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Доминик Шомейкер — блюз-блюз-рок-музыкант, выступающий со своей собственной группой с 20.16. 17 года. Прежде чем создать собственную группу, Шомейкер оттачивал свои гитарные навыки в качестве участника различных блюзовых групп. В 2016 году он выиграл Promo Blues Night Basel, а в 2017 году стал финалистом Swiss Blues Challenge
Мини-альбом Шомейкера "See Who I Am" был выпущен в 2024 году и включает шесть песен. Осенью 2023 года он начал выпускать шесть новых песен, которые были спродюсированы с Марко Дженкарелли. Эти песни предшествуют выпуску мини-альбома весной 2024 года и подчеркивают мастерство Шомейкера в раздвигании жанровых границ для создания собственного звучания
If you like your blues loud, raw and unconventional, then Marc Amacher is the just the thing for you. Those traits go a long way in defining this exceptional Swiss musician and were more apparent than ever on "Roadhouse" the 2019 release with which he toured successfully in several European countries. Now, two years later, he's back with a new album and ready to conquer the international scene: Together with colleagues Norman Süsstrunk (bass), Dave Flütsch (drums) und Phipu Gerber (guitar), Amacher pushes the blues envelope on "Grandhotel".
Fantastic Negrito's upcoming album and short film "White Jesus Black Problems" was inspired by a search into his ancestry where he found that his 7th generation grandmother was a Scottish indentured servant who entered into a common law marriage with an African American enslaved man, his 7th generation grandfather, in open defiance of the racist laws of 1750's colonial Virginia.
Their love story is a healing testament to standing up against inhumane and brutal systems with love as your only weapon. Their perseverance is a lesson in today's polarized society on the virtues of constant struggle in the face of ignorance, fear, and violence, which is still present in the contemporary embodiments of white supremacy, bigotry, and hatred. It's important to tell the story of how those who suffered much greater indignities and violence than we do in contemporary times were nonetheless able to preserve their humanity through human connection and the determination to love. If they can do it in 1759, we can do it 2022.
The Sheepdogs return with straight ahead pandemic rock ‘n’ roll that won’t bum
you out because it saved them—and maybe it will save you, too
Hailing from Saskatoon, Saskatchewan, The Sheepdogs are a hard-working, hardliving, straight-up rock ‘n’ roll band who return with Outta Sight, the grooviest, simplest, most penetrating album of their career. Recorded during the pandemic the band — Ewan Currie, Ryan Gullen, Sam Corbett, Jimmy Bowskill and Shamus Currie — were, like the rest of us, confused, cast ashore, and feeling isolated
during COVID. Their response was to do what came most naturally to them: making stripped-down rock ‘n’ roll.
“It’s a weird world. Everybody stuck in place, overthinking absolutely everything. We wanted to avoid all that — just get in the room, plug in your guitar and go. So that’s what we did,” says singer Ewan Currie, who cut most of the album’s tracks in three takes. “Themes like optimism in the face of adversity, standing tall and staying strong, knowing that better times are around the corner kept coming through when making the record and it felt really damned good to play.”
Responding to the pandemic — the fear, the lack of income for a group that earns their living playing hundreds of annual shows — The Sheepdogs did what was instinctual to them, they started jamming like they did in their teens. With no roadmap and an overall uncertainty hanging over the universe, the band got in a circle, plugged into their amps, shared riffs and melodies and leaned on each
other. The guys say it was the least prepared they’ve been cutting a record since their self-titled album in 2012. Bassist Ryan Gullen calls the music they made a life-raft.
“Those first sessions saved us from our anxieties — like, when there’s nothing you can do and no one knows what’s happening, playing rock music kept us grounded, kept us going,” says Gullen, adding that this record is the freest he felt since performing his band’s 2006 debut, Trying to Grow. “We’ve developed this ability to gut check one another about what’s working. Not in the sense, ‘Is this song going to be a radio hit?’ We’re not playing that game, but over all these years, we’re happy to put our head down and grind. What you see is what we are. We’re not pretending. We make music we like because it’s important to us.”
