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Wong is known to many for his work as a member of Vulfpeck and The Fearless Flyers, his collaborations with Dave Koz, and guest appearances on CBS’ The Late Show with Stephen Colbert and Minnesota Public Radio’s Live From Here with Chris Thile. He also hosts a popular podcast Wong Notes that’s presented in partnership with Premier Guitar Magazine and just unveiled his own variety show/web series called (what else?) Cory and The Wong Notes showcasing live performances, original sketch comedy, special guests, interviews, and much more on his YouTube channel. He’s a relentless creator and Renaissance man who seems to never stop working and consistently reaches new artistic milestones.
How do you like your rock ‘n’ roll? If the answer is safe, sterile, sexless and spat out by the corporate machine, then move along. But if your wish-list takes in soul, swagger and smack-in-the-mouth stagecraft, then Jane Lee Hooker is the band you’ve been gasping for.
Tearing out of their native New York in 2016 with white-knuckle debut album No B!, these five rockers fuse the sticky thrills of golden-era punk and blues with a healthy slug of modern attitude. “Not a lot of bands can capture the excitement, sweat and charisma of the ’70s bands we grew up listening to,” they say.
With his solo album number 9, T.G. Copperfield with active support from producer and musician Dr. Wants to delve deep into the world of the Wild West. Snakes & Dust tells the story of gunslinger El Cid as he battles his demons and seeks redemption. Conceived as a roots rock opera and concept album in the style of the 70s, the record captures the inner life and adventures of the hero in an atmospherically dense manner and makes the journey through the 10 songs a cinematic and highly varied experience, in which images immediately appear before the Build the listener's eyes. In the best case, one enjoys the album in one piece, only then does this work unfold its full splendor.
Recorded in autumn/winter 2021, songwriter, singer and guitarist Tilo George Copperfield was once again able to gather handpicked musicians from the southern German blues and roots scene. In addition to bassist Juergen Reiter (The Wizards), Ferdinand Jerry Roll Kraemer (Black Patti) on the mandolin can be found on the album, as well as members of Copperfield's Electric Band (Claus Baecher on keys, Michael Air Hofmann on backing vocals). dr Will orchestrates the whole thing like an old master and carries his influences from Tom Waits to Los Lobos and Steve Earle into the always exciting music, in which you only recognize all the nuances after several listens.
This time recording and production had more to do with gut feeling than usual. Only a few takes to keep the directness of the live performance and convey the magic. Many acoustic instruments, such as the banjo or the double bass were central. Copperfield and Will proceeded like modern-day traditionalists, experts in blues, roots and rock and roll, using whatever they enjoy most. The many years of experience and attention to detail can be heard at Snakes & Dust at every point. A true Labor of Love.
‘Wow is all I got to say after that, and boy can Deborah Bonham sing’
Johnnie Walker BBC Radio 2
Over the course of an impressive career, Deborah Bonham has established herself as one of the finest blues, rock and soul singers the UK has produced. A string of critically acclaimed original album releases, captivating standing ovation concert performances at the Royal Albert Hall, London Palladium and on the USA Stars Align Tour with Paul Rodgers, Jeff Beck and Heart’s Ann Wilson, have continually followed her while also garnering rave reviews. “Strong voiced, personable and quite the rock & roll singer. This woman, Deborah Bonham (the sister of the late Led Zeppelin drummer) earned a standing ovation at the end of her set, clearly a welcome addition to the tour.” (Stars Align Tour, Holmdel, New Jersey) – Elmore Magazine
Belfast born guitarist Peter Bullick, lauded by the press for his passionate and exceptional playing, paid his dues playing clubs and theatres across the UK and Europe for many years. The constant touring allowed Peter to develop his own style while holding dear guitarist Rory Gallagher and others who were a big influence on his playing. Of all the guitarists that influenced Peter it was Paul Kossoff with whom he connected with the most. Years later Pete’s playing would not go unnoticed by none other than Paul Rodgers who selected Pete and the rest of Deborah’s band to back him on his Free Spirit concerts and tours of the UK and USA. “Guitarist Peter Bullick constantly showed why Paul Rodgers touted him as a replacement for Kossoff should Free ever reform. His bluesy but always economic fills and solos lit up the stage.” – Tight But Loose
Deborah and Peter along with their powerful soul infused band (featuring players who have themselves played and recorded with Paul Rodgers, Robert Plant, Steve Marriott, Freddie Mercury, Rory Gallagher) and special guests have recorded a new blues/rock inspired album named BONHAM-BULLICK. The Bonham-Bullick album is a departure for Deborah and Peter as the album is a song book of interpretations of some great and obscure songs spanning 7 decades. The Bonham-Bullick album takes you on a journey with songs from O.V. Wright, Johnnie Taylor, Ann Peebles, Bernard Fowler, Mark Lanegan and others. Deborah and Peter throughout the recording process of the album have shown a deep respect for the original songs while reaching deep into their hearts and souls to make each song an exciting new adventure for the listener. The Bonham-Bullick album is scheduled for release Spring 2022 on USA label Quarto Valley Records (QVR).
Bonham-Bullick will be out on the road soon promoting the new album. If you have seen the band perform, you know what all the talk is about. If you have not, be on the lookout for BONHAM-BULLICK in 2022, you’ll be blown away. “Deborah Bonham -The best female vocalist and tightest band we should have been hearing for the last 20 years —An arena- worthy show in a (New York) club!” Carol Miller Q104.3 – Get the Led Out
CHRIS THAYER AND THE TCB (formerly Big Papa and the TCB) was born in the back alleys and seedy after hours parties in juke joints. Their high energy blend of blues, R&B and rock is a guaranteed good time. They have released six full length albums and their newest EP, “Where There’s Smoke, Part 1” is available on all streaming platforms.
They’ve had songs appear in television and films, including their song, "GO BIG PAPA!" being used in the national television ad campaign by Papa John's Pizza CHRIS THAYER AND THE TCB has also garnered several awards. They won "Best Song" and "Best Blues Album" at the 2008 Inland Empire Music Awards for their second CD, 12 GAUGE INSURANCE PLAN. Their first disc, NICE 'N' GREAZY, won three 2007 Inland Empire Music Awards, including “Best Live Band,” “Best Blues Album” and “Best Song." Likewise, they were nominated for Best Swing in the 2008 Orange County Music Awards.
The current lineup is by far the best this band has ever been.
