Blues Society of Western PA - Newsletter

Two years ago the BSWPA introduced the "Blues from the Burgh” CD at the IBCs. It was a hard year of work for Jim Weber with assistance from his wife, Jonnye, that brought the much talked-about CD into reality. He thanked me for my help, even though I had done little. I did help with a couple song choices and sound levels, but that was it. Jim did all the legwork: visits to studio, chasing bands to get CDs and release forms, going through recordings with Jonnye to decide what to use and where to put it on the CD.
He had been complimented on it and constantly asked "when are you coming out with a new one?"  He told me he was considering making a second one, but wanted help, didn't want to go through it all over again alone. I told Jim I'd help some, but didn't have much free time. 

 Sadly, Jim passed away last May and never got to work on the CD. I knew I had to do "Blues from the Burgh 2." I had an idea what needed to be done, but needed help. I started immediately getting release forms from bands. I knew I'd get some, but wasn't sure if I'd get enough. Jonnye Weber asked if she could join and of course her help and guidance was welcomed. When bands were told it was being dedicated to Jim's memory, we had more bands than we could use. In three months, we had collected more OK's from bands than the CD could hold, time-wise. Within another month, we had collected all the recordings. We went on to the studio and after a couple hurdles we had the CDs! 

 On March 7, 2010 we had a CD release party at the Palisades in McKeesport.  The choice was questioned because of location, being a bit far for many. There was a glitch near the end. Maybe I had made a mistake, I thought. I did know it was spacious with good sound quality. We had been to shows there and were hoping we'd draw 50 or more so we could get some CDs into circulation. Pamela Bick and the Warehouse Blues Band had heard of the trouble and came through with all the equipment that we needed! Thanks again to them.  We had ten of the bands from the CD playing there and all sounded superb!  It was an incredible day! Great music. A wonderful, diverse audience who all wanted to talk to us about several things. I met a few new people and all had glowing comments about the BSWPA. I met a lady named Cindy Gaich, who had praise for us and the music. I met a guy called "Chipmunk" who asked who wrote the Walter Trout interview. Jonnye pointed to me and he had a lot of questions about Walter. He told me it was a great interview. Wow! That was the first interview I did, three years ago! It was nice to hear people remember those things. It was just a lot of fun for me.  So, a big thanks to all the bands who performed on that Sunday and all the ones who contributed to the CD but couldn't be there. A big thanks to all those who came and all those who said 'thanks' to us.
Thanks to Jonnye Weber for working on the CD with me, thanks to those who bought the CD and to those who said how much they liked it.
Most of all, Jim Weber, I thank you for the inspiration to help me through some trying times and getting this done.
       
Buy the CD online at: http://bit.ly/BSWPAmerchandise

by Val Scott
Excerpts from Val’s article were found in Big City Rhythm and Blues Magazine…January 2010 issue

In the Steel City Valley, where the Allegheny and Monongahela Rivers meet to form the Ohio, lies the city of Pittsburgh. Once known as an old smoky, dirty steel town, Pittsburgh is now listed as one of the USA’s most livable cities, thriving on technology and medical industry as it recreates itself.  Among those who have chronicled Pittsburgh’s 20 years of transformation are the musicians and promoters of blues, soul, and rock’n’roll.  The 1980’s recession and the fall of the steel industry inspired many lyrics and tales for native musicians who lived through that era.  In this City of Champions, fans also mix their music with sports.  One can easily walk into a local bar and see both sports and music paraphernalia on the wall, or meet at least one person wearing some form of Steelers’ Black and Gold.

Pittsburgh has live music clubs on the South Side, the West Hills, the East End and the North Hills, plus surrounding suburbs.  Most notable in the business for 20 years, and a recent Keeping the Blues Alive recipient, is Moondog’s.  Found on the main street of Blawnox, Moondog’s is known for the best local and national blues entertainment in the area.  Moondog/Ron Esser is also involved in booking the blues acts for the Pittsburgh Blues Festival during late July, with proceeds going to the Pittsburgh Food Bank.  So how would you remember Moondog’s, if you visited? Note the portraits of blues musicians, painted as comical dogs on the walls of the club. If you look closely, you will find autographs of the national artists claiming their favorite dog paintings.  Rumor has it this club was a favorite stop of Luther Allison.

