Wednesday, April 27, 2016

David Burgin is Back and It’s No Money Down

I’m at an age now where I don’t trust my memory like I used to. Once upon a time I could easily memorize liner notes and knew all of the musicians that played on every album, and now I’m lucky to remember what I’m supposed to do on any given day.
So when Facebook suggested I should send a friend request to David Burgin, that name sent off a faint bell in my brain. I sent the request immediately as we had a couple of hundred friends in common AND his picture showed him playing a harmonica – so I immediately knew we needed to connect.
Turns out, he’s a very cool guy and he had an album about to be released. He sent me a copy and almost as soon as I put the CD into my player and I heard those few notes, it came flooding back to me: this guy played on at least a dozen albums in my collection!
A little bit of research and I turned up that Burgin had worked with the likes of Harry Chapin, Jerry Garcia, Johnny Cash, Maria Muldaur, Amos Garrett, Roy Rogers, Sammy Hagar, Colin James, k.d. lang and many more.
As a session player, Burgin wasn’t limited to one particular style. While he did most of his best work in the blues, he had successfully worked in rock, country, folk, and roots music as well. Then he just disappeared. He was completely out of the music business, which is why he was off my radar, and now he was back with a new CD and I was looking forward to listening to a guy whose harp work had influenced my own.
Burgin Back In The Day

Opening up to the credits I saw that Burgin had assembled a tight group of musicians, many of them friends of his for 30 plus years, that included Roy Rogers playing slide; Kevin Hayes on drums; Jim Pugh on keyboards; Volker Strifler on electric and slide guitars and National Steel; Danny Caron on guitar; Gene Houck on bass and harmony vocals on one song; Kirk Harwood on snare drum for one song; co-producer Allen Sudduth on guitar, percussion and the arranger for Desert Horizon; Marvin McFadden on trumpet; and Rob Sudduth on tenor and baritone sax.
Burgin provided the vocals and played diatonic, chromatic, and bass harmonicas.
Just Your Fool starts things off on a swinging note. It gives Burgin a chance to do a little old school crooning and the band is tight in a cool honytonk vibe. The guitar break is fun and the overall feel is that the listener is in for some fun.
It seems only logical that a musician who spent years in the auto industry would release a song called Greaseful. The piano is a nice launching pad for Burgin’s harps to come in with a jazzy feel. This instrumental is great traveling music and a great showcase for Pugh’s keys.
The Willie Dixon classic Live The Life I Love is next and Burgin and company infuse it with deep respect for Muddy Waters with their interpretation. It seems obvious that the band is expressing their own feelings towards the music and each other. I’ve always had a soft spot for this song and this is a nice addition.
Next up is a short piece titled Theme For an Un-Filmed Movie. I can visualize it working perfectly as a traveling piece while folks drive through the South. Or swampy land. It’s evocative and I would love to hear it expanded.
The women who love and encourage us deserve every good thing we can offer. In Kathleen Kinda Blues, Burgin offers respect for the woman who stands behind him. It’s a slow, very bluesy number that speaks volumes about the times and tribulations that they have spent together. Very cool. And sometimes there are just no words that can adequately represent how we feel – but the music does it nicely.
The traditional tune Black Cat Bone gets a slight facelift and Strifler’s guitar work plays well off Burgin’s harp and vocals. This is the first of his songs to play on Time For The Blues, but it definitely won’t be the last. It’s a very solid blues tune with a strong backbeat. If you ever hear him play it live, you’ll be in for a real treat.
The horns come out for Mississippi Mojo, a Chicago style blues song that expands the sound just a little. Burgin growls his vocals slightly and calls the roll of some of the greats that have made the blues the magical sound that we all love.
As I mentioned earlier, Burgin is not a slave to just one style of music and uses his musicians to explore other genres and somehow makes them all come together for his unique sound. His affection for the blues runs deep, but is not exclusive. He finds several different ways to express the music in his soul.
For example, Chillin’, the next song is a breezy kind of summer tune that might have played on AM radio back in the day alongside the likes of The Turtles. Yet it has some very subtle European undertones and would be right at home on any album by the likes of virtuoso jazz players.
The title track, No Money Down, is a down and dirty blues with a strong harp riff that pulls you into the song immediately. Talk about growling, Burgin digs deep for these vocals. This is Chicago style at its finest and plays into America’s love for our automobiles. Cars mean freedom and we love our freedom. We also love our metaphors, baby. Very cool song.
Years ago, Burgin and his musical partner Roy Rogers released a song called Country Thing. Now that they are together for the first time in years, they’ve returned to that song with Country Thing 2.0. It’s a fun jaunty number that features nice interplay between his harp and Rogers’ guitar. You can just hear how much of a good time they were having recording this.
Next up is a nice swinging number, My Babe. It’s got a solid beat and the guitar jumps in and out as do the keys for a little emphasis. The drums and bass get a good workout and this is another number that would really rock when performed live.
Thirty Days is a fast boogie number that hooks you quickly and keeps on driving. It gives me a good west coast vibe and rocks from the first note to the last. Just try not to move when listening to this song. I dare you.
The final song, Desert Horizon/Amazing Grace, is an homage to Burgin’s good friend Norton Buffalo. The harp is strong at the beginning and the band is tight. Just as everything builds to a climax, Burgin brings in some vocals that evoke his friend and the song slows down into his harp playing the plaintive classic Amazing Grace. You can’t help but have a tear in your eye for Buffalo. It’s a beautiful song and a fitting way to end the album.
Welcome back David Burgin! You and your colleagues have put together a kicking album that mixes styles with ease and grace. Nothing about the album seems forced, the writing is tight and the execution is first rate. It’s pretty safe to say I had a great time listening to it – and I’m going to have a better time playing it on Time For The Blues.
If you’re interested in finding out more about Burgin, head over to   and check him out. Or just stay tuned as I have a little interview with the man following this review.