CHRIS THAYER is on vocals and guitar. He’s joined by original bassist and longtime friend Steve Brown on bass. Maurice Oliva and Jeff Waldon are on saxophones, Hebie Castro is on drums and Caleb Roseberry is on guitar.
Formed in 2006, CHRIS THAYER AND THE TCB have taken audiences by storm all across the Western US with their mixture of jump blues, rock and swing. They have shared the stage with blues legends like Robert Cray, Johnny Winter, Big Bad Voodoo Daddy, Tommy Castro, Coco Montoya, Fabulous Thunderbirds, James Hunter and Rod Piazza & the Mighty Flyers.
Their latest EP, “Where There’s Smoke, Part 1”, mastered by Grammy Award winning mastering engineer, Robert Hadley of the Mastering Labs, is slick, high energy set featuring 5 new recordings, including the local fave, "Worst Part of the Day." Previous releases include LET YOUR HAIR DOWN, SIX PACK OF COOL, DANCE WITH THE DEVIL, BUCKSHOT LOVE: LIVE FROM THE RHYTHM LOUNGE, 12 GAUGE INSURANCE PLAN, and NICE 'N' GREAZY.
In addition to a two year sponsorship from Sam Ash Music, CHRIS THAYER AND THE TCB have signed endorsement deals with Heil Sound Microphones, Furman Sound and Levy’s Leathers Guitar Straps.
MOONLIGHT LOVE AFFAIR is a love relationship in which there are no boundaries - The moon colors the world in a different light and makes us see and feel things with different eyes. So in a perfect digital world it is inevitable to let the organic flow in, to look at the other side and to unite. This is exactly what Parov Stelar does to perfection with this album. He takes the digital and organic worlds, combines them into one massive masterpiece and is not willing to compromise, because in compromise both sides always lose.
Parov Stelar completes another phase of his artistic development with the album Moonlight Love Affair. Radical honesty, openness to himself and his environment pave this path.
I CAN SEE MUSIC, I CAN HEAR ART...the album artwork designed and painted by Parov Stelar himself closes the circle and completes the total work of art of all senses. The album MOONLIGHT LOVE AFFAIR will be released on 29.04.2022 and shows all facets of the artist. Raw and unvarnished, thereby vulnerable, powerful and beautiful.
Lew Jetton & 61 South blur the line between straight blues and southern rock.
Jetton's breathy vocals are paired with an amazing rhythm section (Greg Walker on bass and Eric Eicholtz on drums). , and his guitar shares space with Sam Moore and Dan Bell's organ.
Con una sección rítmica imponente (Ismael Colón y Alfonso Fernandez) y colaboraciones de primera en los teclados (Oscar Plazaola, Jesús Lavilla). Grabado en Wk Studios por David Navarro Llegó the day of the street!!! My new album "Blues Therapy" is now available on all digital platforms.
Beautifully mastered by Simon Gibson at Abbey Road, DEBUT employs a complex variety of blues & rock riffs and thought-provoking lyrics in celebration of the human experience.
At one end of the pentatonic scale, The Road and Come Home are simply innocent love songs, and Long Time Old muses wistfully on the nature of love itself; at the other, Light As A Feather (Jenny's Song) is a gentle and uplifting song despite its introspective take of the nature of mortality. Perhaps with the most 'edge', Flesh & Blood examines the deep misogynies found everywhere in modern life; from pornography to organised religion.
Later in the album, No Revolution is an unapologetically reference-strewn homage to John Lennon and Yoko Ono. It begins with the dark horror of the Chapman shooting at the Dakota, featuring a radio report from a local NY station. Then ruminating on Lennon's well-known (ambiguous) views on the validity of political revolutions, it contains a few badly-hidden references to the pessimism of 'Working Class Hero' as well. It's perhaps also a wider observation of the insanity some seem to exhibit when presented with mega-fame. And yet, refusing to bow to misery, the lyrics also celebrate the timeless optimism of 'Imagine'.
Invisible lightens the mood a little, featuring an ageing hippy, diminished by the tyranny of youth around him, resenting becoming all-but-invisible, whilst he nurses his whisky. Then again, he still manages to step out with the pretty lady at the bar as the credits roll. Was she real though? Was he real? Does it even matter if no-one can see you?
Last but not least, perhaps chiming with the timeless concepts behind the rest of the album, but with tongue-firmly-in-cheek, Look Under That Rock asks us to imagine the band's avatars being electro-ported to Mars a hundred years from now, and playing to thousands of cheering Martians at the yet-to-be-built Gale Crater Space Coliseum *.
(* - which is why we're so grateful to NASA's Burt Ulrich for allowing us to use the images from ''Curiosity' for our album cover. Cheers Burt ;-) ).
In any event, hopefully there's something on this album for everyone ...
Ted Nugent's latest album Detroit Muscle. Detroit Muscle is produced by Michael Lutz and Nugent. When asked about the album, Nugent says, "The mighty Motor City is forever globally known as the epicenter of the ultimate high energy soul-music firestorm, and everybody desperately needs a suckerpunch of Detroit Muscle now more than ever. Relax, it's good for you. " To download, go to Telegram
With her feet planted on both sides of the blues-rock divide, Dana Fuchs is one of the fiercest voices in modern-day roots music. She’s equal parts soul singer and bluesy belter, funneling her own story — a tale of small-town roots, family tragedy, trials, and triumph — into the amplified anthems and haunting ballads that fill albums like Bliss Avenue and Love Lives On.
With her newest project, ‘Borrowed Time,’ she digs deep into her southern rock upbringing, saluting the loud, guitar-driven sounds that sound-tracked her childhood years in rural Wildwood, Florida.
Wildwood was a small place for someone with such big ideas. Raised by an outspoken family of Irish-Catholic New Yorkers, Fuchs didn’t fit in with the conservative culture of her hometown, and she developed a rebellious reputation at a young age. Music helped level her out. “My first-grade teacher took me under her wing,” she says of those early days in the Deep South. “I just loved music, so she took me to her Baptist church on the black side of town, where I was exposed to a lot of soul. That sound stuck with me.”
Equally influential were the bands that her older siblings preferred, from British classic rockers like The Rolling Stones and Led Zeppelin to American acts like Lynyrd Skynyrd. This was music that sounded like home, full of gospel-sized grit and bluesy bombast. At the same time, it offered a glimpse of a larger universe that lay beyond Wildwood’s borders. At a young age, Dana learned that rock & roll wasn’t the story of the American South. It was the story of the modern world.
