Blues Society of Western PA - Newsletter

It was a very busy 2008 for the BSWPA!

Just a recap on what was happening…

• Hosted the Second Annual IRS concert Hosted Fourth Annual Blues Challenge
• Sent a band and a solo to the International Blues Challenge in Memphis
• Hosted Second Annual Divas Concert-Blues Goes Pink to provide funds for cervical and breast cancer screening
• First Picnic with four bands Christmas Party with two bands
• The Blues is a Healer Tour entertained the Veterans at their Annual BBQ
• Manned booths at the Pittsburgh Blues Festival, Heritage Music festival, Carnegie Arts & Heritage Festival, and the Dormont Festival that gave us the opportunity to sell merchandise, attract and retain members, and provide information about Blues music and the wealth of talent that we have in Western Pennsylvania.
• Provided assistance for benefits for the Greater Pittsburgh Area Food Bank, Meals on Wheels and musicians in medical distress
• CD compilation
• Four newsletters
• Blues Goes to School Program was started Blues School at Moondog’s
• PITCH Program was started-Putting Instruments in the Children’s HandsThings being considered for 2009…
• Fifth Annual Blues Challenge
• Juke Joint Nights to honor local musicians
• Building and continuing the education programs

“Jim, Jim,….Jim?” Two students from the fifth grade had just come into the auditorium and had a note for Jim (Cisco) Franciscus. They were young, eager, earnest and impatiently waiting for an answer. Jim very seriously read the large note that had obviously been hand written. These young men were part of the Brazilian Drum group. Their teacher had sent them on a mission. The group wanted a chance to sit in and “jam” with “our” musicians before the Blues Presentation started. We all laughed when Jim, chuckling, commented that it had been a “long time since he had had a note passed to him in school.”

This was our introduction to the students at the Dilworth Elementary School. It was a magnet school for the performing arts within the Pittsburgh city limits. The Blues Society musicians dubbed themselves, The Dilworth All Star Blues Band and included Tuck Majeron on harp, James Franciscus on vocals, Ken Laminson on bass, John (JT) Toal on drums and Ian Arthurs on guitar. Barb Gangone and Jim and Jonnye Weber were there to support the effort. There was an eerie hush among us as we all looked around and realized that we had not been back to grade school in a very, very long time…the wooden seats, the posters, the high ceilings, and the linoleum floors. The silence was soon broken as the two young students raced back into the auditorium. Trailing behind them at a fast pace were fourteen jubilant other young musicians. Their instrumental music instructor, Lori Russo, was close behind. The “group” fell in and tried to follow the Dilworth All Stars. The students switched up regularly on the snare drums and the assortment of Brazilian drums. They also took turns playing the percussion instruments. The teacher finally asked our guys, The Dilworth All Star Band, to follow them and the music that they had been studying. (It was the first time that the school’s band had ever “jammed” with real musicians.) The BSWPA did us proud. They managed to follow and turn the music into a blues/ jazzy mix. It sounded very much like a Bo Diddly tune. Cisco even sat in on the drums. Everyone was really in full tilt. Finally, the instructor had to end the jam and prepare for the first onslaught of young people from the fourth and fifth grades.

The set started out with the 1937 version of Crossroads; a simple form of blues music. When the song ended, Jim (Cisco) Franciscus quoted Muddy Waters to the children, “The blues had a baby and called it rock and roll.” The Dilworth All Stars then did the same song, Crossroads, but did Cream’s rock and roll version. The children clapped and rocked to the music. The show was now underway. Cisco then talked about Robert Johnson’s contributions to the Blues genre of music. He also told the children about Johnson’s writing a song about a town in Illinois that was titled “Kokomo Blues” but was now known to many as “Sweet Home Chicago.” The interaction was overwhelming between the band and the students.

