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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.
