Issue 8-20 May 15, 2014

Cover photo by Bob Kieser © 2014 Blues Blast Magazine

 In This Issue  

Marty Gunther has our feature interview with Kid Andersen.

We have nine music reviews for you.  Rex Bartholomew reviews a new album from Delta Generators. Steve Jones reviews new album by the Terry Quiett Band. Marty Gunther reviews a new release by Adrianna Marie and Her Groovecutters. We welcome a new writer this week, Tim “Bluzybiker” Petty. Tim reviews a new CD from Sugar Boy and The Sinners. Rhys Williams reviews a new album from Texas Slim. John Mitchell reviews a new release from Norman Taylor and a new album from Dana Robbins. Rainey Wetnight reviews new albums by Cathy Lemons and Li’l Ronnie and the Blue Beats featuring Claudia Carawan.

We have the latest in Blues Society news from around the globe. All this and MORE! SCROLL DOWN!!!

 Featured Blues Review – 1 of 9  

 Delta Generators – Get on the Horse

 Self Release

 13 tracks / 50:07

 Boston is an incredible city with a rich history, a diverse population and the best restaurants on the east coast. But it is also has a thriving arts scene that has launched bands that are revered in most every genre, including Aerosmith, The Pixies, New Edition, The Cars, J. Geils Band, The Dropkick Murphys and James Taylor. The Delta Generators could well be their best representative of the modern blues scene.

The Delta Generators were founded in 2008 and they hang with a heavy crowd, having shared the stage with Robert Cray, Three Dog Night, James Cotton, Jimmie Vaughn, The Fabulous Thunderbirds, Johnny Winter, Walter Trout, Candye Kane, and Sonny Landreth. Heck, Brad Whitford from Aerosmith has sat in with them before. Through endless touring throughout New England and the tri-state area they have garnered their fair share of loyal fans, and it is these fans who financed their latest album through

Get on the Horse is their third release, and their sound and has evolved a lot since their last album. This is in part due to the team they brought on board to fine tune their recordings from Barn #81 in Hopkinton, Massachusetts. Their fans’ pledges helped pay for mixing by Grammy winner David Z (Prince, Eric Clapton, Buddy Guy, Etta James, and Gov’t Mule), and mastering by Dave McNair (David Bowie, Bob Dylan, Los Lobos, and Derek Trucks). The band’s line-up is familiar, with Craig Rawding on vocals, harmonica, and acoustic guitar, Rick O’Neal on bass, Jeff “J.J.” Armstrong on drums and piano, and Charlie O’Neal on guitar and banjo.

The music for all thirteen tracks was written by the band, with Rawding penning the lyrics. They recorded this album mostly live with just a few overdubs so there is a vibrant mojo that is hard to get with a traditional studio album. This is very apparent on track one, “Whole Lotta Whiskey” which hits hard right out of the gate with Charlie O’Neal’s driving electric slide guitar. Rawding is up front with his extra-strong vocals, and it only takes a listen or two to realize that their lyrics have improved as much as their production. This tale of old friends who took different paths in life in life is well-told and is an omen of what the rest of the album holds in store. By the way, there is the added bonus of some tasty organ work from guest artist John Cooke on this song.

Setting the mood in a tune full of painful lyrics, “It’s Been Hard” kicks off with “Driving drunk and singing out of key / Down your street / Spinning out and crashing at your feet / You don’t see me.” This is a beautifully personal song of loss that showcases Rawding’s versatility and features lovely harmonies and backing vocals from Keri Anderson. This blues-tinged ballad is definitely one of the standout tracks of the album.

No genre is taboo for the Delta Generators, and heavy English blues rock is represented by “Spider Bite” which has sort of a Deep Purple or Led Zeppelin vibe. Accompanied by heavy ride cymbal and a thunderous snare, Rawding howls the vocals while Charlie O’Neal does his best Ritchie Blackmore imitation. This is quite a contrast with ”Night of the Johnstown Flood” which is a slow blues song that memorializes this 1889 Pennsylvania disaster while drawing parallels with the biblical story of Cain and Abel. Charlie O’Neal gets to tear loose on the guitar over a foundation of John Cooke’s sublime organ work in a gorgeous interlude. This is seven minutes of incredible music, and it should not be missed.

“Diablo Rock” is completely unexpected and shows that the Delta Generators have a sense of humor. This is a rocker with crunchy guitars and heavy toms that describes a night of God and the Devil drinking, and it includes a few Gary Glitter “Rock and Roll Part II” interludes. This leads straight into “Blood Sugar Baby,” a danceable funk song that features Prince-styled falsetto vocals. These guys are not reluctant to mix things up, and this album never gets dull.

The band closes out the CD with “The More I Find Out (The Less I Want to Know),” a sad tale of a man who opens his woman’s closet and is dismayed by all of the skeletons that fall out. This is a slow-burning blues song that has Latin and jazz elements courtesy of Armstrong’s innovative percussion and Rick O’Neal’s Spartan bass lines. O’Neal’s brother has a great touch with his electric guitar and uses phrasing and silence to create drama galore, making this the perfect song to end the disc.

Get on the Horse is the Delta Generators best album to date and it has well-written original songs that cross genres and are performed admirably. When you throw in first class production values from start to finish, buying this modern blues collection is a no-brainer. Of course an artist is only as good as their next album and because they set the bar high this time there will be great expectations for their next project. They are certainly up to the task, and hopefully the wait will not be long!

Reviewer Rex Bartholomew is a Los Angeles-based writer and musician; his blog can be found at

 Featured Blues Interview – Kid Andersen  

No one was more surprised to win a Blues Music Award this year than Kid Andersen even though he was in Memphis along with his partners in Rick Estrin And The Nightcats because they were nominated for Band Of The Year and he was up for top guitar honors.

When the trophy was awarded for Traditional Album Of The Year — the outstanding Blind Pig collaboration Remembering Little Walter, featuring Billy Boy Arnold, Charlie Musselwhite, Mark Hummel, Sugar Ray Norcia and James Harmon that pays tribute to one of the most influential harmonica players ever — some folks probably were surprised that Hummel attempted to call up Kid to deliver an acceptance speech and take a bow. Although Andersen didn’t play a note on the disc, he was invaluable behind the scenes, recording the project, serving as its engineer and doing post-production work.