Despite their incredible legacy which includes #1 songs, gold and platinum albums, countless sold-out tours and landing the cover of Rolling Stone, the group never put on airs and never stopped trusting each other — getting better at their craft and performing before as many fans as they could reach around the world.
On Outta Sight, a barn-burner that finds the band back to its roots after the psychedelic exploration of Changing Colours, the music is instinctive, groovebased and fundamental: no over-thinking muddling the riffs. Songs like I Wanna Know You and Scarborough Street Fight appeal to the senses. Its feel-good music made to help them, and the listener, celebrate life.
“The band still operates under the same principle we were founded on: dudes who like to rock, making rock music that sounds like what we like to listen to because there’s nothing like that around us.” adds Gullen, who says there’s a vibe, not a concept, driving his record. “Recording time is usually so preciously slotted between being on the road, but this time, when there was no road, things evolved naturally. We worked out a song until it felt good and then recorded it. The songs benefiting from the pressure being taken off guys, who love playing to each other’s strengths.”
The might of The Sheepdogs at full throttle exhilarates your senses. Without pretension, it’s urgent, rhythmic and fun. It’s a break from slick production and gazing at your navel; proclaiming joy with the jubilation of drums, bass, horns, and electric guitar. The Sheepdogs make tunes that make you nod your head with artistry beneath the stadium scale riffs. With harmonies, multiple guitar parts and a groove behind a rhythm section that hangs out together even when they’re not on the clock. It is battle-honed and spit-shined between vans, garages, thousands of soundchecks and, yes, headlining shows.
“A no-bullshit approach, a workman-like ability to put our heads down and just play resulted in a real feeling and vibe on the record that I think is special.” says Currie “It’s something that just might have saved us, and the feeling on the album is us taking that negative pandemic energy and expressing it, transferring it, through non-bummer straight ahead rock ‘n’ roll.”
Outta Sight is the biggest, brightest, beer-swillingest, lighters lit in the cheap seats, non-bummer COVID stadium rock record to emerge from the pandemic blues. It’s got humour, it’s got chops, and it’s performed and recorded by five brothers from Saskatoon, Saskatchewan who are grateful to get together and play for rock fans.
“Rock ‘n’ Roll is about cheering us up. Simple as that,” says Currie. “We hope our music does the same for the listeners at a time where things still can feel very tough. There’s no greater truth than rock ‘n’ roll.”
Op 3 juni 2022 verschijnt het derde album van Ticket West, de bluesband rondom de broers Pascal en Walter Wilhelm. Het album is getiteld “49 Park St. Blues” en een tweetal singles (“l Did You Wrong” en “Good Woman”) zijn op alle streamingsdiensten al te beluisteren. Waar de voorgangers “Highclass Horse” (2O20) en “Cab Driving Man” (2021)* nog leunden op een mix van West Coast – en Chicago blues laat het nieuwe album een nog gevarieerder geluid horen met dit keer uitsluitend eigen werk.
Naast zangeres Laura Kits en zanger Arjen Veldman nodigden de broers voor het nieuwe album harmonicaspeler Bas Kleine en saxofonist Wouter Schueler uit. Toetsenist Roel Spanjers en drummer Kees van Herk waren dit keer ook weer van de partij. Het album werd opgenomen in de Vuurland Studio in Utrecht en geproduceerd door Erny Green, die ook voor de vorige twee albums tekende.
Verschil met de vorige albums is dat het uitsluitend eigen werk bevat. De nummers gaan over over oude en nieuwe liefde, ouder worden en de dood. De bluesstijlen waarvan Ticket West zich bedient zijn dit keer nog gevarieerder en het album komt ook op vinyl uit.
