Tuesday, May 26, 2020

Shawn Pittman ~~ Make It Right!

Somewhere in the back of my addled brain, the name Shawn Pittman rings a bell. But a man who has released a dozen albums since the 1990’s better ring a bell. I only had one of those previous albums in my library (1998’s Burnin’ Up), but it’s a good one, so I became interested to hear what he was doing now.
His new album, Make It Right! released in early March on Continental Blue Heaven, and I wish I had given it a listen earlier. He’s put together a power trio of Shawn Pittman on guitar and vocals; Erkan Özdimer on bass; and Levent Özdimer on drums. Like many trios, there’s a stripping down of the sound to its most basic elements.
I don’t have much information about the CD in front of me, so what you’ll be reading is my unvarnished take on it while listening to it for the first time. Pay the price, take the ride…
Done Tole You So starts the album with a nice gritty beat (I must confess that I do love a down and dirty sound) that relies on the Özdimers to set the mood while Pittman provides the vocals and rhythm guitar, but waits to unleash his guitar. The song is heavy and makes for a great opening.
After that, they slow down for the next song, Finger On The Trigger. This song gives Pittman a chance to show some pyrotechnics on the guitar. His vocals seem like they’re a little more processed, not as gritty as the previous song. It’s good, I could play it on Time For The Blues, but I really want to see what else he’s got up his sleeve.
They follow up with the title track, Make It Right. The drums get a good workout on this song as it has a driving beat. Again, Pittman’s vocals seem processed, but his guitar cuts through the song and makes the song.
Even though the title reminds us of James Brown, I Feel Good is its own song. This one is grittier, a song delivered by a simple rhythm and the sounds of a vocalist who is cutting through the poetry some lyrics contain. This one lays it out and the music is infectious.
There Will Be A Day rocks old school. I could hear this one on just about any Chicago bandstand anytime day or night. This is a great song, and the trio is in rare form. I would play this and get requests for an encore! Pittman is in good voice and plays a mean guitar.
The follow up with the slow blues burn How Long?. Now this is the one-two punch I’ve been waiting for. No offense to the first four songs, they were good, but this one and the preceding song are great! The guitar and vocals are in top form, as Pittman reaches deep into his soul to pull the emotion out. I think I’ll be playing both of these songs post haste.
The follow up song, For Right Now, is a little more light rock than blues, but a guy has to experiment. It’s a good song, it just doesn’t elicit the same emotion the previous two songs did. If you like some Americana or rock with your blues, this is a good one. They quicken the pace with Cold Sweat and this is much more my speed. It’s an instrumental that showcases Pittman’s guitar and it definitely has that Chicago feel. Many bands in the Windy City like to start and end sets with an instrumental, and this number would be right at home in either spot.
Serious speed kicks off Woke Up Screaming, it’s got that psychobilly feel, but the guys reign it in and it becomes a mid-tempo number with some crooning vocals. This is a fun song that I will enjoy sharing with my audience and maybe it will even end up on my personal playlist. I love the twang in Pittman’s guitar on this song.
No, it’s not from Frozen. Let It Go has a Jimmy Reed feel to it. It’s a good shuffle, and it seems like the vocals are processed some. I really do prefer Pittman’s voice natural, and I may be wrong about describing it as I have. It could be my speakers, but his natural voice has more power, but that’s just my take.
Fair Weather Friends kicks off with some swampy delta sounds. His guitar answers his vocals in a call and response style. It’s a slower paced song but the vocals back a punch. The drop some heavy rocking on the final song, I’m Done. It’s the shortest song on the album but a ton of fun and pairs nicely with the previous song.
Shawn Pittman is a multi-instrumentalist with enormous talent. This latest disc has something for just about every taste and if this is the album that opens the door to exploring all of his other works, then kick that door down and let’s all check out his catalog.  
You can check out Make It Right! and all of his other CDs and tour information (that is, when artists can tour again) on his website