Flowing back down the river on the east end and in the historic Lawrenceville section of Pittsburgh, one can find the Thunderbird Café.  Pictures of blues musicians adorn the walls.  Many harp aficionados mingle here and have encouraged the bookings of harmonica blowouts with national acts such as Rick Estrin, Jerry Portnoy, Lee Oskar and Magic Dick.  So if you are into Mississippi saxophone, the Thunderbird Café might be the place to be in Pittsburgh.

Pittsburgh also has a local record company, Bonedog Records, run by Jeffrey Ingersoll who promotes soul, rhythm and blues music.  Jeff’s mission is to preserve American music.  Promoting artists like Tommy Brown, Stevee Wellons, Piney Brown and the Pittsburgh Gospel Lights, Bonedog’s features them in live shows at the Palisades in McKeesport.

A blues town is not complete without a blues society that also supports the Blues Foundation. Recently restructured, the Blues Society of Western Pennsylvania supports and hosts live music throughout the town.  Its dedicated members find creative ways to mix a blues event with a charitable theme. If you are interested in local, live blues music their website, www. bswpa.org lists a calendar of local blues activities.  President Jonnye Weber keeps active in promoting the blues along with the board and volunteers. Kudos for a job well done.  Subscribe to: www.bigcitybluesmag.com or Big City Blues Magazine, P.O. Box 1805, Royal Oak, MI  48068-1805

Curtis Salgado, known for his powerful blues vocals and fine harp playing, was the recipient of a liver transplant in recent years. His story is intense and the results are amazing. I knew that I needed to learn more. Curtis's early career included: six years with the then "up and coming" guitarist, Robert Cray; fronting Roomful of Blues in 1984-1986; working with the Stilettos and touring with Steve Miller and The Doobie Brothers; and was lead vocalist with Santana in the 1990's.  In 1979, John Belushi was filming Animal House in Curtis's home town, Eugene, Oregon. Belushi credited Curtis with schooling him on the blues. The Blues Brothers act that Belushi and Dan Akroyd put together was based on Curtis's show. Their first album was dedicated to Curtis.

A simple phone call to the west coast and a few hours later, I felt that Curtis Salgado and I were old friends.  Sleepily, Curtis had answered the phone. He soon came to life and the interview was in "super charged" mode. His voice was warm and engaging. He was very thoughtful on many answers.  We traded many stories...(sorry, I can't divulge many of them). He was very engaging, hearty and earnest with his answers.

Jonnye: Was the Blues Brothers phenomena the "breaking out" point in your career? Did the Blues Brothers open doors or has it held you back?
Curtis: (laughing huskily) If nothing else, it's a "great story." (Seriously) I am proud that the Blues Brothers Album was dedicated to me. It did get my name out there early on. I did not know Belushi or who he was. I finally realized that it was Dan Akroid who tried to get Belushi into the blues. Don Akroyd's muse in the blues was the Downchild Blues Band in Toronto, Canada. I became Belushi's muse. (Earnestly) I have always championed to have people know the history of blues.  I am "into people knowing where the music comes from." I helped Belushi to learn about the T-Bone Walkers and the Lonnie Johnsons among the many others who formed the roots of the blues. I am grateful that I was in the right place. My role was a crucial part in the resurgence of blues...it created a much needed interest in this country....No doubt about it.

J: I loved your song, "Too Loose."  You talked about losing you liver, losing your mind. There was a lot of living behind those
words.  Was that a turning point in your life? Was this a cleansing for you or was this your way of relating to others about your chosen path?
C:  (Seriously and quietly) I have been sober for 21 years. I was raised in the hip, party town of Eugene, Oregon during the 1950's and 1960's.  It was artsy and had lots of music. I listened to the first generation of blues players that came to town while the folk music era was coming to life. (thoughtfully, he added) ...Son House, Otis Rush, Mississippi Fred McDowell, BB King). (emphatically) It was the times. Nobody knew what the results of those times would be.