‘Borrowed Time’ explores similarly universal territory. Arriving several years after Love Lives On — her tribute to Memphis staples like Stax/Volt, Hi Records, and Sun Studios, with groove-driven soul songs that served as a backdrop for personal lyrics about her family’s struggle with addiction and mental illness — the new album gazes outward, replacing the autobiographical spirit of previous records with tracks that follow other characters’ paths.
“This is my first time telling so many other people’s stories,” she admits. “Over the past two years, most people have realized there’s no going back to normal. And really, do we want to? I went back to school and had a baby during the pandemic, so I hope I’m coming from a greater place of wisdom and empathy when I create music now. It was time to get out of myself and deliver songs from another person’s viewpoint. We’re all on this planet together, after all, living on borrowed time.”
“Nothing You Own,” with its rasped vocals and guitar arpeggios, was inspired by a report about impoverished South Africans in a Cape Town slum, while the mid-tempo “Call My Name” turns the tale of two women riding out the Liberian War in a refugee camp, into a universal story about love and companionship. “Double Down on Wrong,” which opens the album with rock & riffs and four-on-the-floor percussion, even takes aim at the politicians who’ve sown distrust and discord into our everyday lives.
To find a musical backdrop for those stories about beauty, suffering, and humanity, Fuchs let go of the reins at Tom Ruf’s behest, and hired an outside producer for the first time. She found a “walking encyclopedia of all genres of music” in producer Bobby Harlow, who encouraged her to focus not on the genre-bending mix of influences that permeated her earlier work, but on the rock & roll that first captivated her attention back in the Bible Belt.
Along with bandmates like bassist Jack Daley and guitarist Jon Diamond — the latter of whom had taken Fuchs under his wing during her early days in New York City, guided her early exploration of blues music, and co-produced her first four albums — Fuchs headed to snowy Michigan. There, joined by guitarist and recording engineer Kenny Tudrick (The Detroit Cobras), drummer Todd Glass and keyboardist Jordan Champion, the group recorded Borrowed Time in eight inspired days. “We tracked everything live, and it was our first time recording an album with another guitar player,” Fuchs explains. “We were going for that rootsy, Stonesy rock & roll sound, so it was like having Ronnie Wood and Keith Richards in the band. The guys would just start jamming, and suddenly, a song that was written on acoustic guitar would turn into this big rocker, and we’d record it on the spot. The most takes we did of a single song until we got it right was three. It was the fastest album I’ve ever made.”
For fans who first discovered Dana Fuchs in the off-Broadway musical Love, Janis (where she portrayed Janis Joplin) or the Golden Globe-nominated film Across the Universe (where she sang The Beatles’ “Helter Skelter”), Borrowed Time also makes plenty of room to highlight her show-stealing voice. The UK’s Classic Rock Magazine praised those vocals as “juke-joint dirty and illicit, evoking Joplin, Jagger and a cigarette bobbing in a glass of bourbon,” while PopMatters enthused, “Dana Fuchs has one of those unmistakable voices, one perfect for exploring the confluence of blues and soul, the places where Otis Redding and Janis Joplin rub elbows and where the night and smoke get thick.” The praise is well-deserved, with Fuchs turning ‘Borrowed Time’ into a showcase not only for her raw, rock-inspired rasp, but also the southern twang of “Lonely Lie” (“that’s my tribute to Lucinda Williams, who took country to this this dirgey place that I love,” she says) and the gruff, Springsteen-sized delivery of the album’s title track.
You can take the singer out of Wildwood, but you can’t take the Wildwood out of the singer. Decades after her musical awakening in small-town Florida, Dana Fuchs pays proper tribute to the sounds of the south — particularly the loud, seat-shaking slash-and-burn of rock & roll — with Borrowed Time. “In my genre, you’re never going to do a show without someone asking for ‘Freebird,'” she says with a laugh. “Instead of covering Skynyrd, I just made my own southern rock album.”
‘Borrowed Time’ also finds her reuniting with Ruf Records, returning Fuchs to the label’s roster after the independent release of Love Lives On.
With songs that emphasize support and sisterhood during times of struggle, Borrowed Time is an album for the present, inspired by the incendiary music of the past. “This marks the beginning of Chapter 2, in music as well as in life,” says Fuchs. “I’m going out into the world and writing about the people who share it with me. My own story is always going to be in there, too, but this is the first album where other people’s stories are informing my own emotions.”
‘The Soul Food Store’ is the new 11-track album by Matt Pearce & The Mutiny, released on April 29th through Mutinear Records. Like his debut release ‘Gotta Get Home’ the self-produced album features Matt as lead vocalist, guitarist, and songwriter, aided and abetted by some top tier, London blues scene talent.
Matt explains how the album came about:
“So… what is ‘The Soul Food Store’? A place, a state of mind, a feeling? When the song came along, mid-lockdown, it seemed to tie together all the songs I’d been working on, gave it a focus.”
“I wanted my album to be what my favourite music is to me, somewhere to go to be happy, laugh, sing, dance, forget all my troubles, or be comforted despite them. These 11 songs run the gamut of my musical influences, if ‘Gotta Get Home’ was a statement of intent, that bluesy rock could be funky, then this album is about me being at home, with all the music I love.
So as well as the funk and the rockin’ blues there’s some soul, and ballads, and psychedelia, and maybe even a little disco vibe creepin’ in… All the sounds that put a smile on my face and that I hope will do the same to you. But to get back to ‘The Soul Food Store’… the whole point of this album is to combat the negativity that’s so easy to give in to these days, and like the old song, accentuate the positive! But always with a grooove… As the last song on the album says, ‘everybody should be king of their world every day…’
So… ‘The Soul Food Store’ is opening soon, you coming in..?”
For more than six decades, Robin Trower’s career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. He’s been the driving force behind Sixties icons Procol Harum. The transatlantic solo star who filled US stadiums with 1974’s ‘Bridge Of Sighs’. The collaborator and occasional supergroup member. The elder-statesman songwriter whose late period still crackles with invention.
Turning once again to his trusty toolkit of Fender Stratocaster and Marshall amp, Trower’s guitar work is ageless, whether that’s the tough chop of Ball Of Fire, Losing You and Cloud Across The Sun, or the slower-burn wah squalls of the title track and Deadly Kiss.
On Waiting For The Rain To Fall, Trower’s playing is crystalline as a dew drop, while theaching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue.
It’s been 15 years since my last release ‘Stronger Every Day’. Most of those 15 years I have been managing a motorcycle dealership in the Dallas area. During that time span I was playing mostly local gigs and very part time. I was ready for a break from the road and full time gigging.
