another set of simplistic lyrics built on a train theme.

Things improve dramatically when Mark Wenner of the Nighthawks lends his harp to four tracks. The two musicians dig into “My Soul or Skin”, with Reali singing about picking cotton and hoppin' trains while Wenner blows hardy fills in response.. The steady-rolling rhythm on “I Do My Share of Drinking” finds the two musicians trading licks, leading to a spirited harp solo. “Biscuit Baking Mama” continues Reali's reliance on over-done blues themes but with Wenner aboard, he sounds more relaxed. The harp accompaniment dances around the delicately picked melody line.

Reali explores the eternal battle between good and evil on “The Book Or the Bottle”. His forlorn voice effectively establishes a feeling of foreboding. To finish things off, Reali is joined by another original Nighthawk, drummer Pete Ragusa, and John Previtti on bass as he plugs in his guitar on the Elmore James inspired “Bloozin' in NYC” before closing the disc with a brief slide “Coda” on resonator guitar.

The end result is a solid effort from Reali, who shows that he is a strong guitarist able to hold your attention through a variety of styles. That alone will not make you stand out in the solo acoustic format. If he hones his songwriting focus in on more modern subject matters, Reali has a chance to stand out from the crowd.!

Reviewer Mark Thompson lives in Florida, where he is enjoying life without snow. He is a member of the Board of Directors for the Suncoast Blues Society and the past president of the Crossroads Blues Society of Northern Illinois. Music has been a huge part of his life for the past fifty years - just ask his wife!

For other reviews and interviews on our website CLICK HERE

 Featured Blues Review 4 of 6

Diamond Jim Greene – Surrounded

Time: 57:31

Titling his CD Surrounded might be the right choice for Diamond Jim Greene. Not only does the CD jacket cover show him surrounded by a bevy of guitars, he also surrounds himself with a full band.

Not wanting to go down the familiar blues rock path that has become the all too common path for aspiring musicians, he augments his band line-up with horn players and back-up vocalists to give it an overall feeling of Dixieland jazz, blues, shades of Sly and The Family Stone and good ole rock n roll. Greene casts a wide net of talent performing at an enthusiastic level that permeates the recording and doesn’t waste a note.

Greene doesn’t mind giving the horn players solo space which is a nice sparkplug in the tune “Right Now” that would be an instant party favorite for a Saturday night crowd ready to cut loose. No more is a better showcase for the horns than in “Please Don’t Fly Away” that not only seems a prayer for redemption but the incentive to celebrate life when you can. A celebration that achieves instant lift-off in “Shake Em On Down” that bears no resemblance to the Bukka White version but Sly Stone trying to pass himself off as a bluesman. There is nothing vocally acrobatic about Greene. What lung power he has is compatible enough with the songs to pull their own weight.

Since Jim seems to wholeheartedly embrace the aspects of the old time American musical landscape that bore fruit to these songs, it’s an easy endeavor for him to pull off a rendition of the Band classic “Ophelia” that has enough swing to it that the songs writer Robbie Robertson would stand up and take notice.

It’s a type of swing that’s fun to listen to and the pleasure continues in “Big Leg Woman” that packs enough Dixieland dust that the mojo bag is bursting at the seams. And if you are off to the nearest burlesque show then “Don’t Get Around Much Anymore” contains enough sass to make up an elixir sold somewhere in the Red Light District.

And when Greene wants to take it down a little, one doesn’t mind because he’s bringing it home to the back porch and we receive it with open arms. Using National guitars with the horns as a backdrop adds a nice touch to “I Gotta Quit You.”

At this point, Jim seems to want to take a road trip to Mississippi. He strips things down and unfurls “Prison Blues” that is a top down cruise making its way on Highway 61, slow and easy, without any hurry in reaching its destination whether it’s a levee bank party or an appointment with a backwoods moonshiner.

