Thursday, July 19, 2018

J.P. Soars ~~ Southbound I-95

An album titled after the longest running North-South Interstate in the United States has got to cover a lot of ground. Traveling from Canada through Maine and down the east coast, finally ending just south of Miami, FL, the highway represents the distance J.P. Soars has traveled since he grew up in Cedarfield, Arkansas.  
Now a major force in the blues world, Soars has also played rock and has studied jazz greats before he focused on the blues. His newest album, Southbound I-95, is 13 tracks written by Soars along with two covers.
Soars is the main vocalist and guitarist and he’s joined by his two regular partners in crime, Chris Peet on drums, percussion, and electric and upright bass and Travis Colby on a variety of keyboards. There’s also a slew of special guests and friends contributing to some of the songs including Jason Newstead and Greg Morency on bass; Lee Oskar on harmonica; Jimmy Thackery, Albert Castiglia on guitar; Paul DesLauries on slide; Reza Filsoofi, Sam Harrisson, Oscar Santiago, and Jeremy Staska on percussion; Terry Hanck and Sax Gordon on tenor sax; Tino Barker on bari sax; and Scott Ankrom on tenor and bari sax, trumpet, and clarinet. Teresa James provided backing vocals.
The album starts off with the lowkey Ain’t No Dania Beach. It’s got a serious country vibe and at times sounds more like something you would hear on beach music shows than blues, but there’s some sweet slide guitar and it’s kind of nice to hear a real blues artists take a walk on the mild side.
The next song, Sure As Hell Ain’t Foolin’ Me, is a bit darker in tone and language. There’s a word in the lyrics that is more than frowned upon by the FCC, so those of us bound by the rules of terrestrial radio probably won’t be playing this version. It’s still a good song however with flashes of guitar pyrotechnics that will make all six-string fans happy.
Soars and his friends follow up with the title track, Southbound I-95. This is a kick ass number that uses some of the best surf rock tropes to make it work. Think Dick Dale for the guitar work, but the vocals are darker. It’s kind of like surf noir but it’s very exciting to hear.
The horn section gets a workout on the next track Shining Through The Dark. It’s a soft California style rock song that is gentle and uplifting. Soars is truly exploring new territory and turning in good performances with them. I hope he finds more of a crossover audience on the album, because he is really showing he’s not locked into one style.
He switches thing up on the old school rocking The Grass Ain’t Always Greener. I’m talking Fats Domino or Jerry Lee Lewis old school. Great piano and super energy on the vocals. This one has got to be a killer when done live and should satisfy any fan who likes the blues with a rock edge. Definitely going to be playing this one.
Speaking of old school, you can’t get much more old school than Arkansas Porch Party. Just a bunch of friends sitting out on the porch on a summer’s evening passing a bottle around (or something that can produce similar effects) and playing. No need to rush, no need to be perfect with every chord or phrase, the evening belongs to them. Sweet instrumental with lots of charm.
The band kicks things up a few notches with Satisfy My Soul. Soars growls his way through the lyrics and the music is lively. Born In California follows. This one has a darker story attached with Soars talking about his life going from California to Arkansas and now to Florida. Good song and strong vocal delivery from Soars.
Albert King’s When You Walk Out That Door is next. The first of two covers, this one gets to showcase some great work by Thackery and Soars. Pure blues and it captures King’s spirit in both vocals and guitar. This one will definitely satisfy blues fans. After that is a cover of Muddy Waters’ Deep Down In Florida, which features fellow Floridian Albert Castiglia playing guitar and adding his vocals to the mix. It’s got a cool funky feel to it and is fun to listen to.
The Latin flavored instrumental Across The Desert sweeps through and it’s a great song. I love the music from south of the border (and I’m not talking about that tourist joint in South Carolina either) and this captures it nicely. Lee Oskar’s harmonica work is a pleasure to listen to and I somehow feel like strolling into the cantina down the street…
It’s a poppy feel to the next song, Dog Catcher. It made me think of some of the best work of Dr. John, and that’s not too shabby. The percussion is very Caribbean-New Orleans and a catchy hook. Cool song. They follow that with a lower key number, Troubled Waters. It has some unusual instrumentation that makes the song standout.
The last new song on the album is Go With The Flow. There’s a little bit of Sing Sing Sing in the opening and a great big band vibe. I’ve always loved that style of jazz and this is one that I’m going to recommend to our jazz producer at the station. Cool instrumental. The last song is a radio edit of Sure As Hell Ain’t Foolin’ Me, and without that pesky word, it just might be able to get some airplay on terrestrial radio.
J.P. Soars has a well-deserved reputation as one of the hottest guitar slingers on the planet right now. On Southbound I-95 he shows great presence not only with the blues, but with a few other enjoyable genres. Many, if not most artists tend to find their niche and mine that vein for all their worth. Others like to explore new avenues and while there is no right or wrong way, I’ve always preferred those that try different directions.