We closed the shop in 2018 and it seemed like the right time to start focusing on music again. Well…timing is everything right? We all know what happened in 2020!! Gigs went away, but gave a lot more time for writing and practicing. I even learned to play the upright bass. Well…here we are. I hope you like this batch of tunes.
Mike Morgan:
This recording is dedicated to the loving memory of my sweet mother Shirley Morgan. I miss you dearly!! My partner in music and dear friend; The Great Lee McBee. My dear friend and musical inspiration – Lazy Lester.
Special thanks to:
Pamela Rhoades, Anson Funderburgh, Reo Casey, Shawn Pittman, Pappy Middleton, and Paul Osborne.
When love called, Sylvia Bennett answered with her fourteenth studio album Reflections, a collection of songs that explores the different facets of relationships from dreaming about them to what really can happen. Being home more this past year allowed Sylvia the time to reflect on life and love, inspiring her to write more original songs four of which are included on this album. Once again, Sylvia has teamed up with her long-time producer and writing partner, Hal S. Batt, to encourage listeners to give love the opportunity regardless of the outcome.
Listeners will enjoy the unique style and mood of every song that flows from dreamy to upbeat. The title song and first track, “Reflections,” with its ethereal sound takes you on journey to where all dreams begin. “All Through the Years” is the culmination of those dreams. “I Never Thought” is about taking a relationship for granted and not realizing what you had until it’s gone. “Feel Again” and “Along the Way” both deal with the ability to overcome being hurt. “Witchcraft” is an upbeat World Mix version of this classic standard dealing with the uncontrollable allure of the power of love. An acoustic version of “Feel Again” is included as a bonus track.
Italian born and American raised Sylvia Bennett is a Grammy nominated international recording artist and songwriter who has performed at Presidential Inaugurations and opened for such renowned artists as Bob Hope, Phyllis Diller, Jackie Mason, Dizzy Gillespie, Barry Gibb and David Brenner. Discovered by the legendary Lionel Hampton, she has since captivated audiences and critics alike with her sultry, honeyed tones and seductive blend of jazz and pop. She’s the inimitable, unforgettable Sylvia Bennett.
Marcus Anderson stands for variety, inventiveness and creativity. Be it smooth jazz, funk or gospel music, the combination of coffee and music or the connection of music with comic characters, he always delivers new surprises.
He started his solo career with the album My Turn (2005), followed by From The Heart (2009), Now (2011), Tender Loving Christmas (2011), Style Meets Substance (2013), AND Coffee (2015), Marcus Anderson Experience – Live In Concert (2015), My Inspiration Vol. 1 (2016), Limited Edition (2017), This Is Christmas (2017), Limited Edition Live (2018), My Inspiration Vol. 2 (2019), Hero (2020) and Hero Live (2021).
Bassist Byron Miller shares the fate of many sidemen who play with the superstars without the fame promotes their reputation significantly. He performed with George Duke, Roy Ayers Ubiquity, Santana, Herbie Hancock, Joe Sample and The Crusaders, Marvin Gaye, Whitney Houston, and Luther Vandross. To download, go to Telegram
Heel even terugspoelen naar eind 2020 wanneer de Covid-19 pandemie jammer genoeg ook Travellin’ Blue Kings parten speelt. Oorspronkelijk opgericht door Belgische en Nederlandse muzikanten, bleek het niet langer mogelijk de band over de landsgrenzen heen actief & creatief te houden.
De vernieuwde “full Belgian” bezetting torst stevige adelbrieven en een indrukwekkende stamboom:
Blues Lee, Howlin’Bill, Rhythm Bombs, Fried Bourbon, The Scabs, Hideaway … just to name a few.
Travellin’staat er niet toevallig, de vijf heren dweilden met hun respectievelijke bands bijna heel Europa af. Je kon hen op festivalpodiums vinden in Noorwegen, Zweden, Polen, Duitsland, Frankrijk, Zwitserland, het Verenigd Koninkrijk, Italië, Spanje en uiteraard ook in elke uithoek van de Benelux.
Vorig jaar zetten de twee Corona-singles “Gotta Get Away” en “Too Many People“, de toon en getuigden van een kritische blik op het reilen en zeilen in de wereld.
In februari verwoordde “A Stiffer Drink” andermaal een state of mind anno 2022.
En dan is er nu het album “Bending The Rules”, de synthese van de passie en het kunnen van vijf heren die eigenlijk niets meer te bewijzen hebben. De titel zegt het helemaal: (h)eerlijke songs die niet noodzakelijk binnen de lijntjes van het genre kleuren, maar die gewoon zichzelf invullen.
'Just Like That.' was recorded in the summer of 2021 in Sausalito, CA. The players include two longtime members of Raitt's band, bassist James 'Hutch' Hutchinson and drummer Ricky Fataar, as well as two new musicians, Canadian Glenn Patscha on keyboards and backing vocals and Nashville guitarist Kenny Greenberg. Her longtime guitarist/songwriting partner George Marinelli also joined in, playing and singing on 'Livin' for the Ones', the song they co-wrote for the album. Once again, Bonnie took the producer reins, reuniting with her favourite recording and mixing engineer, Ryan Freeland, for their third collaboration (they each earned GRAMMY Awards for Raitt's 2012 release, 'Slipstream'). The mix of sounds and approaches on 'Just Like That. ' reveals how, 50 years after the release of her debut album, Raitt continues to personify what it means to stay creative, adventurous, and daring over the course of a life's work. 'On this record, I wanted to stretch', she says. 'I always want to find songs that excite me, and what's different this time is that I've tried some styles and topics I haven't touched on before'.
Five years have gone by since The Soultrend Orchestra '84 King Street' debut Album was released, the Rome based producer Nerio ‘Papik’ Poggi’ Soul project returns now with the eagerly awaited follow up Album ‘Live For Funk’ and it was definitely worth the wait !
‘Live For Funk’ carries on the legacy that started with '84 King Street', but while it’s predecessor was completely dedicated to the Soul and Disco sounds reminiscent of the legendary New York’s club ‘Paradise Garage’, where in the late 70’s renowned DJ’s like David Mancuso and Larry Levan launched the Disco movement that would eventually spread all over the world, the new work explores a funkier route, specially the English funk sound of early 80’s and the American funk jazz vibes that remind us of artists like Donald Byrd or Roy Ayers (which was brought back to the limelight during the Acid Jazz years in the 90’s).