The Robert Johnson chestnut “Crossroads” has become a familiar staple in the blues-rock canon. Like many of his other brethren, Greene succumbs to temptation and provides an adequate version that won’t break any new ground but at least remains true to down home roots and isn’t just an attempt to copy the version made famous by Cream. The cliché of making a song your own is an old one but that’s what Green is doing: Putting his own firebrand on material that has a special place for him. Once again the horn players are putting Dixie fried boogie in “Talk That Talk” that kicks up the party atmosphere only to taper off in “Wild River To Cross” that’s a patio pleaser to friends congregating on the front porch kicking back with a Bourbon on ice.

“Golden Bird” wraps things up on a subtle note. Greene has made his way to the church and using his 12 string guitar evokes good time gospel hour. It’s music coming out of the backwoods and worthy enough to be played at any funeral. If it moves your soul, consider yourself a converted disciple in a flock looking for instant redemption..

Reviewer Gary Weeks is a contributing writer. He resides in Marietta, GA.

For other reviews and interviews on our website CLICK HERE

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Crossroads Blues Society - Rockford/Northern Illinois

Crossroads Blues Society is planning some hot stuff for local blues fans! On Sunday April 7th: Weekly Blues Jam Kickoff at Kryptonite in Rockford. It will be every Sunday night thereafter, too, and Crossroads will be out in force as this venuie starts to bring the blues to State Street in downtown Rockford. .

Monday April 8th: Blues in the Schools (BITS) with Rob Tomaro; evening show at Just Goods Listening Room in Rockford, 7 PM. $5 admission, free to CBS members. Rob is a music professor at Beloit College, a symphony conductor and one heluva blues, jazz and rock guitar player.

Friday May 3rd: BITS with Bobby Messano; evening show at Adriatic Bar in Rockford. Start time 8 PM, $5 admission. Bobby brings his brand of big rock and blues back to the Rockford area!

Saturday May 18th: Navy Blues Band Horizon at Byron American Legion, 6 PM for our Red, White and Blues Celebration on Armed Forces Day. Hailing from teh Great Lakes Navy Training Center, these guys (and one gal) give a whole new meaning to Navy Blue!

Friday May 24th: Ana Popovic at the Adriatic in Rockford. Start time 9 PM. $20 in advance, $25 at the door. Tickets printed and available for purchase for this great guitar diva's first show ever in Rockford!

Wednesday June 12th: Dave Fields at the Adriatic. Info TBD, in the works.  Saturday June 22nd: Inaugural Field of Blues Festival at Aviators Stadium. Gates open at 11 AM, music Noon to 10:30 PM. $10 advanced tickets, $15 at the gate.

Saturday August 24th: 4th Annual Byron Crossroads Blues Festival in downtown Byron IL. Gates open at Noon, music 1 PM to 10:30 PM. $7 advanced tickets, $15 at the gate. For more info see

Heartland Sound Staged - Peoria, IL

A group of area music lovers are planning and organizing a fundraiser-type music event, The Jam Sessions @ Expo to Support Local Live Music. It will be Saturday, March 30, 2013 beginning at Noon at the Opera House at the Expositions Gardens, 1601 W. Northmoor Road, Peoria IL.

Year after year our area musicians donate their time, equipment and talent to help members of our community in their time of need. They share their music & talent, for no other reason, than to help! This event is to thank them for sharing their gift of music with all of us, and all their much appreciated community service!

Net proceeds will be divided by the performing artists and HEARTLAND SOUND STAGED, a musical television pilot filmed and produced in Central Illinois in part by musicians Robin & Tony Crowe. Our area is rich with musical talent and these 8 bands are just a few of the areas musicians that deserve a pat on the back and a Thank You!

The show features Boomstick, Robin Crowe Band, Bill Porter, Dave Chastain, Magnanimous, Sofa Shark and Brain Child. Admission is a $10 donation. For more information contact: Ron Mc Fall (309) 678-8476 or visit 

Mississippi Valley Blues Society - Davenport, Iowa

The 2009 International Blues Challenge winner J.P Soars will be playing a show sponsored by the Mississippi Valley Blues Society on Wednesday, March 27th at Martini’s On The Rock, 4619 34th Street, Rock Island IL. Showtime is 7:00; admission is $10, $8 for MVBS members.