Amazing facts about our musicians came out during the show. Tuck talked about how he liked Post War blues. He explained that the blues originated as a rural, acoustic type of music. Tuck added that that rural music eventually developed into an electric type of music that was influenced by the noise and fastness of city life…. “and everything is fast in the city.” Being a harp player, Tuck was influenced by Little Walter, James Cotton, and Sonny Boy Williamson. Ken Laminson then began his talk. He told the children that when he was their age, around eight years old, that he had become interested in music. Back then; Ken was watching cartoons on television (not playing video games or playing on the computer). During one of those cartoon shows, Ken said that he saw his first guitar player, Joe Negri. What an impact that had on him! Finally, when Ken saw and heard the Beatles in 1964, he knew what he “definitely” wanted to do...play guitar. While in the Cub Scouts, Ken’s best friend had a big brother named, Joe Grushecky. Joe had an amazing record collection that Ken was grateful to be able to use. (His first favorite album was Paul Butterfield’s, “East West.” He next favorites were Elvin Bishop and David Sanborn.) He then told how in those days that kids listened to records not CDs and Ipods. Ken added that people did not have the money to keep buying records so that “when a guy had a chance to borrow one….you did.” He ended by saying that the Blues was a great way to view other music: rap, rock, etc. The Blues is still his main focus. The quietest person (vocally) and the one who made the most noise while on stage (playing drums) was John Toal. JT had been on the road with Elvin Bishop in 1978. ( …and JT keeps THIS quiet?) Ian Arthur followed.

Sheepishly, Ian stated that he was the “youngest” of the group. Ian told the children how he was into jazz and the blues. His interests followed the older music of Robert Johnson and Willie Dixon from the 1920’s and 1930’s. He then showed the children that he liked the Bottle Neck Slide that he learned from the Mississippi Delta, which was adapted from black music. Stevie Ray Vaughn was undoubtedly Ian’s modern blues inspiration. The music of John Mayer and Kenny Wayne Shepherd, according to Ian, enabled him to experience the thrilling “rebirth of the blues.” Ian Arthurs’ parting words to the young musicians were to listen, to play and to keep an open mind. His final words were, “Everybody listens to everybody. You just have to check it out.” Jim Franciscus finished the informational segment by saying that he was inspired by some soul and then moved into blues. Listening to Stevie Ray Vaughn, John Mahal and Eric Clapton developed his interest in the blues. His greatest hero has been B.B. King. His motivation for the Blues Goes to School had been his young son. Cisco finished by saying, “It is all about sharing. We have to teach the younger ones to keep the music alive.”

After a short break, the Dilworth All Stars readied themselves for the over exuberant first, second and third graders. Little did we know that our guys would be brought to their knees by the excitement that the youngsters created. The songs were the same and the talks were the same. However, the All Stars beamed and played harder than they did in their first segment. The children were definitely an inspiration. They clapped, rocked and swayed with the music. The “kids,” both young and old, were definitely enjoying themselves. In fact, the guys were overwhelmed with the children’s response. How often does a performer play to a full house that screams for more…and more…and more??? The day was ended with a “Call and Response” form of music that is unique to the Blues genre of music. Cisco went down in the audience to begin, “Got My MoJo Workin’.” The children were certainly warmed up. In fact it was a red-hot audience. Cisco worked his magic as he worked the room. As the children were dismissed that afternoon, many were on the way out the door still singing, “Got My Mojo Workin’” It was a great day at school. The Dilworth All Star Band (and all being Blues Society members, themselves) did us proud. They were tested and passed the grade that autumn day.