Friday, May 15, 2020

Time For The Blues ~~ May 16, 2020

I don’t know about you, but thanks to this Covid 19 situation, neither Henry nor I really know what day it is sometimes. The only thing I do know is that we are bringing you the latest installment of our long running musical comedy effort, Time For The Blues, this Saturday night, May 16 at 10 o’clock. We’ll be in our usual spot, VPM-Music or VPM.org, and we hope you will join us for a fast-paced hour of great blues. 
This is going to be our most unusual show to date as we are adhering to VPM-Music’s rules (I know that’s a shock to some of you – us too) of not having more than one person in a room at any given time. For us, that means that Henry is in one studio and I am in a different studio. We have no way to read what the other person is up to (not that we’ve ever been that good at figuring out what the other person was doing).
At least we’ve got some great music to share with you. We’re featuring music from our friends the Nick Moss Band featuring Dennis Gruenling as well as Virginia’s first IBC Winner, Moonshine Society. 
Let’s start off with Nick Moss and Company. We’ve been listening to Moss’ work for several years and this is the second album he’s released with harmonica virtuoso Dennis Gruenling by his side. Either of these men by themselves are excellent performers, but together they are unstoppable. This latest album, Lucky Guy!, took home three Blues Music Awards this year: Band Of The Year, Song of the Year (Lucky Guy!), and Traditional Blues Album Of The Year. 
You’ll hear three tracks from this great Alligator release including the award-winning title track plus one from their previous album. Caught these guys at the Tin Pan back when we could go to shows, and trust me, these guys rock. Had a chance to talk with Dennis about music, harmonicas, radio, and fashion tips. Don’t miss these guys any chance you get to hear them play.
Speaking of award-winning, I mentioned that Moonshine Society won the International Blues Challenge this year. Their award was for Best Self-Produced Album for their sophomore effort, Sweet Thing. Their lead singer, who goes by the name of Black Betty, has got a great voice and her band is well seasoned and sharp. They are from the Northern Virginia area but come down to Richmond every so often to perform. I’ve seen them a couple of times now, and I am hooked on their powerful approach to the blues.
We’ve got two songs from Sweet Thing, plus one from their first album, Live In Shanghai. By the way, how many American blues bands can actually cut their first album at a live performance in one of the wildest cities in China? They can.
We’re taking a trip down the road with one of the great superstars of the blues, Chester Burnett – aka Howlin’ Wolf. Wolf, along with Muddy Waters, is one of the post war bluesmen that made the music come alive. I’d listened to a number of Wolf’s best known songs, but had never dug down deep into his earliest Chess works.
Thankfully, Superfan Scott Nugent brought me an amazing package of his late father’s blues collection and one of the records was a collection of Wolf’s Chess sides. On one of the earliest days of lockdown, I dug it out and didn’t stop until I had listened to all 75 of the tracks collected.
I was transfixed by the power in the tracks and knew that we would have to sample these works on the show. This is our first steps in the Howlin’ Wolf journey. I don’t know how many episodes there will be, but I can guarantee no matter how much we play, there will be so much more to hear. If you like these sets, we could do the same with so many other blues artists. We love the new stuff, but you need to have the founders of the sound as well.
Speaking of new stuff, we’ve got it for you as well. We’re going to hear great sides from Alex Lopez, the Charlie Wootton Project, and Cheyenne James. Don’t miss out on these talented artists. 
All this can be yours if you tune in Saturday night, May 16th at 10:00. Henry and I will be in two separate studios so there’s no chance of you or anyone else catching something from us. I can’t swear that the jokes will be any good or that we’ll stay on topic, but I can vouch for the fact, that every single song we’re spinning is going to be great.
We’ve got everything all laid out and ready to go, all we need is you and a few hundred of your closest friends, all in separate places of course. You know how to find us, point your browser here, (http://vpm.org/radio or join us on one of these great VPM Stations: 89.1 WCVN, Northern Neck; 90.1 WMVE, Chase City; and the flagships, 93.1 and 107.3 VPM-Music, Richmond, where it’s always Time For The Blues!

Thursday, May 14, 2020

Kat Riggins ~~ Cry Out (Single)

Another bad thing that's been happening since Covid 19 shut the world down is that so much great music has been stifled. It makes sense, artists are able to tour and perform, so there is little chance to get in front of people and promote their albums. I'm not minimizing anything else that has happened as a result of this pandemic, just bemoaning the fact that so many great artists have had to change their approach to their art.

When things change, artists change as well. Take Kat Riggins for example. She's been on my radar for the last couple of albums and I was delighted to hear that she signed with Gulf Coast Records. This new label is pulling out all stops to sign solid acts and not just sticking to one niche of the blues. Riggins is a strong vocalist who puts every ounce of her heart and soul into each song.

There's no phoning it in with this lady; she belts, she growls, she makes love to the song. She has a new album due soon and she is releasing her first single on May 22nd. The song is called Cry Out and aside from the pure power she unleashes in the quick 3:25 long number, she draws heavily from the history of protest songs.