John Porter: Your new album, “No Money Down,” is a real kick ass piece of work. How was it re-uniting with friends and collaborators that you worked with years ago?
David Burgin: In all cases it seemed like we had never stopped playing together. The only cat on the record I had not had the pleasure to play much with was the drummer Kevin Hayes.
John Porter: You and Roy Rogers made a powerful team at one time. Is this project the first time you worked together since then?
David Burgin: It was the first time we had been in the studio together in well over 30 years.
John Porter: What was the catalyst behind “No Money Down?”
David Burgin: I guess it was mostly a “legacy” thing. I have a friend in Ohio who sent me all of the old tunes I had recorded. If it weren’t for John Flynn and my Pal and Co-producer Allen Sudduth, I may not have attempted the project.
John Porter: You use a variety of styles on the album. How was it exploring these different takes on the album?
David Burgin: I have always enjoyed exploring various musical style, even back when I was a fist call session player. With playing sessions, you never knew what was going to be thrown at you so I learned early on how to adapt and play many genres. The cool thing was that the sidemen on the recording could play anything I threw at them and then some!
John Porter: What harps do you generally use to achieve these styles?
David Burgin: I mostly play Hohner Marine Bands and the occasional Chromatic 260 by Hohner as well as a Hohner Bass Harp. I have experimented with Seydels but really don’t like the plastic comb thing.
John Porter: Who were your musical influences?
David Burgin: Man, there are a ton. Obviously Roy Rogers in the early days, but I really listened to a good deal of R&B cats like Junior Walker. Additionally, guys like Elvin Bishop the legendary Amos Garrett, country music guys I played with like Johnny Cash and Merle. Of course I ran the table listening to Muddy, Walter, and Junior Wells too. I did however STOP listening to harmonica players somewhere in the mid-70s…
John Porter: At one time you were the go-to guy for harp for a variety of artists. Yet you gave it all up and got into the business world. Can you describe why and what that was like for you?
David Burgin: Initially it was a large culture shock. Too many crazy road trips, unscrupulous record companies and just general burnout all affected the decision.
John Porter: Do you have any plans to get on the road and play?
David Burgin: Maybe the occasional Festival or sit in. I do not relish the thought of enduring “Band” drama again…Been there done that.
John Porter: You dedicate the album to your old friend Norton Buffalo and even play one of his compositions. Was that an emotional experience, and how did you approach that one song?
David Burgin: All who heard the finished product including yours truly had a tear in their eye. Norton was beloved friend… Allen Sudduth did the arrangement, Al Garth (Eagles, Loggins and Messina) wrote the charts.
John Porter: What is your philosophy of music, and how do you go about working to support it?
David Burgin:
  1. Less is more.
  2. Good Taste Eats Technique for Breakfast.
  3. As BB King said “It’s not about how many notes you play; It’s about how few notes you can play and get the point across.”