The Blues Society has started the PITCH program (Putting Instruments in the Children’s Hands). The BSWPA’s mission is to “keep the music alive.” Investing in our youth is one avenue that we believe is essential to fulfill that mission. An instrument has been provided for one, very deserving youth who has a passion for music. This the letter that was submitted to the BSWPA:

Zomba Records

With "Skin Deep" Buddy Guy has, at age 72, turned in one of the finest recorded efforts of his illustrious career. This disk is filled with great cuts and dream collaborations with some of the best musicians on the planet including Derek Trucks, Susan Tedeschi, Eric Clapton, and Robert Randolph. Buddy's singing and guitar playing are absolutely stellar throughout!! The disk begins with the funkified,"Best Damn Fool". This song is filled with Buddy's classic wah-wah'd guitar sound and distinct vocal stylings. On "Too Many Tears" Buddy is joined by the husband and wife duo, Derek Trucks and Susan Tedeschi. This amazing duo provides some smoldering, sexy blues vocals and some wicked badass guitar notes to this cut's funky groove. Trucks returns for the title cut, “Skin Deep.” It is a thoughtful song that takes a rare political turn for the blues in addressing the issue of race in our society.


Eric Clapton joins Buddy for "Every Time I Sing the Blues", creating an instant classic that offers passionate vocals from both artists. Their dark blue lyrics and piercing guitar work will shake you to the bottom of your feet. Double Trouble's Reese Wynans also adds some distinctive keyboard work to this cut. The best cut on the disk, “Out in the Woods,” takes us right back to the Mississippi Delta roots of the blues. Buddy is joined by Robert Randolph on this cut which evokes memories of early Howlin' Wolf. The lyrics contain the lines, "I live out in the woods. I got wolf blood in my veins." This is classic blues if it has ever existed!!! The raucous, "Show Me the Money," is yet another stand out track with standout backup vocals by Bekka Bramlett and Wendy Moten. The closing track, "I Found Happiness," is also everything a blues fan could ask for. With Wynans once again providing some gorgeous organ fills, Guy once again paints broad strokes on this masterpiece with powerful and emotional guitar wizardry. If "Skin Deep" doesn't scratch your blues itch, you might be a redneck (or a Celine Dion fan). It is an exciting and invigorating album that reinforces Buddy Guy’s legendary status with work worthy of his great talents.

It pays to be a Blues Society Member...
Your membership allows you a $2 discount at all blues shows at Moondog's and at the Thunderbird. Besides your newsletter, you will still receive your discount at all Blues Society sponsored shows and on merchandise.

…Memphis Bound….
It was a Thursday night in Memphis. The clock was striking twelve. We had just stepped out of BB King’s club. I gazed down that lonely stretch known to many as Beale Street. Snowflakes were slowly trickling down and dancing among the many neon lights that dotted that infamous roadway. The street was virtually empty. Its unexpected beauty and pristine calm were fascinating and so very, very deceiving. The streets were empty but the clubs were still packed. It was the first night of the 2006 IBCs (the International Blues Competition). The action and the warmth of the music were blazing away inside each and every club. It had proved to be an intoxicating experience for those who loved the blues. Memories of our first IBC in Memphis were slowly ebbing back.

Those memories danced as softly as the snowflakes that were drifting down onto my face. It was January 2006. The Steelers were on their way to the Super Bowl and the Webers were on their way to Memphis. It was early on a Wednesday morning as Jim and I sleepily trudged into the airport. As we approached the gate area, we started running into many other Pittsburgh Blues fans that were one their way to Memphis also. The lure was the Jill West fan base and the curiosity of experiencing the International Blues Challenge. We soon stumbled over Dusty the photographer, Jan and Dave Hasch, Nancy and Mike Longo, Trish, and many other Blues fans that we have seen at various events. The buzz and the hum of the excitement charged the air. The delight of sharing our journey with familiar faces proved immeasurable. As we all became fast friends, we all shared the mission---being groupies for the weekend. We boarded the baby jet that was to whisk us away to Memphis. The flight crew announced that our band and their entourage were on their way to a music adventure. Our fellow passengers cheered and clapped. The excitement continued to build. After we landed, we kept running into more and more people from Pittsburgh. They walked, drove, bussed, and flew into Memphis from many parts of the country to unite to follow Jill West and the Blues Attack (The Weisingers definitely made up the largest and friendliest group that attended.) We chattered about where to meet for dinner, shared comments about the itinerary, and enjoyed the sights and the museums. Foremost, we shared the music. We raced to Pat O’Brien’s that night to stake out spots so that the “whole gang” could watch “our band” in their moment of glory. Pittsburgh, undoubtedly, had the largest fan base. We cheered, yelled, and exhausted ourselves in “our” quest to support and encourage “our band.” Other bands and their fans noticed and commented on how the crowd from the “burg” made the event even more exciting and fun filled. People leaned in the open windows of O’Brien’s wondering who that kid was that was “tearing” up the stage with his wild guitar. It was Zack Weisinger, now known as Guitar Zack. Our spirits soured even higher as the band played on. We were part of the experience.