Whatever you consider your cup of tea, you’ll find something on this album, and if you’re looking for a different direction, try heading Southbound on I-95 or just point your browser to http://www.jpsoars.com/

Wednesday, July 18, 2018

Shari Puorto Band ~~ Live At Bogies

Shari Puorto’s most recent album, My Obsession, was a complete breath of fresh air. I loved her vocals, her band, and thought her songwriting was a notch or two above most of the performers I had been hearing. There was something in the way she delivered her songs that made me think she would be a helluva live performer.
Thanks to her newest album, Live At Bogies, my prediction has been verified. She IS a helluva live performer and this album documents that fact in no uncertain terms. Puorto is backed by John DePatie on guitar, Frank Scarpelli on bass, Mike Sauer on drums and background vocals, and Jon Greathouse on keys and background vocals.
She delivers several of her own songs as well as covers of material originally done by Randy Newman, Savoy Brown, Steve Winwood, and Candi Stanton.  
The album kicks off in high fashion with It’s A Damn Shame. Puorto’s voice is just as powerful as ever and DePatie and Greathouse set the song up nicely and the rhythm section of Scarpelli and Sauer have a deep groove going. You can hear the audience’s energy on the opener, and I have a feeling that this is going to rock hard.
With barely a pause between songs, Puorto then launches into Home Of The Blues. I can’t wait to play this one on Time For The Blues, the real home of the blues. At least in our area. I love the way this one rocks and DePatie takes a great guitar break. Well written and performed with the highest energy.
Next up is another high energy number, Outta My Mind. I am pretty sure there was an edit prior to the song starting, but that’s not an issue when the song is this good. Puorto growls out her lyrics and her voice is in great shape. Listen for the keyboard break, nice honkytonk sound.
Randy Newman’s Guilty follows. She slows down the tempo and unleashes her soul to the audience. It’s a gorgeous cover and shows that she is not just a one dimensional performer. Damn, she’s got some pipes and doesn’t hold back one iota. Very nice song.
I remember Six Months Sober from My Obsession, and thought it was a clever song then. The live version adds a ton of energy and Greathouse has a lot of fun on the keys. Let me tell you something, those first six months are the toughest – but Puorto turned them into a great song.
After that, the band performs Sugar Daddy, a smoldering number that showcases Puorto’s vocal chops. It’s a great late night song that gives her a chance to open up her soul to the audience. Greathouse uses a retro sounding electronic keyboard that gives the song a different feel. Very cool number.
Candi Stanton’s Evidence follows. It’s got a fast pace and Puorto unleashes her inner beast as she growls through the song. This is a woman with a take no prisoners attitude, and any man in her life should take notice and act accordingly!
Puorto tells a little story to open the next song, All I Want Is You. The song is a soulful blues song that opens quietly before turning into a full throated blues song. Puorto holds nothing back and her intensity is impressive to say the least.
We all have those things that drive us crazy. My Obsession is a song about one of those things. Leave it to Puorto to find a clever way to work hers into a song that has a nice twist in its approach. I liked it the first time I heard it on her previous full album release (she’s since added an EP to her collection of releases) and enjoyed it here as well.
The band works through the slow burning All About You. Puorto is in full control, using her voice to blast through and above the music. It’s a powerful number and one that could easily pick up some airplay on our show and many others.
Puorto and company closes with a couple of covers. First up is Savoy Brown’s I’m Tired. It’s a solid blues rock tune that comes in loud and proud and full of attitude. Can’t go wrong with this one if you like your blues with a razor sharp rock edge. Great choice for the band.
She ends the album with Steve Winwood’s Can’t Find My Way Home. It’s a lovely low key song that strips everything down to its basic components. It gives the album a touch of sentimentality and shows Puorto’s softer side. She’s been mostly edgy and funny, but here she’s much more vulnerable. Beautiful ending.
Let me say this as plainly as I can. I think that Shari Puorto could be the next big breakout singer. She’s got all the tools – a great voice, a top notch band, and superb writing skills. This latest album, Live At Bogies, shows that she can work a crowd extremely well and her song selection is quite moving.
If you’re not yet a fan, drop by her place on the world wide web at https://sharipuorto.com/ and look over her albums and make plans to catch her live.
And Shari, I hope you’ll be heading to the East Coast sometime in the near future!