J.P. Soars and his band The Red Hots not only won the International Blues Challenge in’09, but that same year J.P. got the coveted Albert King Award for “Most Promising Guitarist”. Since then the raves have continued to roll in with Mr. Soars garnering a Blues Music Award nomination for Best Contemporary Blues Artist of 2012, based mostly on his new release, More Bees With Honey.

And if you’d like a little taste of this year’s upcoming MVBS Fest 2013, make an effort to come to Martini’s and give a listen to this guitarist extraordinaire, who will be teamed with slide guitarist Damon Fowler and pianist Victor Wainwright in an all-star band called Southern Hospitality who will headline the Tent Stage on Thursday July 4th at 10:00 p.m. And if that still isn’t enough to entice you, come see J.P. play his homemade, 2-string cigar box guitar for some very old-time blues.

The Mississippi Valley Blues Society is seeking bands to participate in the inaugural Mississippi Valley Blues Challenge. The first Mississippi Valley Blues Challenge will be held July 5, at the Mississippi Valley Blues Festival. The first of three bands will start at 3 PM and each will perform 20‑minute sets with 5 judges making a decision on which band is the best.

Bands within a 175 miles radius of the Quad Cities will be eligible to compete, but before a band can progress to the final round at the festival, they must first surmount a preliminary round on April 28, at The Muddy Waters, Bettendorf, IA, to decide on the top three bands for the final competition at the festival.

The winner earns the right to compete in the International Blues Challenge held in Memphis, January 21-January 25, 2014. The prize package also includes cash, travel expenses, and the opportunity to perform July 6, 2013 at the Mississippi Valley Blues Festival in Davenport, Iowa.

The deadline for applications is April 20. All interested bands can find applications at

River City Blues Society - Pekin. IL

The River City Blues Society presents the following shows at Goodfellas 1414 N. 8th St. Pekin, Illinois.
Friday, March 29th JP Soars & The Red Hots
on   at 7:30pm. Admission $6.00 general public or $4.00 for Society Members
Wednesday,  April 10th, Chicago Kingsnakes Blues Band 7:00pm Admission - $6.00 general public, $4.00 Society Members.
Friday April 26th - Biscuit Miller & The Mix 7:30pm Admission - $6.00 general public, $4.00 Society Members.
Wednesday May 8th, Scott Holt Band 7:00 pm Admission - $6.00 general public, $4.00 Society Members
For more info visit: or call 309-648-8510

The Piedmont Blues Preservation Society - Greensboro - NC

The Piedmont Blues Preservation Society’s 27th Annual Carolina Blues Festival presented by YES! Weekly is being held in downtown Greensboro, NC, May 18, 2013. We’re excited to announce Janiva Magness and Kenny Neal will be headliners for the day-long event.

Janiva Magness has been nominated for five Blues Music Awards: B.B. King Entertainer Of The Year Award, Contemporary Blues Female Artist Of The Year, Album Of The Year, Contemporary Blues Album Of The Year, and Song Of The Year. The Awards Ceremony happens just 9 days before our festival.

Kenny Neal, 2011 Louisiana Music Hall of Fame Inductee, is an acclaimed multi-instrumentalist and is widely renowned as a modern swamp-blues master. His new release, Hooked On Your Love, follows the triumph of his multi-award-winning 2008 comeback album, Let Life Flow. The CD raked in the accolades: three Album Of The Year awards, two Song of The Year awards for the title track, and Kenny himself garnered two Artist of the Year honors.  More Info at