Later, that evening we saw a rockabilly group, The Dempsies. Everyone raved about their high-energy antics and their knack for entertaining. We met at the Rum Boogie later that evening to hear the Bob Margolin Jam session. The next day, we took in more sights. We stopped in at Silky’s on Beale Street to see Barbara Blue, a Pittsburgh girl. We stopped and chatted with Joe Bonamassa on Beale Street. I told him I would see him in Pittsburgh in a few weeks. He looked at me and said, “Oh yeah, I will be at the Rex, Cool!” We even ran into a Weber cousin. He was there for a rendezvous with his bride and had no interest in the blues. It was hard to believe that anyone would be in Memphis for the “big” weekend and not be a fan. We kept running into each other and rehashing the “scene” from the night before. The Rendezvous was the restaurant of choice for their southern barbecue.

On the second of the competition, we were in our places and assuming our “roles” as devoted groupies. Our role included encouraging “our” band and urging them on in their role as competitors. After “our” band had played, we all ran up and down Beale Street. We were in and out of clubs seeing the best twenty minutes that every band had to offer. The streets were abuzz with commentaries on the various bands and their offerings. Again, we met at the Rum Boogie later that night. The place was packed with expectant fans. Blues celebrities popped in and out of that famous music landmark. Janiva Magness was one such Blues’ star that showed up. She swept into the room with her vivacious, magnetic style. She tossed her wrap to the side and strode up to the stage. This was the way that I had always envisioned my trip to Memphis…the music, the personalities, the feeling, the aura. Our group slowly trickled in. We chattered and cheered. Zak went up on stage to assist Bob Margolin. Collectively, we rehashed the performances of our band but with greater gusto…. and for good reason. Jill West and the Blues Attack were finalists in the International Blues competition.

Being ill prepared for the finals and not having the correct tickets, we as a group scoured the entire area for extra tickets. (We have since learned to buy the correct tickets in advance.) “Our band” was in the finals; we just had to get there! The Pittsburgh network became scavengers to make it possible for each and every member in the group to see the finale. Hmmm, there is more to that story. Seeing Jim Weber running through the pouring rain with his blues hat on backward, carrying a guitar case, grabbing my hand, and running me, the last person, into the historic, Old Daisy Theater, yes, …there is more to that story and only the insiders know for sure. Finally, the entire group had made it into the finals arena. The unbridled anticipation of what was to come in the finals that night charged the air. The Old Daisy was a very old, tired building. It came to life that evening with the music and the people. The Blues were alive like I had never imagined. Whew, I felt like all the breath was being squeezed out of me. It was nerve wracking to wonder when, how, and why. …Would we be in the winners’ circle? The air crackled with the enthusiasm. As the evening drew to a close and the winners were announced……….
Jill West and the Blues Attack placed third in a field of one hundred and sixty two international bands. …. The fans placed first.

The winners of the 2008 Blues Society of Western PA’s Blues Challenge will be competing in Memphis, Tennessee beginning on February 8, 2009. They have been honing their talents readying themselves for the International Blues Challenge that attracts bands from throughout the entire world. Each band will give their best twenty-minute set and be judged by their peers. There will be many tense moments with all the talent that will be flocking into Memphis for their “chance.” There will also be a lot of wonderful, fun filled moments that fans and the musicians both will experience.