15 songs make the final tracking list of ‘Live For Funk’, mostly all original compositions, three the Cover versions present in the Album, all three already released as digital singles in the last few weeks.
The three covers are remakes of cult Disco Funk gems from past years like, ‘Get Down Saturday Night’ by Oliver Cheatham, ‘Outstanding’ by the Gap Band and ‘Act Like You Know’ by the Fat Larry's Band.
In the Album, Nerio Poggi teams up with brilliant musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussions and Luca Trolli on drums, in addition to a dozen of other guest musicians and eight different singers, amongst them a few names stand out like, Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of ‘Kaigo’ and renown for his legendary worldwide Hit ‘Found Love’.
Gifts From The Holy Ghost, Dorothy Martin's third studio album as frontwoman for their pseudonymous rock band Dorothy, is the album she's always wanted to make. Born from a sense of diving urgency, it's their most bombastic rock n' roll work yet. While the debut album was made on a combination of whiskey and heartbreak, Gifts was built on sobriety, health, and spiritualism, in a way that reverses the cliched "good girl gone bad" narrative. It features the Top 40 Rock track, "Rest in Peace." To download, go to Telegram
Markey Blue and Ric Latina are a true performing and songwriting team, and recently changed the name of their group from just Markey Blue to Markey Blue Ric Latina Project to reflect that. To download, go to Telegram
Bringing an explosive energy as a triple threat musician and artist to the smooth jazz genre, New Zealand bred and based guitarist, saxophonist and bassist Ryan La Valette will unleash his multitude of melodic and soul-grooving talents to radio starting with the Valentine’s Day drop of “Let It Flow,” his highly anticipated debut single on Trippin’ N Rhythm Records.
Unlike many artists whose first track out of the gate pretty much hints at all we’re going to hear in the future, this spirited, funky and fast rolling guitar driven romp just scratches the surface of the depth of his ever-evolving artistry. His perfectly titled debut label album New Beginnings, due for release April 22, has three tracks each that showcase La Valette’s skills on his three primary instruments, with several interludes between songs that allow him to stretch and solo beyond the infectious, radio friendly main tracks.
Testament to his transcendent array of talents and emotionally impactful songwriting skills, the artist collaborated with three of the genre’s top Billboard #1 keyboardists/producers – labelmate Nicholas Cole and two time Grammy nominees Greg Manning and Chris “Big Dog” Davis. The collection also includes a track featuring another #1 charting Billboard artist, trumpeter Lin Rountree.
“Upon starting this debut album,” La Valette says, “I locked myself into the mindset of making this music sound as modern as possible. There are so many modern genres of music today that I felt would be a bolt of lightning when combined with contemporary jazz, and this first single is no exception! I wanted to bring late 70’s disco back to town with a swish of modern R&B, and I was blown away with the combination. I believe people of all ages will enjoy the vibe this song brings to the table and help to bring a younger audience into the smooth jazz fan base.”
Due to his lifelong passion for the music and style of George Benson – whose classic tune “Breezin’ he first heard around age five when his mother played it in the house – La Valette considers himself primarily a guitar player. Yet the title and cover image of his 2020 independently released EP Dimensions of Me say it all – almost! – about his many modes of musical expression. The photo shows the well-dressed musician on a couch, looking pensive, with a saxophone to his right and an electric guitar to his left. Just a few years ago, after many years of mastering these two instruments, he picked up the bass and effortlessly added it to his repertoire.
“Because my primary goal is to share my musical gifts and make people happy in the process, I’m excited to show what I can do on the sax and the bass as well,” says the 26-year-old La Valette, a graduate of the School of Audio Engineering (SAE) Auckland. “I am beyond excited to take my first step forward as a signed artist with Trippin’ N Rhythm Records. The four years I spent releasing music as an indie was tough, but a great learning curve. You realize pretty quickly that the resources you have access to when signed to a major label far supersede what you have to work with when independent. I am so grateful to the label for their unconditional support and backing for me to fulfill my childhood dream.”
U.S. smooth jazz fans will get their first taste of the magic La Valette brings to the stage when he plays the Seabreeze Jazz Festival in Panama City Beach, FL the same week as the release of New Beginnings.
With Rock Night in Jersey, Billy Hector utilizes his full five 5 decades of experience in mind melting fashion. Through the intricate horn arrangements, masterful songwriting, and undeniable guitar chops, Mr. Hector's skillset is on full display. Backed by a band of world-class musicians and co-written/produced with his creative cohort Suzan Lastovica, Mr. Hector has fashioned a truly noteworthy collection of songs. This is rock and roll like you just don't hear anymore. Ladies and Gentlemen, report to the dance floor for your dose of Fender Therapy; It's a Rock Night in Jersey.
The album Badder to the Bone has 10 tracks. It delivered various themes such as motivation, romance, anti-cheater, and heartbreak.
For songs about motivation, “United We Stand” (track #1) is perfect to fight against all problems, which is fitting during this pandemic. The best line is “Join hands together, let’s fight a good fight.” Because of the positivity of the lyrics, I recommend it to listeners who are fighting depression. It is also perfect for a TV series with a positive outlook on life.
If you’re up for romance, listen to “Queen of the Nile”, “Lockdown Love”, “King Kong”, “Fueling Me Up”, “Can’t Find My Way Home”, and “Queen of The Nile II”.
The best guitar track goes to “King Kong.” Man, I am so amazed. Everything about this track is a masterpiece. It made me headbang and want to dance when I heard the song. The backing vocals are outstanding too. I love the epic high note at the end. If this was a single review, I’ll rate this 10/10.
The longest and one of the sexiest tracks on the album is “Queen of the Nile” (feat. Lance Lopez & Peter Keys). Eliza’s vocals are so sassy and powerful. It has a longer length because of the guitar solo and backing vocals. What I like about this track is the background effects that gave a smooth listening. Its 2nd version, “Queen of the Nile II,” has an improved bass volume and a shorter length, which I think is better.
I mentioned the pandemic a while ago, so we are going to relate to “Lockdown Love” (feat. Michael Puwal). The main point of the song is how partners still love each other, even during the lockdown. Also, Neals sure is creative with her lyrics. There are funny lines about how we store a lot of food before lockdown and how we gain weight because of it.
“Fueling Me Up”, on the other hand, surprised me with its high and sudden opening line “Fueling me Up!” with backing vocals but without intro instruments. The song is an energy booster because of its lines “Boy you make me hotter and hotter” and the rest is history.