While Kid’s universally respected for his prowess on the fret board, his burgeoning talent in the control room has made him one of the most in-demand studio folks in the blues today.

Sadly, he was outside smoking a cigarette when Hummel made the call to join in the celebration and receive what was his very first BMA honor. “I didn’t see that coming,” Andersen says. “Oops! Then it won AGAIN – for Traditional Album Of The Year. I made it up that time and even snagged one of the trophies! I do believe I get to keep it.”

Not bad for a man who, at 34, is still extremely young in blues terms.

Christoffer Lund Andersen was born in Herre, a small town on a fjord in southern Norway, a short distance from the famed Telemark skiing region. After taking his first guitar lessons at age 11 from an older cousin who was into older rock ’n’ roll, he’s never wanted to be anything other than a guitar player. His introduction to the blues came one afternoon at his grandmother’s house when he was watch the local news that included a segment featuring Robert Cray at the Notodden Blues Festival. It was only a 20-second clip, but it made an instant impression.

“It just got etched in my brain,” he says. “I thought: ‘What the fuck is THAT?’”

Always a quick learner, he was playing in rock band a year later and picking up blues licks from Stevie Ray Vaughan off of a cassette tape given to him by his bass player. His life changed for good when he met another established Norwegian blues guitarist, Morten Omlid, at a youth music seminar. Under Omlid’s tutelage, Andersen got an opportunity to delve into the true depths of the blues as played by stars from the ’50s and ’60s.

“He had this huge record collection,” Kid recalls, “black guys on one side, white guys on the other. The section of black guys was a whole lot bigger, so I went there.”

Omlid loaned him several LPs, among them the essential recordings of Otis Rush and Freddy King, as well as B.B. King’s Live At The Regal, some Albert King, T-Bone Walker and more. He insisted Kid take along a Little Walter disc, too. Why? Because he said Andersen had to learn how to play behind harmonica players, too.

“Boy, was he right!” says Kid, who’s spent the better time of his career in America playing alongside some of the best reed benders in the world today.

His guitar sound is different than most contemporaries, ranging from a light West Coast feel to the surf feel and intensity of Dick Dale or Nokie Edwards of the Ventures. “I was pretty much a blues Nazi from the time I was 12 to 16,” he recalls. “I started going to music school, and then I was just an omnivore, devouring any kind of music – from rock to classical to folk music from remote parts of the world. It was only when I decided to become a professional musician that I stated weeding out what I really dug.”

Fortunately for blues lovers, he preferred roots and soul most of all.

Andersen was still in his mid-teens when he moved a couple of hours northeast to Oslo, where he quickly established himself. It wasn’t long before he landed a gig as guitarist in the house band at Muddy Waters, the top blues bar in Norway, playing behind a long list of visitors from the New World, including Jimmy Dawkins, Willie “Big Eyes” Smith, Nappy Brown, Homesick James Williamson and many more.

He was 19 or 20 when he caught the eye of another visitor.

Terry Hanck, a future BMA and Blues Blast saxophone player of the year and perennial nominee, came to town for a weeklong set. “I could see right away that he was special,” Terry says. “Not only was he a quick learner, but he knew instinctively the tone and feel I wanted to get out of a song. And he was funny, too.”

At the time, Kid was already getting to be a pretty big fish in a shallow pond, and he yearned to move to California, where many of his blues favorites, including Junior Watson, lived. “I didn’t want to come to America to go sightseeing,” he says now. “I wanted to be a part of the scene.”

It didn’t dawn on him that if he did, like most folks who’ve come before him, he would be taking a vow of poverty to play the blues. “It really didn’t matter,” he jokes. “I have a knack for poverty anyway. It doesn’t matter how much money I have…I’ll spend it in a week. I’ll never hang on to it for long.”

Hanck lived in Santa Cruz, Calif., not far from San Francisco, and returned to the States without him after the gig, but he didn’t forget. “A few months later, I needed a guitar player,” says the lanky, personable horn blower. “I called him up, asked him if he was serious, and he jumped at the chance.”

The musical marriage lasted four years before Andersen left to join Musselwhite. “All the big league stuff I’ve been involved in, I’ve NOT been the front man,” Kid says. “It’s worked for me. It hasn’t hurt my ego.”

Andersen loves Charlie. “He’s just got that aura, almost Elvis-like,” he says. “He just walks up on stage and he’s already won.”

After a five-year tour, he resigned to hook up with rising soul-blues superstar John Németh, a relationship that ended after a few months because of Andersen’s personal problem with alcohol. “I just went on a little bad streak, that’s all,” he says. “I prided myself for a while in never getting fired from a band for my extracurricular activities. And then I joined John Németh – and there went my streak!

“There’s actually no hard feelings there, though, ’cause it actually got me to take a hard look at myself and turn it around. And then I hooked right up with Rick. So it was very serendipitous and too hard to ignore.”

The timing was unbelievable. After more than 30 years on the road fronting the Nightcats, Little Charlie Baty was ready to “retire” from the road. The announcement came as no surprise to his bandmates when it was delivered about six years ago, but Estrin wasn’t ready to quit.

“Literally, the day after I got fired from Németh,” Kid recalls, “I called Rick to tell him I needed help to stop drinking…and he offered me the gig. It was too ominous to ignore. It meant too much to me knowing how he beat his own problems, and I knew we’d have a great thing together.

“We just feed off one another. Musselwhite’s a much more dignified delivery of what he does. There’s not more or less value in either approach. Rick is a different kind of performer. But it’s not like that was a tough adjustment for me. When I do my own stuff, I’m a real ham. That’s showbiz.

“Some people have come up to Rick after they’ve seen me with Musselwhite and say shit like: ‘Aw, you brought Kid out of his shell. Rick says: ‘No, he’s like that. He’s a fuckin’ clown, too!’

While Baty and Andersen are both exceptionally skilled guitarists well versed in all shades of blues, the lineup change proved explosive for the band. Charlie always let his guitar do the talking, preferring to receive accolades with a smile in silence as Estrin’s personality dominated the stage. With Kid in the lineup, the dynamic changed. Andersen’s gregarious personality takes over at times, allowing Estrin to relax a little more on stage.