Monday, April 11, 2016

Roomful Of Blues Keeps On Rockin' The Tin Pan

Chalk up another great show at the Tin Pan in Henrico County’s West End as the legendary Alligator Recording Artists, Roomful Of Blues swaggered in and proceeded to blow the room apart for 90 non-stop minutes.
Through various line-ups, Roomful Of Blues has been a major player on the blues scene for almost 50 years and they show no sign of slowing down. Their horn driven music plays heavily into the jump swing boogie style of blues theatre and Phil Pemberton’s vocal stylings drove the show to the point where a few intrepid souls stood and danced in the aisles or beside their chairs.
This caused on blues superfan to exclaim, “They should insist on a few less tables and an actual dance floor. This place would go nuts!” I can’t say I disagree with him. From the opening bars of their intro song, Porky’s Blues, the crowd was heavily into the show.
From there they moved into It All Went Down the Drain and All Right Okay You Win with hardly a hiccup in between. These fast paced numbers were driving the crown into a frenzy.
Roomful is noted for its extended breaks, not only from Chris Vachon on guitar, but also more than a few from the horn section consisting of Rich Lataille on tenor and alto sax, Mark Earley on baritone and tenor sax, and Doug Woolverton on trumpet.  Not to be outdone, keyboardist Rusty Scott traded licks with Vachon on several songs, and even the rhythm section of John Turner on upright and electric bass and Chris Rivelli on drums got in a few extended leads.
In the approximately 16 songs plus two very extended sessions – one for guitar and another for the horns – Roomful had several highlights including Easy Baby, Boogie Woogie Country Girl (love that song from Doc Pomus that Big Joe Turner shouted), Too Much Boogie and of course Keep On Rockin’.
In fact, one of the signature drinks for the evening was the Keep On Rockin’ and I’m not sure what the bartender put in it, but it certainly made Pemberton happy…
After that, the band continued with Baby I’m Gone and My Baby Quit Me before launching in to an all-out assault on Body And Fender Man.
It seemed like 90 minutes flew by and the crowd was on its collective feet joining the band in singing a rousing version of New Orleans.
It was an amazing night being surrounded by old friends in the audience and seeing a band that’s long been on my bucket list to catch live. The last time Roomful Of Blues played through Richmond it was in a tiny club on the north side that had a postage size area for the band and they crammed in more seats than humanly possible.
I couldn’t even get in the joint.
So now, these few years later, a mere blip in time for a band approaching 50 years in existence, that establishment is sadly closed (I miss every club that once offered live music), and another chance to catch them in a great club.
Roomful Of Blues did not disappoint and I’m already thinking ahead to next time.

Saturday, April 9, 2016

In Layman Terms Brings New CD To The Camel

You have to love CD release parties. There’s a palpable excitement in the air as the culmination of so much work – a year or so of writing new material, rehearsing and shaping it into something extra special, recording and mixing, and getting the publicity rolling all takes so much time and effort that the final blow-off represents the release of the album into the world.
Last night at Richmond’s The Camel nightclub, brother and sister performers Cole and Logan Layman reached that milestone of releasing their first album, Tangled, and they were surrounded by friends and family celebrating with them.  
True to their friendly outgoing style, they brought along some great friends to perform with them – namely Richmond’s own The Bush League and good friend and IBC Finalist Bobby BlackHat Walters and his band.
Even with a 5 o’clock start time, there were already a number of people inside The Camel ready to get the party started. Taking the stage first, The Bush League kicked things off with an energetic set that included a couple of originals, Kick Up Yo Heels and Show You Off, and a rocking version of Junior Kimbrough’s Stay All Night. Front man John Jay said it best, “We’re doing this like the blues men and women of old. Getting off work and climbing up on a stage and playing our hearts out.”
The audience was really into the set when they took a moment to invite Cole to join them on stage for a smoking version of Catfish Blues. Cole showed some of his trademark fretboard pyrotechnics and the crowd responded in shrieks, squeals, and a lot of applause.
After his turn, Cole stepped down and sister Logan came up not even knowing what she would be singing. Jay and the League threw her a big curve with a Go-Go version of the classic, Stormy Monday. If you are not familiar with Go-Go, it’s very popular in DC thanks to the efforts of Chuck Brown. The genre is also well known in Maryland and the Northern Virginia area.
It’s also very tricky and Logan handled it very well despite having to look up the lyrics to make sure she was singing the right song. She matched Jay note for note and the audience loved the effort.
Next up was Bobby BlackHat Walters who is without a doubt one of the finest showmen in the state. Walters is a great harp player with a fine voice – but it’s his presence that really draws you into his performance. He works the crowd with flair and quickly had everyone into the show even further.
Walters’ five song set merely whetted the appetite for more. He started off slow with I Know What You Mean and then moved into Nursery Rhyme Shuffle. His extended version of Blues Story was electrifying. While regular guitarist Tom Euler continued his blistering assault, Walters enlisted the Bush League’s bassist Royce Folks to substitute on the set.
He ended up the set with Broke My Body Down and finally his tribute to the continually gridlocked Hampton Rhodes Bridge Tunnel – the HRBT Blues.
Finally came the stars of the evening, Cole and Logan Layman who were joined by drummer (and their album’s producer) Ron Lowder, Jr. Starting off with the title track, Tangled, the trio sailed through a very energetic set of originals and covers that had the crowd on its feet and even some of us old fogies boogied as hard as we could.
Brother and sister traded off breaks in a playful manner through most of the set, and Logan’s voice was in rare form. When she reached into her soul to sing Can’t Quit You Baby, you could have heard a pin drop as everyone in the audience collectively held their breath. Afterwards they exploded into a frenzy of shouts and applause.
You could tell that Cole was itching to break out his cigar box guitar and when he did, it added an entire new flavor – a very swampy one in fact – to the proceedings. He ripped into one of my favorite songs, Karma, and added layers of pyrotechnics. They then tackled Judgement Day Blues and Fake It Till You Make It – based on one of their mother’s poems dealing with depression.
One thing about the Laymans is that despite their young ages, they do not shy away from deep subjects and handle them with grace and maturity.
Another thing about them is they share the spotlight with their friends. They not only brought in The Bush League and Bobby BlackHat Walters to play, they brought up Richmond entertainer Dwayne Cabaniss onto the stage to play a couple of songs; My Babe, and a blistering version of B.B. King’s Don’t Answer the Door.