Tuesday, July 17, 2018

Allman Goldflies Band ~~ Second Chance

 
The debut album for the Allman Goldflies Band, Second Chance, is firmly in the “damn glad I found it” category. The ten-song disc is a mix of Southern Rock mixed with modern blues. Gary Allman, cousin to the well-known Allman Family Band, puts his gravel edged voice to work on vocals and plays keys. He is joined by David "Rook" Goldflies who helped anchor the rhythm section of the later Gregg Allman band, on bass.
Joe Weiss plays a mean guitar and Shawn “Shack” Shackleford handles the drums.
The album starts off with what could be an essential blues tune, Ever Been So Lonely Baby. Just from that title alone you know it’s going to be a good song, and only a few bars in I can tell you that it’s better than good. It’s a solid blues rock number that should satisfy anyone who loves either genre.
They slow things down for a lovely ballad, Standing In The Georgia Rain, that could have been recorded by any of the best Southern rockers. It has a sweet acoustic guitar that underlies Allman’s vocals. It’s not really heavy blues, but it is good listening.
The next number, Southern's All I Ever Want To Be, is more gentle Southern Rock as opposed to blues, but for those of us raised in the south, we’re used to our music blurring genre lines. Soul blends with blues, country blends with rock and it all used to get mixed together on our airwaves. I miss hearing all the different kinds of music standing together side by side. This album is a nice throwback to those times.  
Allman’s keys give Yesterday's Blues a powerful touch. Especially when answered by Weiss’ plaintive guitar. The song creates a melancholy mood that lingers long after the song is finished. Beautiful song. Fadiddle is a hypnotic instrumental that pulls you in quickly and would at home in a Klezmer show or even a bluegrass festival.
They have a song listed, Baby Show Me How, that won’t play on my player, so I’m requesting a new copy so I can write it up for you.
The next song, Pretty Green Eyes, starts out dark and heavy. There’s an ominous feel to the music and yet the lyrics are quiet and lovely. I truly thought there was a woman singing backup on it, but it turns out that it was David Goldflies, but he did a nice job with it. Weiss plays a great guitar bridge.
They follow up with the funky number Can't Turn Back Now. This has a sort of Stax feel in the music and the lyrics have kind of a ‘70’s vibe as well. It’s fun and I would love to see them perform it live to see how an audience reacts. More soul follows with You Gave Me Love. Nice guitar work from Weiss and a great late night song that will be popping up on my home playlist.
The album closes out with the gospel inspired When Jesus Calls. Nice addition of a choir and churchy piano. The song may not be for everyone, but faith is always a good thing. Good touch for ending the album with one more genre added to the band’s list.
The Allman Family pedigree continues to deliver great music to us well into the next generation of players. While there are definitely blues roots in the group, this is not a straight up blues album. It falls more on the rock side of the fence to my ears, but that’s not a bad thing at all.
Put the Allman Goldflies Band on your radar and check them out online at http://allmangoldfliesband.com/.  


