Deacon Blue

Deacon Blue - Homesick - 2001 - Papillon

Newly re-emerged (with the band's original line-up intact) from a lengthy bout of self-imposed exile and with Ricky Ross' still ongoing solo career failing to grip the public's imagination, Homesick is just the kind of record which Deacon Blue ought to have made in 1993--if only they'd had it in them at the time. The occasional chorus is a mite overplayed (the sunny Carl Wilson disposition of "A Is For Astronaut" fails to build on a promising start), but this is a record benefiting from sensible, well-conceived arrangements and the unshakeable belief that every album track ought to good enough to be a single. This aspiration is frequently realised--the lush, loungey "Rae" (imagine a quality Prefab Sprout / Burt Bacharach collaboration), the expression of faith in God on the gospel "Out There" and the soft-pop ballad "Everytime You Sleep" meriting special attention. They've left it late, but clearly it's us not them who've got some catching up to do. © Kevin Maidment © 1996-2010, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Homesick-Deacon-Blue/dp/B00005B16D

Paul Heaton of the great The Beautiful South band once made an "interesting" comment, saying "Who are the people who buy Deacon Blue records? Eh? Do you know any?" The comment sounds a bit cynical, and not having read the full article, maybe it is taken out of context. (I know many people who bought DB's "Raintown", "Fellow Hoodlums", and "Homesick" albums, including "Yours Truly"). Deacon Blue once held the reputation as one of the best live acts in the UK. When they played Glasgow's SECC in May, and December, 1989, they broke the world record at the time for the fastest sell-out concerts. In 1990, DB played in front of 250,000 fans at the free "The Big Day” concert, in Glasgow Green, Scotland. It is estimated that Deacon Blue shifted over six million albums, but considering that one of their albums, "Raintown", was in the UK album charts for over nineteen months, the figure may be underesttimated. If you listen to timeless songs like "Dignity", "Queen Of The New Year", "Fergus Sings The Blues", "Chocolate Girl", and "Real Gone Kid", and albums like " Raintown", and "Fellow Hoodlums", it is obvious that DB was a hugely talented band, and a class act. "Homesick" was the sixth studio album from the Scottish pop band, Deacon Blue fronted by the brilliant musician and songwriter Ricky Ross. As is usual with most of the band's albums, it's subtle, sophisticated, and dominated by Ricky Ross' fabulous songwriting talents. The album is VHR by A.O.O.F.C. "Who are the people who buy Deacon Blue records? Eh? Do you know any?"....YES !! Buy Deacon Blue's classic "Raintown" album. Check out DB's "Ooh Las Vegas" album @ DEACBL/OLV and "Fellow Hoodlums" album @ DEACBL/FH Try and listen to Ricky Ross' 1996 album "What You Are" featuring Jeff ‘Skunk’ Baxter the brilliant ex-Steely Dan guitarist. For music in the same genre, listen to Prefab Sprout's classic "From Langley Park to Memphis" album.

TRACKS

1."Rae" (Ross, Prime, MacDonald)– 4:46
2."Out There" – 3:46
3."This Train Will Take You Anywhere" (Ross, Slaven) – 4:48
4."Everytime You Sleep" – 4:06
5."Now That You're Here" (Ross, Prime) – 4:00
6."Silverlake" (Ross, Prime) – 4:36
7."A is for Astronaut" – 3:03
8."Beautifully Still" – 4:12
9."Homesick" – 4:14
10."Even Higher Ground" (Ross, Gary Clark)– 3:52
11."I Am Born" - 4:22

All songs composed by Ricky Ross, except where stated

MUSICIANS

Graeme Kelling - guitar (RIP)
James Prime - acoustic guitar, keyboards, bass
Mick Slaven - guitar on "Rae", "This Train Will Take You Anywhere", "A is for Astronaut", "Beautifully Still", "Homesick", and "I Am Born"
Scott Frasier - guitar on "Out There"
Guliano Gizzi - guitar on "Silverlake"
Davy Scott - guitar on "Everytime You Sleep"
Ewen Vernal - bass, glockenspiel
Ricky Ross - keyboards, glockenspiel, vocals
Dougie Vipond - drums
Jim MacDermott - drums on "A is for Astronaut", "Homesick", and "Even Higher Ground"
Kenny MacDonald - drums on "Homesick"
The Kick Horns - brass on "Now That You're Here"
The Scottish BT Ensemble - strings on "Now That You're Here", "Homesick", "Even Higher Ground", and "I Am Born"
Lorraine McIntosh - vocals

SHORT BIO

Taking their name from a Steely Dan song, Deacon Blue is one of the best unknown bands in Scotland. With the vocals of singer-songwriter Ricky Ross backed by jazz and soul-inspired melodies, the group recorded several British hits in the late-1980s. Their success, however, failed to carry over to American audiences. Frustrated by their inability to secure international popularity, the group disbanded in the summer of 1994. Although he launched a solo career, Ross had no greater success than he had as frontman for Deacon Blue. In May 1999, the group agreed to reunite for a series of concerts in Great Britain and Europe. Their first new album in five years, Walking Back Home, was released shortly afterwards. Formed in 1985, Deacon Blue performed their first concert as the opening act for The Waterboys' first show in England. The group continued to go through personnel changes with only Reed and drummer Dougie Vipond remaining from the original band. As of November 1999, Deacon Blue was rounded out by bassist Ewen Vernal, guitarist Graeme Kelling, keyboardist Jamis Prime and second vocalist Lorraine McIntosh. Craig Harris © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifrxqe5ld6e

BIO (WIKI)

Deacon Blue are a Scottish pop band. Their name is rumoured to be taken from the title of the Steely Dan song "Deacon Blues". Formed in 1985 once Ricky Ross moved from Dundee to Glasgow, Deacon Blue were one of the top-selling UK bands of the late 1980s and early 1990s. The group's members were Ricky Ross, Lorraine McIntosh, James Prime, Dougie Vipond, Ewen Vernal and Graeme Kelling. Ross, a former school teacher originally from Dundee, was the group's frontman, penning the vast majority of Deacon Blue's songs. He married female vocalist Lorraine McIntosh in the later years of the band's career. In 1986, the band contributed a track ("Take the Saints Away") to a compilation cassette entitled Honey at the Core, featuring then up-and-coming Glasgow bands, including Wet Wet Wet and Hue and Cry. The band's debut album, Raintown, produced by Jon Kelly and released in 1987, is regarded by many as the band's finest effort, spawning the singles "Dignity", "Chocolate Girl" and "Loaded". Many consider Raintown to be a concept album, since nearly all the songs contribute to the overall theme of being stuck in a dead-end life in a deprived city, longing for something better. The city that the album's title refers to is Glasgow, and the memorable cover art of the album is a photograph (by the Scottish-Italian photographer Oscar Marzaroli) of the River Clyde's docks taken from Kelvingrove Park on a miserable day. The second album, 1989's When the World Knows Your Name, was the band's most commercially successful, generating five UK top 30 hits, including "Real Gone Kid", "Wages Day", and "Fergus Sings the Blues" (all five singles from the album were top 10 hits in Ireland). However, music critics began to criticise the band for pursuing commercial success over artistic integrity, citing the earlier achievements with Raintown. By this time, the band had gained a reputation as one of the best live acts in the UK. Ticket sales for shows in Glasgow's SECC in both May and December 1989 would break the world record at the time for the fastest sell-out. The following year saw the band play in front of an estimated 250,000 fans at the free concert on Glasgow Green "The Big Day", which was held to celebrate Glasgow being named that year's European City of Culture. The band also played Glastonbury and the Roskilde festivals that summer, as well as released Ooh Las Vegas, a double album of B-sides, extra tracks, film tracks, and sessions. This seemed to confirm the band's eminent status by reaching No. 3 in the UK album charts. Jon Kelly returned to the producer's chair in 1991 for the album Fellow Hoodlums. The album was met with more critical success, but by now the group's honeymoon period was over and their success had started to wane somewhat—the album peaked at No. 2 on the UK album charts. Fellow Hoodlums was followed up by 1993's Whatever You Say, Say Nothing, a much more experimental album in the vein of U2's Achtung Baby. The album garnered critical praise, but was not as commercially successful as the previous two albums, peaking at No. 4 on the UK album charts. The band embarked on another sold out UK tour in 1994, but not before recording new material for their greatest hits compilation Our Town. This saw the band return to No. 1 in the UK album charts and was one of the year's top sellers, while "I Was Right and You Were Wrong" and a re-release of "Dignity" saw the band reenter the Top 20 singles chart. With Vipond's decision to quit the group in favour for a career in television, Deacon Blue split up in 1994. Five years later, the band held an unexpected reunion gig in 1999, and this led on to a new album, Walking Back Home, with the band now working on a part-time basis. The band released another album, Homesick, in 2001. Though Graeme Kelling died from pancreatic cancer in 2004, the band has vowed to continue in his absence. The year 2006 saw Deacon Blue returning to the studio to record three new tracks for a Singles album - including the track "Bigger than Dynamite". The band performed at Manchester United's Old Trafford stadium, as the pre-match entertainment for the Rugby League Super League Grand Final on the 14 October, and continued on to a full UK tour in November. They were also due to open Stirling's New Year party in 2006, but this was cancelled at the last minute due to extreme weather. They did appear at Stirling's Hogmanay in 2008. Deacon Blue appeared at the Montrose Music Festival Deacon Blue appeared at The Homecoming Live Final Fling Show, at Glasgow's SECC on 28 November 2009, and headlined Glasgow's Hogmanay on 31 December 2009. Ricky Ross, who had released a solo album before the formation of Deacon Blue, released two solo albums during the time between Deacon Blue's breakup in 1994 and reformation in 1999. Due to Deacon Blue's part time status after reformation, Ross released additional solo albums in 2002 and 2005 and has written for and with other recording artists. In 2009 Ricky and Lorraine McIntosh recorded an album together under the name 'McIntoshRoss'. This album, The Great Lakes, will be released on 28 September 2009.