I don't think any person in the country would say that everything is fine. We're losing people to violence, we're losing people to bullying, we're losing people and most of us are damn tired of it. Riggins adds her voice to those who are trying to wake us up to what is going on.

This is not a subtle song. Thank God. This is an in-your-face assault and one that should be getting airplay as soon as it hits. I don't have a breakdown of the musicians or songwriters, but I will be glad to update this review as soon as I get the information.

Put it on preorder, and the same with the album. I'll keep you posted.

In the meantime, wear a mask when you go outside, but don't let it muffle your voice when you see something wrong. Just Cry Out!

Wednesday, April 22, 2020

Mike Zito Live Streams New Show

There is no doubt that Coronavirus, aka Covid 19, has disrupted all of our lives. I’m not getting into any politics, just stating a fact. A few states are starting to allow some business openings, including bowling alleys so you might finally be able to pick up that 7-10 split. If you do go, BUY YOUR OWN SHOES and bring your own ball.
You can thank me later.
Bowling alleys aside (and I have spent many hours displaying my unerring accuracy in tossing gutterballs with either hand), no one is opening up clubs or festivals. For artists, this means they are still locked out of a large chunk of their income.
But artists are nothing if not creative and resilient. So many have taken to the internet to
play concerts with information up as to where to make donations to the band. The average blues fan can, on any given night, find great shows with top artists who otherwise might not make it to their towns.
Even after the virus restrictions lift, it’s impossible to tell what venues will still be operating (we hope all of them). Artists are going to have to do a lot of rebooking and hope that their audience will feel comfortable attending shows.
With most of these on-line shows currently, the band plays and hopes that people will do the right thing and contribute a few bucks. This is basically the same model that National Public Radio uses. The entertainment is out there, and if you find that it’s important to you, please send in your pledge of support.
But as Nobel Prize Winner Bob Dylan said, “The times they are a-changing.”
Coming up this Saturday, April 25th, at 3:00 p.m. Central Time (that’s 4:00 p.m. for us Eastcosters), the sensational blues-rock guitarist Mike Zito will present a Live Streaming Electric Band Blues Concert on his website. In case said website is not in your address book, you can find it here
This is not going to be the usual web show. Zito explains, "This will be a two-camera, pro sound event," Zito says. "It's easy to buy the ticket ($10.) and watch - just join my website and pay for the ticket. The show will air at 3:00 p.m. Central Time on Saturday. It'll stay up on the website for 72 hours, so folks that miss viewing it initially can still see the show."
Take it from me, ten bucks is not much to catch a show of this magnitude. Zito will be joined by Carl Richardson on bass and Tod Stark on drums. All of this is going to be broadcast from Zito’s home studio in Texas.
Zito and company have already been helping out during this time by recording an album titled Quarantine Blues, which is available for free download here.  Zito recorded the album with his touring band of Matt Johnson, Doug Byrkit, and Lewis Stephens when their 30-city European Tour was scuttled by the Coronavirus Pandemic.
There are so many shows one can check out, but this is the one that’s going to get my sawbuck. While you’re there on his website, you might want to pick up a few of his other albums. My collection isn’t complete, so I’ll be doing the same thing!
PS-please let me know if you or your band will be doing any web shows, as I am trying to keep up with all of them. I would like to start keeping a calendar so send me the info: Who, What, When, Where, and Website! Drop a line to timefortheblues@gmail.com