After one more song by the Laymans, Won’t Let It, which caused so many people to jump up on the dance floor that the band was partially obscured. After thunderous applause an all-out jam started with members from all three bands, plus Mama Blues herself, Sandy Layman on drums and Shelly Thiss on vocals, the show was over and we had to clear out of the Camel to make room for the next band.
Kind of the metaphor for the night. Time to make room for the next band. Last night, most people agreed that band is In Layman Terms.

Next time you get a chance, be sure to check ‘em out. 

Thursday, April 7, 2016

Dave Ellis Is Straight Up Chasing A Dream

I’ve never met bluesman Dave Ellis face to face. Never spoken to him over the phone. Couldn’t tell you his address, or what his favorite meal is, and yet I consider him a great friend through our connection with the blues. Ellis is the driving force behind an incredible power trio that delivers some of the strongest blues I’ve heard in a long time.
We met – if you can call electronic messaging meeting – when he contacted me about submitting his album Straight Up for review. Since I am always interested in discovering new (to me anyway) artists, we figured out a way to make it happen and I was very impressed by his work.
Since then, we’ve stayed in touch and talked about Ellis’ desire to come to the United States and play music. In my opinion, Ellis is much more American in spirit; restless and eager to explore and conquer new worlds. Recently we traded emails about his past, his present, and his dreams for the future. 
Professor:  What first attracted you to the blues?
Ellis: First and foremost, it was the power, the sense of brooding sexuality, a foreboding sound, I'm thinking of Jimi's Voodoo Chile, with Stevie Winwood on keys and Jack Cassidy on bass. Really dark and mysterious, and of course an amazing guitar sound.  However, I had heard a lot of Delta Blues as a youngster, like Muddy, Skip James and Son House, all equally powerful and unique in their approach. It is a music I can still identify with, be it a song about lost love, loneliness, or pleasure.
Professor:  How do you describe your sound?
Ellis:  It’s a kind of Hybrid, Jimi 1970 / SRV 1989 tone I'm going for mixed with 1930's grit. The set up I use has everything to do with my sound, which is a familiar combination of pedals. I was always in love with univibes, and have the Fulltone Deja-vibe2 which is a 100% true to the original Shinei model, but more robust in build. I would have to acknowledge my two favorite artists always.  Although I wouldn't want to be a copyist in the musical sense, if I play one of their songs I'm always thinking how I feel about it. and try to put my own stamp on it. You could say my sound is full on.
Professor:  How long have you been playing?
Ellis:  40 years this summer.
Professor:  How is the blues scene in Europe and the UK?
Ellis:  There is a massive divide in interest for a start. Eastern European countries are in love with the Blues - its contemporary. I have seen a lot of changes in Poland, it was a chance email that got me there first in 2005. I had been living in Spain after a short tour and came back to the U.K to fix some business, I sent a call out to a club and it took off. Right place, right time. The U.K Blues scene is still there, but on a much smaller scale.
Professor:  Have you ever toured the US?
Ellis:  No, not yet, I played so far only once in the USA, at Buddy Guys Legends, in Chicago. It was the open night, so you better be good or it’s the door. I played with the house band 45 minutes and spent a great few lifetime memories right there with B.G. I'm on the lookout for a U.S agent right now, here's hoping. 
Professor:  What are some of the obstacles in your way?
Ellis:  There are a lot of dishonest people in the music bizz, it seems on any level, and unfortunately I have been through a lot of back stabbing. I'm not a competitive person, so it can be very hurtful when you find out. I had a major obstacle with the Polish language for a few years, thankfully now I'm through it. I can ask for all kinds of good stuff. But in reality, I have been through much worse situations, being homeless for best part of a year, sleeping rough with rats - that was no fun. I think having no financial backing makes a hard job tougher; I don't have a massive PR machine behind me so it makes getting to the right person that much harder for sure.
Professor:  How many albums have you released so far? How can people find them?
Ellis:  My latest album Straight Up is my 14th album, the only other album available at the moment is Long Time Gone a best of compiled by from the previous albums, available via
Professor:  What is your ultimate dream as far as playing music?
Ellis:  I keep having the same dream of playing Jimi's Rainbow Bridge set on Haleakala crater Maui, now that is an ultimate dream. In reality to make a comfortable living from doing what I love, but if I can have more than one wish it would be to rock with Double Trouble in Antones Nightclub in Austin, Texas.