The BSWPA would like to wish our representatives a safe journey and a fun, enriching trip. Those going will include:

The Band Representative: Nothin’ But Trouble
The Solo/Duo Category Representative: Bubs McKeg
The Self-Produced CD Representative: Swing it Around by Jimmy Adler

Another Western Pennsylvania talent, Ms. Freddye and Blue Faze will be representing The West Virginia Blues Society at the Competition. Good luck to all of you!!

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The drawing for the BSWPA’s signed, Fender Strat was held on Saturday, November 15, 2008. The winning ticket was pulled during the Blues Society’s Christmas Party at the Rhythm House. The winner was… Aidan McCracken from Greentree, PA. McCracken had purchased the winning ticket at the Dormont Street Festival in October.

This was by far our finest effort in getting a guitar signed. The list included:

Johnny Winter
Taj Mahal
Hubert Sumlin
Jimmy Thackery
Walter Trout
Tommy Castro
Ana Popovic
Watermelon Slim
Duke Robillard
Tinsley Ellis
Anthony Gomes
Michael Burks
Deanna Bogart
Ronnie Baker Brooks
Studebaker John

We have purchased our guitar for the 2009 season. Kenny Wayne Shepherd and Coco Montoya have already signed it. Not a bad start! Congratulations to Aidan. ~ Jim Weber

Bonedog Records

This is a solid thirteen-song effort. Eugene, “The Georgia Night Crawler,” has been singing and playing the Blues in the Pittsburgh area for over thirty years. “Count on Me” was his first Bonedog CD. Eugene is currently in negotiations with Toyota for use of the title track.
Eugene wrote six of the thirteen songs on this CD. His songs are steeped in traditional Blues and R&B. They best highlight his deep, rich vocals. They are the sort of songs you find yourself singing long after a listen. The lyrics are that catchy! “My Sweat, Your Money” is a perfect example. This is one fine Blues number!
Mike Sweeney wrote six of the other songs that tend to lean towards a New Orleans sound. “Stoopin’ and Pickin’” could easily have been a Grateful Dead song. The best song was saved for last. “Whiskey House” is Blues the way it was meant to be.
Eugene’s guitar is solid through out, never overplaying. The list of players reads like a who’s who of Pittsburgh music. Fred Delu, Mike Sweeney, James Dougherty, James Hilton and even Bonedaddy, himself, lend some background vocals. Tom, “Little Buck,” Coyle is outstanding on harmonica. Catch Eugene live and then take this CD home. You will not be disappointed.

A Tribute to Son House by Rory Block
Stony Plain Records

Without question, Rory Block is and has been playing an important and necessary role in preserving the roots of Blues music. This effort is further proof. Rory was born in New Jersey and raised in Manhattan. She picked up the guitar at the age of ten. At fifteen, she visited Reverend Gary Davis at his home in the Bronx and fell in love with the Blues. Soon after, she hit the road. Heading south, she apprenticed at the feet of Skip James and Mississippi John Hurt. She played with Son House in his home and considers him her “most influential Blues Master.”
In 1996, she won the W.C. Handy Award for “Best Traditional Album” (“When a Woman gets the Blues.”) She was named “Best Traditional Blues Female Artist” in 1997 and 1998. “Confessions of a Blues Singer” brought Rory the “Best Acoustic Blues Album of the Year” award in 1999.
Rory plays a Martin OM-40 Signature Edition and uses a socket as a slide. Her playing is close to perfect on this CD. Her style and talent work perfect in this tribute to Eddie J. “Son” House, JR. It is a match made in Blues heaven. Rory performs thirteen of his songs and never loses her own identity or the original passion that Son House intended. She attacks, “Grinnin’ in your Face,” accapella and her strong vocals carry it well. Her slide guitar shines throughout. On a few numbers, John Sebastian adds a harmonica touch. I will close with a quote from Blues Review: “Rory Block is one of the greatest living acoustic Blues artists…She can hold her own with the legends who inspired her”. Amen.