ABOUT RICKY ROSS

Ricky Ross is the instantly recognisable frontman of Deacon Blue, one of Scotland's most successful bands. However, he still regards himself as first and foremost, a songwriter. That was the original idea. When he first sat down at a piano, it belonged to the youth project where he worked in his home city of Dundee. His ambitions were not for fame, but to create great songs for other artists. Following his move to Glasgow, Ricky continued to write and play keyboards in bands. Having no outlet for his songs was frustrating, however, and he cites one night in 1984, when his band were supporting The Waterboys, as the point of no return. He needed to concentrate on his own material. Following the release of a solo album on an independent label, his London publishers advised him to put a band together. The rest is ingrained in Scottish music history. A string of top 5 albums, including two numbers 1s, and 18 top 40 singles later, Deacon Blue decided to go their own ways. Ricky has never stopped writing, releasing critically acclaimed solo albums and becoming the writer of choice for artists looking for songs which offer more substance than a fleeting hit. He has also written music for theatre. Whether in a theatre or on a festival stage, his solo live shows are intimate affairs, allowing the audience to experience an increasingly skilled raconteur with a dry sense of humour. His solo work complements his work with Deacon Blue and provides a backdrop for his reputation as a writer for others. So Ricky has come full circle, but with the added bonus of seeing how an audience reacts to many of those songs first hand. [1983 to 1985 - As keyboard player with a band called Woza, Ricky has something of an epiphany on a night when the band is supporting The Waterboys at The Heathery Bar in Wishaw. He decides that he needs an outlet for his own material. In 1984, he releases an album, So Long Ago, on the independent Sticky Records in Glasgow, but on the advice of a publisher recruits a band in 1985, naming it Deacon Blue for a song on Steely Dan's seminal Aja album. [1986 to 1994 - Frontman and main songwriter of Deacon Blue, the band goes on to worldwide success, with five top 5 albums (When The World Knows Your Name, Ooh Las Vegas, Fellow Hoodlums, Whatever You Say, Say Nothing and Our Town: The Greatest Hits. Bizarrely, Raintown reached number 14 but spent 77 weeks on the chart) and 18 top 40 singles. In 1989, the band achieves the record for the fastest-selling show in history at the SECC and in the same year the band's second album When The World Knows Your Know topples Madonna's Like A Prayer from No 1 in the album chart's. Despite Ricky's initial ambition to only write for other people, he proves to be a charismatic and energetic frontman, with the perfect foil in Lorraine McIntosh who becomes his wife in 1990. [1995 to 2001 - Ricky signs a solo deal following Deacon Blue's decision to disband in 1994. He begins work on What You Are, which is released on the Epic Label in 1996. With a band he calls The Sinners, he plays small venues and festivals. A prolific writer, the following year sees another album, New Recording. Throughout the next couple of years, Ricky tours, combining small, intimate shows with theatre venues and festival appearances. In 1999, Deacon Blue tours and an album, Walking Back Home, features new songs and established tracks. The promise of another Deacon Blue album of new material comes to fruition in 2001 when Homesick is released and the band tours extensively. At the end of 2001, the band go their separate ways again. [2002 to 2007 - With a new publishing deal in hand, Ricky starts work on This is the Life, an album which on release suffers from the same poor promotion and availability as Homesick. During 2002, he travels to Japan with Gary Clark (formerly Danny Wilson) and Boo Hewerdine (formerly The Bible) to play a string of solo dates. The district of Tokyo where they play, Kichijoji, inspires a song which appears a few year later. His reputation as a songwriter is stronger than ever however, and he is in demand to write for, and with, other artists. His connection with James Blunt is perhaps the most high profile, but there are collaborations with performers as diverse as KT Tunstall, David Sneddon, Cathy Burton, Gareth Gates and Emma Bunton. Ronan Keating recorded She Gets Me Inside, which Ricky reclaims as the opening track for his 2005 album Pale Rider. This is the solo album which, at last, establishes Ricky's position as a solo artist and receives universal acclaim. He embarks on perhaps the longest solo tour yet, an intimate acoustic show where he is accompanied by friend and Pale Rider producer Davie Scott (The Pearlfishers). In 2006, twenty years of Deacon Blue is celebrated with a Singles collection featuring three new compositions and an extensive greatest hits tour, while 2007 is shaping up to be a year when Ricky can celebrate Deacon Blue and stretch his solo legs in equal measure. Last Updated ( Monday, 16 July 2007 ) © 2010 The official site of Deacon Blue & Ricky Ross © http://www.deaconblue.com/index.php?option=com_content&task=view&id=68&Itemid=62

Nicole Hart & the NRG Band

Nicole Hart & the NRG Band - Live! NRG - 2006 - ONG

Nicole Hart stands at the crossroads of many musical boundaries, undefined by any genre. The sound is a natural evolution of Blues, R&B, Funk & Soul, aggressively combining a seductive, funky feel with the soulful nuances of the Blues. Under the direction of producer, arranger, and keyboardist Lance Ong (David Sanborn, Andre Crouch), the mission of this consortium is to bring an intense, provocative listening experience & a musically enticing & satisfying show to the audience. "I am an artist influenced by all great music, undefined by genre,” says Hart. “Our music is inspired by many of the greatest artists of our time...we aspire to create a feeling & a depth of integrity representing those influences, while also conveying a viewpoint toward the world all our own." Nicole’s timeless, powerful, intoxicating voice is beautifully soul/sweet – silky, then gritty – classic yet absolutely contemporary – and she is renowned for her electrifying stage presence. Lance Ong’s masterful command of the keyboards is undisputed; Ong is one of the most exciting and versatile soloists on the scene today. Nicole’s impressive resume includes work with a variety of music greats such as Harry Belafonte, Billy Joel, Michael Bolton, Oscar Winning Film Director Jonathan Demme, Richard Bona, Drew Zingg, Chuck Berry, & Bo Diddley; she has opened for Bernard Allison, Odetta, E.C. Scott & Richie Havens, & has the distinction of being the first-ever Caucasian singer for the R&B super group, The Shirelles. : Lance Ong, Keyboards, Vocals, Musical Director: Lance Ong was part of a team that produced, wrote and arranged over 700 songs and whose credits include a Grammy Award-winning record by Andre Crouch and recordings with David Sanborn, The Pointer Sisters, Grand Funk Railroad, Michael Murphy, Frankie Beverly and Maze, Anne Murray, Johnny Halliday and Sylvie Vartan, Trini Lopez, Erykah Badu & many others. His masterful command of the keyboards is undisputed. : Guest Guitarists: Grammy-nominee Gil Parris (David Sanborn) is one of very few artists who have 5 nationally released albums in over four different genres: R&B, smooth jazz, traditional jazz and blues. He has solo albums on RCA/BMG ("Gil Parris shines through as the brightest star in the genre since Larry Carlton" -Guitar One Magazine), Okra-Tone/Koch ("Parris has the goods and all seven cuts here show it" -Vintage Guitar), and his own "Jam This" release ("When it comes to improvising epic, crowd-pleasing solos in an eclectic range of styles, Parris is more than qualified to deliver the goods" -Guitar Player); Special Guest Stanley Behrens, Harmonica & Tenor sax: Stanley has toured with Ruth Brown, recorded two records with Willie Dixon, three records with Jimmy Smith, “Friends in the Can” for Canned Heat alongside guest artists John Lee Hooker, Taj Mahal, Roy Rogers, Corey Stevens and Walter Trout, & recorded for more television shows & movies than we can name here. For more on Stanley, simply "Google" him! © 2002-2010 bandVillage Inc http://bio.bandvillage.com/nrgband

This live album is mixed and sounds like an in-studio recording. A terrific album of blues, soul, funk, and R&B by the great vocalist Nicole Hart from Atlanta, Georgia, and some fabulous backing musicians including guests, Gil Parris and Rich Cohen on guitar. The album is VHR by A.O.O.F.C. Buy Nicole Hart's "Treasure" album, and support these great artists.

TRACKS / COMPOSERS

I Heard - Lance Ong
Voodoo Woman - Koko Taylor
Treasure - Nicole Hart, Lance Ong
Every Night of the Week - Ted Jarrett
Hurt So Bad - Tom Hambridge
Think About Love - Joe Mack
Hot 'Lanta - Allman, Allman, Betts, Johanson, Oakley, Trucks

MUSICIANS

Nicole Hart - Lead Vocals, Harmony & Background Vocals
Gil Parris - Guest Guitar
Rich Cohen - Guest Guitar
Vonnie Hudson - Bass
Lance Ong - Keyboards, Vocals
Joe Piteo - Drums
Stanley Behrens - Tenor Sax, Harmonica

REVIEWS

"This vocalist can be hotter than hot or cooler than cool but, make no mistake, Nicole Hart & NRG lights up the phone lines like a x-mas tree - a treat instead of a treatment, both in person, or on the airwaves...I know talent when I hear it. She has a tremendous future in the music industry...A major star." - Bill Nolan, host of "Antique Blues", WPKN-FM 89.5, Bridgeport, CT

Record label scouts take note: Nicole Hart & The NRG Band gots chops! The independently-released "Live NRG" (***) is a splendid showcase for frontwoman Hart and the trusty NRG Band. Though recorded live the sound is crystal clear and mixed right. They slip into a tight groove on the Jazzy Blues original "I Heard", written by keyboardist Lang Ong allowing Gil Parris (David Sanborn) to flex his guitar digits. Guitarist Rich Cohen is also impressive on the instrumental cover of The Allman Brothers "Hot'Lanta" which also has Ong unleashing layers of icy organ and funky drums by Joe Piteo. A great take! Also noteworthy is the version of Koko Taylor's "Voodoo Woman" with Hart delivering a particularly confident vocal. Visit www.thenrgband.com to learn more.- Dylann DeAnna: BLUESCRITIC.COM

"The musicianship and vocals carry the listener along on a musical journey spanning a cohesive mix of Blues, soul, funk, R&B & Nicole Hart's sultry vocals. If you love your Blues mixed in with a touch of soul & sprinkled with a bit of good old fashioned rock n' roll, The NRG Band delivers! " - Robert John, Correspondent, BARRELHOUSE BLUES

“A top notch band of immense talents...something special in a world cluttered with the ‘next best things’...this band IS the next best thing...” - UNITED JERSEY BLUES NETWORK