Charlie’s “retirement” didn’t last long, though. In the past year, he’s returned – and even toured with the new Nightcats lineup to delight of audiences around the world.

“You can’t do what Little Charlie does better than him,” Kid exclaims. “He and Rick had a great chemistry. I just do what I do. It’s different. I don’t want to be any kind of copy of him. There’s a lot of common ground and spillover in our influences. But he leans in one direction and l lean a little more in the other.”

One element that comes through loud and clear is Andersen’s outrageous sense of humor. Folks who’ve “friended” him on Facebook are well aware of the frequent videos he’s posted. And others who’ve seen the band live have been exposed to something more: Kid’s persona as The Mighty Anderon, Heavyweight Champion Of The Guitar, a wrestling style character who’ll take on all comers, among them East Coast powerhouse Popa Chubby, in no-holds-barred six-string battles.

The character came about purely by accident.

“I did a show in a bar in Santa Cruz, Calif., and this lady I know who booked the gig had her secretary make a poster,” the guitar wizard recalls. “She wasn’t, shall we say, the best speller. She misspelled my name. Not only did she write ‘on’ instead of ‘en,’ but she also forgot the ‘s.’ I was ‘Kid Anderon’ instead of Andersen.

”So one of the guys I’m playing with says: ‘I kinda like it…it sounds like you’re from the future.’ My friends started calling me Anderon. We have a lot of fun with it.”

The character has taken on a life of its own over time. Today, Kid sometimes emerges from backstage like a belligerent Norse god, complete with flowing cape and oversized championship belt, wielding his guitar like a weapon, with Estrin tagging along, cigar dangling in his mouth, standing in as his manager.

“I’ve held the belt fair and square three years in a row,” Andersen chuckles, vowing never to give it up.

The road gives Kid a place to relax. When he’s home, it’s all work and no play 24 hours a day. “I live in my studio. Literally. It’s my house. There’s a bedroom and there’s the rest,” he says. “But everything else is the studio, not limited to the kitchen and toilets.”

He used the advance he received for his most recent solo album, 2006’s The Dreamer, to build and record in a home studio — dubbed Greaseland — and receive immediate gratification rather than paying someone else for the work and waiting for the results. Demand for his recording services has increased with each passing year as his skill in the booth has grown.

He’s lucky to share the home and his life with someone who totally supports him. Wife Lisa is a fellow musician who works in the 14-piece Michael Jackson tribute band, Foreverland, which has a large following in Northern California and neighboring states. “She doesn’t just put up with the home invasions caused by my recording of music,” Kid says. “She’s part of it. She’s a resource, and an incredible singer. And we gig together, too.

“She’s opened my mind even more to different kinds of soulful black music. When I came to the States, I was pretty much into BLUES. Delta and Chicago blues. When I started playing with Terry Hanck, I started getting more into soul, driving around all day, listening to Tyrone Davis and shit like that. My musical tastes used to end at about 1964. After that, 1973. But anyone good in my life has broadened my horizons.

“With Lisa, she was into the low rider music and the Dramatics and all that. Now my musical tastes have expanded to almost the early ’80s.”

Today, Kid is so busy recording others that he hasn’t given much thought to a new CD of his own. The Nightcats now use his talents, and he’s cut two live albums for Németh. R.J Mischo, Finis Tasby, Jackie Payne, Hanck and the Frank Bey & Anthony Paule Band all have used his services among others – every one of them by word of mouth.

“I started working with a group of people who give me a real sense of fulfillment,” he says. “I’ve got tons of songs that are half-written, you know. But it’s hard to find the impetus to make another record at my own leisure because the only time I rest is when I’m on the road.

“If somebody gave me a ton of money and a deadline, I’d do it!”

In truth, though, Andersen feels a sense of completeness through all of the other projects he works on. He puts so much effort into them that when he listens to the finished product, it literally becomes his own.

The project that’s got him particularly excited right now involves Wee Willie Walker, one of the most deserving, but horribly under-recorded singers of the 1960s.

A true soul survivor, Walker released only seven 45s for the once-powerful Goldband Records before leaving the limelight. Andersen met him a couple of years ago at a restaurant/bar in Minneapolis, where Willie has lived for decades, and then again on the Legendary Rhythm And Blues Cruise, when Walker was taking a busman’s holiday from his gig with The Butanes, an ensemble that specializes in deep soul and New Orleans style blues and heats up the cold nights in back home.

“He’s absolutely one of the greatest soul singers alive today,” Kid says. “On the cruise, nobody knows who he is, and he can kick the ass of anybody on the boat. Rick and I have taken it upon ourselves to make something happen for him. We’ve brought him out to California and have Jim Pugh on organ and guys from the Nightcats, Fabulous Thunderbirds and Elvin Bishop’s band, a horn section and even strings on one song. Without a doubt, it’s the greatest record I’ve ever been involved in.”

As prominent as he is within the blues community, Andersen never loses sight of the depth of feeling produced by artists born into the blues tradition, men like Tasby. “I’m a white guy playin’ the blues and probably shooting myself in the foot for saying this, but when you dealing with Willie or Jackie Payne or Finis, you just get the thing on. They’re just soaked in blues. You can ask ’em what they want on their pizza and whatever answer you get sounds like blues.

“I’ve worked really hard at assimilating that, at making the sounds that I like a part of my language. But to those guys, it’s so ingrained in them, when you find people like that, you’ve got to step up your game and do whatever you can to do them justice.”

He’s also been working with John “Blues” Boyd, cousin of the legendary Eddie Boyd. Although Andersen says he’s “been (away from the stage) in the room for the past 40 years,” he sings like T-99 Nelson and Junior Parker, and he’s recording tracks now, too. “My motive’s to give back for everything I’ve received,” Kid says. “But at the same time, I’m getting to participate in some of the greatest music ever made. It’s totally rewarding.”

And there’s a new Rick Estrin And The Nightcats disc in the works, too. Recorded at the famed Biscuits And Blues bar in San Francisco, it’s entitled You Asked For It…Live!!! and should be released on the Alligator label this summer.