Thursday, April 9, 2020

Deltaphonic ~~ The Funk, The Soul & The Holy Groove

If you asked someone to describe New Orleans in just a few words, you would be hard pressed to come up with a better description than the title of this new album from Deltaphonic. Indeed, The Funk, The Soul & The Holy Groove is a collection of different sounds that one wouldn’t think would mix well, but somehow do creating the musical equivalent of jambalaya. Those three words summon up the spirits of past and present to create a unique flavor that once sampled, will be difficult to forget.
This is the third album for the group, the first that has come across my desk, and the ten original songs bring together the sounds of funk, soul, rock tinged country-blues into music that occupies a place that defies description.
We’ll have to put this under the heading of Americana, although each song has its own style. In fact, the songs vary widely from track to track, so if you’re a fan of adventurous music and don’t mind different styles within the same album (I certainly am one of those people) this could be a sleeper album for you.
If you like albums that sound the same from track to track, you might want to keep looking, there’s nothing wrong with that, and the shelves are pretty well stocked with those.
Deltaphonic is a four-man trio. By that I mean that Andrew T. Weekes plays guitar and handles the vocals; Paul Provosty supplies the lead guitar, and the drumming is split between Trenton O’Neal and Ciaran Brennan. There are a few guests on the album including backing vocals from Josh Kagler, bass from Jerry “Jblakk” Henderson, and Andriu Yanovski on keys.
The group kicks off the album with Liars, and they shout their way into a multilayered song with some very cool lyrics. They paraphrase a quote from gonzo journalist and gun nut Dr. Hunter S. Thompson, “[It’s] a cruel and shallow money trench/Where thieves and pimps run free.” They use it as a reference to the music business, and while it’s certainly true, Thompson actually said that about television journalism. It’s nitpicky on my part, and just for the Thompson purists, if such a thing exists. Don’t let my shallow aside pull you away from a great song with tight harmonies, and some damn fine orchestrations. Don’t take my word for it, checkout the video here. 
The band follows up with Ghosts with a cool rock vibe. Listen for the subtle keyboards in the opening and enjoy the way they change tempos just a little way into the song. The second song on the album, and I am fascinated by Weeks’ songwriting. He tells some great stories and Provosty’s guitar answers beautifully. This band is showing that they really have a solid approach to both music and words.
Next up is Bad People and the slow funk factor is upped. Organ riffs punctuate the song and the drums carry out an interesting beat. There’s a gospel fervor in the vocals and Provosty lands a solid guitar break that takes the song in another direction.  
The slow, sweet, Starlit follows with its soulful jazz approach. This one is going onto my personal playlist. It won’t be the right fit for Time For The Blues, but I am sure I am going to hit repeat several times around the house. Might even get a little emotional on the third or fourth listen…
Just when you think you know what the guys are going to do next, they unleash New Mexican Rockstar. It’s got an early rock and roll vibe, kind of a Ricky Nelson feel and tells a great sad story. I love the song, even if I can’t put it on the blues show, but if I ever get an Americana program, it’s going to be on quick and fairly often.
Things get swampy on the next song, If It Don’t Bleed. This one has that North Mississippi by way of Cajun Country feel and it is very cool. This one could make it onto Time For The Blues and probably will. I’m not sure what that Theremin sound is part of the way through, but I like it a lot!
With a title like Don’t Have To Be Good, that could fairly well sum up my personal philosophy. No matter what you do, no matter what art you create, put your heart into it and put it out in the world. Some will like it, some won’t. This is a kick ass song, full of punch and one that’s going to stay with you.
Next up is the slow, luxurious Mississippi. A lovely guitar intro establishes the song and Weeks’ voice does the rest. You can almost feel the heat, smell the dirt and the river as the song places you in a different world. Once again Weeks and Provosty deliver a surprise with the song. At this point it’s obvious that I’m going to have to give the album a few more listens to unlock all of the little moments the group has put into each song. Mr. Weeks, this ex-philosophy major appreciates your use of my favorite Heraclitus quote, “No man ever stands in the same river twice.”
It has been a long time since high school English where I learned about story elements: rising action, climax, and denouement. That last one is what happens after the climax, the falling action or the wrap up. I mention this, because the next song is The Denouement. It really does feel like the band is wrapping up their own stories and the use of keys and strings adds to the dreamy quality of the track. I know this one is going to end up on my personal playlist. You might feel the same way.
The group winds up the album with See Red, a faster paced song with some heavy bass and drums driving it. The band definitely wants the listener to go out on a high note, and they have chosen wisely.
I’m no prognosticator, if I were, I might have won a few lotteries. I can’t predict the future for Deltaphonic, but I can appreciate the work that has gone into The Funk, The Soul & The Holy Groove. The lyrics read like poetry and tell wonderful and sad stories while the music is surprising and exciting in a way that is rare in many albums.
While they are in a great musical city, one of the best actually, being in New Orleans, even that city may not be enough to contain their talent. Check them out at their website.  Pick up their albums and keep an eye peeled to see when they hit the road!

Previous Albums
Texas, Texas
See Red               

Tuesday, March 31, 2020

John Blues Boyd ~~ What My Eyes Have Seen...