Professor:  Where do you find your inspirations?
Ellis:  SRV is a massive influence in his battle through addiction, I really understand, having an addictive personality myself. Each day is a new struggle that I have to deal with. I find having lived this life gives me an insight into a diverse reality even though it’s a grain of sand on a beach in comparison. I consider myself blessed to be able to play. I've played concerts with some really great musicians too, Papa George in London, get out of town, he is a Lion vocally and a great guitarist.
Professor:  How much of being a professional musician is actually playing music? How much is all the rest of the business – looking for gigs, etc.?
Ellis:  On tour its 25 hours a day pro, one way or another you are on show, although most nights I play an hour and half. Other venues have different scenes, the longest was four one hour sets till late. I think it’s a life choice, the Blues, so really once you are in, it’s in for life. I am always fixing some new contacts for the next gig on the next tour in the next country, it never ends.
Professor:  Are there many festivals in Europe and the UK during the summer? Do you get many chances to play?
Ellis:  There are many Blues festivals in Europe, in summer and winter. My biggest was a solo gig in Lithuania... 16,000 supporting Big Joe Turner, plus it was on live T.V.  so the pressure is on, but the bigger the better for festivals, I project differently and love the challenge. I have been playing mostly abroad for the last ten years, so I've really gotten out of touch in truth with the U.K Blues festival circuit and now looking to a new, Honest, trustworthy agent I hope to get back into it as soon as possible.
Professor:  How did the Straight Up album come about?
Ellis:  It was a new challenge on many levels, I live in the U.K and my Bassist Jerzy Janik and Slawny Pushkin both live in Poland, so I decided to make single song videos in my apartment of the tracks, with all the changes, keys, stops and such so when we came to record it was a heads up for them.
When I arrived in Poland we rehearsed two twelve hour sessions for the first two days, went to Meksyk Studios near Beautiful Cracow, and recorded the album in less than eight hours on the third day. Most tracks are first take, and the album only has one overdub. Both Jerzy and Slaweg sing the lyric Stop Sign as a backing vocal on that track alone. They are both pretty amazing in my opinion, it’s all about the connection between us, it is my finest album to date. It was mixed a few weeks later by studio engineer Krzystof Pajak. No studio trickery, all live and direct.
Professor:  Do you have a favorite song on Straight Up and what does the title refer to?
Ellis:  It depends on how I'm feeling. I wrote about all things that were happening in my life, some songs are really moving along like Sun Goes Down. It’s about that moment we all want and sometimes get. Other days I feel the slide tracks more; it has a lot of different colors. I wanted to write songs that had substance for myself and my beliefs. Sky Blues today is about SRV for example.
The title has a few different meanings... I leave it up to the listener to decide. One thing for sure, it is the first album I have recorded completely sober, which I am proud of.
Professor:  What is your philosophy when it comes to music and life?
Ellis:  My feeling is simple, I just want to be the best I can be, continue playing great concerts with great musicians with Honesty, Respect, Peace and Love.
Ellis is hard at work lining up shows and writing his next album. He’s chasing a dream that has been a part of his life for many years and he’s constantly putting out quality work. It remains to be seen if that dream translates into reality, but if it does, I am positive that he could become a serious player of the blues.