There are still lots of musicians he’d love to work with if he has the chance. “The first guy that comes to mind is B.B. King,” he says. “I know he’s pretty old and frail now, but I’d love the opportunity to record with him. Also guys like Bobby Womack, a big idol of mine, Oakland-based soul singer Rodger Collins, Bobby Rush and Doctor John, too. All these guys have had better careers than me. Lady Gaga. The Beastie Boys.

“Hell, I’d like to make some money!”

To hear a couple samples of this great guitar players sound click HERE and HERE

Photos by Bob Kieser © 2014 Blues Blast Magazine

Interviewer Marty Gunther has lived a blessed life. His first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

 Featured Blues Review – 2 of 9  

Terry Quiett Band – Taking Sides

Lucky Bag Records

13 songs/69 minutes

If you are in search of a blues rocker to savor then look no further. The Terry Quiett Band from Kansas City will fulfill all your needs. This trio of high-energy musicians offers up a dozen original tracks and a cool cover on this super new CD. In addition to Terry on guitar and vocals we have Nathan Johnson on bass and Rodney Baker on drums that form the main part of this hot band.

The album begins with Terry on resonator and guest “Mississippi” Hal Reed on harp. “Come The Morning” gives us some very well appointed slide and Mississippi saxophone that serve well as a statement to the listener that this is going to be a great album. It is a fiery piece that really sets the tone for the rest of the cuts. “Nothing at All” continues that vein, another high energy cut where we get a nice big dose of Scott Williams on keys along with the rest of the band doing it up well. “Cut the Rope” tones things down a bit temp-wise as Quiett applies the wah pedal and sings of a relationship that is fizzling out. The band shuffles nicely with “Wheelhouse Blues” as Terry tells us that he is free from his shackles of a relationship and on a new road with his head back in the game. Quiett slides and Williams testifies on the organ along with him.

The boys switch back to the rocking mode with “Voodoo Queen” where the trio and Willaims give us a hot ride. “Weak Minded Man” gives us some more of Reed’s sweet harp as Quiett sings of a weak minded, indecisive guy with too much pride. More cool slide abounds. “A Fool Should Know” tones things down with a ballad where Quiett sings soulfully and Williams thoughtful taps out the piano accompaniment before switching off to the organ for the choruses. Quiett really bares his soul to the listener here. “Two Hearts” is anther thoughtful shuffle with a great guitar intro and solos.

The horns come out for “Gimme Some,” a rocking soul number with Brad Turgeon on trumpet and Jordan Northerns on trombone and Williams plays a little sax. Quiett gets pretty explicit as he describes, “I been thinking a long time about how good it must feel to have your legs wrapped around my neck, Long slow kisses along those thighs” as the organ moans and backing vocals chant “Gimme some.” The horns stay around for “I Come Running,” a very cool R&B number. “Get Back On” continues in that general direction where the horns and organ support a more rocking soulful song as Quiett goes into another pretty mega guitar solo.

“You Can’t Come Back” concludes the original cuts where we get a little funk added to the mix with the keys stepping it up. Another journey to the guitar stratosphere ensues and then Quiett takes things down a few notches as the soul gets a bit reflective. He then builds things back up into a finale frenzy with stinging guitar licks and a huge organ accompaniment as the backline gives it their all. The CD concludes with Quiett offering a very nice cover of “Let’s Get It On” that would make Marvin Gaye proud. He does not overdo it and offers up very thoughtful vocals as the organ and keys support. The horns also support him well here again, too.

There are no clinkers here – a baker’s dozen of cuts that will take your pulse up a few notches and then take you back down. Beautiful original songs with great lyrics sung emotively and with the songs played with outstanding musicianship. This is an outstanding album by an artist who I think is the real deal; we will be hearing a lot more from this guy! Highly recommended!

Reviewer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

 Featured Blues Review – 3 of 9  

Adrianna Marie and Her Groovecutters – Double Crossing Blues

11 songs – 44 minutes

Midnight Owl Records

West Coast-based vocalist Adrianna Marie applies a traditional touch to this collection of classics, which mines uptown 1940s and 1950s hits, for this swinging throwback disc that’s guaranteed to get you out of your seat and onto the dance floor.

Born into the folk scene in Connecticut and the daughter of a couple known as the Carolee Singers, Adrianna is a former fashion model who possesses a clear, strong voice perfectly suited for the material she’s chosen. She started singing professionally at age 10, and fell in love with the music in her teens when her vocal coach sneaked her into jazz and blues clubs in Bridgeport and neighboring New York City. Now based in Los Angeles, she’s self-produced two earlier releases, the full-length Spellcaster and EP Can’t Change It, as well as a self-titled 2012 demo on Delta Groove Records. In addition, she’s featured on two cuts on the Mannish Boys’ Double Dynamite CD, which was the 2013 Blues Music Award winner for Best Traditional Blues Album.

Marie’s backed here by the Groovecutters, one of the best collection of musicians the West Coast has to offer. Guitarist LA Jones, Adrianna’s partner in real life, is backed by the 2000 Lbs. of Blues band’s rhythm section: Dave DeForest on upright bass and Ron Felton on drums. David Kida of Rod Piazza and the Mighty Flyers relieves Felton on five cuts, and Tower of Power trumpeter and trombone player Lee Thornberg leads the horn section with sax player extraordinaire Ron Dziubla. Larry “Big House” David holds down the keys and harmonica. Adrianna’s website also mentions pianist Honey Piazza as being in the lineup, but she’s uncredited on the disc.

A swinging solo from the horn section kicks off “I Want A Tall Skinny Papa” as Adrianna channels blues singer turned gospel powerhouse Rosetta Tharpe. Jones’ solo takes you straight back to the ’40s club scene before the horns come back in with an updated horn chart. Marie’s vocals are delivered bright and crisp without any of the affections that many modern vocalists apply to music of this era. She follows with a reprise of Helen Humes’ “I Ain’t In The Mood,” remaining faithful to the original as the band brings the tune into the 21st Century with a straight-ahead blues feel, powered by a strong harmonica solo from David.

Louis Jordan’s “Is You Is Or Is You Ain’t My Baby” is delivered with a classic swinging big-band feel instead of a jump number, as it was introduced, while “Cherry Wine” is faithful to Little Esther Phillips’ recording on the Federal label. Next up is the Maceo Pinkard penned “Sugar,” a song that’s been recorded by Louis Armstrong, Earl Fatha Hines, Fats Waller and many, many others. The horns take over for this one. They deliver a 48-second solo over a syncopated rhythm before Adrianna sings a couple of choruses to piano accompaniment. Another long horn chart follows to a concluding verse.