Friends Of The Blues - Watseka, IL

Now in their seventh season, The Friends of the Blues present 7 pm early shows: March 28 – The Sugar Prophets, Kankakee Valley Boat Club, 1600 Cobb Blvd., Kankakee IL 815-939-1699; April 4 – Shawn Pittman, Kankakee Moose Lodge, N State Rt 50 (Kinzie Ave), Bradley IL (815) 939-3636; April 16 – Matt Hill, Bradley Bourbonnais Sportsmen’s Club, 2672 Chippewa Drive, Bourbonnais IL (815) 937-0870; May 2 – Biscuit Miller, Kankakee Moose Lodge, N State Rt 50 (Kinzie Ave), Bradley IL (815) 939-3636; May 16 – James Armstrong, Venue TBA; May 30 – Bryan Lee, Kankakee Valley Boat Club, 1600 Cobb Blvd., Kankakee IL 815-939-1699. More information: or

Ventura County Blues Society- Ventura, CA

The Ventura (Calif.) County Blues Society presents the 8th Annual Ventura County Blues Festival (formerly the Simi Valley Blues Festival) on Saturday, April 27, 2013 at Moorpark College in Moorpark, Calif. starting 11 a.m. and featuring headliners the legendary Johnny Rivers; Savoy Brown featuring Kim Simmonds; and Kenny Neal; plus regional acts Dona Oxford, Preston Smith & The Crocodiles, and Michael John And The Bottom Line. Tickets $25. in advance, $30. day of show; kids 12 and under free (with adult). Proceeds benefit The American Diabetes Association and local charities. Info./Tickets: (805) 501-7122 or log onto

Illinois Central Blues Club - Springfield, IL

The Illinois Central Blues Club presents "Blue Monday" every Monday night for the last 25 years - BLUE MONDAY SHOWS - Held at the Alamo 115 N 5th St, Springfield, IL (217) 523-1455 every Monday 8:00pm $3 cover. Apr 1st - Shawn Pittman, Apr8th - Blues Deacons, Apr 15th - Matt Hill, Apr 22nd - Brad Vickers & His Vestopolanias, Apr 29th - Stone Cold Blues Band. More info available at 

West Virginia Blues Society - Charleston, W.V.

The West Virginia Blues Society, Inc. presents the return of its rockin’ annual event, the 6th Annual Charlie West Blues Fest (CWBF), Friday, May 17th and Saturday, May 18th at Haddad Riverfront Park in Charleston, WV.

This free event, which has gained national attention throughout its five year history, will play host to some of the most talented and up-and-coming blues artists in the country and from around the world. The return of the legendary Ava Popovich as well as Davina and the Vagabonds will surely get you moving, and other highlighted artists include Kim Wilson & The Fabulous Thunderbirds, Tinsley Ellis, Mud Morganfield, Kristine Jackson, Grand Marquis Band, Southern Hospitality, Bryan Lee & The Power Blues Band and Mojo Theory, just to name a few..

The CWBF is an annual event dedicated to support wounded service members through the Wounded Warrior Project (WWP)—a nonprofit organization whose mission is to honor and empower wounded warriors. For information on sponsorships and donations contact Jack Rice, West Virginia Blues Society at (304) 389-1439or Visit

 Featured Blues Review 5 of 6

Shirley Jackson and Her Good Rockin’ Daddys - When the Money’s All Gone

Self Release

13 songs; 53:43 minutes

Styles: East Coast Blues, Swing Blues, Jazz-Influenced Blues

All blues fans have one factor in common: their love for the genre. That said, each aficionado has his or her own favored musical style. Some primarily love smoking guitar; others go for dynamite vocals; still more crave hot horns. Shirley Jackson and her Good Rockin’ Daddys nail two out of three on their third CD release, “When the Money’s All Gone.” Since 1995, Canada’s Jackson (vocalist, saxophone, and songwriter) and her posse have been filling dance floors and fueling festival stages with a mix of horn-powered East Coast blues. The seven-piece band aspires to a sound inspired by the early years of rock-and-roll, when horn sections were an integral part of the sound of swing. A summer tour laid the groundwork for this album, featuring thirteen tracks (six well-selected covers such as Red Prysock’s “Purple Wall,” and seven Jackson originals). Three of the latter are featured below, memorable for their pointed lyrics:

Track 01: “Stop, Look and Listen”--Mark Doucet’s raunchy electric guitar turns the album’s opener into a four-alarm inferno. Our narrator is having one of those days where nothing goes right: “All I could hear were those warning bells ringing in my ears. They said stop, look and listen.” Comprising the scintillating horn section are Shirley Jackson herself on tenor sax, Dawn Hatfield on baritone sax, Dave Harrison on trumpet and flugelhorn, and Rob MacIntosh on tenor sax. “Something told me to look inside,” Shirley sings ruefully, “but I found something I couldn’t hide--” her pizzazz on this song!