Monday, July 16, 2018

Little Boys Blue With Kid Memphis ~~ Hard Blue Space

I was a little behind the curve when the previous album was released for Little Boys Blue and missed it for about a year. Once I heard Tennissippi however, I was hooked on the sound and went looking for more. Fortunately, a copy of the new album that they created with Kid Memphis, Hard Blue Space, landed in my mailbox to make my day.
The band is made up of JD Taylor on lead vocals and harmonica; John Holiday (Kid Memphis) and Alex Taylor on guitars; Andrew White on guitar and slide; Dave Mallard on bass; Mark Brooks on drums; and Dave Thomas on B3 and piano. Guests include Brad Webb and Wes Henley on additional slide work, and James Buster Cherry on bass for the last song.
Taylor is the main songwriter on the album, writing or co-writing all ten of the songs. Holiday collaborated on two songs and Alex Taylor co-wrote on one.
The album starts off with percussive beats behind Taylor’s harp. Six Foot Down is a driving dark tune and one that will hook you immediately. Little Boys Blue is a hard playing blue collar blues band that rarely gets too fancy. Straight ahead blues is their specialty and this song sets the tone very well.
Taylor’s harp introduces the next song, Loving Kind, and the band responds with a mid tempo tune that just might get the audience out of their seats and on the dance floor. Taylor growls his vocals without menace and there’s a solid guitar bridge and a great harp break as well.
They slow things down to deliver a slow burning song, Blues Bug. This is sweet soul blues that is very effective. This is a great late night tune that is going to go on my home playlist immediately.
Next up is the title track, Hard Blue Space. It’s a ballad that has some nice slide work in it and some nice understated keyboard work that sets up Taylor’s harp. His harp work has a seriously good tone to it, I’m very impressed by his playing.
Morning Train starts off as a shuffle that could definitely get an audience moving. Kid Memphis takes a strong guitar break and the lyrics are okay. Plenty of blues songs have sung about trains in the past so it’s difficult to come up with something completely new.
Next up is the kicking number Cold Inside. A solid blues rock song that gives the rhythm section a chance to drive things. They keep it going with the boogie song Might As Well. This is a very fun light hearted song that I would love to see them perform live – I think the audience would eat it up. Thomas’ piano rocks. You’ll be hearing this one and several other songs on Time For The Blues.
Another soulful blues tune follows, Got A Mind Of Your Own. I really like this one a lot and can’t wait to hear more like it. Taylor’s harp playing is particularly inspired for this one and sets up a guitar break very well.
The strongest blues song on the album, If The Blues Start Calling, is also the longest at just a bit over six minutes. This is the song that I could easily see standing up with some of the other great songs of the past and become one that is covered by many other groups. It’s a simple structure that allows the guitar and harp to build exciting leads. Love this one.
The album closes out with Going Back To Memphis, another straight forward blues song with a driving beat and some nice harp work. It’s got kind of Johnny Rivers feel to it. It’s a good fun song and a great way to end the disc.
If they are not there already, it’s time to put Little Boys Blue on your radar. They’re a good band, solid players and performers and I’m sure they put on a great live show. Head on over to their part of the VizzTone label website at http://www.vizztone.com/little-boys-blue/.


Sunday, July 15, 2018

Sunday Round Up ~~ July 15, 2018

It’s another Sunday, so it’s a chance to do some quick reviews to catch up on so many of the great albums I’ve missed writing about. Nothing fancy here, no in depth analysis – so let’s get going on this week’s Round Up!
John Lisi & Delta Funk – Shut The Front Door
I got to know John Lisi as he traveled around with Jason Ricci and leading his band. On those trips, Lisi stands back and lets Ricci have the spotlight, but on this album, he really gets to let loose on 13 tracks of bluesy funk and rock. He’s a solid guitar player, his vocals are versatile, and the musicians he’s assembled kick some major ass. There are several standout songs, a couple of personal favorites being Where’d Ya’ Go Radio and We Sho’ Ain’t Saints. You can find the album and information at his website: http://www.johnlisi.com/ and I understand he has a long standing weekly gig in New Orleans and he brings together a number of great musicians to jam, so if you’re in the area, be sure to check it out.

Tim Woods – Human Race
Very sweet blues album with traditional elements and Woods plays a mean guitar and his vocals growl as a man who has lived a hard life would. There are 12 songs with power – 11 of which were written by Woods. The only cover, Black Maria, is a beautiful lush version. Woods does a great job creating blues with a rock edge – or is it rock with a blues edge. Whichever way it falls, the combination is sure to please blues-rock fans. Pick up your copy of the album at https://timwoodsmusic.com/ and check out his touring schedule for the next couple of months. I have the feeling he delivers a great show.
Sugar Brown – It’s A Blues World…Calling All Blues!
Okay, I have to be honest (as I always try to be, fingers crossed), I was not familiar with Sugar Brown, but became fascinated when I read his biography. An American born to an immigrant Japanese mother and father, who is now living in Toronto, where he is a professor of history at a major university by day and a strong multi-instrumentalist on the blues scene by night. He’s been a finalist at the IBC in Memphis and this is his third album – and I’m looking for the first couple, because this one is one of my favorites so far this year. I’ll be playing a lot of his songs in the near future if I can get it out of its permanent position in my car stereo. If you’re intrigued, great! Go to http://sugarbrownmusic.com/ for more information, but trust me, just go ahead and order the album. You’ll be glad you did!
Whitney Shay – A Woman Rules The World
Oh woman is this a great album! Shay has a great voice and she’s surrounded herself with some amazing musicians including Jim Pugh on keys, Kid Anderson on strings, Sax Gordon on what else, saxophones, Kedar Roy on bass, and even Igor Prado joining in as a guest on one song. But even with that line up, it’s Shay’s voice that is the undisputed star of this swinging blues album. You better believe that she is going to be appearing on our show – A LOT! Fair warning. Pay her a visit at her place on the world wide web https://www.whitneyshay.com/ and get the album, and for gosh sakes, go see her live.
Okay, there’s four quick and dirty takes on albums and artists. Please come back every day to see what’s going on in the world of the blues. And if you are an artist that wants to see me write about you or play you on Time For The Blues, send me your material to the address below.