The band adopts a modern blues feel for Jay McShann’s quick-paced “Hands Off” with harmonica coming to the fore for a lengthy solo break before Marie launches into a version of Johnny Otis’ “Double Crossing Blues” Johnny Otis. The pace slows dramatically as Adrianna gets to stretch her vocal cords, with subtle call-and-response from guitar before the keys take over for a long solo leading into a guitar break. A drum solo leads into “That’s A Pretty Good Love,” recorded first by Big Mabelle, one of the best – and most powerful — blues shouters of the ’50s. Although Marie doesn’t approach Mabelle’s vocal intensity, she delivers the tune with aplumb. Two more classics – Lil Green’s “I Won’t Sell My Love” and Humes’ “He May Be Your Man” follow before Adrianna steps aside and sets the band free for a six-plus minute closing instrumental, Sonny Thompson’s “Sad Night Owl.”

If you’re addicted to the sounds of the late ’40s and early ’50s like I am, you’ll absolutely love this disc. And so will grandma and grandpa. Turn ‘em on to it. They won’t be disappointed.

Reviewer Marty Gunther has lived a blessed life. His first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

 Featured Blues Review – 4 of 9  

Sugar Boy and the Sinners – All You Can Eat

Sinners Records – 2014

Thirteen Tracks with a total running time of 47:31

The debut CD release of Dutch band Sugar Boy and the Sinners’ All You Can Eat is driven by Boy Vielvoye, (vocals and harmonica) Ronnie Guerin, (guitars) Vinnie Guerin, (double bass) and Frankie Duindam (drums, percussion, keys on track 13). Produced by Mischa Den Haring (who also plays keys and second guitar on track 4) All You Can Eat is 13 tracks of original tunes with lyrics by Boy Vielvoye and music by Ronnie Guerin except for track 4 music by V. Guerin, tracks 6 and 11 music by Sugar Boy and the Sinners and track 13 music by Boy Vielvoye arranged by Sugar Boy and the Sinners.

All You Can Eat was recorded live in an amazing two days time at the Ijland Studio in Amsterdam. (one of my favorite cities) While the band has only toured professionally since 2010 they have played many festivals and music venues in Europe and the United States alongside music greats such as Robert Cray, The Fabulous Thunderbirds, Gov’t Mule and Walter Trout.

From the beginning track “Third Round of Gin” to the end you can tell these guys are serious, professional musicians. Balancing leads between harmonica and guitar there is a lot to like on this recording. “Third Round of Gin” is a straight ahead blues rocker with an obvious drinking theme that would work in any barroom juke box.

“It Won’t Be Long” is another rocker that invites comparisons to The Fabulous Thunderbirds work when J. Vaughn was still with the band. The hauntingly rumba blues beat of “She Tricked Me” is an invitingly infectious groove on an old theme of love insanity.

Boy Vielvoye’s voice is easy on the ears with a blue eyed soul delivery and appropriate growls where needed. His harp playing has a classic feel reminiscent of Charlie Musselwhite. With Ronnie Guerin playing steady, steamy guitar and Vinnie Guerin with Frankie Duindam rounding out the rhythm section on these thirteen original tunes one would not be wasting their time or money on this recording. Judging from their web site Sugar Boy and the Sinners will not be in a Blues club in the states any time soon but if you happen to be somewhere across the big pond soon you might want to check them out – I would.

Sugar Boy and the Sinners have won the Dutch Blues Challenge in 2012, third place for European Blues Challenge in 2013, semi-finalists in the International Blues Challenge, (Blues Music Foundation – Memphis, TN) and the winner of the Blues & Wine Festival Award, Sicily. The following nominations are in the band’s resume as well: Frankie Duindam for Best Dutch Blues Drummer 2013, “Sugar” Boy Vielvoye for Best Dutch Blues Harmonica Player 2013, and Sugar boy and the Sinners for Best Dutch Blues Band 2013.!

Reviewer Tim “Bluzybiker” Petty spent 42 years building railroads and now spends his time supporting the music he loves and riding motorcycles – sometimes at the same time.

 Featured Blues Review – 5 of 9  

Texas Slim – That’s Who I Am

Feelin’ Good Records

16 songs – 65 minutes

It does not take a genius to identify Robert Sullivan’s home state by his stage name of Texas Slim. Equally, it only takes one listen to his new CD, That’s Who I Am, to have a pretty fair idea where he comes from.

Roaring out of the speakers with the upbeat “Sweet Tooth Blues”, it is immediately obvious that this is an album of high energy, guitar-driven blues as Slim declares his love for his lady at the same time as he sings of his love for unhealthy food. “Bring me a strawberry shortcake, and a double banana split. Bring yourself and two spoons, I may let you have some of it. Well, I love your deserts, but you’re the sweet I want the most. I got a sweet tooth for you, baby.” One can only assume that his lady keeps him slim by working the calories off him at night.

Featuring 16 songs (all written by Slim himself, except for the sole cover of Frank Frost’s “Jelly Roll King”), That’s Who I Am features a wide variety of modern blues styles, from the funky, Albert Collins-esque “Every Time I Go To Houston” and the swing of “Lazy Girl” to the slow minor key blues of “Coyote Moon Blues”. It includes three instrumentals: the Freddie King-influenced “Rock Hauler”; “Attack Of The Mosquitoes”, which has a hint of Dick Dale’s version of “Miserlou”; and “Lightning Boogie” which recalls some of Stevie Ray Vaughan’s wilder instrumentals. Texas Slim may not be saying anything new on this release, but what he says is energetic, exciting and just downright fun.

That’s Who I Am is Slim’s fifth solo album, although he has also appeared on two albums by Wanda King as well as the “Blues Explosion” guitar summit CD with Vivian Vance Kelley and Andy Just in 2011. He is both a fine, expressive singer and an unreserved guitar slinger, drawing a warm, fat Les Paul tone from his guitar. He can also pen good songs. He is ably supported by Kenny Stern (Slim’s drummer for 31 years) and Bill Cornish on bass (something of a newcomer, having only played with Slim for the last 20 years). Cornish and Stern are a rock solid rhythm section, who nail down a driving groove whilst still offering subtle rhythmic variations that keep the songs interesting. Stern’s alternating drum rhythms on “Rock Hauler” in particular add fresh layers to the song.