J: How do you cope with "life, reality and mortality coming at you full force"?
C: Frankly, I do not think about it. I do know that the "older I get, the older I want to get." I was given six months with little chance of getting a liver. My girl friend, the community and my friends got me through. When I first was diagnosed, I stood up and walked around. A sudden boost of energy overtook me. I then decided that I was going to pick myself up and go kicking and screaming.  I called people and the ball started rolling. I went between tests at the hospital and going on stage.

J:  Many musicians and many in your community helped you when you were medically and financially challenged. How do you give back?
C: I have been giving talks to kids since I first got sober. I have talked at all levels of schools for drugs and alcohol abuse. (very seriously and with a deep sigh) The message: the consequences outweigh the pay off. I am their "direct link" with living fast. What you do as a young person comes back to you in later years. ....like getting a liver transplant...it all figures. Wow! These are great questions. I have done benefits for the Children's Cancer Hospital for many years. I still do drug talks but now I also talk at liver and cancer symposiums (Colorado, Chicago, Dallas).  A doctor found me on the internet. I took a guitar player along to a meeting, played the blues and simply talked about my situation. That concept has "snowballed." I keep getting calls to talk about my medical journey.

J:  What was your most memorable moment musically?
C: (Laughing) I have many. Hmmm. Hands down...Clifton Chenier when he stayed at my apartment in the 1970's.  Great Zydeco. His blues were powerful and funky. His records do not do him justice. When he played, he "made me pee my pants." He was that good... Clifton and his Creole road manager, Davis Petrie, cooked me gumbo and red beans and rice.

J: Anything you want to tell the readers?
C: (Boisterously) I really like what I do. I do what I know...sing, play harp and try to write good songs. I am "old school."  I am rich in friends and blessed in the eyes of God. It is overwhelming. I still pinch myself. In my eyes, I have won the Grammy of life with my fight to survive and the way people fought for me. (quickly he added) I had a good time playing at the Pittsburgh Blues Festival. Tell Moondog that I wear his shirt, "Please feed the hungry." Again, great interview and great questions!
Good night, Curtis.

High jacked at sea: 3029 people were whisked away into the Caribbean's turquoise waters for a week long adventure. No requests for ransom were made…just requests for blues, blues and more blues.

"We" had just pulled anchor.  The sun was shining, the fans were ecstatic, the performers were mingling and Magic Slim and the Tear Drops were playing on the top deck at the Sail Away Barbeque. As the music blasted and the dancing started, the cruisers on the other cruise ships lined their decks to get a look at the 2010 Legendary Blues Cruise as it steamed out to sea. Yes, I was a part of that large group that pirated that large ship for a week long floating blues festival. We showed no remorse. The motto that week was: "It is great to be us." It was definitely a spirited high jacking. The Blues were everywhere: blues on the top deck, blues in the main show room, blues in the many little bars throughout the ships and blues in cabins where friends gathered to just jam and enjoy each others company.

Earlier in the day we had "walked the plank" with the likes of Keb Mo, Tommy Castro, Super Chickan, Tab Benoit, Jason Ricci, JP Soars, Taj Mahal, The Phantom Blues Band, James Walker, Nick Moss, Mitch    Woods, Eden Brent, Deanna Bogart, Curtis Salgado, Ruthie Foster, Duke Robillard, Guy Davis, Trampled Under Foot (TUF), Annie Raines, the Mannish Boys, Kenny Neal and his family and our own, Jill West. Each artist performed at least once on the top deck in the bright afternoon sunlight or late at night under the stars. Each also performed on stage in the main showroom. Many artists and their fans joined the jams on the top deck or in the crow’s nest. The "pro jams" featured the headliners. Their synergy permeated the entire ship. The amateurs (am jams) jammed in various places on the ship. Some of the "pro-am jams", where the amateurs jammed with the pros, proved to be a tremendous wealth of raw talent that met and melded with the seasoned talent that we had all gathered to see.

A "virgin party" and a "returnees" party are always held the first day at sea.  All "virgins" received a warm, enthusiastic welcome from the veteran cruisers. My welcome party consisted of a set by Jason Ricci, Deanna Bogart and Nick Moss. (This was truly living!) The shipped rocked during our first two days at sea as we pushed forward towards Curacao. At times, I wondered if the rocking was from the high speeds that we were traveling or from all of the dancing.