ABOUT NICOLE HART

Coming to national attention in 2008 on the Blues, Roots, Soul & R&B scene, Nicole Hart made an impressive beginning completing three highly successful tours: she was the featured female performer of Jacksonville Beach, Florida's “Springing the Blues”; the featured female headline act of Laconia, New Hampshire's Big Three Motorcycle Week; she performed many more prominent festivals, including the Jersey Shore Red Bank Jazz & Blues Fest, among other renowned venues on the national circuit. Her initial independent CD release, “NICOLE HART & THE NRG BAND, LIVE!” received airplay on radio stations worldwide & continues to receive airplay to this day. During a recording session for 2008 Blues Foundation Nominee Albert Castiglia, she met up with Blues Leaf Records label president Joseph Morabia, who soon signed her to the label. Her 2009 Blues Leaf release, "TREASURE," debuted on the Living Blues charts at # 14, and is currently in rotation on XM/Sirius Satellite Radio and the nationally syndicated Music Choice television channel. In May 2009, Nicole became an award-winning vocalist, being recognized as "Female Vocalist of the Year" by the 5th Annual Los Angeles South Bay Music Awards. "Treasure" features a duet with label mate Castiglia, is produced by Grammy award winner Jack Kriesberg (Paquito D’Riviera, Elvin Jones), is mixed and mastered by Grammy award winning engineer Ben Elliott (Eric Clapton, Keith Richards), is distributed by Allegro and available nationwide at Barnes & Noble, Borders Bookstores, J&R Music World, Amazon.com, CD Universe, on this website (see "SHOP!") and at every performance. As a modern day Blues woman, Nicole straddles a diverse musical terrain defined by such icons as Koko Taylor, Susan Tedeschi, Janiva Magness, & Bonnie Raitt. Hart’s impressive resume also includes work in television, film & live performance outside the realm of Blues. “As an artist, I am influenced by all great music, and inspired by many of the greatest artists of our time. I aspire to create a feeling & a depth of integrity representing those influences, while also conveying a viewpoint toward the world of my own." Longtime collaborator, music director & keyboardist extraordinaire Lance Ong, who produced her previous CD, shines as musical arranger for "TREASURE" & played baby grand & B-3 organ. His credits include a Grammy Award-winning record with Andre Crouch, a first round Emmy nomination for CBS Sports, and recordings with David Sanborn, The Pointer Sisters, Grand Funk Railroad, Michael Murphy, Frankie Beverly and Maze, Anne Murray, Johnny Halliday and Sylvie Vartan, Trini Lopez, Erykah Badu & many others. His masterful command of the keyboards is undisputed, and as arranger and collaborator for Nicole Hart’s Blues Leaf debut, "‘TREASURE”, his piano & organ work is at its finest yet. Hart and Ong were married on August 8th, 2008. © 2010 nicolehart.com. All Rights Reserved http://www.nicolehart.com/index.php?option=com_content&view=article&id=48&Itemid=53

The Tablerockers

The Tablerockers - Shake Your Junk - 2004 - Fart Head Records

Recorded at George's Majestic Lounge, Dickson St, Fayetteville, Arkansas,"Shake Your Junk" is a good live album of "down to earth" blues rock played by The Tablerockers who are based in Eureka Springs, Arkansas. The band is composed of three experienced musicians: Bassist, Larry Boehmer, drummer David Watson, and Baby Jason Davis on Guitar and vocals. The band cover many music styles including R & B, soul, rockabilly, jazz, funk, rock 'n' roll and country. They also play many blues styles, including Delta and Texas blues, and tracks like Willie Dixon's "I'm Ready," Jimmy Reed's "Big Boss Man, "Otis Rush's "All Your Love" and Howlin' Wolf's "Shake for Me" are brilliantly played in a great Chicago blues style. If you like traditional blues rhythms, and straightforward well executed blues rock, you may like this album. Has anybody any info on other releases by this band?

TRACKS / COMPOSERS

1 Good Evening, Thanks for Coming 0:17
2 Think - unknown 6:27
3 I'm Ready - W.Dixon 5:53
4 Big Boss Man - J.Reed 5:31
5 Temperature - Walter Jacobs, A.Cohen 6:11
6 Can't Hold Out - Elmore James 6:18
7 All Your Love - Otis Rush 5:17
8 Me and My Woman - G. Barge 4:20
9 When She Was My Girl - Larry Gottlieb, Marc Blatte 4:36
10 Ball and a Biscuit - J.White 6:42
11 She Belongs to Me - Al Benson, Samuel Maghett 4:47
12 Thrill Is Gone - Rick Ravon Darnell, Roy Hawkins 5:39
13 Shake for Me - Howlin' Wolf 5:39

BAND

Baby Jason Davis - Guitar, Vocals
Larry Boehmer - Bass
David Watson - Drums

ALBUM NOTES

"...Based in Eureka Springs, AR, this gutsy blues trio is comprised of a pair of expatriate Lincolnites (Nebraska), Baby Jason Davis on guitar and vocals and bassist and former Zoo Bar owner Larry Boehmer, along with drummer David Watson. This is the real stuff, done very, very well."...L. Kent Wolgamott, Lincoln Journal Star, 04/30/04

"I couldn't have assembled a better back-up band."...James Harman

"The Tablerockers are playin' the blues. They bad!"...Magic Slim

"I played it (The Tablerockers' CD) and I had to go to Alaska to cool off. They remind me a lot of Clapton's first band. I like them."...Sunshine Sonny Payne, King Biscuit Flour Hour, KFFA Radio, Helena, Arkansas

"This is a well-seasoned three-piece blues band in top form. The sound/mix of the CD is really, really good. The songs are hot, hot, hot, and so is Jason Davis, who makes a darn fine front man."...Betsy Finocchi, All About Town, Fayetteville, AR, July 21, 2004

"...Shake Your Junk is a solid album of barroom blues played by three veteran performers...Songs like Willie Dixon's "I'm Ready", Jimmy Reed's "Big Boss Man", Otis Rush's "All Your Love", BB King's "Thrill Is Gone", and Howlin' Wolf's "Shake For Me" immediately identify The Tablerockers as purveyors of the pure stuff. And they play it the way it should be played-with respect for the tradition, drawing strongly on the Chicago style, but with enough variation and personality to keep the music fresh."---GROUND ZERO, Lincoln, NE, June 18, 2004

"You guys were great last night. The best trio I've heard in a long time."---Sean Costello

The Tablerockers might not be a completely familiar name to blues aficionados across the US (or beyond), but if your tastes run toward high-powered blues with more than a gallon of rock guitar in the fuel tank for added punch, this CD will satisfy. Comprised of Baby Jason Davis on guitar and vocals, Larry Boehmer on bass, and David Watson nailing down the drums, this trio shoots from the hip and rolls through a pair of funky covers of Think and I'm Ready before kicking up the horsepower with a smoldering version of Jimmy Reed's Big Boss Man. Little Walter's Temperature is slowed to a crawl oozing power and passion, and while Baby Jason's guitar work might recall Jimmy Page and other rock heroes at times, he avoids many of the excesses that can sometimes drag a power trio into boredom. Otis Rush's All Your Love gets a heady treatment and proves Jason's guitar schooling comes from where it should, and even though B.B. King's Thrill Is Gone is a done-to-death warhorse, these guys handle it with enough originality to add freshness to it. Magic Sam's She Belongs To Me and Wolf's Shake For Me are potent and powerful, but the true sleeper might be Ball And A Biscuit, a slow grinder peppered with gritty guitar and hoarse vocals. While many blues/rock power trios fall into an abyss between ZZ Top and Stevie Ray Vaughan, The Tablerockers steer clear of that territory and it serves them well on this hot and sweaty disc recorded 'live' at George's Majestic Lounge in Fayetteville, Arkansas. Nicely done. © Blueswriter- 10-10-2004 © http://blindman.15.forumer.com/a/new-reviews_post1853.html

ABOUT THE BAND

The Tablerockers are influenced by a variety of musical styles that include Delta blues, Chicago and Texas blues, R & B, soul, rock-a-billy, jazz, funk, rock 'n' roll and even country, all filtered through the Tablerockers' blues sensibilities. The result is a high-powered blues attack featuring the smokin' guitar and soulful vocals of Baby Jason Davis, and the tight grooves provided by Larry Boehmer on bass and David Watson on drums. Guitarist and vocalist, Baby Jason, toured for 10 years with his trio, "Baby Jason and the Spankers". During that period, they played some of the top blues venues in the country, including Buddy Guy's Legends, Antones, the Grand Emporium, the Zoo Bar, and Blues On Grand. Jason has fronted the Tablerockers since 2002 and recently has added acting to his many talents. He also has the sole distinction of having played the South Loup River Blues Festival for 14 consecutive years, the last 7 with the Tablerockers. Drummer David Watson was born and raised in Dallas where he learned to shuffle from two of the best...his uncle Doyle Bramhall and the late Freddie Walden. David played with Keith Ferguson and Mr. Conrad in the Excellos and was also Anson Funderburgh's first drummer. David brings over 30 years of playing experience to the Tablerockers. Former owner of the Zoo Bar, bassist Larry Boehmer played with the "Nebraska" Tablerockers from 1981-1991, and was also a member of The Heartmurmurs, Not All There and Bobby Lowell and the Rocka-Boogie-Boys. Larry had the honor of playing bass with Charlie Musselwhite, Snooky Pryor, Carey Bell, Joe Houston, Larry Davis, and Magic Slim prior to his move to Arkansas. Over the last few years the Tablerockers have performed as a trio in clubs and festivals around the Midwest and Midsouth. They have also, on occasion, served as the backup band for James Harman, Magic Slim, Jimmy Thackery, Earl Cate, Madison Slim, RJ Mischo and Lewis Cowdrey. The Tablerockers currently have upcoming shows with both Harman and Mischo. Whether you see them by themselves or with one of their better-known blues friends, they'll rock your socks off. Check out their MySpace page @ http://www.myspace.com/thetablerockers © http://www.midwestmusicmasters.com/bands3.aspx?name=Tablerockers,%20The

Medicine Head

Medicine Head - Don't Stop the Dance - 2005 - Angel Air

With Don't Stop the Dance, the Angel Air label provides the missing pieces to the Medicine Head story, filling in the gap during the mid-'70s when the duo of John Fiddler and Peter Hope-Evans expanded to a quintet before shrinking back to a twosome for their grand finale, Two Man Band. Bringing on board former Family drummer Rob Townsend, ex-Freedom guitarist Roger Saunders, and future Cockney Rebel bassist George Ford, the pumped-up Head began work on a new album in 1974. It was never finished, although two singles, "(It's Got to Be) Alright"/"Part of the Play" and "Mama Come Out"/"Come On Over" did eventually emerge. In the end though, the band never really coalesced, mostly because Fiddler and Hope-Evans never quite worked out how best to use them as a unit. Individually, though, they arranged them magnificently, as "Dark Side of the Moon" illustrates. This exquisite ballad was delicately constructed solely around a bassline and acoustic guitar to splendid effect. Still, on the blues-heavy title track, the driving covers of "Walking Blues" and "Just Wanna Make Love to You," and both sides of its rocking R&B second single, the band does function more than adequately. However, the showstoppers are the sparser-sounding numbers, like "You Gotta Love Somebody," for even at its most driving the band never quite gels. This is equally evident on the three live bonus tracks, all which hint at a hesitation in Head's sound and a sense of insecurity about the music. Perhaps the unit just needed more time to feel its way through, but it wasn't to be. By 1975, Head were again a duo, without even an album to show for their efforts. The final act was yet to come, but Dance finally puts to rest all the questions and speculation about this shaky period in their career. Jo-Ann Greene © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/dont-stop-the-dance-r820856/review