Brian “Hash Brown” Calway adds harmonica to the relaxed shuffle of “Have A Coffee With Me” and “Jelly Roll King”, but this record is primarily the sound of a trio recorded almost live (eight of the songs have no overdubs at all) and Paul Osborn and Texas Slim deserve credit for capturing on CD the energy of what is clearly a first class roadhouse band.

Robert Sullivan was apparently given the nickname “Texas Slim” in 1982 by the late, eccentric piano legend, Alex Moore, himself a native of the Lone Star State. It is a fitting nom de stage. Slim wears his Texan influences on his sleeve, but he also wears them lightly. The most obvious role model is probably Johnny Winter, although Slim takes a more melodic approach to his solos, which suggests he has absorbed a lot of Freddie King as well. “Love Somebody” could have appeared on an early ZZ Top album, and “Lightning Boogie” is a loving nod to both Lightnin’ Hopkins and SRV.

Recorded in Dallas, Texas, in October 2013 at Audio Dallas, That’s Who I Am features very impressive packaging with a gatefold CD and is a highly enjoyable album of guitar-driven modern electric blues.

Reviewer Rhys Williams lives in Cambridge, England, where he plays blues guitar when not holding down a day job as a technology lawyer or running around after his children. He is married to an American, and speaks the language fluently, if with an accent.

 Featured Blues Review – 6 of 9  

Norman Taylor – Blue Soul

Soul Stew Records – 2014

11 tracks; 44 minutes

Norman Taylor is from the Philadephia area where soul music is in the blood. Norman can do soulful but also plays in country blues style. On this album of ten originals plus a version of one traditional song Norman plays guitars, acoustic and electric, plus mandolin: Steve Goldstein accompanies him on guitar, co-producer/engineer Roycee Martin plays bass and Tom Callan drums.

The album opens with the sprightly “100 Miles From Memphis”, a country blues which speaks of travelling to the Bluff City: “It’s the land of my song, it’s the place in my heart; I may not be from Memphis but we’re never far apart”. Whilst Norman is clearly adept at the country blues style, as on second track “Betrayed Blues” his voice adapts well to a more soulful song such as “Anywhere But Here” where his slide sits alongside electric guitar and some gentle but insistent hand percussion. “Downhome Camden, SC” is an instrumental dialogue between guitar and bass before we get another well-crafted original in “Soultrippin’”. This is a lovely tune with a catchy central refrain, some fine picking on both acoustic and electric guitar and some inventive lyrics – it’s not often that we get ‘marinade’ in a blues or soul song! In “The Apology” Norman sounds genuinely sorry for his actions: the gentle music, weeping guitar and words of regret must surely win back the object of his affection. Another gentle tune with a latin lilt follows in “Beautiful You” – perhaps this is the person to whom “The Apology” was sent?

The traditional “Going Down The Road” was a favorite of the Grateful Dead but works very well here in a solo performance, Norman’s deep voice fitting the song well. “Grace Walking” is a full band performance with plenty of strong guitar interplay between Norman and Steve, another soulful tribute to Norman’s muse. “Garden Of The Blues” returns to bluesier paths whilst adding some eastern references in the guitar playing before the oddly titled “Betrayed 2.0” closes the album in upbeat mode. This song is the most ‘electric’ tune here with stinging guitar notes above some intense work from drummer Tom on an angry song about being let down in a relationship.

This appears to be Norman’s first CD and it is an excellent debut with plenty of fine playing and interesting songs which make it well worth investigating.

Reviewer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.

 Featured Blues Review – 7 of 9  

Dana Robbins – Dana Robbins

Self-Release – 2014

11 tracks; 44 minutes

Dana Robbins is a saxophonist who has played with many artists, including Aretha Franklin and Barry Manilow. Now based in Nashville she is currently playing with the Delbert McClinton and Andy T/Nick Nixon bands. This CD was produced by current maestro of the studios Tom Hambridge who assembled some great players to accompany Dana: guitars are handled by Rob McNelly and Bob Britt, Kevin McKendree and Tim McDonald play keys, Mike Joyce and David Santos play bass, Lynn Williams and Tom himself play drums. Several tunes are instrumentals but when vocals are required Delbert and Jimmy Hall take two songs each and Dana also sings one herself. Etta Britt and Vickie Carrico add some background vocals and Quentin Ware adds trumpet on two tracks.

The CD opens with “Say It Again” written by Dana and Bruce Katz who has been playing keys with Delbert’s band in recent times. Bruce’s B3 part is taken by Kevin McKendree and the tune makes a great pairing with the King Curtis’ classic “Soul Twist” which follows. Delbert then steps up to the microphone to deliver one of those lovelorn ballads that he does so well. “Hardest Part” is a co-write with Tom Hambridge and Jimmy Hall and also features an excellent solo from Dana set against a lovely horn arrangement by trumpeter Quentin Ware. A short sax interlude precedes the instrumental “Make It A Double” on which co-writer Tim McDonald’s fleet fingers on piano are a feature of a tune that recalls those cool swinging jazz instrumentals in 60’s movies.

Jimmy Hall sings the rocking “Party On The Ocean”, a song written by Dana, Bob and Etta Britt in tribute to Delbert’s Sandy Beach Cruises which name-checks several regulars cruisers in a full band production (another great horn chart by Quentin). A second co-write with Bruce Katz, “Swingin’ Alley”, does what the title suggests as Dana leads the band on a swinging instrumental with organ and piano both to the fore. “Pullin’ The Strings” is Delbert’s second vocal, a song written by him, Bob Britt and Mike Joyce in something of a Tom Waits, late night, smoky bar vein, a feeling enhanced by Dana’s breathy sax and Kevin’s jazzy piano. Tom Hambridge wrote “Bless Your Heart” with frequent collaborator Richard Fleming and it provides a soulful vehicle for Jimmy Hall whose voice on this one is outstanding; Dana finds a solo of her own to match the emotion in Jimmy’s voice.