Track 02: “When the Money’s All Gone”--Sometimes, the people we believe are the luckiest may be the opposite. Such is the subject of this bouncy ballad with a salsa beat: “She used to have money, friends all over town, but isn’t it funny? When the money’s all gone, there’s not a soul around.” The horns here are hotter than any concoction in a bottle, and no dancers will be able to resist Marks Lockhart’s rolling rhythm on drums.

Track 06: “Jack’s Beanstalk”--Ambition and success are holy grails in today’s society, but they have their tarnished side: “Now everybody’s climbing some ladder, just to see what they can get. Was it hard work, or dedication, or did they sleep with anyone yet?” Still, no matter how high the “Jacks” of this world scramble and scheme, once they reach the top, there’s only one direction to travel. Dawn Hatfield’s ukulele and hand flute provide whimsical touches to this tongue-in-cheek warning about unchecked aspirations. Joining Jackson is Jef James Wirchenko on gritty acoustic bass.

“When the Money’s All Gone,” have some fun at home and pop in this energetic, good-rockin’ CD!

Reviewer Rainey Wetnight is a 33 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her father’s blues music collection.

For other reviews and interviews on our website CLICK HERE

 Featured Live Blues Review - Phoenix Blues Blast Festival

The festival season starts in Phoenix, AZ, with the Phoenix Blues Blast presented by the Phoenix Blues Society. This was the second year the festival was held near downtown Phoenix at the Margaret T. Hance Park and the logistics were now set in place. The only thing they didn’t manage well was the weather. Normally Phoenix is well into the springtime sunny 80’s or 90’s (it’s a dry heat and very pleasant) but this year a big storm came in the day before and was not leaving town before the festival started. Watching the weather hourly and staring at the dark and gloomy sky, the volunteers & staff had their work cut out for them as they set up for a great day of music. The rain kept trying to come and the temps stayed below 60 all day but the die-hard blues fans, being who they are, came with their jackets, umbrellas, blankets, and hunkered down for what turned out to be a very tolerable day weather-wise and a great day for listening to the blues.

The festival started out at noon with the VFW Color Guard accompanied by Rhona Melsky singing the National Anthem. Let the Blues Begin! (I tried to wangle the names of the VFW guys but they all decided to be named after cartoon characters and had me laughing so hard, I forgot to write them down). So a big thanks to our veterans of all wars!

Starting off the day, and fresh back from competing at the IBC’s in Memphis, were The Sugar Thieves. Holders of many awards including Top Ten Unsigned Blues Band (2009), People’s Choice Award in Memphis (2010), Best Americana Band & Best Local Band in Phoenix (2009), and winner of the Arizona Blues Showdown (2012), The Sugar Thieves are a favorite at the festival and anywhere they go. Lead singer, Meredith Moore, can belt out the Delta blues. The rest of the band is equally talented and they are committed to bringing the blues to the younger generation. Last I heard they were headed off to Europe on tour this summer. Band members include: Mikel Lander-guitar, Jeff Naylor-bass, Shea Marshal-KB & Sax, and David Libman-drums. (

Each year the PBS brings a “tweener” to play between sets. This year’s tweener was Leon J. Originally from Michigan, Leon J now lives in Phoenix. When asked, he described his style as old school roots blues. He likes to tell stories with his songs and his style is inspired by Son House & Robert Johnson. He brought up Big Nick to accompany him on the harmonica for “Kind Hearted Woman” and I have to say it was beautiful to hear, as were all his takes on the old blues. (