Don't Stop the Dance features lost recordings of Britain's Medicine Head, dating from 1974, the time on which the outfit changed ways from a duo into a full rock band (adding ex-members of Family and Freedom to the force). Full of harmonica, Jew's harp and blues rock, these recordings sound like a crossover between the free-spirit white-blues of Peter Green's Fleetwood Mac, the R&B pychedelia of The Rolling Stones and the fierce folk romanticism of Thin Lizzy. The sound issue, while suffering some tape hiss and muffle on certain tracks, is certainly nothing to be troubled about, as the recordings seem to be clear enough and quite effective. However, as such products tend to be, this release should be considered as a compilation of unreleased songs rather than a consistent, materialized body of work. It is definitely a worthy addition for fans (who would also appreciate the era-documenting booklet), but others should approach it more carefully and knowingly. (8/10 for the fans, 5.5/10 for the others) review by & © Avi Shaked All Rights Reserved 2004 http://www.maelstrom.nu/ezine/review_iss34_2417.php?sid=&page_rs=4&osCsid=d5f4759fb8c26d6f3e8d7af537c3a39d

Medicine Head always were a two man band (John Fiddler and Peter Hope-Evans) but mid-74, when this album was recorded, found them having expanded into a full five-piece band for both live and studio work. With hit singles under their belt, this album should have built upon their new-found commercial success. I say "should have" because this album finds the band unsure what they want to be - a full band or the minimalist two-piece they always were. As such, this album is neither one nor the other. Hope-Evans felt he was reduced from being half the band to just being the harmonica player and ironically is most clearly audible on the live bonus tracks. The result is an album that isn't bad, but isn't a smash either. Unreleased at the time, the band began to disintegrate shortly afterwards (becoming a two-piece again) but by then it was too late and the momentum had been lost. This album certainly bears repeated listening, and it would be unfair to place too much emphasis on the "unreleased at the time" tag (meaning there must be something wrong with it). Recommended. © 2005 Adrian Perkins http://www.hunter-mott.com/discography/dont_stop_the_dance.html

Q. Who recorded the very obscure album, "Dark Side of the Moon" recorded in 1972 ?...........A. Medicine Head ! Despite having recorded six original albums, and having four hit singles in the early seventies, including "(And The) Pictures in the Sky," "One and One is One," and "Rising Sun," this band is now all but forgotten. "New Bottles Old Medicine," @ NBOM was Medicine Head's first album released on the late, great BBC Radio One DJ John Peel's Dandelion label. In the early days Peel helped the careers of Marc Bolan, David Bowie and Captain Beefheart, by giving them studio-time to record. He also saw the potential in bands like Joy Division, The Fall, The Smiths, and the Undertones, whose great Teenage Kicks was his all-time favourite single. Peel saw the potential in Medicine Head, who had a sound all of their own. The original two man line-up produced some great folksy blues rock using a Jew's Harp,mouth organ, an acoustic guitar, and a handheld drum. Their albums never received much commercial notice. Medicine Head never placed an album on the UK album chart, but this wasn't unusual in the early seventies, as many great bands were overshadowed by huge groups like Led Zeppelin, and Deep Purple to name but two. "Don't Stop the Dance" has been called Medicine Head's 'lost' album. Partly recorded at The Manor, Oxfordshire, England in 1974, it includes some singles from an unsuccessful phase with the WWA label, and also some unreleased sessions by Medicine Head as a five piece band. John Fiddler and Peter Hope-Evans were the original Medicine Head. On these recordings from the 1974/5 period, they were joined by Rob Townsend (Family), Roger Saunders (Freedom) and George Ford (Cockney Rebel). At other times the line-up also included Tony Ashton, formerly of Ashton, Gardner and Dyke, and Keith Relf, the former Yardbirds vocalist. It has been said that the duo were never fully at ease with the extra musicians, and felt overshadowed by musicians like Rob Townsend and George Ford. John Fiddler provided the master tapes from his personal archives, and also supervised the remastering of these tracks. Arguably, Medicine Head had the potential to be a lasting force in rock music. Give this album a listen, and if you can find their 1975 "Live At The Marquee" album, you should buy it.

TRACKS

1. Don't Stop the Dance
2. Dark Side of the Moon
3. Walkin' Blues - Robert Johnson
4. Lay Around
5. You Gotta Love Somebody
6. Part of the Play
7. Can't Live a Lie
8. Just Wanna Make Love to You
9. Come on Over
10. Mama Come Out
11. It's Got to Be Alright
12. Don't Stop the Dance - (Live)
13. One and One Is One - (Live)
14. Rising Sun - (Live)

MUSICIANS

John Fiddler (vocals, guitar)
George Ford (vocals, bass guitar)
Roger Saunders (guitar, background vocals)
Rob Townsend (drums, percussion)
Peter Hope-Evans (harmonica, mouth bow, Jew's harp)

BIO

Formed in Stafford, England in 1968, the British blues duo Medicine Head comprised vocalist/multi-instrumentalist John Fiddler and Peter Hope-Evans, who played the harmonica and jew's harp. Upon their formation at art college, Medicine Head became a staple of the local club circuit, eventually recording a demo which found its way to influential BBC radio personality John Peel, who began championing the track "His Guiding Hand." Other DJs soon followed suit, and quickly the duo was on the brink of stardom. With Peel's continued assistance, Medicine Head entered the studio to begin recording their 1970 debut LP New Bottles Old Medicine. Their focus shifted from basic blues to a more intricate sound for 1971's Heavy on the Drum, produced by former Yardbird Keith Relf; after scoring a surprise hit with the single "(And the) Pictures in the Sky," Hope-Evans left the group, and was replaced by Relf and drummer John Davies for 1972's The Dark Side of the Moon. Hope-Evans rejoined prior to 1973's One and One Is One, which launched the title track to the Top Three of the U.K. singles chart. Now a five-piece also including guitarist Roger Saunders, onetime Family drummer Rob Townsend and bassist George Ford, Medicine Head notched two more hit singles, "Rising Sun" and "Slip and Slide," but 1974's Thru' a Five failed to chart, and the group began to disintegrate. Only Fiddler and Hope-Evans remained by the time of 1976's Two Man Band, and after one last single, "Me and Suzy Hit the Floor," Medicine Head officially disbanded. Fiddler later resurfaced in the British Lions, followed by a stint in Box of Frogs and finally a solo career, while Hope-Evans contributed to the Pete Townshend albums Empty Glass and White City. © Jason Ankeny © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/medicine-head-p19278/biography