The CD closes with two contrasting pieces. First we get an instrumental romp through Buddy Miles’ “Them Changes” which offers a suitable challenge to the players with its super-fast riff (originally created, of course, by one Jimi Hendrix). Perhaps inspired by having two excellent male vocalists on her album, Dana sings the lead on closer “Right As Rain” and acquits herself very well, supported by the backing vocals of Etta Britt and co-writer Vickie Carrico. This is the longest track here, clocking in at over six minutes, a slow ballad that explores how a strong relationship will endure: “When it comes to this loving game, we’re right as rain”. Everyone plays superbly, Bob Britt’s guitar, Kevin on piano and Tim on B3 for this one, both drummers playing and Dana’s sax rising above the ensemble to provide a rousing finale to the album.

If you like saxophone playing with a mixture of instrumentals and strong songs this is an album that you should definitely seek out. It comes thoroughly recommended and may well receive more accolades as the awards season approaches.

Reviewer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.

 Featured Blues Review – 8 of 9  

Cathy Lemons – Black Crow

VizzTone Label Group/Squeeze Play Records

CD: 10 songs; 51:17 Minutes

Styles: Mellow Folk and Soul-Influenced Blues, Blues Covers

Blues music doesn’t have to be overly loud or vocally ‘in-your-face’ to be good. A case in point is Cathy Lemons, originally from Dallas, Texas, but now an artist who has been a regular performer in the San Francisco Bay Area for twenty-five years. She’s worked with some of the most well-known artists in the genre including Stevie Ray Vaughan, Anson Funderburgh, John Lee Hooker (according to her website, she toured as his send-off singer in 1987), Tommy Castro, Chris “Kid” Andersen, and many others. Sporting a feathery costume on the CD cover that makes her look more like the statuesque ballerina of the movie “Black Swan” than the bird in the title, Cathy now presents Black Crow. It’s her third release, following her year-2000 debut Dark Road and 2010’s Lemonace. Her style is mellow and hypnotic, but never tedious. With her are guitarist/vocalist/percussionist Stevie Gurr, bassist Paul Olguin, drummers D’Mar and Robbie Bean, and pianist/organist Kevin Zuffi. Special guest stars are Doug James on baritone and tenor saxophones, Volker Strifler on lead guitar, and Kid Andersen on organ and sound effects. There are ten songs – six originals and four covers – and these three are the finest of the former:

Track 03: “Black Crow” – Gentle yet ominous, this album’s title track takes a surprising turn. These avians have been portrayed in literature and music as omens of death or other misfortune: “There’s a black crow; he’s maimed, but he dropped down to visit me. He circled round and round, won’t let me go, won’t set me free.” Later on, we find out what he represents – our narrator’s lover: “You’re my maimed black crow, baby. All I want is your wings around me. I swear we’ve both got to burn, but I’ll take you with me.” Lemons performs humming harmony with herself, while co-producer Kid Andersen provides cawing sound effects.

Track 04: “Hip Check Man” – Pouring on the hot sauce, Cathy is sure to tingle listeners’ aural taste buds with the very next song. She’s so desirous of the titular character that she doesn’t care if she’s his one-and-only. “I don’t mind you got another girl; she ain’t gonna take care of you like I do.” Co-producer Stevie Gurr’s harmonica rip-snorts throughout this rowdy rendition.

Track 10: “The Devil Has Blue Eyes” – “The heart has no say; the devil has taken my love away. I can’t understand why he has treated me this way.” Such is the message of this haunting ballad. There’s a minimum of instrumentation, only superbly sultry vocals, creepy guitar, and mournful harp. One should listen to it at midnight with all the lights off at one’s own risk.

Cathy Lemons is no “Black Crow”, but a ‘black swan’ of the blues. If one’s favorite type is mellow and full of soul, then this album fits the ‘bill‘!

Reviewer Rainey Wetnight is a 34 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her father’s blues music collection.

 Featured Blues Review – 9 of 9  

Li’l Ronnie and the Blue Beats featuring Claudia Carawan – Unfinished Business

EllerSoul Records

CD: 14 songs; 55:37 Minutes

Styles: Soul, Funk, Ballads and Blues

“This aptly titled CD Unfinished Business has been a long time in the making,” Richmond, VA harmonica guru Ronnie Owens (Li’l Ronnie) says of his latest release in the album liner notes. “I believe [it’s] certainly worth the wait. The Blue Beats were a popular regional band in the ‘80s and early ‘90s. This is our 2nd CD that we started recording way back in ‘91. The record features the soulful, gospel-tinged vocals of Claudia Carawan. We had written all the songs and had recorded 8, but sometimes life just gets in the way and things don’t turnout [sic] as planned. Well here it is over 23 years later and we’re finally getting this project finished. This record is a real mix of American musical styles, featuring 12 originals written by band members, plus 2 covers by Ray Charles [“Hard Times”] and Louie Prima [“Jump, Jive, Then You Wail”]. Both were recorded in ‘91. Who says you can’t go back?”

Indeed they did, and the resulting effort is a spectacular medley of “soul, funk, ballads and blues,” as the CD cover says. The band features Carawan on lead vocals and alto sax, Ronnie Owens on lead vocals and harmonica, guitarist Jim Wark, Stu Grimes on drums and percussion, Mike Moore on acoustic and electric bass, and Eric Holt on keyboards and vocals. Additional musicians include saxophonists Chris Watling and Roger Caroll, trumpeters Allan McEwen and John Greenberg, and pianist John Fralin. Of their fourteen selections, the three below sizzle:

Track 01: “Bring Your Fine Self Home” – With Claudia Carawan’s voice as warm and inviting as coming home for the holidays, the opening ballad is a beauty. “Don’t need to bring me a present ‘cause you’ve been gone. Don’t need to sweet talk me, baby, on the phone. I don’t want a new car with shiny chrome, but baby, bring your fine self home.” This reviewer would like to nominate this song as having the best female vocals of 2014, so far.