Next up was Tucson’s own Bad News Blues Band. As described by the program the BNBB is “a five piece band once described by the AZ Republic as ‘Hardcore Blues meets Big Band Swing’”. Sounds about right! All the members of the band have been inducted into the AZ Blues Hall of Fame. They have been around since 1992 and have toured all over the US & Europe. They play regularly in Tucson at the Chicago Bar and occasionally at the Rhythm Room in Phoenix. I especially enjoyed it when Hurricane Carla put her sax down and started singing “I Need A Man, I Need A Real Real Man”. The band members include: Carla Bromlee-saxes/vocals, Mike Blommer-guitar, Alex Flores-tenor sax, Glenn Velardi-drums, and Steve Grams-bass. (

The next band, Big Nick & The Gila Monsters, was a new experience for me but not new to Arizona, having been around for over 20 years. While gathering names and waiting for them to go on stage, I asked them their style. After a lot of voting and general silly discussions amongst themselves they came up with Roadhouse Blues & Hoppin’ Blues. They also failed to mention that they had the Smokehouse Horns with them. Their antics backstage were pretty much a reflection of the fun they had on-stage. My description is FUNKY BLUES & SOUL and I am sorry it has taken me this long to see them – I loved them. Guitarist, Mike “El Ray” Lewis started playing guitar in the ‘60’s with Chuck Berry and is considered one of the best guitar players in Arizona. John “Big Nick” Samora is the fun-filled lead singer and harmonica player ,along with Rocky Heyer – bass, Ricky J Lockhart-drums, and the Smokehouse Horns (L to R) are Rich Gross (T), Jack Bannon (T), Brett Haglin (S), and Dean Randall (S). Definitely need to see them more!!

Having driven hard all night and straight in from Austin, Texas, Shawn Pittman pulled into the parking lot (after many obstacles trying to get in his way) put on his blue suit and blue & white leather shoes (that had some girls in the audience begging for), stepped on stage with Patrick Rynn (bass) & Brian Fahey (drums) and rocked the audience. Not many people had seen Shawn before and by the end of the set they kept begging him to play just one more!! Over and over again!! When I saw Patrick Rynn backstage before the show, I thought he was just hanging out because he was in town for the Rhythm Room All-Stars that he and Brian are members of - with owner Bob Corritore- for the jams the night before and after the festival. After the show I asked Patrick if he and Shawn had played together before and he said no, not even practiced. Impressive!! In other words, these guys are consummate pros and the set with Shawn was flawless. It is always great to see Shawn perform – he is intense & exciting to watch & listen to. And we all know Patrick and Brian are equally talented too.

As the sun sunk slowly in the southwest (oops, no sun, the clouds darkened) and the temps dropped even lower, the last set of the festival began. The 44’s (aka the “bad boys of the blues”) didn’t seem to notice. The always energetic, Los Angeles based blues-roots-rock band just warmed up the crowd, had them on their feet dancing, and were still going at it long after the festival was supposed to end. The 44’s are the best!! The band includes Johnny Main-guitar/vocals, Tex Nakamura-harmonica (formerly of War), Bobby Arbaca-upright bass, and J.R. Lonzano-drums.

Thanks for another great festival, Phoenix Blues Society, despite the weather! The festival atmosphere is family friendly, with a long mural painted all day by anyone who wants to express themselves, great food and beer, and just as relaxed as a festival can be. And the one day lineup is always great! Good job Phoenix Blues Society!! See you next year.

Reviewer Marilyn Stringer is a photo journalist from Tucson, Arizona. Her website contains lots of Blues photos at

 Featured Blues Review 6 of 6

Dirty Red & The SoulShakers – SoulShakin

Self Release

9 tracks / 36:32

Recently I have been hearing a lot more blues music coming out of the lower midwest, and I finally got a CD from a band out of Oklahoma City, Dirty Red & the SoulShakers. They have recently self-released their first album, SoulShakin, and it is a real peach!