Ticket West is het verhaal van twee broers die in hun jonge jaren luisterden naar bluesoptredens die hun vader opnam van de radio. ln 1984 (ze waren toen 14 en 11) nam hij een concert op van Jimmy Johnson en Billy Boy Arnold die optraden in Nick Vollebregt’s jazz Café in Laren. Hij gebruikte hiervoor een grote bandrecorder die in de huiskamer stond. Voor zijn verjaardag ging zijn vrouw naar de platenwinkel. Ze kwam thuis met platen van Albert King (King of the blues guitar) en Lightnin’ Hopkins. Deze platen raakten een snaar bij de oudste broer die op dat moment klassiek gitaarles had. De platen werden grijs gedraaid, de oudste broer kon binnen de kortste keren alle solo’s van Albert hardop nazingen. Hij wist: dit wil ik ook. De broers hadden twee vrienden (ook broers) die gitaar en drums speelden. De oudste broer koos voor de bas en overtuigde zijn jongere broer dat hij wel kon zingen. Een band was geboren. Maar na een paar jaartjes repeteren en een handvol optredens ging de band uit elkaar. De broers kozen allebei een eigen muzikaal pad, maar ze wisten dat ze ooit weer bij elkaar zouden komen om muziek te maken. Na dertig jaar was die tijd daar. Ticket West is het verhaal van twee broers die doen wat ze het liefst doen; nummers schrijven, opnemen en optreden met vrienden, zonder gebukt te gaan onder de last van roem en rijkdom.
Gewoon je best doen om iets moois te maken. Hun blues is weer levend.
Chicago blues is Dave Weld’s lifeblood. From his beginnings mentored by JB Hutto to his decades with Lil Ed Williams and his Blues Imperials, he has taken the blues around the world. Weld and his Imperial Flames have a brand new album titled “Nightwalk,” their third for Chicago’s Delmark Records, out May 27th.
“Nightwalk” deepens the forward-thinking sound and energy of their contemporary blues albums past, weaving an original tapestry of old and new traditions. Highlights include “Mary Who”, an authentic musical tour de force and vivid portrait of urban life and his tribute to Hutto, “Don’t Ever Change Your Ways”. Weld told Blues Blast Magazine that, “It’s about how he schooled me, and prepared me, for the good parts of this industry as well as the bitterness. His advice was don’t let anybody tell you you can’t make it, not your job, your girlfriend, your mother or father, your friends, nobody! That has stuck with me. The song is about him leaving Georgia and coming to Chicago to be a bluesman, and meeting him when I was a young man. That is when he told me to never change my ways.”
The Imperial Flames are a big, horn-driven band and Weld shares vocal duties with his partner Monica Myhre and drummer Jeff Taylor. Longtime friend Billy Branch contributes harp on the Hutto original, “Now She’s Gone” as well. Weld brought Tom Hambridge in to produce. Hambridge is Buddy Guy’s longtime drummer and has won two Grammy Awards along with multiple nominations for his work with Guy, Susan Tedeschi, James Cotton and Kenny Neal.
A native of Lake Forest, Weld studied history and journalism at New Mexico State University before returning home for the blues life. He initially earned his keep playing with ex-Hound Dog Taylor sidemen Brewer Phillips and Ted Harvey at Sweet Peas, then joining up with several former bandmates of Howlin’ Wolf in the house band at the 1815 Club. Weld’s affinity for the blues was apparent to those wary, seasoned veterans. An early supporter was Hutto, a highly regarded slide guitarist.
Weld’s comfort with urban blues was further illustrated when he took on rhythm guitar duties in the fast company of his slide guitar-playing friend Lil Ed Williams in the raw-and-rowdy band they called the Blues Imperials. The acclaimed 1986 album ROUGHHOUSIN’ captured their incandescent spirit. Weld was with the Blues Imperials for about ten years before branching off in the late-1980s to lead his own outfit. To date, the Imperial Flames have performed in 26 states, 11 countries, and at about three dozen festivals, among them the Montreal Jazz Festival and, naturally, the Chicago Blues Festival.
McBride komt uit Belfast in Noord-Ierland, een plek die resoneert met de muzikanten zoals Gary Moore, Rory Gallagher en bands als Thin Lizzy, Stiff Little Fingers en uiteraard U2. Hij speelde op tournee met de band van Ian Gillan, de Don Airey-band en ex-leden van Whitesnake als onderdeel van Snakecharmer. Simon is door niemand minder dan Ian Gillan van Deep Purple geprezen als “one of the best guitar players in the world.”