We mingled with the musicians like we were old friends. I was speechless while having lunch next to Tommy Castro and his girlfriend. I sat beside Keb Mo and talked about his visit to children's homes in Western PA. Keith, Tommy Castro's sax player, said to tell Moondog and his tribe, hello. Jason Ricci commented that Moondog ranked high in keeping his promises to the national bands that frequent his place. We, the fans, enjoyed being a part of live recording sessions with Joe Louis Walker.

A teaser of what we sampled: The late night jams were held nightly on the top deck under the stars with the warm tropical winds surrounding us. Tommy Castro headlined one late nighter. At any given time there were always ten stars on stage with Tommy. His fellow jammers that one night included: members from the Mannish Boys, the Phantom Blues Band, TUF, Jason Ricci, Curtis Salgado, Magic Slim, Watermelon Slim, Guy Davis, Nick Moss and Paris Slim (imported from Paris, France). Whew, the late night jams lasted until 4:30 am. Many then headed for the piano bar that often stayed open until 8:00 am.

The piano bar proved to be a hidden treasure. It was open throughout the evening. I was constantly amazed at how many people packed that small place. With little room to move, sit, or perch, the young guitarist from the Curtis Salgado Band, stretched out across the top of the baby grand. (Eden Brent called him "Elvis" because with his dark glasses he was a definite Elvis look alike.) He looked quite at home as he languished on that gleaming piano. Imagine my surprise when he asked if I minded looking at his back or his front while he played! Drummers sat in, harp players roamed in and out, a washboard player sat in.  Steve Simon, organizer of the St. John Blues festival and the Bluesapalooza tours, sat in on clarinet. The music constantly evolved. The dimensions changed with each new player that joined the group.

The Boogie Woogie Blowout (scheduled for an unmerciful 11:30 am) featured five pianists who took turns playing for us on a baby grand. They then sat at the five keyboards that were set up side by side. They blew the roof off of that show room!

The Windy City Blues magazine hosted a booth in the indoor pool area. Their workers also provided poolside jams that were very interesting and soothed the soul while swimming and sunbathing.
For those feeling guilty about experiencing too much music...There was a cooking class offered by Super Chickan that featured his 'beer butt chicken recipe.'  Kenny Neal's mother hosted a Creole cooking segment. The photographers were offered various topics to hone their skills. The harp players were treated to a workshop hosted by Annie Raines. Tommy Castro and Kenny Neal were among those that chaired a songwriting workshop. There were silent auctions that included signed guitars, an accordion for a physicians' volunteer group, records, photos, artwork and wine. (Drat...I lost the small Honey Boy guitar with case in the last five minutes of the auction. I did, however, win the size 14.5 black and white hi-top tennis shoes that were donated by Watermelon Slim.)

The excursion to the private island, Half Moon Cay in the Bahamas was a "hit" with many cruisers. Two blues bands, Jason and New Blood and Joe Louis Walker (filming and recording), were featured on that sandy, exotic stretch of beach. An island BBQ was available all afternoon as well as drinks, cabanas, snorkeling and watercrafts.  Tough duty: slathering on sunscreen, standing in the cool waters of the Caribbean, holding an island libation and listening to blues music. Whew!! Pinch me... I had to be dreaming!

The highlights of the trip: Sharing the music with many of the blues fans that I have met in my travels,; talking with and comparing notes with fellow BSWPA members...Renee and John, Paul Baughman and Evelyn; seeing Jill West run a well attended amateur jam...and making us proud; watching Tab Benoit play the drums during a pro-am set; seeing Tommy Castro with windblown hair...and still looking good; seeing musicians have fun doing what they do...Watermelon Slim danced  his way around the ship and had a blast sitting in with just about everyone; and seeing musicians standing among the masses listening, dancing and enjoying the music as fans. Eden Brent commented that there were not a lot of piano players on the ship. I was amazed that there were numerous guitarists, bass players, drummers and harp players. There was not one tambourine player to be found. Someone from Pittsburgh (We will blame Trish) brought some light up tambourines to liven up the party.

Yes, we were willing participants, absconding with the Eurodam. We had traveled 2361 nautical miles. However, not one report or complaint was lodged. "It was great to be us."