This group includes most of the band that blues legend Miss Blues has been using since 2007. Last year these guys decided to give the IBC Blues Challenge a go, so they started doing their own thing too. Their leader is Eric “Dirty Red” McDaniel on vocals and harmonica, with Michael Bell on drums, Reece Floyd on bass, Robb Hibbard on guitar, and Joe Intrieri on keys. The SoulShakers have played countless gigs, both with each other and for other projects, so they are super-tight and have no problem finding a groove and sticking with it.

The album includes nine tracks, all of them originals written by McDaniel, with Mr. Hibbard having co-writing credit on two of them. This album brings on the blues, both lyrically and musically, and is colored with influences of soul, R&B, funk and honky-tonk. It is a clean sounding project that is well-mixed, so credit should go to producers McDaniel and Hibbard as they picked a good team to record, mix and master this work. This is apparent from the very first track, “Cornbread,” which is a funky blues rock song with a neat organ part that provides a cool background. By the way, with the amount of sexual innuendo worked into the lyrics, it is apparent why they call him “Dirty Red” Mc Daniel.

Besides his pen, McDaniel also knows how to use the harp and I find his voice to be pleasantly worn and raspy – broken in, I guess you could say. He puts all of his skills to use on the hard-driving “Shotgun,” which could be yet another euphemism (“My shotgun makes me a man..”). Besides his harmonica solo, Hibbard and Intrieri are also worked into the spotlight; I came away impressed because these guys certainly have some chops. After the frenzied pace of this tune, the slow-boiling “Queen of New Orleans” comes as a welcome break. Bell breaks out the brushes, and his drums and Floyd’s smooth bass sync to create a cool Crescent City vibe as Dirty Red sings the lowdown blues.

The highlight of this release for me was the guest appearance by Miss Blues on “Goin Back to Texas.” This walking tempo song is classic guitar-driven blues with heavy doses of organ and harmonica. Hibbard uses an electric guitar tone that is to die for and when Intrieri starts into the organ and McDaniel hits his harp this trio has great interplay. Miss Blues nails her part and her voice certainly nominates her for the queen of the Oklahoma blues; as a former Okie she gets my vote, although it is a shame she is singing about the Lone Star State.

“Hammer” breaks away from the more classical blues sounds and ventures out into the realm of Southern rock. This feeling is helped along by the heavy drums and harder-edged guitar. This is a smooth ride and there is quite a contrast as it segues into “Demons Swallowed Her Soul,” which is all about the voice and the harmonica. With the rest of the instrumentation kept to a minimum, Mc Daniel is able to show off a little, and his voice and harmonica skills are certainly up to the task. At barely two minutes, this is the shortest track on the album.

The SoulShakers put together another ballad for this album, and “Hard Liquor” is a winner. The lyrics are not the expected George Thorogood glorification of alcohol abuse, but are rather clever and touch on the root cause of the drinking. The background music, in particular the organ tone, is just lovely and when combined with the words this becomes a standout track. After this the mood quickly changes for the finale, “Sweet Potato Pie,” which is as hard as it gets. This is the bare bones with no drums as Mc Daniel howls the lyrics and blows a terrific harmonica while Hibbard tears loose on his guitar. What a sweet way to finish up.

Dirty Red & the SoulShakers have done the Lord’s work in putting together their debut album. SoulShakin captures the spirit of the Oklahoma blues scene, and not surprisingly the band is already working on a sophomore effort that should be released later this year. They are out gigging around the state and are still playing with Miss Blue, so be sure to check them out if you are in the neighborhood!

Reviewer Rex Bartholomew is a Los Angeles-based writer and musician; his blog can be found at

For other reviews and interviews on our website CLICK HERE

Blues Overdose 3/28/2013 - These free tracks are available for 30 days. More info below.


Download Instructions

1.) Click the link below where it says "Click HERE to download" just after any of the artist descriptions below.

2.) When you get to the download page, right click any individual track you want to download.  Then choose "save as" to download the track to your computer.

3.) All of this months tracks are in the zip file Right click it and save it to your computer. Unzip it for all four of this months tracks.


Tinsley Ellis

“Front Street Freeze” from the album Get It!