Lastly, the love song “Can’t Find My Way Home” has a lonely theme with no sexuality but has an alternative fast beat part in the outro section. When I first heard this track, It reminded me of “I’m With You” by Avril Lavigne. This emotional song could have some violin and piano, but Eliza still focused on the blues rock genre. It really shows that she’s a queen of blues rock.
Now let’s move on to heartbreak songs. The best anti-cheater song goes to “Got a Gun” feat. Billy Davis”. Cheaters, beware!! Your girlfriends have a gun, they will shoot you and the 3rd party. The lyrics and music are so catchy!! The most iconic and badass line is “I got a gun don’t mess with me, I’m gonna use it on you”. It’s perfect for female characters who are being cheated.
The next heartbreak songs are “Bucket of Tears” and “Heathen” but are very different from “Got a Gun”. Eliza Neals showed her emotional side in writing songs. “Bucket of Tears” is so poetic. It shows a deep sadness when a man can’t come home for a girl. The lines hit so hard “Where have you been? I’d cry a bucket of tears for you?”. “Heathen”, on the other hand, is one of my favorites, I absolutely love the piano, sound effects, backing vocals, bass, and everything in this track! It’s mellow and smooth. Eliza still has a powerful voice even on less-rocky songs.
Альбом «Фокус» подытоживает 3,5 года истории, начиная с отцовства артиста, его путешествий по Соединенным Штатам и заканчивая пандемией последних 2 лет, символизируя глубокую духовную и художественную трансформацию, через которую прошел артист, чтобы создать новое, обновленное вдохновения,слушайте этот альбом и тогда вы действительно сможете сосредоточиться только на действительно важных вещах.
Percussionist Edgardo Cintron is a second-generation Puerto Rican and a second generation musician. Known as much for his affable personality and generous spirit as for his tasty musicianship, Edgardo attributes his musical influences to his Father, Pablo, who played guitar in the U.S. military band and also to Charlie Parker, Stevie Wonder, Carlos Santana and Tito Puente. To download, go to Telegram
Three and a half decades after releasing Special EFX’s self-titled debut album, multi-faceted composer/guitarist Chieli Minucci is still blazing innovative trails in contemporary jazz, continuously finding that musical sweet spot between in the pocket, radio ready pop/soul/funk and progressive, freewheeling world fusion.
Jesse Ray and the Carolina Catfish is simplicity with volume. This band boasts Jammie awards for all three of their studio works published. They will bring the live performance you have yearned for. With Jesse Ray’s powerful guitar, cutting harmonica, and rockin’ vocals, to Dingo Hopp’s audacious percusion.
Starting with open mics in Grand Rapids MI, Jesse Ray and the Carolina Catfish have pushed forward to perform across the nation. From South By Southwest in Austin Texas to basements in NYC. Jesse Ray and the Carolina Catfish have never stopped bringing their energy to every nook and cranny they've found themselves in.
Jesse Ray and the Carolina Catfish have performed with acts such as, J.D. McPherson, Brian Setzer, Big Sandy and his Fly Rite Boys, The Blackfoot Gypsies, and The Delta Bombers. As iron sharpens iron, Jesse Ray and the Carolina Catfish have refined themselves with every performance. Their inspiration is drawn from those around them, and their energy is a reflection of those who support their craft.
With every passing day, Jesse Ray and the Carolina Catfish are working towards non-stop performances across the country. With every mile along they are perfecting their craft. With every person met, building a circle of beloved people. Jesse Ray and the Carolina Catfish are going for the long run, and would love to share experiences.
On his debut record, 'Hard Times and a Woman', guitarist and songwriter Justin Golden showcases the full breadth of the genre and its downstream influences, everything from traditional Piedmont blues to indie rock and beyond.
Blues isn't just twelve bars and a sad story. Golden was raised on the Virginia coast and is steeped in the distinctive regional Piedmont blues of the central part of the state. But his listening habits are wide and the new record is equal parts Taj Mahal and Hiss Golden Messenger, some Blind Boy Fuller and some Bon Iver. Working in the vibrant Richmond, VA scene, producer Chip Hale helped craft lush arrangements around Golden's classic Americana songwriting sensibilities. Fuzzed out guitar, keys, and harmonica meld with his deft fingerpicking and laid-back grooves. Across twelve tracks, Golden lays out a caution: be wary when things start going too well. The lyrics of 'Hard Times and a Woman' reference winning (and then losing) it all, heartbreak, and being Black in America. In between the heavier subject matter there are a few romantic detours that don't end in sorrow, like "Must Be Honey" and "Lightning When She Smiles." On his sparkling debut Justin Golden arrives fully formed as a guitarist and a songwriter. Sure he has deep blues bonafides but what stands out is how effortlessly he weaves together his influences into a tapestry as diverse as the country.
“The Call” is the third studio album by Steven Troch, and it stands with one foot in the 20th century and the other in the present. Blues is still an important part, but instead of relying on the tried and tested recipe it is liberally sprinkled with other ingredients. Time and again the listener is surprised by changes in timbre, tonality and tempo. The album’s songs are chimeras and half truths waiting for a chance to be told.
A guitar does an assertive shuffle while an expressive harmonica spits fire. The rhythm section has just the right chemistry, and the grooves roll along as reliably as an old Volvo. Troch steers clear of the major themes in his lyrics and sings laconically about everyday stresses and strains to do with adversity, love, bar room philosophy and personal misfortune. The recurring motif in “The Call” is craftsmanship and the joy of playing. Come on! Listen to his call and take a break from the everyday woes.
“The Call” was recorded by Pieterjan Coppejans at Robot Studios in Ghent (Eefje De Visser, Lester’s Blues, Tiny Legs Tim). Most of the material was canned live, and it has that sound and feel to it. The free rein that the band members were given adds to the spirit and passion of the music. Subtle contributions by guest musicians Luk Vermeir (piano), Bart Vervaeck (pedal steel) John Halbleib (trumpet) and Luigi De Gaspari (trombone) nestle comfortably in the whole.
The album was mixed in Greaseland Studios (San Jose, USA) by multiple awardwinning producer Kid Andersen. This was the second collaboration with Andersen, who produced Troch’s debut album “Nice ‘n Greasy” in 2016.
