Here's the cover reveal for the latest adventures of my crime fighting bluesmen, Mitty Andersen and Pete Bolden. This time blues and trouble find them in Belize. Barking Rain Press cover design artist, Stephanie Flint, did a great job interpreting the book.
I called Steve Krase's Some Day a rip snorter when I reviewed it back in early August. His new one, Buckle Up, pretty much follows the same kick butt formula. Throw down a couple of songs in a J.Geils groove such as his original I Like Them All and a re-invention of the Willie Dixon warhorse, I Just Want To Make Love To You, sprinkle in another couple from the pen of his brother, David, a cover of a Jerry Lightfoot slow burner, and a dos dose by the legendary Houston blues pianist, Big Walter 'The Thunderbird' Price.
By the way, Krase has been a very busy boy as of late. He just returned from the Lucerne Blues Festival in Switzerland backing Trudy Lynn (a Houston blues treasure) in support of her well received Royal Oaks Blues Cafe, which he released on his label, Connor Ray Music (www.connorraymusic.com). He also accompanied her to the Blues Blast Awards in Chicago in October. Playing harp among the blues elite at these events certainly had to have raised his profile beyond the banks of Buffalo Bayou, not to mention giving the rest of the world a taste of what Lynn brings to the blues table. Her CD is up next in my review queue.
Anyway, Buckle Up kicks off with some Jerry Lee Lewis brand of piano ripping from Randy Wall on brother David's rockabilly style rave up, Jolene. He bangs the hell out of the 88s, while bassist Terry Dry and drummer Michael Morris kick the song down the road at breakneck speed. Krase rips on harp and roars on vocals and either guitarist, James Henry, or D. Krase wails on in on slide guitar.
Daddy's Got A Cadillac (Mama Rides A Mule), written by Dry and his wife Jamie, lopes along much like the old chestnut, She Caught The Katy. The song starts out with daddy driving the Cadillac with mama on the mule, but reverses course before the song is over. Leaves daddy on the mule and mama in the Caddy, and leaves me wondering how much of the song is biographical. Lot's of slide guitar heavy grooves laid down by Henry, with Krase working his harp licks in tandem more than a few times.
Trudy Lynn's husky, full throated vocals own I Just Want To Make Love To You. She makes you feel it and believe it. She owns the tune much in the same way that Koko Taylor did when she covered the blues and belts it out much in the same way. The band wallops it in the aforementioned J.Geils' style groove, with Krase getting his Magic Dick mojo rolling--really rolling. The band hits the song full stride and rocks full out.
Krase covers Misery and Big Bad Woman from Big Walter Price. Big Walter could do the jumping, rockin', piano shaking blues better than anyone. I mention in my previous review that his Pack Fair and Square caught the attention of the J.Geils' band, which they turned into one of their hits. The former is a stop time jumper, rocking with Bobby Markoff banging the keys in rhythmic support, while Krase's harp leads the proceedings from the get go to the end, flying from the middle registrar with swoops up to the high end, punctuated with single note wails stabbing the air. The latter is simply a fine example of jump blues at its best, with Krase emulating horn lines with his harp. Guitarist Henry plays with a bit more restrain, for him, on his solo, but it is mighty tasty. Both songs lament the trouble that women presented in Big Walter's life. Krase adds a little spoken historical, humorous comment in those regards.
Trudy Lynn wrote the title tune, Buckle Up. Krase's harp kicks it off and puts it in a groove like an uptempo Shake A Hand. The harp notes set the rhythm and he glisses up, down and around the tune with backing vocals from Lynn and bassist/producer, Rock Romano. Krase gets quite wild ass with his harp licks before the song closes.
Krase covers one of my favorite Lightfoot songs, Night Train (From Oakland) opening with Henry shredding on guitar and then it settles down into a slow down, low down groove as Krase eases in on the chromatic harp giving the song its somber mood. Henry is turned loose to do as Lightfoot did, soar those blues notes into the stratosphere.
David Krase adds raucous, resonator slide guitar to his Blueshound (which I'm quite sure has nothing to do with James Nagle). It's a jaunty little number, but is embed with dark overtones in terms of the refrain: Dead man laying by the side of the road/I kick him in his head just to watch him roll. The harp licks employed are deeper and darker and helps set the tone, they're nice and fat, too.