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It's fair to say that no one, not even us, the people who packed their shows, quite realised at the time exactly what Medicine Head were. They were great fun. They were loud. They had long hair. They were a rock band (well, two people who sounded like a rock band). And they were very personable to young chaps in their fourth year at grammar school who appreciated all of that sort of thing. Certainly by the time they'd started sneaking blues into the charts with the likes of (And The) Pictures In The Sky under the guise of beguiling pop songs, outsiders found it difficult to look beyond the fact that one of them, Peter Hope-Evans, was doing something with a jew's harp and the other, John Fiddler, was playing his guitar while sitting behind a bass drum. What we all missed, of course, was that Medicine Head were actually the history of rock 'n' roll (and, as it turned out, the future) and blues and plenty of other strands of American music. All channeled unselfconsciously through two unlikely young men from the Midlands. Not something you¹d understand in your teens, but with 20-20 hindsight... They were the spirit and the sound of grizzled bluesmen while at the same time their crashing, home-made two man band noise, in a period when the rest of the pop-making world was wearing Lurex trousers, was the spirit and the sound of the incoming tide of punk. One second they were angry young men, the next they were playing the sweetest songs imaginable (His Guiding Hand, from their debut album, New Bottles, Old Medicine, was even memorably played during our school assembly, during a brief period when students were invited to select appropriate music for the occasion). In Medicine Head music there were definitely no guitar solos, even more definitely no drum solos, and certainly no synthesisers (except the guest appearance of a Mellotron on the One And One Is One album). Just tape-loopy, bluesy, boogieing guitar riffs coming round and round, riffs that made - and still make - you want to smile and dance, all played through the rudest of amps. And then there¹s Peter's awesome harmonica huffing and puffing, coming down like a steam train on vitamin supplements, who thought nothing of 10-minute solos, particularly on the roaring favourite To Train Time (originally on the album Heavy On The Drum with a stomping live version on One And One). Even today memories of those early thrashing, sweaty shows linger as a highpoint of youth, like going to see no other band before or since "We saw ourselves like San Francisco Bay blues guys," says John. "We didn't consider ourselves musicians. It almost seems sad sometimes that we had hit records, it might have been better to have stayed an album band." Listen to any of their records - half a dozen albums between 1969 and 1976, another album's worth of dedicated singles tracks and the recent Angel Air album Live At The Marquee 1975 - and there are road songs, and the train songs, and girl songs. The sound of America infused with English charm and innocence. John and Peter went at it for well over half a decade, through thick and thin, the group bobbling, uneasily, through different line-ups, Peter leaving and then returning, eventually going through a spell as a five-piece. But while every record was touched with that Medicine Head magic, they were never a big group at heart. Two Man Band captures the best of their, well, two man band outlook on life but combines it with flourishes from the best of British musicians, including Ashton, Gardner & Dyke and Family piano man Tony Ashton, Mott the Hoople keyboard whiz Morgan Fisher (later to rock the States with John in British Lions and form a lasting friendship), and pedal steel virtuoso BJ Cole, who has played with everyone from John Cale to The Verve. The result is Medicine Head at their most innnocent, John's rootsy, bluesy, poppy songs reinvented so that even the gentle rockers are imbued with a dreamlike quality. Rock 'n' roll for a still summer's afternoon. It was to be the band's final album. They went out in a laid-back fashion, the music hand-crafted to perfection. Released on CD for the first time, the album includes three bonus tracks, the freewheeling single Me And Suzie (Hit The Floor), and the almost-forgotten, under-rated B sides Moon Child and Midnight, both Medicine Head at their softest and best. "Pete Townshend helped us out on the album," says John. "We were broke at the time, being sued by all sorts of people because we didn't want to carry on as we were, as a five-piece. Our deal with Polydor had ended and Pete just suggested that we make a record at his Eel Pie studio. I got in touch with Chas Chandler, who had produced Slade, and he liked it and so it came out on his Barn label. It was basically Pete and myself with some friends. And we were still playing live then, just the two of us, often to punky-type audiences. We were akin to punk in spirit, and that's where we failed as a full band. The heart and soul was so diluted that we lost direction. We'd had to draft people in because we'd got trapped by the "That's not how the record sounds syndrome. Back in the old days we'd have just wound up the amps and had the sweat flying." It wasn't exactly a comeback, yet, says John: "We'd lost a lot of credence by then, what with all the changes. I felt shattered, drained but we started getting our audience back. The single off Two Man Band, it's Natural, was getting a lot of play and got into the lower fifties." But Pete decided, for the final, time to go his own way. That was the end of the track for John and Peter whose relationship had always been somewhat, aah, precarious, and emotionally turbulent. The pair still haven't played together since. British Lions : - John finished the Medicine Head date sheet with the help of Morgan Fisher and guitarist Roger Saunders, only recently out of a job when the five-piece disbanded. Almost immediately John, who'd never been glimpsed without his long hair, droopy moustache and glasses, had, to everyone's surprise, reinvented himself as a rock star frontman. Flash clothes and, it has to be said, distinctly dodgy permed hair, for the post-glam British Lions, the tail end of Mott the Hoople with a new head. Oddly, what appeared to be a culture clash actually worked, John's supercharged chugging, strumming electric guitar and rocking romantic songs proving the perfect foil for the laddish Mott outlook on life. Of course, while early Medicine Head were the embodiment of the lo-fi punk spirit, the Lions were somewhat at odds, or at least were seen to be at odds by both public and record company, with the actuality of punk in the late Seventies. A couple of singles on the by now drifting Harvest label, one Medicine Head, one under the Fiddler name, came and went almost unnoticed. Well, not exactly true...completely unnoticed, even by the most dedicated fans. Box Of Frogs : - Then came what is the best Medicine Head album never to be a Medicine Head album, with John taking charge of yet another headless band... the Yardbirds. The irony wasn't lost on anyone. Keith Relf, the original Yardbirds singer on songs like For Your Love had moved on to produce Medicine Head's (And The) Pictures In The Sky, and to be bassman in the three-man, Peter-less line-up that recorded the album Dark Side Of The Moon. Before being electrocuted in a studio accident in 1976, the year of Medicine Head's demise. But while it wasn't a Medicine Head album it wasn't the Yardbirds either, both record and band called - and whoever came up with it should be shot - Box Of Frogs. Anyway, with John involved in writing all the songs, singing them all and playing that chugging electric guitar, in a blind tasting nine of out ten fans would have said it was a Medicine Head record for the Eighties. Snappier and rockier than of old - given the Lions experience, no surprise - but unmistakeable. Producer Paul Samwell-Smith, veteran Yardbirds bassist, was forced to give a sizeable cover credit to John, who'd previously established his production credentials on Two Man Band, for his "assistance". The opener, Back Where I Started, even featured harmonica from ex-Nine Below Zero ace Mark Feltham - who vies with Peter even today for the position of Britain's premier harp sessioneer. Peter, incidentally, now stands in on occasion for Feltham in ex-Pretenders/Paul McCartney guitarist Robbie McIntosh's band. The album was a sizeable college radio hit in the States and should have meant a life in the fast lane but the others had done the Stateside star thing before, vetoed a tour and, needless to say, the whole thing ended in tears. Relations remain fraught - at the end of the Nineties John and I went to see the Yardbirds (shortly after Ray Majors had quit as lead guitarist), and the meeting was, well, strained. : -John Fiddler While John then went on to try various abortive projects he was content to work in his home studio and watch his children grow up and it was the end of the Eighties before I stumbled on him playing solo with an acoustic guitar. But John acoustic isn't an evening of quiet introspection... it's a full-blown one man band rock 'n' roll experience. Standing alone on stage turning a half-empty hall into a jumping joint was a speciality touring with the Blues Band and the Manfreds (for whom ex-Medicine Head drummer Rob Townsend is a stalwart. Another is his regular holiday stint playing the human jukebox for hours each night in the bar of the Sporthotel Strass, owned by the rock 'n' roll loving Erich Roscher in the Austrian ski resort of Mayrhofen.) From the early Nineties a couple of shows stand out as being up there with the best John's ever done. One, at London's sweaty Mean Fiddler, with John's chugging electric guitar ringing out once again, backed by the likes of Ray (helping out on bass) and ex-Cockney Rebel/10cc keyboard man Duncan Mackay. Shortly after that in Feltham, Middlesex, the band were joined for a steaming show by Morgan Fisher, over from his new home in Japan. Since then John's been his own man, doing the quirkiest of solo shows. Earlier this year he took over the packed non-music bar of his local, the Marlborough, in Richmond, Surrey, and made friends with a Friday night crowd of all ages as he prowled amongst them. He's fronted a blues club in Phoenix, put out his home-made cassette State Of The Heart and then - quite astonishing after 30 years - his first solo album Return Of The Buffalo (even bigger in its Angel Air form, The Big Buffalo). He's now back living in Phoenix and, infused with the energy of the endless summer sun, is working on a new band, perhaps Medicine Head, perhaps not, but certainly taking Medicine Head's rootsy, bluesy, rocking sound and creating the lasting legacy the band deserves. Curiously, given their music, John and Peter never got to play the US. Now could finally be the moment for John to pick up the music and run with it. Medicine Head with a dry, dusty desert backdrop. From the train whistle that opens Two Man Band, leading into the airy streamliner strum of it's Natural, through the eerie, pedal steel-tinged Sun's Sinkin' Low and the haunting Too Much Love, this might have been Medicine Head's finale but unlike most farewell albums it's got the feel of a fresh new beginning. It truly is timeless music. By & © Nick Dalton (reprinted with permission). © 2002 - 2010 http://www.john-fiddler.com/bio.html

BIO (WIKIPEDIA)

Medicine Head was an English blues rock band, active in the 1970s. The group worked as a duo for most of its career, consisting of John Fiddler (born 25 September 1947, Darlaston, Staffordshire, England) - (vocalist, guitarist, piano player, drummer), & Peter Hope-Evans (born 28 September 1947, Brecon, Powys, Wales) - (harmonica, jew's harp, and mouthbow player). Medicine Head formed in Stafford in 1968, and came to prominence when championed by influential DJ John Peel, who signed them to his Dandelion record label. The group recorded six original albums, the opening trio of which were on 'Dandelion'. That label enjoyed its only UK Singles Chart hit when "(And The) Pictures in the Sky" reached number 22 in 1971. Despite consistent touring, often as support to acts with larger commercial appeal, Medicine Head failed to place an album on the UK Albums Chart. One of their albums was titled "Dark Side of the Moon" (1972), released the year before the Pink Floyd album of the same name. If the Medicine Head release had gained attention, Pink Floyd may have had to reconsider the title of their masterwork. They went through line-up changes with their largely backing personnel, but did achieve a total of four hit singles, the best-known of which are "One and One is One" (No. 3, 1973) and "Rising Sun" (No. 11, 1973). At various times the line-up also included Tony Ashton, formerly of Ashton, Gardner and Dyke, and Keith Relf, the former Yardbirds vocalist. Their later recordings were released on the Polydor record label. Two Man Band was their last album, and Medicine Head finally folded in 1977. In 2005 Angel Air released the album Don't Stop The Dance. In effect it was a 'lost' album, compiling some singles from an unsuccessful period with the WWA label, and some unreleased sessions with the band as a five piece. Since the band's break-up, both members have continued to work in music: Hope-Evans appears on many albums, most prominently with Pete Townshend, and Fiddler was a member of British Lions and Box of Frogs. Fiddler has occasionally revived the Medicine Head name, to tour a show of their hits and release further low-key recordings.

America

America - Live in Concert: Wildwood Springs - 2008 - America

America: Live in Concert Wildwood Springs celebrates a line that started with the release of their first album in 1972. Both releases open with Riverside, a song which perfectly captures America’s greatest assets, pure harmonies and damn near perfect songwriting. Inspired by the success with their last release, (2007’s Here and Now), they sound as alive as they did they first formed in high school in 1969. Recorded in front of an intimate audience at Wildwood Springs in Missouri, America has made their finest live release and one of their best albums ever. The 19 songs emphasize the acoustic side of America that first brought them to our attention all those years ago. Over the course of the concert America pulls out a few hits as well as some obscurities from their massive catalog. The connecting point for all the songs is that, stripped of synthesizers and forced orchestration that seemed to show up on so many of their later releases, America has always created the perfect mixture of the Beatles and Crosby Stills and Nash. Like the Beatles they came with a very strong pop sensibility. George Martin didn’t work with America for so long because they are idiots. He knew how gifted as songwriters they are. Like CSN, they understand harmony as only the Beach Boys, The Everly Brothers and the very best of Do Wop groups seem to. It is an instinctive and natural understanding that makes singing sound so pure, so easy, that you either fly with them or die of envy. While the release holds it’s share of hits, it is the more obscure songs from the America catalog that prove to be the real gems. We have all heard Ventura Highway, I Need You, Tin Man and Sister Golden Hair . However, when placed besides Windwave, Submarine Ladies or especially Cornwall/Blank/Hollywood, you begin to see how strong America has been all these years. New songs from Here and Now such as Chasin’ the Rainbow and Ride On fit seamlessly into the set and sound as if they were always there. It is the willingness of Gerry Beckley and Dewey Bunnell to rely on the songs themselves that really makes this such a great CD. Everything they play is stripped to it’s essence. The piano and slight tapping on the bass that open Daisy Jane only needs the addition of a single guitar and the faultless harmonies to open the song up. When the bass kicks in after the first chorus it creates such a warm intimacy that you feel as if you are eavesdropping on the singer as he confesses to his girl. As often as I have heard this song, it sounds brand new. Their debut featured a fair amount of acoustic jamming. As they became successful so quickly, America tended to steer clear of this and concentrate on the tightness of the song. Wildwood Springs sees America stretching out on one or two songs and doing it with some strong results. Judging from the applause that greats the middle of Cornwall Blank when they start to attack the heck out of song and than, without blinking, move it straight into a very forceful version of Hollywood that leaves the original stranded in the hills, this is something they should do a little more often. In the three decades plus that lay between the 1972 debut and the new live album America has traveled the world and become road warriors, armed with acoustic guitars and voices that melt together. Featuring a memorable guest spot by Rusty Young (Poco) near the end, Live in Concert Wildwood Springs perfectly reminds us what is missing from so much of music today; musicians who can sing without pro-tools, songwriters who craft a hook from their heart instead of their previously sampled chart success, and especially performers who don’t take their audience for granted. This release to may be a bit to find. You might have to go through CD Baby to get it. It will be worth the effort. The concert they have recorded is among their best work ever and deserves to be heard. 03/25/2009 © Mark Squirek © 2002-2009 Matthew Rowe © http://www.musictap.net/Reviews/2009/March/AmericaLiveInConcertWildwoodSprings.html

This acoustic performance was recorded at the Wildwood Springs Lodge in Steelville, MO. The band played two shows on Friday 21/9/07, and Saturday 22/9/07. Over the two shows, America played 28 songs. 22 of these tracks are released on two album versions ; 19 on the post here, and 22 on the iTunes Bonus Tracks release.