Miss Bix proclaims her resilience on Bring It, her second Blue Heart Records release. Continuing in the Hill Country blues tradition along with New Orleans-flavored rhythms, Bixler's sophomore blues album deepens in groove and content. Thirteen insightful, original songs reflect topics from COVID-inspired depression, to racial oppression, nostalgic lost love, new love and the ever-present search for home.
Vaneese Thomas advances a rich musical legacy born of her father, Memphis R&B icon Rufus Thomas, and shared with her siblings Marvell (RIP) and Carla Thomas. Embracing her birthright as an African American female, Thomas explores her roots both musically and contextually with this powerful new collection. ‘Fight the Good Fight’ is an exquisite musical expression of pain and despair mixed with unwavering resolve, resilience and optimism.
VizzTone proudly presents THE NIGHTHAWKS, Washington DC’s legendary road warriors of blues and roots music, as they celebrate their 50th Anniversary with a brand new album –
THE NIGHTHAWKS – ESTABLISHED 1972
Produced by the Nighthawks and longtime compadre David Earl, they took advantage of the pandemic slowdown to hunker down in Earl’s Severn Sound Studios in Annapolis, Maryland and cranked out fourteen new tracks in the great Nighthawks tradition – rockin’, heartfelt material unbound by any genre other than the widest range of American roots music.
On this landmark anniversary, founder, lead singer and harpmaster Mark Wenner is still at the helm, while drummer Mark Stutso, guitarist Don Hovey and bassist Paul Pisciotta all share vocals and songwriting, making this lineup one of the strongest ever. Decades of gigs and countless rabid fans have earned then the name “The Best Bar Band In The World”.
This anniversary album celebrates the legendary NIGHTHAWKS, still going strong.
Ronnie Earl, a four-time Blues Music Award winner as “Guitar Player of the Year,” follows up the critical and commercial success of his last album, Rise Up, with Mercy Me, a new set of wondrous music with his long-time band, The Broadcasters, on April 15 via Stony Plain Records. Mercy Me will also be released later this summer on vinyl LP.
Mercy Me is Earl’s 14th album in partnership with Stony Plain and his 28th career album. The 12-song Mercy Me features Dave Limina on piano and Hammond B3, Diane Blue on vocals, Forrest Padgett on drums, Paul Kochanski on electric and upright bass, all backing Earl’s amazingly soulful guitar work. Guest musicians include Anthony Geraci, piano; Mark Earley, baritone sax; Mario Perrett, tenor sax; Peter Ward, guitar; and Tess Ferraiolo, vocals. The album was produced by Ronnie Earl, recorded and mixed by Huck Bennert and mastered at Sound Mirror Studio by Mark Donahue.
“I titled the album Mercy Me as I was thinking about all the things going on in the world,” Ronnie Earl said about his inspiration. “We need to have more mercy for the world, for other people and for ourselves. I love playing the blues, and the session was so enjoyable. The band was focused, and we came together as one.”
Ronnie Earl has a unique, beautiful, easily identifiable tone that comes from within and not from a piece of equipment, such as a pedal, which he has never used. Music critic Jim Hynes has called Ronnie, “The John Coltrane of the Guitar;” B.B. King referred to Ronnie as one of his sons; and writer Ron Weinstock said of Ronnie that he “is a master of tonal dynamics, phrasing, and solo construction. Earl builds solos like smoldering coals in a charcoal grill that bursts into flames when fat drips down.”
The album’s even-dozen tunes include a diverse mix of originals and unique covers of songs from such legends as Muddy Waters, John Coltrane, Dave Mason and Percy Mayfield.
Ronnie offered his take on some of the songs on Mercy Me:
“‘Blow Wind Blow’ is a little guitar tribute to Muddy Waters; My other love is ‘Alabama,’ which is a tribute to John Coltrane. It’s different from his, but sadly the racism he wrote about in 1963 is still going on today. ‘Blues for Ruthie Foster’ is a nice little acoustic tune with my longtime friend Peter Ward. It’s in the vein of a little bit Robert Johnson, a little bit Robert Junior. I had a chance to sit in with Ruthie Foster this past year and she is astonishing. We did ‘Soul Searching,’ an older tune of mine, first recorded in 1988. I wanted to try it with this band. It has some horns on it and it came out nicely – with sparse guitar. ‘Only You Know and I Know’ is a famous tune sung by Bonnie Bramlett. We’ve never done it and Diane Blue is great on everything. Many years ago, Levon Helm was playing at BB Kings in Memphis, and he called both Bonnie Bramlett and me up – and we sat in together. I loved playing with her, and this song is a sweet reminder of that day. ‘(Your Love Keeps Lifting Me) Higher and Higher’ is one of my wife Donna’s favorite songs. It’s an R&B that Jackie Wilson sang, and I recorded it for Donna.
Diane wrote and named the song, ‘The Sun Shines Brightly.’”
Ronnie Earl, born Ronald Horvath, has led a storied music career beginning with his early years in Boston while studying at Boston University. He graduated with a dual degree in Education and Special Education in 1975. Ronnie would teach for a few years while playing guitar at night before joining and touring with John Nicholas and The Rhythm Rockers, Sugar Ray and the Bluetones, Roomful of Blues, and finally with his band, The Broadcasters. Ronnie has shared the stage with B.B. King, Otis Rush, Bobby Blue Bland, Albert Collins, Big Mama Thornton, Etta James, Eric Clapton, The Allman Brothers, Jimmie Vaughan, Kim Wilson, and the Fabulous Thunderbirds, Stevie Ray Vaughan, and Leonard Bernstein, among many others.
An authorized biography of Ronnie’s life, Beautiful Child, is in progress and includes stories from Ronnie as well as one hundred of his friends and colleagues who have walked alongside him.
“What Ronnie pulls from wood, wire and old Fender amplifiers,” music writer Ted Drozdowski once wrote, “isn’t so much notes as the sound of the human heart beating with you, crying under the world’s weight or acknowledging the inevitability of another sunrise.”
Perhaps being the son of two Holocaust survivors has given Ronnie Earl a keen insight into the human condition, which has manifested itself in his musical delivery. As Ronnie celebrates more than 30-plus years of sobriety, he’s often quietly devoted his time and donated concert proceeds to help people affected by substance abuse. And as someone who once studied to be a special education teacher, he recalls with particular fondness a 10-year period when he volunteered at LifeLinks Inc., a nonprofit in Chelmsford, Mass. that helps people with intellectual and developmental disabilities.
Quarto Valley Records proudly announces the April 15, 2022, release of ‘Brother Johnny’, a tribute to the legendary blues guitarist created by his brother Edgar Winter. The album is a powerful sonic journey, traveling the course of Johnny’s musical life, impeccably directed, as only his brother Edgar could.