Sound the trumpets, roll out the barrel and spread the news! Tinsley Ellis, one of the premier electric blues guitarists of his generation and a certifiable master of the genre, has recorded his first all-instrumental album, Get It! After making his bones with Atlanta’s legendary Heartfixers in the early eighties as the heir apparent to Freddie King, Ellis bolted in 1988 to go solo and cut a broad swath through the second blues revival and beyond with 11 singular disks.

Ellis is a deeply expressive, soulful vocalist and his “voice” is everywhere in the guise of his guitar on the eight original tracks and two hip covers, in addition to the bass on five numbers. Kevin McKendree (keyboards), Lynn Williams (drums) and Ted Pecchio (bass on 1, 2, 5, 9 and 10) provide grease, groove and gusto throughout as Ellis rejects gratuitous flash in favor of brilliantly composed riffs, melodies, and a wide range of rich, sensuous tones. “Front Street Freeze” lays on the loose-limbed funk while containing a stinging homage to Albert Collins on a Strat and an old school swirling Leslie that sounds new.

Click HERE to download these Free tracks


Long Tall Deb

Married to the Blues - Track 7 on "Raise Your Hands"

Long Tall Deb was inspired to write this while thinking about the pressure on women to get married. Since she leads a rather unconventional life in terms of singing the blues and keeping strange hours, it occured to her that perhaps she is not good "marriage material". Long ago, Deb decided that she would rather build her life around music than try to build her life around a man. The words describe it to a 'T' and illustrate the unconditional love and acceptance that only the blues can provide!

Deb co-wrote the song with pianist John Popovich and it came together in a car ride on the way to the studio. The song features some A+ talent including Popovich on piano. Guitarists Sean Carney and Dave Clo lay the rhythm framework together with bassist Melvin Powe and drummer Jan Roll. Matt O'Ree provides the lead guitar on the intro. Jimmy Thackery and Bart Walker trade solos in the middle and Big LLou provides the preacher bit and performs the "ceremony" and step-out vocal toward the end. This was truly Long Tall Deb's dream wedding!

New Album Raise Your Hands now available on VizzTone Label Group!

Click HERE to download these Free tracks


Bad Influence

“Man Child” - Track 1 on the album Under The Influence

©2012 Badblues Records. All rights reserved.

The Bad Influence Band's new CD, Under The Influence, was a B.B. King's Bluesville, Sirius/XM 70 Pick to Click! Not only was this album a finalist in the International Blues Challenge for Best Self Produced Recording, it was nominated by the Washington Area Music Association for Best Blues Recording of 2012. The album has been getting a lot of airplay on satellite and terrestrial radio alike. But you don't have to wait to hear it on the radio! Check out Washington, DC's premier blues band at

Click HERE to download these Free tracks 




The Avey Brothers

“Preacherman” – from the album Preacherman

Close your eyes and there stands Robert Johnson coming at you right out of this chart. This cut on the disc is quite possibly the very tune that lead the band and the guys to the IBC. The International Blues Challenge. And its a good thing it did as they finished as finalists in one of the biggest and hottest not to mention one of the most talented Blues challenges anywhere this side of the South Side of Chicago.

Are you looking for energy bigger than a power plant? Do you want to hear a Band that lays it down with emotion and intensity and still remembers the roots of Blues in a modern format? Then here ya go. The Avey Brothers. Need a recommendation of a band to check out? Then run dont walk to their next gig. Go to the Mississippi River and turn left. Somewhere out there, where the Blues are blowing down the corn stakes you’ll find the Avey Brothers. Big, Bad and Blues!

Click HERE to download these Free tracks 

Live Blues Calendar

 YOU can submit your Blues performances for FREE at:

Performance dates were submitted by Musicians, Club Owners, Blues Societies and Blues festivals. is not responsible for errors or omissions.

CLICK HERE - for the Latest Complete Blues Calendar on our website at:

or click a state to see Blues shows by State

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Performance dates submitted by Musicians, Clubs, Blues Societies and Blues festivals. is not responsible for errors or omissions.

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