TRACKS / COMPOSERS

1 Riverside - Dewey Bunnell 3:53
2 Ventura Highway - Dewey Bunnell 4:12
3 Daisy Jane - Gerry Beckley 3:19
4 Windwave - Dewey Bunnell 3:13
5 Pages - Dewey Bunnell, Gerry Beckley 4:36
6 Chasin' the Rainbow - Gerry Beckley 2:46
7 One Chance - Gerry Beckley 5:01
8 I Need You - Gerry Beckley 2:45
9 Cornwall Blank/Hollywood - Dewey Bunnell 7:40
10 Tin Man - Dewey Bunnell 4:05
11 Submarine Ladies - Gerry Beckley 3:44
12 Inspector Mills - Gerry Beckley 5:14
13 Only In Your Heart - Gerry Beckley 3:17
14 Ride On - Adam Schlesinger, Dewey Bunnell 4:02
15 Baby It's Up To You - Gerry Beckley 2:12
16 Sandman - Dewey Bunnell 4:39
17 Sister Golden Hair - Gerry Beckley 4:37
18 All My Life - Gerry Beckley 3:15
19 A Horse With No Name - Dewey Bunnell 5:17

iTunes Bonus Tracks [Not included here]

Three Roses
Till the Sun Comes Up Again
To Each His Own

MUSICIANS

Gerry Beckley - Lead and backing vocals, keyboards, guitars, bass, harmonica
Dewey Bunnell - Lead and backing vocals, guitars, percussion
Rusty Young - slide-guitar
Richard Campbell - Bass, Vocals
The 28 tracks played over the two dates are as follows -

All My Life
Baby It's Up to You
Chasing the Rainbow
Cornwall Blank / Hollywood
Daisy Jane
Don't Cross the River (Dewey played banjo)
Head And Heart
Horse With No Name (with Rusty Young)
I Need You
Indian Summer
Inspector Mills
Lonely People
One Chance
Only In Your Heart
Pages
Ride On
Riverside
Sandman
Sister Golden Hair (with Rusty Young)
Submarine Ladies (Gerry played harmonica & Dewey's banjo)
The Last Unicorn
Three Roses
Til the Sun Comes Up Again
Tin Man
To Each His Own
Ventura Highway
Windwave
You Can Do Magic

BIO

America was a light folk-rock act of the early '70s who had several Top Ten hits, including the number ones "A Horse with No Name" and "Sister Golden Hair." Vocalists/guitarists Dewey Bunnell, Dan Peek, and Gerry Beckley met while they were still in high school in the late '60s; all three were sons of U.S. Air Force officers who were stationed in the U.K. After they completed school in 1970, they formed an acoustic folk-rock quartet called Daze in London, which was soon pared down to the trio of Bunnell, Peek, and Beckley. Adopting the name America, the group landed a contract with Jeff Dexter, a promoter for the Roundhouse concert venue. Dexter had America open for several major artists and the group soon signed with Warner Bros. Records. By the fall of 1970, the group was recording their debut album in London, with producers Ian Samwell and Jeff Dexter. "A Horse with No Name," America's debut single, was released at the end of 1971. In January 1972, the song -- which strongly recalled the acoustic numbers of Neil Young -- became a number three hit in the U.K. The group's self-titled debut album followed the same stylistic pattern and became a hit as well, peaking at number 14. Following their British success, America returned to North America, beginning a supporting tour for the Everly Brothers. "A Horse with No Name" was released in the U.S. that spring, where it soon became a number one single, pushing Neil Young's "Heart of Gold" off the top of the charts; America followed the single to the top of the charts. "I Need You" became another Top Ten hit that summer, and the group began work on their second album. "Ventura Highway," the first single released from this collaboration, became their third straight Top Ten hit in December of 1972. In the beginning of 1973, America won the Grammy Award for Best New Artist of 1972. Homecoming was released in January of 1973, becoming a Top Ten hit in the U.S. and peaking at number 21 in the U.K. America's essential sound didn't change with this record; it just became more polished. However, the hits stopped coming fairly soon -- they had only one minor Top 40 hit in 1973. Hat Trick, the group's third album, was released toward the end of 1973; it failed to make it past number 28 on the American charts. Released in the late fall of 1974, Holiday was the first record the group made with producer George Martin. Holiday returned America to the top of the charts, peaking at number three and launching the hit singles "Tin Man" and "Lonely People." "Sister Golden Hair," pulled from 1975's Hearts, became their second number one single. That same year, the group released History: America's Greatest Hits, which would eventually sell over four million copies. Although America's 1976 effort Hideaway went gold and peaked at number 11, the group's audience was beginning to decline. After releasing Harbor to a lukewarm reception, Dan Peek left the group, deciding to become a contemporary Christian recording artist. The group continued as a duo; their last Martin-produced record, Silent Letter, was released in 1979 to little attention. America returned to the Top Ten in 1982 with "You Can Do Magic," an adult contemporary pop number that featured synthesizers along with their trademark harmonies. "The Border" became their last Top 40 hit in 1983, peaking at number 33. After releasing America in Concert in the summer of 1985, the group continued to tour successfully into the '90s, resurfacing in 1998 with Human Nature. The early part of the new millenium saw America release not only a handful of live albums as well as a holiday-themed studio recording, but also the exhaustive, career-spanning box set Highway, released in 2000. On the heels of this renewed interest, America was tempted back into the studio in 2006 by longtime fans and musicians Adam Schlesinger of Fountains of Wayne and James Iha of the Smashing Pumpkins. Although encouraging Bunnell and Beckley to stick to America's core sound, producers Schlesinger and Iha brought in younger musicians influenced by America to guest on the album including Ryan Adams, Nada Surf, and others. With a release date set for early 2007, Here & Now features new material by America as well as covers written by bands heavily influenced by the soft rock pioneers. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/america-p3538/biography

Tony Geballe

Tony Geballe - Native Of The Rain - 1997 - Discipline Global Mobile

"A gorgeous debut recording of solo 12-string guitar. Highly recommended." - Guitar Shop

"An exquisite sonic solution for guitar buffs looking for a masterful acoustic guitar experience." - 20th Century Guitar

"Reflects the beauty of the guitarist's hometown of Seattle. Infused with a languid grace." - Guitar for the Practicing Musician

"An awesome display of what happens when someone plays the 12-string with power and grace. There have been few solo guitar records of late that have given this reviewer goose-bumps and deserve wide recognition, but this is one of them...these compositions resonate with unfathomable brilliance." - Santa Fe Sun

"Deftly bridges the chasm between pop accessibility and meticulously crafted musicianship. Geballe's compositions, awash in dazzling, evocative sonic cascades, demonstrate just how far one exemplary musician can push the musical envelope armed with only one 12-string acoustic guitar." - NY Newsday

"Geballe's debut CD is a highly melodic and beautiful affair. His engaging approach on the instrument ranges from the delicately spirited to the playful and storming on the disc's ten sterling tracks. A most enjoyable and captivating release worthy of investigation." - Innerviews

"The textures he manages to pull out of an unadorned 12-string are inspiring." - Progression

"Whiffs of folk music arise from his plaintive melodies and a sense of open air pervades." - Echoes

"On these beautifully recorded pieces Geballe gives a virtuoso performance." - Exclaim

"Particular favourites include Awakening with its languid build into a bright, cheery play on a variety of themes. Per Moana, the simplest piece, has a laid back quality that releases any tension from my shoulders everytime I hear it while Dancing Inside is awash with that wonderful 'glad to be alive' style of fingerpicking." - Wind and Wire

***** (The Best - Highly Recommended) - Ear Magazine

This is a gorgeous album. Solo 12-string acoustic guitar played by an exceptional musician. Do you need to know anything else? Awright, fine. Tony Geballe is officially a student of Robert Fripp’s Guitar Craft and was in the League of Crafty Guitarists for a few years before ‘going solo’. Geballe’s not as well known as fellow Crafties Trey Gunn or the California Guitar Trio, but like those two he makes excellent music. Compared to the CGT, Tony’s playing sounds a lot less like Fripp. The CGT have been getting away from that for a while now, and here on Tony’s first album you can hear a slight Guitar Craft influence, but mostly it’s his own voice. This is a really short album, only 38 minutes, but the time works in its favor. Most of this music is very mellow, calm stuff. The time does go by really quickly and it’s really relaxing music. Per Moana is probably my favorite on here; it’s just beautiful. Native of the Rain is probably the showcase track on here and it’s really impressive. The song Pages has some excellent changes it. Yeah, there are great things about all these tracks and as a whole it’s a great album. I frequently just put it on repeat and let it play for a few hours. Very enjoyable and excellent stuff. Rating: 93 - August 6th, 2003 Album Reviews © 2001-2008 James Hines © http://cheevyjames.com/album_reviews/geballe-native

This is a magnificent progressive acoustic guitar album from Tony Geballe, the guitarist of the Trey Gunn Band, recorded during July 1996 at DGM in the UK using only a 12-string guitar without overdubs. This is not a rock album with cranked up self indulgent screaming guitar solos. It is simply a demonstration of just how inspiring great unadorned guitar playing can be. The album is HR by A.O.O.F.C. If you like some of Pat Metheny guitar pieces, then you will find comparisons with this album. For more immaculately played solo acoustic guitar listen to Stephen Bennett's breathtaking "Beatles Acoustic Guitar Solos" album @ STEPHBENN/BAGS and Jan Akkerman's "Passion" album @ JANAKK/PAS Tony plays on the "Robert Fripp and the League Of Crafty Guitarists "Get Crafty" album, which is worth listening to

TRACKS

1 Native Of The Rain
2 Evening Tower
3 Per Moana
4 Flock
5 Dancing Inside
6 Star Of The Dust
7 Pages
8 Prelude
9 Awakening
10 Prelude