WCVE Music
23 Sesame Street
Richmond, VA 23235
Attn: Time For The Blues / John Porter
And if you have old blues, Americana, Roots, Jazz, or whatever CDs lying around – maybe you’ve gone digital or vinyl or 8-track and have all and have a bunch of CDs taking up space – we can help. We’ll take them to help build up our library for future shows. Reduce clutter and preserve the blues. It’s a win-win proposition. Same address as above.
PS – Our address really IS on Sesame Street believe it or not. Big Bird is here, so is Cookie Monster, Bert and Ernie.


Saturday, July 14, 2018

Ally Venable Band ~~ Puppet Show

 It wasn’t that long ago that I heard my first Ally Venable album on Connor Ray Music. I was immediately impressed by her musicianship and wondered if it was a fluke, or if she was a genuine talent that could continue to create great music.
Now, with the release of her latest album, Puppet Show, that question is answered. She’s good, damn good and proves that she is no flash in the pan. Her guitar playing is strong and her vocals are even stronger. She manages to keep a sharp edge on both through the entire album.
Venable is backed by Elijah Owings on drums and Bobby Wallace on bass. Special guests include Gary Hoey and Lance Lopez on guitar on one song each and Eric Steckel and Steve Krase on keys and harmonica on two songs each.
The album explodes with a serious rock blues song, Devil’s Son. Venable seems to be one of the great proponents of blues with a serious metal edge. Blistering guitars are the norm, but listen to her voice, it’s not shrieking, it’s controlled and conveys great emotion. If you’re looking for quiet front porch blues, this is probably not going to be your cup of tea, but if you like your music on the dangerous side, stick around. Gary Hoey guests on the song.
She keeps the intensity high with the next song, Bridges To Burn. It’s a gutsy number that is reminiscent of those artists who mixed the blues with rock and roll in the mid-1960’s to great effect. Venable takes her vocals to the breaking point with a nasty snarl – punk attitude is perfect for heavier blues songs like this.
Next up is Cast Their Stones, another song that bolts out of the gate rapidly, but this time she lets the song slow down a little bit and push the rhythm section a little more. It’s a good track that again walks a tightrope between blues and rock, but considering that Venable is still so young, one must expect her to experiment while she is finding and refining her sound.
Steve Krase lends his harmonica to the delta sounding Backwater Blues. Here’s one for the purists with a beautiful low key old school style number – or so they will think. Yes, Venable pulls a musical switcheroo and turns the song sideways until it lands upside down with some great edgy chops. Yeah, you’ll be hearing this one on Time For The Blues. Maybe a few other shows as well.
She follows up with a gender reversed cover of a Taj Mahal classic. He Caught The Katy features Krase once again on harp and adds Eric Steckel on keys and delivers a kicking honkytonk version of the song. It’s true to the spirit of the original and Venable still makes it sound like it’s hers.
She follows up with the title track, Puppet Show. This one is darker in tone and by slowing the tempo she ratchets up the power. Forget how young she is at this point in her career, she has a great approach in both her guitar and vocals. She creates great music.
The longest song on the album is next, Comfort In My Sorrows. Strangely enough, it’s the song with the fewest lyrics. It’s a slow burn that will get into your soul and light a fire. I love the song, and even though we rarely get a chance to play songs that run seven-plus minutes, I’ll be looking for the perfect place to add this one to a playlist.
She picks up the tempo and plays some gritty choppy guitar on Survive. Joined once again by Steckel on keys, the song delivers some more solid rock blues. This could easily be a crossover song for those few stations brave and ambitious enough to go looking for quality material and not just the same old same old.
Venable continues rocking on Waste It On You. Decent song and consistent with the high caliber on song she’s been performing on the album. She closes the album with Sleeping Through The Storm, a high energy funky number in the ZZ Top vein. Solid song and a great way to end the album.
This is my second time listening to an Ally Venable album, and she continues to impress me with her songwriting, playing, and vocals. One thing I especially like about her label, Connor Ray Music, is their commitment to working with new talent and surrounding them with players that can push them to reach higher while supporting their dreams.