Momenteel vervangt Simon Steve Morse in Deep Purple, die vanwege een familieaangelegenheid tijdelijk een pauze heeft genomen van zijn positie bij de band. Joe Satriani die in 1993 en 1994 met de band speelde, zei in een interview met eonmusic het volgende; “Simon is a great call for that, so that’s really great”, he said; “I mean, the band is close to Simon, and Simon’s a great guitarist”.
Dit album is de perfecte kans voor Simon om naam te maken en te schitteren in de rockwereld! Classic Rock Music UK en Powerplay Magazine hebben beide Simon’s album al met top ratings beoordeeld. “As talented as Simon is, you feel he should be better known” – Powerplay (9/10). Opgenomen in de legendarische Chameleon Studios in Hamburg, heeft dit album alles wat een goed rockalbum nodig heeft… ‘The Fighter’ voelt als het ontbrekende stuk die hem naar de top zou kunnen brengen, vlak naast de legendarische gitaarhelden, waar hij thuishoort.
Martin van der Starre, Mink, Jack Bottleneck, Cindy Oudshoorn, Cobus Prins, Auke Busman, Dilana Smith, Alex Luttjeboer, Monique Bakker, Silvia Dekema en Kevin Stuurhaan - vocals, Hans Eijkenaar en Fokke de Jong - drums, Michel van Schie, Roni Jonker, Bonne van der Wal en Johannes Adema - basgitaar, Ruben Mulder - toetsen, Bas Kleine - Bluesharp, Nico Outhuijse - percussie en studiotechniek, Willem Pen - Sax/trompet.
Following his chart-topping Daydreams in Blue (Shining Stone, 2020), Anthony Geraci returns with Blues Called My Name, a dynamic collection of original compositions featuring esteemed special guests Anne Harris, Walter Trout, Sugar Ray Norcia, Monster Mike Welch, Erika Van Pelt, and The Boston Blues All-Stars. Award-winning blues guitarist Ronnie Earl shared this praise for Geraci and the new album: "Anthony has been contributing to this music for many years, and his new album illuminates the many colors, shades, and styles of the blues. Anthony is very inspiring, and I love his dedication to the old masters like Otis Spann, Sunnyland Slim, and Big Maceo Merriweather." Link Telegram
Down in Louisiana, they do things differently. The Southern states musical giants have always had their own distinct recipe for American roots: spiced with jazz, steeped in swamp-blues and cooked up a little differently by every artist who performs it. As a second-generation child of the Bayou State, Kenny Neal has taken his own inimitable guitar, gale-force harp and roadworn voice all over the globe. But in 2022, the Grammy-nominated blues masters latest album, Straight From The Heart, finds him drawn by the siren call of his hometown and musical ground zero, Baton Rouge. Neal both led and produced a crack team of local musicians at his own Brookstown Recording Studios. All the tributaries of the blues converge here, flowing into one rich tradition. Lining up in the studio alongside his Baton Rouge compadrés, the respect that Neal commands on the scene also drew some special guests, including hot-tip blues sensation Christone Kingfish Ingram, pop royalty Tito Jackson, and two songs with Rockin Dopsie Junior & The Zydeco Twisters. You'll even hear Neals supremely talented daughter Syreeta drive the vocal outro of Two Timing.
“This is the first album I’ve ever recorded on my own turf, and it truly came straight from the heart,” says Neal, who both led and produced a crack team of local musicians at his own Brookstown Recording Studios. “All the tributaries of the blues converge here, flowing into one rich tradition.”
If there’s a guiding concept behind the eleven songs of Straight From The Heart, it’s Neal’s mission to wind back the reels of his life and channel the spirit of the music that crackled from the family record player in early years.