Track 10: “Stop Cheatin’ Me Blind” – This throw-down, take-no-prisoners blues rocker features powerhouse piano keyboards from Eric Holt and insistent backup from Ronnie Owens on harmonica. Our narrator’s partner has been philandering, and our narrator knows not why: “Did you hang up, baby, or did the line go dead? Did we have a bad connection? Was it something I said?” Li’l Ronnie laments. Listeners will hit the dance floor or die on this penultimate track.

Track 14: “Warden for a Woman” – The final piece of “Business” is a classic Chicago blues original: “A man’s home is his castle, and that’s the way it‘s supposed to be, but the way that gal been treating me, it’s more like a penitentiary.” Li’l Ronnie provides rueful vocals that don’t grate.

Ellersoul has done it again! If one hasn’t listened to this CD yet, he/she should definitely complete that “Unfinished Business”!

Reviewer Rainey Wetnight is a 34 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her father’s blues music collection.

 Blues Society News  

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Central Iowa Blues Society – Des Moines, IA

Iowa Blues Challenge Finals – Four Bands will compete at Hotel Fort Des Moines Saturday, May 17th 8:00 PM. Competing bands will be The Harris Collection, Mercury Brothers, Hot Tamale and the Red Hots, Jefferson County Green Band. $10 cover or $7 for all Blues Societies card carrying members

Hotel Fort Des Moines room rates for the event are $99 single $119 double Call 1-800-532-1466 for reservations

The 2014 Iowa Blues Challenge is proudly sponsored by Central Iowa Blues Society, Mississippi Valley Blues Society, Lizard Creek Blues Society, South Skunk Blues Society, Southeast Iowa Blues Society, Budweiser, Summit Brewing Co., Cityview, Junior’s Motel, Rieman Music, Zimm’s Food & Spirits and The Muddy Waters. For more information check out

River City Blues Society – Pekin, IL.

River City Blues Society presents live Blues featuring Johnny Rawls 7:30 pm Friday May 16th at Goodfellas 1414 N. 8th St. Pekin, Illinois Admission: $6.00 general public or $4.00 for RCBS Members.  For more info visit: or call 309-648-8510

Prairie Crossroads Blues Society – Champaign, IL

Prairie Crossroads Blues Society presents recently signed Alligator recording artist Jarekus Singleton. Jarekus will be performing at Memphis on Main, 55 E. Main St. from 6pm-9pm. Sunday May 18th. For more info: or

Friends of the Blues – Kankakee, IL

2014 Friends of the Blues Concert Series –  All shows held in Kankakee, IL unless otherwise noted.

Tuesday, May 20, Ori Naftaly Band, Moose Lodge, Thursday, June 5, Sad Sam Blues Jam, Moose Lodge, Tuesday, June 24, Jason Elmore & Hoodoo Witch, Bradley Bourbonnais Sportsmen’s Club, Tuesday, July 8, Brandon Santini, BB Sportsmen’s Club , Wednesday, July 16, Albert Castiglia, Longbranch Restaurant, Thursday, July 31, Terry Quiett Band, Venue TBA, Tuesday, August 12, Laurie Morvan Band, Bradley Bourbonnais Sportsmen’s Club, Tues or Thur, August 26 or 28, Nikki Hill (& Matt Hill), Venue TBA, Thursday, October 02, Sena Ehrhardt, Moose Lodge

Crossroads Blues Society – Byron, Illinois

Crossroads Blues Society is proud to present the second annual Field of Blues Festival on Saturday, June 28th at Rockford Aviators Stadium in Loves Park.  Advanced tickets are on sale now. The festival will be held at the Rockford Aviators Stadium in Loves Park off Riverside (just east of the I39/90 exit). You can order tickets online for $10 plus a service charge at:

You can also send a check for $10 per ticket and a SASE to: Field of Blues Festival Tickets, c/o Crossroads Blues Society, PO Box 840, Byron, IL 61010.

You can also go to the following locations in Rockford: Guzzardo’s Music, Culture Shock, CD Source, Toad Hall Records, Alpine Bank (Highcrest, Springcreek, East State and Cherry Valley Branches), Just Goods Store, and the Rockford Area Arts Council. In Loves Park The Hope and Anchor is also selling tickets. Gary’s Guitars in Beloit will also be selling tickets as will the Aviators box office and other locations.

Headlined by the great blues and soul singer John Nemeth (8 PM), Crossroads has a great lineup for 2014! At 6 PM Doug Deming and the Jewel Tones will appear with Dennis Gruenling on harp. The 4 PM band is the ever popular Jimmys! Liz Mandeville is on stage at 2 PM and the day opens with Crossroads Blues Challenge winner the Alex Wilson Band. Dan Phelps will appear between acts.

Check us out at or call festival chairman Steve Jones at 779-537-4006 for more information!

The Illinois Central Blues Club – Springfield, IL

The Illinois Central Blues Club has announced the line-up of talent for the Blue Monday live performances and jam sessions held every Monday night at The Alamo, 115 North Fifth, Springfield, IL from 8:00pm to midnight. Additional information on any performer listed below is available upon request. May 19 – The MojoCats, May 26 – Luca Giordano & Quique Gomez, June 2 – James Armstrong, June 16—Mary Jo Curry & Tombstone Bullet, June 23—Reverend Raven & The Chain Smokin’ Altar Boys, June 30—Chris O’Leary Band

Other events sponsored by ICBC – May 15 – James Armstrong Presents @ Casey’s Pub, 7pm, May 31 – Lake Press Club, BBQ & Bues, James Armstrong, with special guest, Mary Jo Curry & Tombstone Bullet, 6:00 pm, June 7 – Luca Giordano & Quique Gomez @ The Thirdbase, Blues at the Base series. 8 pm, June 14, Blues for Abraham Festival @ K of C on Meadowbrook Road, 2 – 10 pm. Rick Estrin & The Nightcats. w/Susan Williams Band, Monica Morris & Josie Lowder, Robert Sampson & The Gumbo Band, Black Magic Johnson. Followed by and after fest jam at Casey’s Pub, hosted by Mary Jo Curry & Tombstone Bullet & The MojoCats.

Questions regarding this press release can be directed to Michael Rapier, President of ICBC, at at 217-899-9422, or contact Greg Langdon, Live Events Chair, at or by visiting


P.O. Box 721 Pekin, Illinois 61555     © 2014 Blues Blast Magazine 309 267-4425 

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