After note: Thanks, Tab for letting me shake that blinking tambourine during your pro-jam. Thanks to the South Florida Blues Society for their pre-cruise jam with Joey Gilmore and JP Soars. Thanks to the St. Louis Blues Society for hosting the cruise. Thanks Carmen for letting me join the "Fat Man Tour" on Curacao...the beach was an exquisite oasis.

Sad note: Trampled Under Foot's lead singer, Danielle Schnebelen, had to be flown stateside to have emergency surgery. Kudos to TUF for the "show must go on." Many performers throughout the week jumped in to help TUF to fulfill their cruise obligations. Kudos to the blues fans for the thousands that they raised onboard to defray Danielle's medical bills.

One man's pawnshop find ends with a new Gibson Custom Shop guitar and meeting B.B. King

Premiere Guitar.com-Las Vegas, -- Surely every gearhead has imagined walking into a pawnshop and finding the guitar of their dreams. For Eric Dahl of Las Vegas, that dream became reality two months ago—producing an ending even he couldn’t have dreamed up.

Like many guitar collectors, Dahl routinely visits pawn shops. He’s also left his contact information hoping to get a call when an interesting guitar comes up for sale. He received such a call on Sept. 10, regarding a unique Gibson ES-345 B.B. King 80th Anniversary model a pawn shop had just purchased. Intrigued, Dahl went straight to the shop to check it out.

“It was definitely a Gibson ES-345 B.B. King Lucille guitar, but it didn’t have the original case, or any of the original paperwork, and I was disappointed that it had been gigged pretty hard and full of pick scratches and small dents,” Dahl said. “Also, I flipped it over and looked at the headstock expecting to see standard serial numbers, but to my surprise saw ‘Prototype 1’ stamped where the serial numbers should have been. I figured maybe it was a fake, or a really cool piece that had once been approved by B.B. King himself then given away to a fellow musician, friend of the family or relative.”

Fortunately for Dahl, it was neither. After spending several weeks calling various guitar historians, including Gibson’s customer service department, trying to figure out the guitar’s history, Dahl felt like he’d hit a wall—until he received a call on November 9, from Pat Foley, director of artist relations at Gibson Custom.

“First, he asked me if I still had the guitar here in the United States, which seemed odd because where else would I keep it?” Dahl said. “Then he informed me the guitar had been stolen from Mr. King at the beginning of the summer [2009]. Gibson presented to him as his 80th birthday present in Los Angeles in 2005, and it had been Mr. King’s main gigging guitar for the last four years. He was so upset that it was stolen that he asked Gibson to make him another one as close to the original as possible.”

Needless to say, King was overjoyed when he learned his beloved Lucille had been found. He even arranged for Dahl to receive a brand new Lucille from Gibson Custom upon returning the original, which happened a few days after Thanksgiving—an appropriate holiday for Mr. King to celebrate the return of his beloved lady.

“We met at Mr. King’s offices here in Las Vegas,” Dahl said. “He was one of the nicest people I’ve ever met in my life. He just kept shaking my hand and thanking me. He really wanted his birthday present back and was amazed he was actually getting it back. He really thought he’d never see it again.”
Dahl got King to autograph his new Lucille from Gibson Custom, and took a bunch of pictures of the meeting—one of which will go back to King as a memento of their unlikely encounter.

“I’m just happy that I was able to return a prized guitar to one of my guitar idols and inspirations,” Dahl said. “Now he can continue to give joy to so many other blues fans around the world.”

Pick the blues guitarist who is the son of a well-known West Coast blues/R&B artist:

Little Jimmy King
Shuggie Otis
Earl Hooker
Phil Guy
Melvin Taylor

Find the answer at the end of the newsletter

The 2010 Blues in the Schools program visited  Dilworth Elementary in March.  Jim Franciscus had originally led a fine group of musicians during our initial visit in 2009. Our return visit was to provide a more in depth understanding of the Blues concerning its history and its culture. The children were ready and eagerly waiting....and just as receptive.  They were treated to Eugene Morgan's rendering of the blues. Their interest and excitement  were heartwarming and encouraging.