Alligator Records

Michael Burks' Iron Man is potent blues by a powerful performer. He's the real deal as a guitar player, vocalist, and composer. Burks doesn't hide the fact that his style sometimes strays way outside of stringent blues borders and into unashamed rock territory. In fact, his spot-on cover of Free's classic, "Fire and Water," is a magnificent display of that. This cut is a big thrill ride for this long-time Paul Rodgers enthusiast. The disk starts off with guitars ablaze on the scorching, “Love Disease". In "Strange Feeling" Burks belts out a strong vocal around a dominant blues riff. "Empty Promises" is a display of his slow blues prowess, one that's colorful and full of passion. Jimmy Johnson's, "Ashes in my Ashtray" is another song in this mode. "Don't Waste My Time" is a pleasant R&B melody that features an addictive rhythmic flow. This cut also features some very nice Hammond organ by Wayne Sharp. "Quiet Little Town" is yet another rocked-up gem, reminiscent in style of Bob Seger at first. The intro to "Changed Man" chugs along like a freight train barreling down the tracks and then switches to a traditional blues melody that is chock-full of yet another killer guitar solo by Burks. The killer guitar work is a consistent pattern throughout this disk and makes for great listening for guitaraholics like me. Burks has really poured himself into these songs and the passion in his vocals and playing shines through on virtually every cut. Buy this one now!!!

-- Mahajebee Blues

The drive from Pittsburgh to the Delta was a more than enjoyable trip, especially knowing that we were actually going to Helena, Arkansas to play “The Biscuit!” Our final destination in Mississippi was Hopson’s Plantation (http://www.hopsonplantation.com/) just outside of Clarksdale. It proved to be worth all of the time and miles it took to get us there! Climbing out of the van, I wondered if the blues that I was hearing was in my ears or in my head. From that point until we left, there was blues music everywhere. We entered The Hopson Commissary and listened to The Marshall Drew Blues Band, a local group (of twenty–something’s) from Clarksdale who sounded fantastic! The Commissary is a large room full of history, antiques, and pictures. It was an acoustic lounge...a very cool place to relax and listen to music. Feeling the “van lag” from the trip, I decided to turn it in while some of the boys went to “Red’s Lounge” (http://www.jukejointfestival.com/venues.php). I guess I ignored the saying that I had heard quite a few times from the locals, “You can sleep when you die.”
I paid the price by not going to “Red’s” because as it turns out, “The Oil Man” - Big Jack Johnson (http://www.myspace.com/bigjackjohnsonblues) was playing there that night. Deak Harp sat in and lit it up blowing a mean harp (http://www.myspace.com/bigjackjohnsonblues). Jon, Lonny, and my brother Mike said that, “Going to Red’s juke and seeing Big Jack Johnson was the real deal, blues in its pure state!”
When I woke up on Saturday morning at The Shack Up Inn, there was still a buzz about how cool it was to go to Red’s Juke Joint. I was in a hurry to get to the balcony. The first thing I noticed was the Cadillac Shack with the bottle tree in front of it. That is the front cover of our CD and it was the first time I laid my eyes on it. Someone suggested that we get a beverage in a blue bottle, pass it around until it is gone and then put it on one of the unoccupied tree limbs. Another band member who happened to be more awake reminded him that we had a show in Helena to do. In retrospect, I think we should’ve done it. Off to the right of our balcony was a view of a beautiful cotton field and the cotton was in full bloom, matured and opened, as far as you could see. Just an unbelievable site!
Most of the guys were hungry for breakfast so we headed into town, Clarksdale, MS. It was literally like riding in a tour bus. Things like the Highway 61/49 signs were pointed out as well as the painted silhouettes of airplanes on the highway reminding you that a crop duster uses this road to LAND! Once in town our heads were on a swivel as my Brother Mike, the authority on Clarksdale to us, was pointing out The Cross Roads sign, The Riverside Hotel where many a great blues man stayed (Rat sez that Muddy walked out of the hotel and onto a train to Chicago), Red’s Juke Joint, Ground Zero and the Delta Museum. We couldn’t look quick enough to see everything. We parked in front of The Delta Amusement Lounge. Sitting on the bench in front was none other than Mississippi Delta blues man, Mr. Tater. http://www.myspace.com/mrtaterthegreatestmusicmakeralive
He seemed more than happy to meet us and take a picture.
He assured us that he would be in Helena later that day.