As I mentioned earlier, Krase's I Like Them All has J.Geil's written all over it, vocally, rhythmically, and Magic Dickishly. Henry whips the slide on the strings with abandon. The band rips it up on this one.
The set closes out with, Now, a jazzy instrumental written by the brother from the same mother. Kinda a Musselwhite Christo Redemptor sort of thing and predominantly features Krase's ability to knock it out. Drummer Michael Morris is instrumental keeping the instrumental in the groove. Jazzy stuff can wonder off course without a good drummer keeping the flow down the right stream.
So. Yeah. Steve Krase has another rip snorter on the market. As he says in the liner notes, made loud to play loud. So, get yo hands on it and do so. Check out the Connor Ray Music website linked above and for darned sure, check out the one of a kind, Trudy Lynn.
The Deep Blues. Now that's my kind of blues. I listen to all the different shades of blues, but the deep blues turns my crank more so that anything else. Robert Palmer in his book titled, natch, Deep Blues, wrote what I'd consider the best analysis of exactly what it is. I'll boil down his 300 pages to say that he puts deep bluesmen in the category of those who plied their trade around the Mississippi Delta and those who took it to Chicago and other urban centers. They basically took the raw, gritty, lowdown, gutbucket blues and amplified it. Muddy Waters, Howling Wolf, Elmore James, Robert Nighthawk, and John Lee Hooker are a handful of many who took the music of Charlie Patton, Robert Johnson, Tommy Johnson, Fred McDowell, Son House, etc to the city. In the book, B.B. King throws in his two cents in the book, explaining that he definitely doesn't consider himself as a deep bluesman (although, he can dang sure get down with it), because he plays a more uptown style with a horn section augmenting his stage. He nods his head to those I mentioned and the man he learn from, his cousin Bukka White, as staying truer to the roots of the music. The harmonica was the only horn section in a band laying down the deep blues. And, that brings me to Paul Oscher.
I took my wife on a date night to the exquisite listening room in La Grange called The Bugle Boy (www.thebugleboy.org) in La Grange, Texas. On arriving, I spotted Oscher sitting on the deck with his manager, Nancy Coplin and his road tech, Forrest Arnold. They had just returned from a successful European tour. I mentioned to Nancy that, in my opinion, Paul played the deepest blues of anyone around today. He shrugged it off, saying, "Well, that's all I know how to play".
I thoroughly enjoyed visiting with them prior to show. I knew that he'd moved to Austin recently, or actually Manchaca, and he told me he didn't know that he was moving into a place just a few blocks from James Cotton, which provided a reunion of sorts. He told me a tale about how Cotton ended up living with Sonny Boy Williamson II back in the day. I did know that Paul frequently played at a joint called Railroad Barbecue, just a hop, skip, and a jump from his house, having seen someone mention it on a harp forum I read. It closed down before I could make it over to try and catch him.
"Yeah, the way that gig happened was I walk in and asked them if they had live music," Paul told me. He said that they were agreeable and he soon had a standing gig conveniently located just down the street. Once word got out, fans and other Austin musicians flocked to Manchaca and he had the place rocking. Sadly, he told me, other owners took over and the place ended up demolished. He does hold court on Thursday's at C-Boy's Heart and Soul, 2008 S. Congress Ave in Austin. He's rounding up Mike Keller (The Fabulous T-Birds guitarist) and his brother, Cory on drums to back him up when they are available. Gonna have to head that direction real soon.
Now, on to the show. He's been doing the one man thing for quite some time now. I've got a few of his recordings reflecting as much. He walked out and strapped on his harp rack outfitted with a microphone, set up with a wireless rig. He lit into "Ida Mae" on an old, fat bodied Harmony guitar with some of those down in the alley licks he absorbed from Muddy, Nighthawk, and others. I'm pretty sure that it's one of his original tunes, but don't quote me on that...well, hell, you can go ahead and quote me. Original or not, it comes from deep in the well. From there, he put a spin on Little Walter's "Juke" and shortly after, "Mean Old World", but with licks from a different LW slow blues. He gets one helluva a fat, deep tone out of his rig. Speaking of which, I mentioned that to him after the show and he pointed to his chest and said, "Most of that comes deep down in here." He proved that when he played through the vocal mic a bit later in the show.