While there, the BSWPA presented two guitars to the music class courtesy of Kevin Nay. A saxophone was also given to the schools by Lori Romano. Many of the children at the school  are financially distressed and their families cannot afford instruments. Their instructor, Lori Russo, makes it possible for them to learn about music and to play music during school hours. Much of their equipment is purchased by Lori from her own funds to make it possible for these eager youngsters to explore a new world.  Many of the young students gingerly touched the instruments while they looked at them. The children were "over the top" while taking dibs on when they would get their chance to play the new instruments. It was like being Santa on Christmas morning... looking at the shining, smiling and hopeful faces.

The afternoon had started with a presentation of a thank you card that the students had created for the BSWPA. The school had also added a book, Ruby Sings the Blues, to the library in Jim Weber's memory. They also awarded a memorial plaque in Jim's name for "bringing the Blues to the school and waking up their interest in music." Wow! it was overwhelming. We high fived afterwards..kids and adults...no one was spared. Many of the students came up to us afterwards and thanked us profusely for bringing the wonderful music . One youngster who was vigorously playing his "air guitar" commented that he could not wait to get his turn to learn to play.

Kudos to all involved!  Thanks to Kevin and both Loris.


A plea for instruments :

If anyone has gently used instruments...in good condition, new instruments, or would like to make a donation to the PITCH (Putting Instruments in the Children's Hands) program, please contact us.  These generous donations will be appreciated far more than most of us  will ever know or fully realize.. What better way to engage a child then to enable them with the gift of music.  724-378-8926

The Eldorado Kings
For a solid, dependable hip shakin’, string bendin’, gear jamming’ ride of high octane blues, The Eldorado Kings are the masters of the road. They were formed in the 2004 with former personnel from some of Pittsburgh's finest blues and rock bands. The Eldorado Kings offer an exciting blend of Texas Boogie, West Coast Swing, Gritty Chicago Blues and good old fashioned Roots Rock. This band consists: Johnny Rooster as front man on vocals and harp player, Randall Troy on lead guitar and vocals, Jack Russell on bass and Mark Keel on drums. The Eldorado Kings play high energy sets with songs by the likes of The Fabulous Thunderbirds, Muddy Waters, Junior Wells, The Nighthawks, James Harman, Slim Harpo, and Stevie Ray Vaughan.


Gary Belloma & the Blues Bombers 
Gary Belloma & The Blue Bombers are a Pittsburgh tradition--the incline without the willies, Primanti's without the goo. Since their cracking debut at the legendary Gene's, right on through their latest CD release, "Pack Your 'Chute," the Blue Bombers have been laying down their unique blend of blues and R&B for over fifteen years.  Gary's soulful voice and frenetic dancing, Chris's bar and table top sax shenanigans and the band's tremendous musicianship has been legendary in the Pittsburgh area. The band members are: Gary Belloma on vocals, Kurt "Jr. Smoke" Steinke on drums, Don Czaplicki on bass and vocals, Frank Giove on guitar and vocals and Chris Patarini on sax and vocals.





Wil E. Tri and the Bluescasters
Wil E. Tri is a local Pittsburgh blues legend known mostly for his phenomenal harp playing, but his gravelly voice and dirty guitar sound are just as noteworthy.  Wil E. Tri is backed by a fantastic group that call themselves the Bluescasters. The Bluescasters include: Dan Staggerwald on guitar, Harry McCorkle on bass and Freddie Sykes on drums. Appearing weekly at Sloppy Joe's, the unfaltering energy that they provide every Thursday is reminiscent of a 1920's speakeasy.

• Grant writers
• Assistance for the web master
• A group to obtain raffle items and sponsors
• Musicians to help with Veterans programs, etc.
• Assistance with the Blues in the Schools program
• People to help at events
• Articles for the newsletter

If you have skills that we may be in need of, let us know.

MAY 22
Join the "Blues Team" for a walkathon to help raise needed funds for the charities in Pittsburgh and our own designated charities...Adagio Health and Circle C. A little walking, a little talking, a little socializing... it is all good.
For details call: 724-378-8926
 
JULY 23—JULY 25
Pittsburgh Blues Festival - Hartwood Acres, Pittsburgh, PA
 
AUGUST 13, 14, 15
Heritage Music Festival - Wheeling, WV

Words by Michael A. Herman

Verse 1:
Well, I was born in a Mississippi River town.
The world is factory work and farmin ‘til the sun goes down.
“You better grow up straight,” I heard my momma say,
So I learned all the games that little children play

Chorus:
I was a teenage boy just a starting to grow
When I heard a rockin’ rhythm on my radio.
Well, I forgot all my troubles, started, moving my feet.
I swore I’d never forget that jumpin’ boogie woogie beat.