Wednesday, April 6, 2016

John Németh Brings Soul To The Tin Pan

If anyone has ever doubted that seeing a live show is the best way to experience music, I would like to take them to see John Németh in an intimate venue and watch them change their mind. Németh may not be a household name – yet – but he should be as he is a hell of a singer, songwriter, and harmonica player that knows how to squeeze every nuance of emotion from both of his instruments.
Backed by The Blue Dreamers, a three-piece band that is comprised of Johnny Rhoades on guitar; Danny Banks on drums; Matthew Wilson on bass and guitar; and all three providing backing vocals, the group took to the stage at the Tin Pan and promptly launched into a soulful two-hour set that ran the gamut from doo wop harmonies, to funky dance tunes, and of course a whole mess of blues.
Wearing a blue jump suit that looked like mechanics’ overalls, a watch cap, and very cool sunglasses, Németh and the band started off with Long Black Cadillac, a song off of their newest album, Feelin Freaky. Most of the songs this evening are in support of the album, but even though most of the crowd wasn’t familiar with the songs, they were most enthusiastic and greeted each song with prolonged applause.
The number was slow and it almost seemed like he was feeling out the crowd trying to see what will be the best buttons to push. It needn’t have worried, everyone was quickly into the show thanks to his deep resonant voice and his solid harp playing.
They quickly followed up with a couple of more songs from the new album; Rainy Day and Under The Gun. Instead of breaking up each song with crowd banter, Németh allowed his music to speak for him. After getting the crowd worked up, he did take a few seconds to announce that it was time to play some “Cold Blooded Blues,” and the band launched into an extended song that included a killer guitar break that caused the audience to break out in sustained applause.
That was followed by Sooner Or Later You Learn and County Boy. The latter song featured an absolutely inspired harp break and a solid guitar break that really lit the audience on fire. Country Boy segued nicely into My Sweet Love and the ballad really touched the crowd.
Now it was time for the group to kick up the funk factor with You Really Do Want That Woman which made the audience want to hit the non-existent dance floor.
Now, after about 45 minutes, Németh pulled his sunglasses off and explained that he traded a cheap pair of “Mississippi Truck Stop glasses for these,” which prompted a deep voice to ask what he would trade for the jumpsuit. Németh replied that it would have to be something that would get him out of it, and “Buddy, you don’t have that…”
When the laughter died down, the group performed Testify My Love with its beautiful harmonies and doo wop flavor. It was a gorgeous song.
From there the sunglasses when back on and the band got mighty funky with I’m Funkin Out and Get Offa That Butt and moving into the hard rocking I Can’t Help Myself. The band slowed down just long enough for Németh to change harps (picking up a rocking chromatic) and tear up a version of Bad Luck Is My Name.
While it was sneaking up on time for the band to call it a night, they were still flying high on adrenaline and the audience was eating it all up. Wilson dropped his bass and picked up a guitar and the band kicked off the audience inclusive S-T-O-N-E-D, before ending the set with a funny song about temptation, Do You Really Want That Woman which was a callback to an earlier song. Anyone who has ever made a living by working the road should be able to identify with that one.
After a quick exit and return for an encore, Németh and the Blue Dreamers played the high energy Feelin Freaky and then were joined by Richmond Harp Ace Li’l Ronnie for a smoking version of Mother In Law Blues.
All in all it was another great show for the Tin Pan. The intimate setting puts every seat on top of the action and the acoustics are great. I’ve had a chance to catch several shows there recently and I have enjoyed the setting, ambiance, and the variety of performers they are bringing to Richmond.
As far as Németh’s new album is concerned, I wish I could tell you a release date. He currently does not have a date scheduled, so make sure you catch him live so you can pick up one. And if anyone can tell me why he’s not headlining major festivals, I would love to hear the reason. As a performer, Németh and friends put on a great live show and I can’t wait to catch him again somewhere down the road.

 (Portrait of John Németh by Aubrey Edwards for his website and used by permission.)