Neal couldn’t have picked better circumstances for his childhood. Not only was he born in New Orleans on October 14th, 1957 (a serendipitous flashpoint for any future bluesman). Better still, he quickly found an early inspiration in his father, the harp master Raful Neal, who blew a gale and moved in the same orbit as Buddy Guy and Slim Harpo.
Nature and nurture couldn’t help but rub off. At 13, Neal Jr was wowing the crowds in his father’s band; four years later, he was playing bass with Guy himself. His fabled period working with his siblings in the Neal Brothers Blues Band is still spoken of in reverential tones on the Toronto circuit whose roofs they blew off. But perhaps Neal’s true arrival came in 1988, when his first solo LP was reissued by the Alligator label as Big News From Baton Rouge!! and ears pricked up for a modern swamp-blues master who had the touch and voice of an old soul, but the vision and hunger of a young gun.
Stick a pin in Neal’s discography since then and you’ll strike gold, from 2008’s Let Life Flow (which shook up his playbook with a dose of Memphis soul) to 2016’s Bloodline (which not only scored a Grammy nomination for Best Contemporary Blues Album but won two Blues Music Awards). From Neal’s W.C. Handy Blues Award of 2005 to his 2011 induction into the Louisiana Music Hall of Fame, few contemporary artists are more decorated.
You’ll hear all of Neal’s travels in Straight From The Heart, but this latest album brings it all back home in every sense. Lining up in the studio alongside his Baton Rouge compadrés, the respect that Neal commands on the scene also drew some special guests, including hot-tip blues sensation Christone ‘Kingfish’ Ingram (who co-writes and plays stinger guitar on "Mount Up On The Wings Of The King"), pop royalty Tito Jackson (on "Two Timing") and two songs with Rockin’ Dopsie Junior & The Zydeco Twisters. You’ll even hear Neal’s supremely talented daughter Syreeta drive the vocal outro of "Two Timing."
“It was like a family reunion,” says Neal of the good-natured sessions. “It was excellent because I had all the musicians that grew up under me here in Baton Rouge. And just being in my own studio, not worrying about the clock.”
Straight From The Heart is a fitting title for a record that salutes the many loves of Neal’s life. There’s the brass-driven opener "Blues Keep Chasing Me," which tips a hat to his recently departed friend, Lucky Peterson. There’s the touching piano-led "Someone Somewhere," which salutes the beloved father who put him on this path. Elsewhere, Neal’s deep love for every side of his home state is underlined by the zydeco chop of "Bon Temps Rouler" and "New Orleans," whose lyrics reference everything from “sippin’ on Hurricane” to “sittin’ on the Bayou catching catfish”.
Faced with such an open-hearted record, it’s impossible not to reciprocate. And as the world opens up and Kenny Neal embraces his natural habitat of the road, this Louisiana icon will bring a little bit of that Baton Rouge spirit onto every stage he treads. “It don't cost nothing to share a little love and a little respect,” he says. “And we can all rise above…”
Over the years, the role of women in society has changed in many ways, but their importance and relevance in history have, as always, been paramount to the success of the human race. Centuries of patriarchal bias have tried to diminish their role, but to the utmost extent, women have always shown that, at whatever cost, they cannot be pushed back and stopped from fulfilling their goals, be it motherhood, creative thinking, politics, Tikal activism, or a full fight for freedom.
Revolutionary Blues is a tribute to all the women (and men) who fought for equality, refused to be silent, and those who continue to fight for a fairer world without prejudice, racial and sexual bias, and for freedom for all people.
"Any woman who chooses to act like a complete human being should be warned that the armies of the status quo will treat her like a dirty joke... She will need her sisterhood."
― Gloria Steinem
"The degradation of a woman lies in the representation of a man about his sexual rights. Our religion, laws, customs are based on the belief that a woman was created for a man."
― Elizabeth Cady Stanton
“One life is all we have and we live it the way we believe in it. But to sacrifice what you are and live without faith is a fate worse than death. "
- Joan of Arc
"Revolution Blues" from the album "The Sun in the Tenth House" @2022 Milanam úsica Records