He's got that old school, lowdown, gutbucket grit on guitar, especially when he works the slide into the tune. He nailed Muddy's tone down more than once as he ripped through his set list, mixing his originals like "Blues and Trouble" and "Thunder" with blues standards such as Guitar Slim's "Things I Used To Do", Jimmy Rogers' "That's Alright", and Freddy King's "Hideaway". After "Hideaway", he told a story about Freddy King opening for them at a club and singeing the side of Muddy's pompadour with flash powder, with Muddy saying "We gonna cut that out". He regaled the audience with humorous tales from the road he travelled with Muddy, which kept the crowd in stitches. I mean, really, here's a dude who was the first white musician to join the best damn blues band...ever, and as the harmonica player following the best damn harmonica players...ever. He had big shoes to fill. Little Walter, James Cotton, Junior Wells, etc were studs, and here was 17 year old Paul Oscher living in Muddy's basement with Otis Spann. So, yeah, he had tales to to tell.
Before the intermission, Paul pulled out some of his tricks of the trade by spinning the harmonica around in his mouth, which swap the physical position of the high end and the low end and he chugged along without missing a beat...until he dropped it, which upset him, since the performance was being streamed live to a world wide audience. The streaming factor forced him into cleaning up the language that he might normally use in some of his blues stories. He did introduce the band before the break. He took his Harmony and place it on the floor like an upright bass and proceeded to play it as a bass player would. "Let's here it for the bass." He never did introduce the harmonica player, though.
After the break, he proved how well he could multi-task. He sat down at his Yamaha keyboard with his neck rack in place and his guitar on his lap. He proceeded to play all three as he sang out a blues number. He damned well absorbed what hanging with Otis Spann, and later, Pinetop Perkins, provided him, which he demonstrated after putting the Harmony down. Pretty sure he played a rendition of Leroy Carr's "Blues Before Sunrise" as the followup. Trusting my memory here, because I took no notes.
He more or less closed things out with "The Things I Used To Do" and a couple of numbers I'm after trouble recalling. The audience insisted on an encore, so he came back with a great "That's Alright" and then lit into spitting out some nice harp licks. Those who weren't familiar with what the deep blues is all about, got an up close and personal tutorial on this night. The crowd was a lot sparser than I expected, but I can guarantee that if he ever plays The Bugle Boy again, that won't be the case.
Here's the deal. There just ain't too many blues musicians out there that do the real deal, raw, lowdown, gritty, gutbucket stuff any longer. He's got a harp tone that rivals any of the heavy weights that blew before him or after. If you find yourself in Austin, check him out at C-Boys on Thursdays. You might find me there some night. Check out his website-www.pauloscher.com Contact his manager, Nancy Coplin at firstname.lastname@example.org and see if she can get him into a venue near you. Bottom line is, don't miss a chance to hear Paul Oscher's Deep Blues.
P.S--I planned to include a picture, but didn't bring a camera with me. My bad. I took one on my flip phone which is way obsolete and Forrest took one, but neither did Paul or I any justice, so I've just included some of his album covers.. Forrest was nice enough to show me around his stage set-up during intermission and pointed out his pedal board for his Harmony and explained that he played it though a vintage Fender Deluxe. His harp rack had a long, dedicated microphone attached to it with the wireless unit that I mentioned. Paul told me that the only pedal for the harp was the Ibanez delay that I spied and he fed that into a vintage Premier amp, with a black Fender deluxe that he kicked in with an A/B pedal to provide more boost and boom when needed. He had an old as hell extension cab to provide more oomph, also. But, as he said, his tone came from deep inside. Agreed, and as a harp player, I know exactly what he's talking about. You can either produce it, regardless of the rig, or you can't. He can and did. By the way, The Bugle Boy is a fantastic venue. People come to hear and revere the music. Click the website earlier in the post and check out their line-up. Anyway--'Nuff for Now.
Blues Community Joins
Hands for Huge Food Drive for the Holidays.
By Ida Mae McLemore
It’s that time of year again for the 25th
annual Blues For Food
November 9th at The Shakespeare Pub,
Located at 14129 Memorial Drive at Kirkwood just off I-10 West.
Join us for over 12 hours of intense live blues with 17 top
It’s almost hard to
believe this BLUES FOR FOOD has been going for a quarter of a century now.