Verse 2:
I saved up my money and went shopping around.
I bought a pawnshop guitar that had me rhythm bound.
I spent my days alone, just that guitar and me,
To turn that boogie rhythm into a melody.  (Chorus)

Verse 3:
My poppa said, “Son, I believe you’re wasting your time.
You’re gonna go through this life never having a dime.
You’ve got to work in this world, it can’t be all fun.”
And I said, “Pop, can’t ya see I’ve got the blues on the run?”

Verse 4:
Now I’ve got to play my music ‘cause it feels so right.
Yes, it’s the friend that warms my body on a cold, cold night.
And though I know that life is filled with many crazy things,
I know it all falls into place when I can pull the strings. (Chorus)

Highway 61, known as the “blues highway,” rivals Route 66 as the most famous road in American Music lore.  Among the dozens of blues artists who recorded songs about Highway 61 were Mississippians Sunnyland Slim, James “Son” Thomas, David “Honeyboy” Edwards, Big Joe Williams, Joe McCoy, Charlie Musselwhite, Johnny Young, Eddie Burns, Blind Mississippi Morris and Mississippi Fred McDowell. The road was also celebrated by Bob Dylan via his influential album “Highway 61 Revisited.”  Highway 61, which ran from downtown New Orleans to the Canadian border, was a major route for Southerners migrating to northern cities.  Although many blues songs by Mississippi artists suggested that it led to Chicago or New York, the route actually ran through cities including Baton Rouge, Memphis, St. Louis, Davenport, Ohio, and St. Paul Minnesota.

Let me start of by saying that if you're a fan of Mississippi and Chicago style blues then this
CD should satisfy your cravings quite easily. Dave Riley's guitar and throaty Sam Myers/Muddy Waters type vocals along with Bob Corritore's haunting harmonica tone, work together on this CD very well. From the opening track Jelly Roll King to Sharecropper Blues all 10 tracks on this CD deliver the goods. Riley and Corritone pay homage to the Mississippi delta and the gritty Chicago juke joints with both seasoned musicianship and fresh vigor. Blue Witch Records has done well for blues lovers. Produced by Bob Corritore, the arrangements are solid, the multiple backup band musicians are excellent and both Riley and Corritore can flat out play. Would I recommend this CD? ...the answer is... it's already in my iPod!

Another hard-hitting blues/rock CD from Tinsley.  There are usually no surprises from Tinsley- not that it's a bad thing. He just puts out some good tunes with some very nice guitar work and “no holds barred” lyrics which his snarling vocals are a perfect match for, and this is no exception. The title tune is a good one, “Speak no Evil.” Great beat and nice guitar work. He includes a few mellower tunes. “It takes what it takes,”  “Cold Love, Hot Night,” and “The Night is Easy,” not that they are lullabies, mind you. They are not as fast-paced and rockin’. I particularly like, “The Night is Easy,” sort of a haunting type melody. “Cold Love, Hot Night” is another favorite from this CD.
Now as far as the “smack you in the Mouth” lyrics here are a couple examples. Both of these seem to do with people who overindulge - you know party a bit too much, to the point that they don't function properly. “You walk around like a zombie-tombstones in your eyes...since you won't be around much longer, let's just plan to meet on the other side” (From “The Other Side”) and “To get inside that brain of
 yours of yours would take an adjustable wrench ....Your mouth is working overtime, your mind took a personal day, I got me a private space cadet- nothing left to say.” “Why don't you say what's on what's left of your mind” (from “Left of Your Mind”) I love the humor here. I had to listen over and over to hear the exact wording, and cracked up from the first time I heard it. Another tune with 'hard words' was “Grow a Pair.”  Yes, it's what you think.   So, yes, I recommend this CD. I listened to it quite a few times and liked it more each time.