Wherever you are, whatever you’re doing, I hope you are staying safe. If you don’t have to be out and about, don’t! I’m using my time away from the studio to catch up on some long overdue listening to new CDs and reviewing some of them.
Normally, when I write these, I try to listen to the album first then read the notes sent to me by the label, publicist, or artist to learn a little backstory for the introduction. For today’s review, however, I want to shake things up and give you my first impression of the artist and album.
So, when I reached my hand into my overflowing collection of music, I pulled out What My Eyes Have Seen by the artist John Blues Boyd. I’m not familiar with Boyd, but as the album is released through Gulf Coast Records, I have high hopes for it. It’s a relatively new album started by Mike Zito and Guy Hale.
A couple of powerhouses who have really been turning out great work. Opening up the flap, I see Chris “Kid’ Andersen’s name everywhere – another good sign. I’m starting to get excited about this. I see a number of names I recognize from other albums, including Jim Pugh on keys and Nancy Wright on sax.
On the cover, it’s obvious that Boyd is just another young punk trying to make it in the get rich quick blues industry. Must have been the lure of easy fortune and fame. Boyd looks like a well seasoned artist, and I’ve had a lot of luck with people who have lived a long life and have some perspective on things.
Let’s see how this goes…
Kid Andersen’s sweet guitar announces the opening song, In My Blood. It’s a biography song for Boyd and should get plenty of airplay. This will kick off a show for Time For The Blues just as soon as I can play it. Boyd’s voice is wise with experience but is not jaded or world weary. It’s a refreshing take on the blues.
After that, Boyd takes a minute (1:11 actually) to reach back into his life with a story. He calls it My Memory Takes Me There. Accompanied by Kid Andersen on guitar and organ, I believe this one serves as a set up for the remaining four.
Next up is the title track, What My Eyes Have Seen, a meditative take and soulful look back on some of his experiences over the years. “I’ve been with you in the shadows,” he sings at one point, underlying the changes he has born witness to over the years. I really like this one a lot.
The next song, I Heard The Blues, also uses the past tense as he looks back. It seems obvious that Boyd has a lot to share if we will only listen. It’s lovely and sweet with a touch of gospel organ. It’s another song that I really enjoy and I can see why Boyd has been nominated for a Blues Music Award. This is the first song on the album written by Boyd. He honestly conveys the way the music made him feel. Too many times those of us who only write about music, as opposed to living it, tend to talk from our heads rather than our hearts. Myself included. This one gets into your soul and reminds you why you got into music in the first place.
Boyd and friends transition into On The Run. This is a swinging number that Boyd co-wrote with Andersen and Hale. It is a quick musical lesson that reminds us where the sparks of the Civil Rights Movement became a roaring flame. The powerful lyrics set against the lively music makes for quite the contrast and catches our attention right away.
My Memory Takes Me There Pt 2 is a melancholy moment, a snatch of lyric in which Boyd describes that will he was often mistreated, there were others who appreciated him and his memory is absolutely clear of the events that happened to him.
After that comes Her Name Was Dona Mae. The spoken introduction brings up the “best thing that ever happened to John Blues Boyd.” This is an homage to his late wife, and his voice conveys the great affection he still has for her. With so many blues songs highlighting the roughest patches of life, it’s refreshing to hear a song about a love that transcends time and distance. Got to love the horn section weaving in and out of the song.
His next My Memory Takes Me There, (Part 3) takes a serious tone. He remembers that “some are gone and some are forgotten” and he’s “sad that some are still here.” I like these short connecting pieces, but after I finish this review, I plan on programming my disc player to play only these short pieces and see what kind of a full song they might make.
Dealing with the horrible 1968 assassination of Martin Luther King, Jr, Why Did You Take That Shot? uses simple rhymes to relive the tragedy. Boyd asks the question over and over looking for reasons, and he even leaves the door open that it might not have actually been James Earl Ray who fired the fatal shot. The organ brings in a little church feel to the proceedings and once again Boyd captures the feeling of those times. Listening to the song for the first time, my stomach dropped and I remember then tension and violence that erupted after the assassination.
Next up is My Memory Takes Me There Pt 4, and it starts off with the low building fervor of a preacher in his pulpit. This album has been a revelation, Boyd has been kicking around the blues for a long time, and none of his previous albums have crossed my path. His voice is incredible: rich, vibrant, and stunning in his approach. His vocals command attention and his delivery is among the best I’ve ever heard. I would stack up this album with the best of any performer from any era and it would stand up well. There are five more tracks on What My Eyes Have Seen, and unless they drop off in quality mightily, this will easily be on my Best Of 2020 list.
He follows with the story of his coming to the West Coast in Oh, California. He’s talked about his having to leave home in 1963, his marriage, his feelings from some of the events in his life, and now he brings us to sunny California. The song is light and fun and a whole different approach to the blues.
Next up is the bouncy, swinging That Singing Roofer, about his day job while getting himself established. You can feel the shift in attitude in his approach. It’s an amazing musical autobiography. Putting on my theatre critic hat, I would absolutely love to see this get developed into a play incorporating the music in with some stories. It would be killer!
Things slow down for the next song, Forty Nine Years. You can feel the time passing as he tells the story of his life with his wife. The mournful sax, the light percussion, and the keyboards make for a beautiful collaboration. Boyd’s voice is full of emotion as he recounts those days. It just might make you well up a little bit as well.
Time to get a little funky with I Got To Leave My Mark. Nearly every human wants to leave an indelible mark on their world. This album is Boyd’s mark, and it’s chiseled in stone. That voice, that story, one doesn’t just sing the blues, one has to live them and John Blues Boyd has certainly done that!
Appropriately enough, the album ends with the last My Memory Takes Me There Pt 5. With a sparse musical background, somewhat reminiscent of portions of The Doors’ The End but without the buildup, the song finally gives Boyd a chance to rest from his labors. It’s a gorgeous coda to this amazing album!
Okay, if you’ve read this far, is there anything else I need to say? John Blues Boyd is a great treasure and his name should be on every blues lover’s lips. His voice is exquisite and Kid Andersen has produced a beautiful album what will only grow over time. No, it doesn’t have a whole bunch of quickly manufactured songs that sound like every other formula song – each song has its own soul, its own life, and by listening to these songs, we all become a part of his life.
Don’t hesitate, order your copy of What My Eyes Have Seen now. Stores, Online services, or heck, just go right to the people who made it, Gulf Coast Records. You can findtheir website here
While you’re at it, if you find any of the albums below, grab ‘em up, because I’m looking for them too!