Started by KPFT 90.1 dee-jay and benevolent Houston blues shouter Big Roger
Collin in 1990, it was even a precursor and in some ways setting the stage for
our partner the Houston Blues Society. Big Roger died in October of 2000 and
Houston blues harp man (Houston Blues Society founder and keeper of the flame)
Sonny Boy Terry took over the production right away.“I felt we needed to keep the tradition
going, “ said Sonny Boy. “It has always
been important to me to honor Big Roger’s name and protect the integrity of
Blues For Food. I know the new owners at The Shakespeare Pub feels the exact
This is a
wonderfully diverse array of musical talent featuring the amazing blues legend
Jimmy Louisiana Dotson, the powerful Miss Trudy Lynn, talented upstart blues
vocalist supreme Annika Chambers, critically acclaimed slide guitar giant John
Egan, along with John McVey and the Stumble,
The Sonny Boy Terry Band and from Austin (we’re not too biased here in Houston)
killer blues harp playerGreg izorbacked by the Erin James Bandand
any more. .
Admission is any non
- perishable food items or cash. With your donation you get a free plate of
down home Texas BBQ. Music starts at 1pm with John Eagan and is topped off with
Spare Time Murray and the Honetmakers World Famous Blues Jam going until the wee
hours till 2am.
No one should go
hungry during this holiday season so get ready to shake your blues thang once
again by giving back.Join KPFT 90.1,
The Houston Blues Society, Keith Alan Guitars and The Shakespeare Pub for the
centerpiece of Houston Blues events. It’s the largest collection of Houston
blues artists on stage of the year - all
donating their time and talent to feed the hungry during the holidays.
There will raffles,
50/50 givaways and a silent auction. This year we will even be auctioning off a
hand crafted commemorative Blues For Food 25th Anniversary Cigar Box
Guitar – a true collectors item and a one of a kind creation. It’s not a guitar or memorabillia.It’s folk art as well as being a real
Once again, that’s
Sunday November 9th for the 25th Annual Blues For Food
celebration. All proceeds benefit the
Houston Food Bank.Please visit www.kpft.org,, www.facebook.com/bluesforfoodhouston
or theshakespearepub.net for more information.For publicity information, please call Sonny Boy Terry at 713.822.0437
The annual Blues For Food drive is just around the corner and there ain't no way that you'll see more blues talent in one room at one event and for a better cause than this one. Set for November 9 1pm-2am at The Shakespeare Pub, 14129 Memorial Drive, Houston, Texas.
Have to admit that I haven't listened to much of what Muddy Waters' son, Larry "Mud" Morganfield has recorded. I do know that his previous outing on Severn Records, Son of the Seventh Son, garnered nice reviews within the blues community, but I never got around to picking up a copy. I'll also have to admit that I picked this one up because it had Kim Wilson's photo on the cover alongside of Mud's and Wilson's name has equal billing. In the liner notes of For Pops/A Tribute To Muddy Waters, Severn Records' David Earl says that he finally gave into the idea of producing a set of Muddy's music for his son to cover. He ran it by Mud and Wilson and they were off to the races. They chose to lay off a greatest hits program and decided to mix in the lesser known with the better known.
Now, I'm not sure that I would have sprung for another Muddy Waters tribute album, but I felt this one would be of a different color, plus I'm always a sucker for Mr. Wilson's sideman adventures, especially when it comes to Chi-town blues. I'll get this out to the way first: Mud sounds damn close to his old man. He's got the master's vocal nuances and inflections down and if I'd walked into a room while it was playing, he dang sure would have fooled me. Eerily close. Of course, Kim Wilson played Muddy's music with Muddy during the hey days of the legendary Antones blues club. So, to say that he knows his book of Chicago style blues is an vast understatement and I don't think I need to go through a play by play of all the techniques that he employs to get this point across. Little Walter established the harmonica as the lead instrument in Muddy's band and Wilson certainly leads the way throughout the fourteen songs here. Reminds me of the work he did on Jimmy Rogers' Ludella (which, by the way, was on Antone's label) and more lately Barrelhouse Chuck's Got My Eye OnYou (my favorite latter day recording of Chi-town covers). Some of these songs originally employed the harmonica chops of Junior Wells, Big Walter, and James Cotton as well as Little Walter. A few of the songs have been debated as to who blew the harp or who didn't, because they all could cook in that Little Walter vibe, as does Wilson. No one slips and melts into this genre as well as Kim Wilson.