All songs composed by Tony Geballe

BIO

Tony Geballe (a Seattle native living in New York City) has studied, taught and performed music of many kinds all over the world. His main instrument is guitar, including nylon-string, steel-string, 12-string and electric. Tony also works as a composer and sound designer for theater, and as producer and occasionally engineer for various recording projects. In 2008, Tony is producing the new Hellboys CD "A Young Person's Guide to Hell," which features Robert Fripp, Tony Levin, Bill Rieflin, Vora Vor, the California Guitar Trio, Curt Golden, Victor McSurely, Luciano Pietrafesa, the voice of Kelli Rae Powell, and others. He has engineered, edited, mixed and mastered Patrick Smith's solo guitar CD "Scattered Hearts," and produced two tracks on the new Stone Document CD, "Anamnesis." In January he composed music and designed sound for the recent production of Rebekah Maggor's solo docu-drama "Shakespeare's Actresses" for the Huntington Theater in Boston. Tony's career of recording, performing, teaching, theater sound design and composition has spanned the globe and includes many kinds of music, from solo guitar to the Turkish music trio Dostlar (whose 1984 Northwest Folklife Festival performance was broadcast nationwide on NPR) to being a member of the New York Indonesian Consulate Gamelan. Tony has appeared on many recordings, on local and national radio and television shows and toured worldwide. He has contributed compositions and playing to many recordings, including several by Toyah Willcox, The Trey Gunn Band, The Hellboys, and Sun Palace. Tony engineered a large part of the sessions for the Sun Palace CD Give Me a Perfect World, and also co-produced the CD. He produced Kelli Rae Powell's debut CD "The Scandalous Accounts of My Youth" and has engineered and produced sessions for Christina Lisi, Jo Williamson, and others. Tony has been invited to teach guitar and music regularly in the U.S. and Europe, and has been associated with Guitar Craft since 1985. He was also co-director and instructor at DrumTime, a rhythm workshop, from 1990-94. In 1993, Tony became Composer-in-Residence and Sound Designer for the Arden Party Theater Company, directed by Karin Coonrod. He designed sound, composed and performed music for many productions with the company (see Tour page). In 1996 he received a grant from Meet the Composer. Arden Party’s last production with Tony’s music was the world premier of Christmas at the Ivanovs’, by the Russian surrealist Alexander Vvedensky, presented at the Classic Stage Company in NYC, December, 1997. Tony was also a participant in the 1998 Nautilus/New Dramatists Composer-Librettist Studio. Over the last several years he has designed sound and/or composed music at the New York Theater Workshop, the Hartford Stage, and for the groundbreaking production of Laude in Urbis in Orvieto, Italy, where he is also a performer. Tony's work in theater as both Sound Designer and Composer has continued since then, in NYC and elsewhere. For details, please see the Tour page. Tony has also worked as production and post-production Sound Engineer for films and Public Service Announcements, for the award-winning filmmaker Elizabeth Bouiss (Pink, White and Blue; Speak Your Mind; Masters of Dissent and others) and for New York Music and Video Productions (PSAs for Children's Health Fund, International Planned Parenthood Federation, American Academy of Dermatology, and many more). Tony's own CD of solo 12-string guitar music, "Native of the Rain," was released by Robert Fripp's label Discipline Global Mobile records in 1997. © String Theory Music http://www.tonygeballemusic.com/bio.php

Eric Clapton

Eric Clapton - Live at Montreux 1986 - 2006 - Eagle Eye Records

This concert took place at the Montreux Jazz Festival on July 10th 1986, during Clapton's world tour in support of his "August" album. This "Clapton" chap seems to know his way around the fretboard, and is definitely a guitarist to watch out for !! (LOL!) N.B: Sound is "muzzy" at times. Greg Phillinganes keyboard work is not always distinct, but overall a very listenable concert from Clapton, where he plays some of the old classics like "Badge", "Cocaine", "Sunshine Of Your Love", and "Layla"

TRACKS / COMPOSERS

1. Crossroads - Robert Johnson
2. The White Room - Peter Brown, Jack Bruce
3. I Shot the Sheriff - Bob Marley
4. I Wanna Make Love to You - Jerry Lynn Williams
5. Miss You - Eric Clapton, Bobby Colomby, Greg Phillinganes
6. Same Old Blues - Eric Clapton
7. Tearing Us Apart - Eric Clapton, Greg Phillinganes
8. Holy Mother - Stephen Bishop, Eric Clapton
9. Behind the Mask - Chris J. Mosdell, Ryuichi Sakamoto
10 . Badge - Eric Clapton, George Harrison
11 . Let it Rain - Bonnie Bramlett, Eric Clapton
12 . In the Air Tonight - Phil Collins
13 . Cocaine - J.J. Cale
14 . Layla - Eric Clapton, Jim Gordon
15 . Sunshine of Your Love - Pete Brown, Jack Bruce, Eric Clapton
16 . Further on Up the Road - Joe Medwick, Don Robey

BAND

Eric Clapton - guitars, vocals
Nathan East - bass, (vocals on "Same Old Blues")
Greg Phillinganes - piano, keyboards, hand synth., (vocals on "Behind the Mask")
Phil Collins - drums, electronic drums, (vocals on "In the Air Tonight")

Jake Walker

Jake Walker - Confidence Man - 2008 - Left Turn Music

" Jake Walker is a superb blues musician, his latest cd Confidence Man at times sounds like vintage Freddie King and at times blistering Ronnie Earl -but always Jake Walker...he is one of the very finest guitarist/singers anywhere." - Danny Bryant

“A scary, scary blues guitar player”. - Lucky Peterson

Jake Walker is New York blues guitarist whose star is on the rise in the worldwide blues scene. He leads a number of bands in the U.S. and Europe and is making a name for himself as an artist to watch. Confidence Man is Walker’s first studio album and features mostly original tunes as well as performances by many well-known blues musicians like Mark Naftalin (Butterfield Blues Band), Mike Lattrell (Popa Chubby, Bill Berry, Richie Havens), Arthur Neilson (Shemekia Copeland), and Matt Mousseau (Big Ed Sullivan). Recorded live in the studio, the record shows Walkers’ many influences and ranges from Chicago blues to Stax/Volt sounds, Big Easy R&B, gospel, funk, and even surf music. Seemingly more guitarist than singer, Walker is nonetheless deeply soulful and grooving here, at times conjuring a Freddy King-type of vibe but always remaining true to himself. While an excellent guitar player, Walker keeps his overall sound pretty much in the pocket one would expect from a blues band. That will make traditionalists happy and grind a bit on fans that feel they have heard this sound before. No matter which camp one may fall into, Walker is worth a listen, if for nothing else that his stinging guitar style. His songwriting will hopefully develop a bit beyond what is here on his solo debut and, when that happens, Walker will be pretty much unstoppable. Highlights on the record include “Can’t Get No Grindin’” and “Somebody On Your Bond.” Review by & © Mike O'Cull © www.myspace.com/mikeocullmusic

Soon to visit the bluesinthenorthwest.com area, New York bluesman Jake Walker has released his debut album – produced by the legendary Elliot Mazer – a mix of gritty blues, funk and soul influences – dominated by his spiky guitar tone, with a top notch band including ex-Paul Butterfield Band keyboard player, Mark Naftalin; Arthur Neilson handling bass and rhythm guitar; and Mike Lattrell (piano and organ), with Matt Mousseau on drums. “Confidence Man” kicks off with the title cut, with Walker’s Albert King-infused licks firing on all cylinders, with his gravel-edged vocals to the fore; a leisurely romp through Muddy Waters “Can’t Get No Grindin’ ” features fine piano from Mike Lattrell; the instrumental “Heads Up” has a nice rhumba groove, with a New Orleans feel. The great Taj Mahal’s “Somebody On Your Bond” has a great swing treatment, with Walker’s guitar nice and chunky, with the whole band outstanding; “Luck Is Bad” dips into Albert King territory again, with the following “Time For Love” featuring Mark Naftalin’s piano – again taking us ‘Down South’ – definitely one of the album’s highlights. “Mondo Freddie” is another instrumental, this time a nod to the late, great Freddie King – with a little surf guitar thrown in for good measure, before a very fine shuffle; the funky blues of “Miniskirt” has a killer bassline from Arthur Neilson, before a closing reprise of “Confidence Man”. Jake Walker, as previously mentioned, hits our shores soon and I would suggest a vis it to one of his gigs should be marked on your calendar! © GRAHAME RHODES © http://www.myspace.com/58lespaul

An exceptionally good album from the little known bluesman, Jake Walker. Great soul/blues/R&B/funk music. The guy is a great guitarist and his experienced back-up band are tremendous. The album is HR by A.O.O.F.C. Detailed info on musicians and composers would be welcome. Has anybody any info on Jake's "Raw Honey: Live in New York City" EP ?

TRACKS

Confidence Man
Can't Get No Grindin'
Heads Up
Somebody On Your Bond
Luck Is Bad
Time For Love
Mondo Freddie
Miniskirt
Confidence Man (Reprise)

MUSICIANS

Jake Walker - guitar, vocals
Arthur Neilson - bass guitar, rhythm guitar
Mike Lattrell - piano, organ, backing vocals
Mark Naftalin - keyboards
Matt Mousseau, Don Castagno - drums

BIO

Jake Walker, “The Ambassador of New York Blues”, has earned an international reputation as “one of the very finest Blues guitar players and singers anywhere” (Danny Bryant, Rounder Records). He has entranced audiences around the world with a style of guitar playing and singing that is at once “deeply soulful and grooving” (Blues Blast), and extraordinarily original, setting himself apart from a sea of copycats and headbangers masquerading as Bluesmen. Jake Walker's many international tours as frontman have taken him to Holland, Belgium, England, France, and especially Italy, where he has headlined numerous festivals, and filled historic halls and squares with delighted fans. Jake's debut C.D., Confidence Man was produced and mixed by multi-platinum selling producer Elliot Mazer (Neil Young, Janis Joplin, The Band, Jerry Garcia, Santana, The Who), and features famed Blues musicians such as Mark Naftalin (Paul Butterfield, Mike Bloomfield, Duane Allman, Van Morrison), and Arthur Neilson (Shemekia Copeland, Cyndi Lauper). Confidence Man has received rave reviews, garnering comparisons with Freddie King, Otis Rush, and Albert King, among other Blues Gods, while always winning praise for Jake's own very personal, powerful, and nuanced approach to the idiom-- “Jake pays tributes to the masters, but he doesn't imitate them” (George Willet, 12-Bar Rag). Playing his first professional gig in Times Square at an early age, intense stage fright kept him out of the spotlight for years. Jake's career in the Blues took off years later, when he was hired by James Peterson, father of Alligator recording artist, Lucky Peterson, in the Tampa Bay area, after they met at a Blues Jam James was running. According to Jake, “I really learned that I could lick that whole stage-fright thing on these gigs. James was such a tough bandleader, and such a forceful presence on stage, that I was forced to assert myself, or else I would implode! I felt truly driven to do my own thing and prove myself.” When Lucky returned to Florida to visit his father, he promptly “stole him” (Lucky's words) for his own funky ensemble. Working with the two Petersons was a heady, transformative experience, and it was here that Jake's Blues guitar voice began to emerge. It was at this time that he began to front bands, and sing as well as play the Blues. He returned to NYC a year later a changed man. Newly confident he had what it took, with that old devil Stagefright in the rearview mirror, and with the certainty that “if [he could] make it there, [he could] make it anywhere”, Jake did just that. Within a year back in “The Big Apple” he was holding down steady gigs in one of the most competitive Blues scenes in the world. A year later he was embarking on his first European tours. Soon he'd be spending more time abroad than at home. The rest, as they say, is history! © Joyce de Witte, Royal Dutch Blues Society