Previous Albums by John Blues Boyd
Sing A Happy Song
The Real Deal
John, The Blues Is Calling You
Can’t See The Forest For The Trees
Born To Sing The Blues

Thursday, March 26, 2020

Time For The Blues ~~ March 28, 2020

Avoid crowds, listen to Time For The Blues! Henry Cook and I hope you will join us this Saturday night, March 28, at 10 for yet another slam bam throw it to the mat and make it say “uncle” episode of Time For The Bues!
Trust me, we are not making fun of this scary situation we all find ourselves in, but Mr. Cook and I have always seen our job as Court Jesters or Rodeo Clowns that get to distract our audience for 59 minutes a week using the two tools we have at our disposal – great music and bad jokes.
This will be a fun show, Henry planned it from stem to stern and he swears it’s chock full of great music, so you know the jokes are going to be awful. Sorry about that. Let’s see what he’s got up his sleeve.
Hmmm, it looks like we’re going to visit with the legendary McKinley Morganfield, aka Muddy Waters. He’s got one lined up that features Waters with two other legends, Johnny Winter and James Cotton. He’s got a couple from Waters’ comeback album, Hard Again and one more from the album that caused him to need a comeback, Electric Mud.
Yeah, wouldn’t you have liked to be in the meeting where somebody said, “You know what would be great? Let’s get the world’s most famous bluesman and get him to make a psychedelic rock-blues album, and let’s make a far out cover on the album.” You can pretty much guess that Waters himself wasn’t in that meeting…
Henry’s also got some Unusual Suspects for us. In case you haven’t heard one of those segments yet, that’s where we find artists who don’t normally perform blues let loose and drop a blues song. Some are more blues than others, but every one of them is cool in its own way. I won’t spoil the fun, mainly because Henry leaves their names off of my show sheet so I have to guess who it is he’s playing. He even claims he’s found an artist who is the most unusual of them all.
Want some new stuff? Well, we got it for you. We have new releases from Roomful Of Blues – a band that’s been together for 50 years! That’s only about half as old as our best joke! We’ve also got a track from the Grammy ® Nominated Rick Estrin & The Nightcats, as well as one from one of our favorite people walking the planet, Janiva Magness!
Just for a little throwback, we’re going to head to one of our favorite cities, Memphis, TN. We won’t have time for barbecue (of course we would get take out), but instead of sampling culinary delights, we’re going to sample the sounds of the city. How about two from Sam And Dave and Otis Redding? We’ll also visit with Goldwax, that tiny studio with a lot of talent and almost no budget.
We’re still working on the logistics, but you know where to find us – point your browser here, or join us on one of these great VPM Stations: 89.1 WCVN, Northern Neck; 90.1 WMVE, Chase City; and the flagships, 93.1 and 107.3 VPM-Music, Richmond, where it’s always Time For The Blues!