Speaking of Barrelhouse Chuck, he's along for the ride on piano, as are veterans Billy Flynn (guitar), Rusty Zinn (guitar), Steve Gomes (bass), and Robb Stupka (drums). It didn't take much explaining what was needed in the studio to this crew, and I'd say that's the major reason it only took four days in the studio to crank these tunes out. These guys blend into that classic Chi-town ensemble groove with ease. Barrelhouse Chuck bangs, sprinkles and tinkles the piano notes in and out of the proceedings in the style laid down by Otis Spann and later by Pinetop Perkins. His work highlights every song remarkably well. I'd say that casual fans of Muddy (although, I don't know how anyone could be a casual fan), "Blow Wind Blow", "She Move Me", and "Still A Fool" would be most recognizable because they come from what I'd considered the pre-1955 classic period, followed by "Nineteen Years Old", "I Want You To Love Me", and "I Live The Life I Love". "My Dog Can't Bark" came along in 1965, which was bit beyond Muddy's commercial peak and a lot of folks may remember "Gone On Main Street" from the Woodstock album with Paul Butterfield on harp and not the version with Junior Wells. "I Don't Know Why" and "She's Got It" are a couple that I never listened to enough to remember that they were in Muddy's catalogue. Of course, there will be plenty of neophytes that'll associate "Trouble No More" with the Allman Brothers without realizing that Muddy recorded it '55. Most every song on the program has been covered by others since Muddy's band hit the big time up through today, but the guys did a great job of limiting the number of over-covered chestnuts. I'll lean towards "She Moves Me" as being a favorite cut, simply because it's one of my favorite Muddy songs. Little Walter's tone and technique moved me then and Wilson's moves me on this release. There's no credit as to which guitarist nails Muddy's one of a kind slide tone, but they wound it up pretty darn good.
Yep. This is one sweet tribute that works. Larry "Mud" Morgenfield honors Pops in mighty fine style. 'Nuff for now.
This'll sorta be a drive by post about this year's Navasota Blues Fest because it was sorta a drive by for me this year. Well, not Friday night, because did I managed to see all three of the featured bands. My 21 year old son accompanied me at my insistence that as a guitarist himself, he'd would enjoy Brad Absher and Tony Vega. Tried my best to convince him to go back for Doug MacLeod's set on Saturday, but he had his own fish to fry. His loss. I only had time to take in Doug's performance and catch about half of Bad Brad and the Fat Cats. Really wish that I could have hung around for Texas Johnny Boy, Annika Chambers and Ezra Charles. Had to go, though, so that gave me the blues. I've heard from reliable sources that they all smoked the venue.
Gonna start with the man that George "Harmonica" Smith called Dubb. When Doug MacLeod played in his bands, he never corrected him and he's written many an article about his adventures with the legendary harp player in what used to be Blues Revue Magazine and is now simply Blue Music Magazine. He also spunned tails about his time with Pee Wee Crayton over the years for the same mag.
I've been a fan of Doug MacLeod for a long time and was thrilled that the blues fest booked him. Historically the fest never really gains a crowd until well after 4pm, so his 2:30 start time was sparsely populated. We were encouraged to drag chairs down close to the stage, which made for a more intimate setting. The crowd increased considerably by the end of his set. The Ol' blues veteran had them eating out of his hand with his first song. The man has an old soul full of insight and wisdom. Anyone unfamiliar with his music had to be totally surprised that the sound coming from the stage was by a white performer. In fact, I'd say if they'd been blind folded, they would assumed that the man was black and from another era. Even his stage patter oozes such authenticity, no doubt from the years he played with the real deals for predominantly black audiences for years.
He performed nothing but his original music. He told tales preceding each and about each tune with equal doses of deep philosophy from what he learned from his mentors (mentioning that they'd never use a word like philosophy), hilarious situations, heartbreaking situations, but with plenty of optimism thrown into the mix. Especially, optimism. One song in particular hit exactly on that theme about looking through life with "Brand New Eyes" from his Blue Music Award winning album, There's A Time, which also garnered him their Acoustic Blues Artist of the year. I have no intention of covering his set list here, just need to drive home the point that every song told a story that meant something deeply to him on his journeys through the blues, chocked full of every facet of human emotion. Those emotion left the stage and permeated the audience. Well, at least, it did for me. I felt what he must have felt as he wrote it and now sung it.