MORE

Winner of Big City Rhythm and Blues Magazine's coveted “Artist of the Week Award”, June 2006 Jake Walker goes on tour. Jake “easily bears comparison to the intensity of blues greats like Otis Rush, Freddie King, and Peter Green...he has that same quality that makes you shiver...he strikes crowds with blues fever”. (Dordrecht News, the Netherlands, November 2006). Jake began his full-time career in the blues Tampa (Florida) working six nights a week in sweaty dive bars, clubs, and small festivals up and down Florida's Gulf Coast, Jake earned his skills in the hard knocks, old fashioned time-honoured blues tradition of paying dues through endless late night gigs, harsh treatment and little money. In 2005 Jake Walker came back to his hometown: New York Jake rose through the ranks with impressive speed, finding himself MC of not one, but two premier blues jams within months an honour previously reserved for long-established local icons like Big Ed, Popa Chubby, and (Sheryl Crowe guitarist) Todd Wolfe. In the last three years, Jake has held down long-running, highly successful residencies at key New York City clubs like A&M Roadhouse, The Cutting Room (with the world-famous Le Scandal Cabaret), Mannahatta, and Murray Street Grill. Jake Walker has performed or recorded with many legends and international touring artists, including Little Milton, Nick Gravenites (Electric Flag, Big Brother and The Holding Co.), (late Allman Brothers bassist) Allen Woody, NYC Blues Devils, and Lucky Peterson, who has called Jake “A scary, scary blues guitar player”. In 2006 he has headlined three critically acclaimed tours in Holland. His award winning EP Raw Honey: Live in New York City is a worldwide internet radio staple, and currently sold out. In the autumn Jake stepped in the studio with top U.S. blues musicians including Arthur Neilson (Shemekia Copeland guitar player), Mark Naftalin (keyboardist with the original Paul Butterfield Band, Mike Bloomfield, Otis Rush, and many others), and Don Castagno (drummer with Debbie Davies, Earl King, and Popa Chubby), recording his long-awaited debut CD called “Confidence Man” on Elliot Mazer’s new record label Left Turn Music. His last tour in the fall of 2008 also included dates in Holland, France and Belgium. In the month of April he played at Darlington R’n’B Club, Jake teamed-up with Leeds based 3-piece blues band Crosscut Saw. The gig started with Crosscut Saw playing three of their own numbers to ‘warm the audience up’ before they introduced Jake Walker to the stage. They played a number of covers to prove what an accomplished guitarist he really is. He’s not a bad vocalist either, with a great gravely voice that sounds like he’s been gargling Scotch whisky for years! It is certainly worthwhile to attend one of gigs. Jake plays in a sort of hybrid-style incorporating influences from Freddie King, Otis Rush, Albert King and Peter Green. His Gibson Les Paul has a beautiful warm tone, which Jakes wrings out every drop of emotion from. Check it out!!! By & © John Dewitte - Posted on October 6th, 2008 http://www.bobtjeblues.com/en/blog/jake-walker-and-special-guest-fat-harry-fossen-tour-belgium-and-holland

Too Slim & The Taildraggers

Too Slim & The Taildraggers - Swingin' In The Underworld - 1988 - Burnside Records

Tim "Too Slim" Langford (Too Slim & the Taildraggers) has been a well known musician in the Pacific NW music scene for almost 30 years. Originally from Spokane, Washington, he now lives in Seattle. He constantly tours all over the U.S. and occasionaly tours Ireland, The U.K. and the rest of Europe. This band is rooted in the blues, but they play many styles of music including rockabilly, Chicago blues/R&B, New Orleans inflected rhythms, and country rock. Too Slim learned jazz guitar in High school. One of his teachers was the conductor of the Spokane Jazz Orchestra. A great fan of Robert Cray and SRV, Too slim has said that "I have many other blues guitar influences such as BB King, Freddie King, Otis Rush, Lightning Hopkins, T-Bone Walker, and Robert Johnson. My rock guitar influences are Jimi Hendrix, Eric Clapton, Duane Allman, Billy Gibbons, Jeff Beck, Neil Young and John Fogerty. My jazz influences are Kenny Burrell, Wes Montgomery, Mike Stern and Charlie Christian". "Swingin' In The Underworld" is a really good album by a very underrated musician. Buy the band's "Wanted Live" album and promote this guy

TRACKS / COMPOSERS

1 Swingin' in the Underworld - Tim Langford 4:20
2 Stood Up - Tim Langford 3:45
3 The Obie Man - Tim Langford 3:42
4 Trouble at Midnight - Graham, Tim Langford 4:58
5 She Blows My Socks Off - Tom "The Stomp" Brimm 2:45
6 Dat's Right - Tim Langford 3:47
7 Long Tailed Black Cat - Tim Langford 5:43
8 Quiet Whiskey - W.Harris 2:46
9 Ain't No Stoppin' - Tom "The Stomp" Brimm 2:32

MUSICIANS

Tim "Too Slim" Langford - Guitars, Vocals
Tom "The Stomp" Brimm - Bass
Alan "Fingers" McGill - Piano
Carmen "Monoxide" Conti - Drums
Greg "Soul Train" Pendelton - Horn Arrangements

BIO

Too Slim & the Taildraggers are a hit on several continents, but at home in the Washington state city of Spokane, they're a little like the Rodney Dangerfield of blues bands. Despite the band's release of more than half-a-dozen CDs, and numerous national and international tours, many citizens, when first meeting the band's frontman and leader, Spokane native Tim "Too Slim" Langford, scratch their heads in non-recognition and ask what his profession is. Upon finding out that he's a blues musician, the next question is usually an inquiry concerning where the band performs. The situation is a far cry from what the band experienced on a trip to Belgium, where everyone they met requested an autograph and owned their CDs. All in all, it sure isn't anything at all like the recognition received by many other musicians in their hometowns, like Bruce Springsteen in his home base of Asbury Park. There, everyone knows that "The Boss" goes to the Stone Pony. If all this wasn't enough to make Langford and the Taildraggers feel like they get no respect, the next anecdote might be. One night in a parking lot, as Langford was leaving a gig in the city, a stranger pressed something into his neck from behind, something that felt suspiciously like a gun. His assailant, a woman, told him to fork over that night's pay, adding injury to insult. Still, for all of the drawbacks, Langford and his band intend to remain in Spokane between tours that take them to Norway, Belgium, and throughout Europe. Because their hometown is also home to an incredible number of extremely talented musicians, it's where Langford intends to base the Taildraggers for a long time to come. Times haven't been all bad in Spokane for Too Slim & the Taildraggers, to be sure. The fan base they have built up since the band's formation in 1986 is a loyal and strong one. The band has had the opportunity to perform with a long list of heavyweight artists that includes Buddy Guy, Bo Diddley, and Robert Cray (the latter has long been a major influence on Langford and the band). Other main influences include Elmore James and Duane Allman. The Cascade Blues Association named Too Slim & the Taildraggers Best Regional Band for five consecutive years, beginning in 1995. The Inland Empire Blues Society dubbed them Best Blues Band for four straight years, from 1995 through 1998. The same blues society honored the CD Blues for EB as Best Album in 1998, and gave the same honor to the CD Swamp Opera two years earlier. For three consecutive years beginning in 1995, the society also named the band's guitarist the best of his kind and placed him in the Hall of Fame, as it did for the band's drummer in 1996, 1997, and 1998. The Taildraggers' bass player was also honored as Best Bassist in 1995. The Washington Blues Society conferred awards, too: one in 1996 for Best Blues Song, and another three years earlier for Best Songwriter. © Linda Seida, © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/too-slim-the-taildraggers-p27092/biography

Thanatopsis

Thanatopsis - Thanatopsis - 2001 - TDRSmusic

Thanatopsis is an American progressive rock band, comprising prolific guitarist Brian Carroll aka Buckethead, keyboardist Travis Dickerson and drummer Ramy Antoun. Taking its name from the poem by William Cullen Bryant, the band has released three albums: Thanatopsis in 2001, Axiology in 2003 and Anatomize in 2006. In 2010, Dickerson and Buckethead used unreleased tracks from the Thanatopsis and Axiology album sessions to make another album called, Left Hanging. Find out more about Buckethead @ http://en.wikipedia.org/wiki/Buckethead Travis Dickerson @ http://en.wikipedia.org/wiki/Travis_Dickerson and Ramy Antoun @ http://www.drumsoloartist.com/wiki/drummers2/ramy_antoun

Finally, the album I've been waiting for since Transmutation: inventive, high-energy funk-rock with honest-to-goodness band interaction. Buckethead lays down heavy bass and rhythm riffage, Dickerson uses a variety of keyboard approaches from funky piano ("Mortheol") to insistent trance-style synth ("In Their Millions"), and drummer Ramy Antoun plays a constant stream of jazzy fills without straying too far from the underlying pulse. In fact, at times Bucket's whiz-bang solos are the least interesting part of the mix, which is a nice problem to have, and when his soloing is at its peak ("Twinge," in which playing with a pitch-shifter yields remarkable results) the record soars. Some of the tunes are straightforward grooves ("Mortheol"), while "Final Reparation" deftly mixes in sampled classical elements (piano and sampled strings), but they all develop, as keyboard lines and guitar crunches fade in and out, and never fall into robotic repetition. You might ask for more challenging compositions, but otherwise it's a top-notch outing. All instrumental except for brief computerized vocals on "A Thanatopsis"; produced and co-written by Dickerson. © (DBW) © Wilson & Alroy http://www.warr.org/buckethead.html#Thanatopsis

A great heavy jazz funk fusion album from guitarist Brian Carroll aka Buckethead, keyboardist Travis Dickerson and drummer Ramy Antoun. HR by A.O.O.F.C. Check out the band's "Axiology" album

TRACKS

1 Worm Hole 4:44
2 In Their Millions 6:27
3 Pyrrhic Victory 3:49
4 Final Reparation 4:25
5 Mortheol 4:03
6 Myopia 4:53
7 Vertex 2:40
8 Twinge 5:45
9 Last Rites 2:09
10 A Thanatopsis 6:03

All tracks composed by Brian Carroll aka Buckethead & Travis Dickerson

BAND

Guitar - Buckethead
Keyboards - Travis Dickerson
Drums - Ramy Antoun