Check her out at http://www.allyvenableband.com/, and make sure to catch her live if she comes anywhere near you. 

Friday, July 13, 2018

Bobby “BlackHat” Walters Delivers A Great Show At The Tin Pan


The motto for every show that features harmonica master Bobby “BlackHat” Walters is, “You never know what’s going to happen at a Bobby BlackHat show.” If there were ever a case of truth in advertising, it most certainly is the show that Walters and his four-piece band unleashed in Richmond’s Tin Pan tonight.
It was difficult to get an accurate head count of the audience, because every single person was milling about, greeting old friends and being greeted in turn by Walters or one of his bandmates. Walters is backed by keyboard extraordinaire Lucy Lawrence Kilpatrick, guitar wizard Tom Euler, and a kick ass rhythm section comprised of Michael Behlmar on drums and Brian Eubanks on bass.
Starting promptly at 8:00 p.m., the band quickly got the audience on their side with Euler’s ripping guitar leading everyone into a spirited rendition of I Know What You Mean. It was such a smoking version of the song that at one point Walters tried to fan Euler while he was playing furiously.
Walters and the band ran through a fast paced set comprised mostly of original songs, with a few covers thrown in for fun. All of the musicians are talented and strong enough to anchor their own bands, but together they are an unbeatable force.
Behlmar takes on a hard driving drum run as the band moves into a great version of Further On Up The Road. During the song there was a fine break that started off with Kilpatrick and shifted to Euler. The band would repeat this linked performance on a number of songs, with Walters adding his harp to many of the songs, mixing things up nicely.
Walters then delivered the most moving song of the evening, I Hear Mama’s Voice a very emotional number dealing with the phenomenon of hearing your mother’s voice in your head after she passes. A beautiful piano run by Kilpatrick added to the mood and there were few dry eyes in the house.
As Walters needed a little time to recover after that song, he turned the vocals over to Euler for a fun song, Lie To Me, which featured an extended jam that had Eubanks and Euler slipping in a famous riff from the Rolling Stones’ Miss You.
From there, Walters got back behind the mic to provide the vocals on a fun song for the parents, Nursery Rhymes Shuffle. He took a series of Mother Goose rhymes for kids and turned them into a terrific blues song. During the song, Walters walked through the audience and had a great trade off between harp and guitar.
Next up, Walters called up his lovely wife Joy for a terrific slow blues number, Good Explanation. I would never believe the interplay between a couple that hadn’t been together as long as the Walters’ have been. Joy Walters has a great voice and held her own every step of the way, and even got in more than a few punches of her own.
To slow things down, Walters and the band played a stunning version of Leonard Cohen’s Hallelujah. The instrumental gave Walters’ harp the lead and it was a beautiful sweet rendition of one of my favorite songs.
Giving the audience a chance to choose between a fast song or a slow one, and having them choose a fast one, the band pulled out all the stops for Two By Four. Walters then called up two performers from the audience, jazz chanteuse Sharon Rae North and a sax player he had never met before named Dave. North and Dave then helped out on a wonderful version of Stormy Monday.
To prove that you absolutely could never know what would happen at a Bobby BlackHat Show, he followed up with another guest performer – your humble narrator – to help him perform a dark and spooky number. I added music from my instrument, a didgeridoo, to add a series of dark and strange sounds.
Some liked it, others not so much, but it was a lot of fun for me and one of the scariest four minutes I’ve ever spent.
As the band was running out of time, Walters made sure to get in a rendition of Honey Biscuit (a terrific song about his love for his wife), which was also the name of a special cocktail the Tin Pan created for the evening.
They then launched into a version of Red Shoes, one of Walters’ signature song and with the house lights fully up, he moved around the crowd and danced with most of the ecstatic members of the public before closing with a hot cover of I’ve Got My Mojo Working complete with audience participation.
If there were any people in attendance who were not friends or admirers, they left as enthusiastic devotees waiting for the band’s next appearance in the area.
One motto of live music is, “It there aren’t butts in the seats, there are no bands on the stage.” Walters believes this deep in his soul and pours his heart into every show. You will never get a half-hearted performance from him or any member of his band. If you get the chance to see this great band, don’t pass it up.
To see what’s coming to the Tin Pan, be sure to check out their website at https://www.tinpanrva.com/ and see when Bobby and the gang are playing near you at https://www.bobbyblackhat.com/.