While I had heard of Bryan Lee, I had never actually heard his tunes.  My eyes opened wide when I saw this CD enclosed in the unmarked envelope, I immediately popped it in my car's CD player and drove off listening intently.  I did like his style and most of the tunes but some seemed at bit too long (a lot of 5 - 7 minute tunes).  I listened again and again.  Each time I heard it, I liked it more.  It seemed to be much better suited to listening to at night, kicking back.  It is a mix of covers and originals.   The title song, "My Lady don't Love My Lady," is an original.  The two ladies he refers to are his woman and his guitar.  My favorite original is "Me and My Music" which features some great sax work by Gordon Beadle and Doug James.  Some of the tunes had a little bit of jazzy tone to them…a la Duke Robillard who I later noticed produced the CD.  My favorite tune is a Junior Wells cover, "Early in the Morning," which features Buddy Guy on guitar. (I'm a big Junior Wells fan, by the way.)  Other guest artists are Kenny Wayne Shephard who also wrote the tune he plays on "Let Me Up, I've Had Enough" and producer, Duke Robillard.
Bryan evokes some old time blues here with some soulful vocals. Nice CD, give it a listen, preferably when you're kickin' back...it'll get your toes tapping.

Some of you may know a bit about Homemade Jamz. Many consider them a "cute" or "amusing" act. They are all young (Kyle 17, Ryan 15 and Taya 11) and the guitar and bass are made of mufflers. They came in 2nd in the IBCs in Memphis in 2007.
The first time we saw them, we were at Pittsburgh Blues Fest in 2008. I had told my wife about them and she was interested. I took off from our BSWPA booth and headed to the stage when I knew they were scheduled. They started playing and I loved it. My wife found me during their third song and asked me "when are those kids going to play?" I gently moved her head to the stage and her jaw dropped. "Wow, I wasn't expecting anything like that." Little Taya, the drummer, was 9 at the time. You could barely see the top of her head, but she played like a pro. That's how most feel after actually hearing them and not just ABOUT them. They are for real! Their new CD, "I Got Blues For You," is full of great tunes from beginning to end. My favorites are "Rumors" and "Roots" which both feature 'Papa' Renaud Perry's harp.  While Renaud stays in the background on stage and off, he is very much a large part of their success. He writes the songs and plays a great harp.  If you see them in concert, you most likely won't see him- he says on the side of the stage and keeps the focus on the kids.

Other fine tunes on the CD include: "Heaven Lost an Angel," "Hard-Headed Woman" and the title tune, "I Got Blues for You." ...Some good lyrics and just a wonderful beat that keeps on coming. I highly recommend this CD to Blues fans young and old.

Pittsburgh rock and blues musicians continue to mourn the Jan. 29 death of Warren King, one of the finest guitar players ever to come from this region.
“He was a bluesman’s bluesman,” said Monaca’s Billy Evanochko, a close friend and collaborator the past few years, who arranged for his mentor to play a few Beaver Valley gigs, at places like Wooley Bully’s in New Brighton.
King, who died from cancer, fronted his own blues bands the past decade and previously played in Pittsburgh rock bands like the Igniters, Diamond Reo and the Silencers.
His stellar fretwork with the Silencers, on songs like “Remote Control,” “Too Illegal” and a cover of “The Theme from Peter Gunn” put the band in steady rotation on MTV when that music channel launched in 1981.  Visit You Tube.com and do a search for “warren king Pittsburgh” to see a video montage and marvel at King’s skills, while reading the touching messages that fans and friends have been posting.

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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.

Before there were fifteen-year-old blues guitar shredders lurking at the apron of every stage, there was Shuggie Otis. Born to the blues as the eldest son and namesake of R&B giant Johnny Otis, he burned his candle brightly as a solo recording artist for a few years before disappearing in the disco wind of the early seventies.
Shuggie is neither dead nor buried. He was an integral part of the Johnny Otis show until at least the late eighties, has played in the background of numerous blues and R&B albums, and now lives in Petaluma, CA.  He has raised a family and gigs around the area with his own band. As a young teenager he signed a contract with Columbia Records. When the labelmate Al Kooper learned about it, he requested permission to record a “super session” album with Otis. The result was “Kooper Session: Al Kooper Introduces Shuggie Otis.” (Suggested listening: Shuggie’s Boogie, Shuggie Otis Plays the Blues)