Joining Edgar on the inclusive project is an impressive array of renowned musicians who knew, or were inspired by Johnny, including Joe Bonamassa, Doyle Bramhall II, John McFee, Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X and Gregg Bissonette.
The guitar-driven album celebrates the expansive styles Johnny was known for – the 17 tracks were carefully curated by Edgar and producer Ross Hogarth to represent Johnny’s evolution as an artist, honoring his great legacy while also incorporating a personal tribute from brother to brother, and for which Edgar penned two new songs.
The project has been years in the making, Edgar was first approached about it just after his brother passed away on July 16, 2014. Johnny had just played the Cahors Blues Festival in France, which was destined to become his last show. He had traveled to Switzerland where his next show was scheduled, but he passed away in his sleep at the hotel in Zurich before he ever got the chance.
Edgar reflects, “Many people immediately started trying to convince me to do a Johnny Winter tribute album. But I was totally devastated, and the timing just didn’t feel right to me. It wasn’t until after I completed the Rock ‘N’ Blues Fest, a tour we were meant to do together with our respective bands, that the idea of a tribute record started to take form.”
Edgar explains, “I had naturally expected the whole thing to be cancelled. But much to my surprise, the promoters begged me to go on with the tour as planned, asking me to headline. The first night, after playing “Frankenstein”, I closed the show with “Johnny B. Goode”, “Rock and Roll, Hoochie Koo”, and “Jumpin’ Jack Flash”, dedicating the end of the set to Johnny.
“I had anticipated the tour to be very emotional, perhaps sad, and possibly difficult, but playing those songs turned out to be a great source of strength and comfort to me. Everyone on the tour was so kind and supportive, getting up to jam, and it became a kind of tradition. There was such an overwhelming outpouring of love and respect for Johnny, I began to realise it was not just business people sensing an opportunity here; it was Johnny’s true, loyal, and devoted fans and our fellow musicians, many of whom are on this record, who wanted to see this happen as well.
Edgar_And_Johnny_Winter
“After the tour, and over the following years as talk of a tribute album continued, my wife Monique, whose intuition I trust more than my own, said, “I think you have to make this album, both for Johnny, for yourself, and for the world. You owe that acknowledgement to your older brother. If it weren’t for him, you wouldn’t be where you are today. There’s no need to worry about it. If it’s meant to happen, it will.”
Soon after Edgar met Bruce Quarto, founder, and owner of Quarto Valley Records. It was his boundless enthusiasm and devotion to classic rock, the blues, (and Johnny in particular) that convinced Edgar the time for this tribute album had finally come.
“Quarto Valley Records is honoured to be releasing Edgar’s tribute to his brother Johnny,” said Bruce Quarto. “An album as remarkable in its musicianship as it is in the depth of feeling that comes through in each and every note of each and every song. The superhuman artistry and inspiration you hear in the new interpretations of some of Johnny’s signature songs, like ‘Hootchie Koo’ and ‘Alive and Well,’ are matched only by Edgar’s original and very personal, ‘End of the Line,’ which strikes a very human chord. The album is nothing short of a masterpiece. Enjoy!”
This announcement comes with the release of “Johnny B. Goode,” a perfect fit not only in name but in sentiment, and a song that remained a standard in Johnny’s sets right up to the very end. The opening rips right out of the speakers – that infamous guitar line along with Edgar’s smokin’ piano – followed by roaring vocals from Edgar and Joe Walsh. Joe does the vocal honors on this one, leaving his legendary guitar work for a personal favorite called “Stranger” (featuring Michael McDonald, with Ringo Starr on drums).
The signature guitar is masterfully delivered by fellow Texan David Grissom, who strikes the perfect balance between Chuck Berry’s classic riffs and Johnny’s wild Winter whirlwind of intensity. Edgar blows the house down with a Texas tornado of saxophone accompanied by thunder and lightning from Bob Glaub on bass, Gregg Bissonette on drums, and additional vocals by Phil X.
Edgar writes in his liner notes. “To this day, when I think of Rock ‘n’ Roll, I think of Chuck Berry and “Johnny B. Goode”. It’s not only Johnny’s story, but also every kid’s story who ever picked up a guitar, coming from humble beginnings with the idea of making it big someday. So of course, it has to be on this album.”
Brother Johnny was produced by Edgar Winter and Ross Hogarth. All the basic tracking was done at Capitol Studios. Most of the guest artist performances were recorded at Infinitespin Records, and as the pandemic progressed, were done at various guest artist’s studios. the record was mixed by Ross at his studio The Boogie Motel.
Edgar sums up reminiscing in his notes, “When I was very young, I can still remember thinking … no matter how much time goes by, how old I get, what happens in my life, or how far I end up from home – there is one person in this world I know will always understand what I’ve been through, how I feel. And that person is my brother Johnny. As kids, we were inseparable, much closer than average brothers. Not only did we learn to play music together, but because we were both albino, we shared a unique personal perspective on life different than anyone else’s.
“So much has happened to both of us since then, but one thing will always remain the same … that bond, of brotherhood, of family, of music, and of Love. So, in his name, I dedicate this album. “Brother Johnny”.
Edgar added, “My deepest and most profound thanks to all the great, fantastic, amazing artists for their incredible heartfelt performances. You touched our hearts on behalf of Johnny and the Winter family.”
A French quintet, very far from their homeland, but imagining that they are soaking their feet in the swamps of the bay. Rich in the experience of five musicians from different musical backgrounds, Black Coffee offers the first opus Monona Lake, released at the beginning of the year. Eight original compositions, but clearly based on genre references. Soul, blues, a little Americana, a little rock. If you try a spoonful of black coffee, you really want to add more. And whether it's rich, strong or sweet, we hope to be able to enjoy black coffee soon.
It is difficult to sum up in few words the history and influence in the history of rock music that an act like Nazareth has had. Having celebrated their 50th Anniversary in 2018 with the release of their 24th studio album, “Tattooed On My Brain”, the long-running UK hard rockers will enter their 54th year of existence in 2022 with the release of their 25th studio album, "Surviving The Law". The line-up for "Surviving The Law" is the same as the previous release, consisting of Jimmy Murrison (longest serving guitarist in the band’s history), Lee Agnew (drummer since Darrel Sweet’s death in 1999), Pete Agnew (founding member, on bass) and vocalist Carl Sentance.