Our breakfast was the biggest, greasiest southern style breakfast you could order. The waitress was getting a kick out our accents. She informed us that “Big Daddy” makes his own jam…but don’t tell him otherwise she would have to deal with his ego all day. Once we were fueled up, we walked over to The Ground Zero Blues Club (http://www.groundzerobluesclub.com/). A few people were cleaning up. They informed us that they weren’t open yet but permitted us to walk around and check the place out. If I owned a club, I would design it after Ground Zero. From Ground Zero, straight across Blues Alley is The Delta Blues Museum which was (http://www.deltabluesmuseum.org/) our next stop. You can spend a day in the museum but our time was limited. There’s an amazing collection of artifacts, instruments, recordings, sheet music, posters, photographs, costumes, folk art and paintings. The Muddy Waters exhibit is really impressive and it includes the cabin that he once lived in!
We headed back to Hopson’s to get ready for the festival. Some of us walked around Hopson while we took turns getting ready to go to Helena. On the ride to Helena I could sense the excitement about playing in ABHF. You could see the smoke and smell the BBQ before we reached the Festival. After parking behind the Emerging Artist Stage, we agreed to meet 30 minutes before we were to go on. Walking around Cherry Street, checking the booths, street buskers, seeing The Delta Cultural Center (http://www.deltaculturalcenter.com/exhibitions/blues.asp), the second stage and the main stage, we knew that this was going to be a lot of fun. We ran into Dusty Blues for the first time and he told us that the first two days had been great. The blues were everywhere!
The sun was shinning on the Emerging Artist Stage when the first band finished their set. It was hot but the humidity wasn’t like the humidity at so many of the other festivals we played this past summer. We got all set up; they announced our name and the party began. The soundman did a tremendous job mixing the first band. I remember thinking, “If he has us tweaked like that, then this will be a blast!” Jon Paul and Lonny had a great stage sound, ear-to-ear grins and were ripping it. I’ve known bassist, Jack Rhyner, for years and there was no surprise that he and Junior sounded big and rock-solid. My brother, Mike, gave me the thumbs up that the soundman had us balanced and there was no looking back. I could see people in line for food turning around to check us out. Once they got their food they walked down toward the stage and stayed. The set was cookin’ and we were turning heads. Some people danced and others sang along. They really liked our version of Johnny Shine’s “Evening Sun” when we bring it down low and ask them to shout it out! “Where were you?” We split the groups into four sections, left, center, right and those inside the “Port O’ Johns”. They loved it. We followed that with our originals, “Blue Guitar” and “Lover Boy Blues,” Both songs were very well received. From the opening riff of “Little Man” to the last note of “Funkified Blues” we were living a dream. The set ran smoothly and the crowd was receptive to our feel for the blues. The sweat rolling down our faces felt good. Several people wanted to talk while we were breaking down and many of them met us at the van to talk and/or buy a CD. New fans from Mobile, Alabama, Little Rock & Helena, Ark., New Orleans and Texas l stopped by to chat. It was cool to meet people from the South who liked our music, encouraged us and told us who to contact in their hometown to play there. When all was said and done, it was time to get some BBQ!