Certainly can't leave out how masterful he plays the guitar, picking like Doc Watson one minute and then slipping a slide on to get way down in the alley. His licks rang out sharply picked notes smothered in the blues like pancakes with molasses. To get a taste visit his well designed website at www.doug-macleod.com He's got great video examples of his playing, documentation of all his recordings, lyrics of his tunes, guitar lesson offer, a highly impressive biography, etc...Check out his music store for his stuff, which is a testament to just how long he's been at the blues gig. My favorite CD has always been Live As It Gets with Juke Logan. Maybe because Juke's a cracker jack harp man. BUT There's A Time has just replaced it as my all-time favorite acoustic blues album. I did get to chat with Doug before and after his performance and testify as to what a nice gentlemen he is. As a harp player, I just had to ask him about George Smith. I share this one tidbit, since many harp players are also gear heads. Like many of the legends of the instrument, Smith was far from it. Doug said he never, ever played through an amplifier and most he did to get ready for a performance was call out for a mike check.
Didn't mean to get so wrapped up in just the one blues fest performer (no, that's a lie), because I was plenty impressed Friday night with Brad Absher and Tony Vega. I've always loved Absher and his Swamp Royale band's past couple of fest performance. I've never seen Vega before, but I do have his Taste Like Love album and thought it substantially good. He's really why I invited my son along, because I knew that he'd sling some impressive strings, taking nothing from Absher's playing for sure, but a trio likes Tony's just demands that the guitar do the heavy lifting, while an ensemble such as the Swamp Royale with keyboard and a horn section slips the guitar into the mix when its time comes. Of course, with Absher, when the time comes he leans into it, states his business, then nods off to his sidemen.
Absher's group mixed and matched grooves from Louisiana, country tinged tunes (such as one by K.T. Oslin), swinging rhythm and blues, and of course, stone solid blues. His vocals are supple enough to cover them well and strong enough put him a big notch above the myriad of bands out there messing around with the blues. Where his guitar serves the ensemble, the ensemble serves his vocals. The man can sing. With that kind of voice. That's meant for the blues. Or whatever the hell he feels like singing, and that's what makes a performance by Brad Absher special.
Somewhere down the line, blues/rock lost its luster for me. After Stevie Ray passed, a plethora of guitar rockers began to stick blues into their set list and call themselves blues players. Most of the time their music lacked any semblance of the emotion that defines blues. Then there are those, like Stevie, that ease a bit of rock into the blues without diluting what the music is all about. Tony Vega's band fits the bill of good ol' blues that rocks, much like the early T-Birds and Lester Butler's Red Devil's.
What surprised me most about Vega's performance, aside from his exquisite and tasty guitar work, was his vocals, which I'd compare to a great actor's ability to shift from one accent to another and get lost in the part. For example, he kicked off his set with "Automatic", which became a signature tune for the aforementioned Butler, and I'll be damned if he didn't solidly nail down the same vocal timbre. When he broke out a slow blues, he eased into the mellow voice of the best soul singers and, then, sang out just short of a gravelly blues scream when kicking the intensity back up. He covered a Creedence Clear Water song and John Fogerty came through loud and clear. A heckuva gear shifting feat that impressed the heck out of me.
Vega's guitar playing is definitely not the lick-a-rama wanker fest that way too guitarist employ when they try to rock the blues. I can't explain where the exact boundary exist between the blues guitar that moves me and the type of playing that grates on me. I'm a blues harp guy, remember, but I know it when I hear it and Vega has it and never crosses my tolerance boundary. He doesn't have that "check this riff out" attitude about him. He and his guitar simply groove along with his songs without distracting from the tune. Oh, don't get me wrong, he can sling it, lean into it and blast away, but with taste. My taste.
I arrived a little late for both opening acts on Friday and Saturday and didn't have my act together. Wasn't sure that I'd be writing down my thoughts about it on the blog because it was going to be so hit and miss. Justin Johnson had a uniquely different spin on things, demonstrating the increasingly popular cigar box guitars. What I caught was a solo performances featuring all instrumentals as he moved from one stringed invention to another, such as home grown resonators, a lap steel on an ironing board and the cigar box. He play a little folk, roots music, jazzy stuff and blues. Check out his gear page at www.justinjohnsonlive.com
Opening on Saturday as a fill in for an ill Michael Birnbaum was the E-flat Porch band. What was interesting to me is that Rudy Littrell played a racked harmonica while thumping a stand up bass. I heard a couple of well played songs sung by guitarist Duane Brown before I got distracted. My bad for not listening to them more intently than I did, but I ended up chatting with Doug MacLeod with the E-flatters providing the back ground music and until Doug took the stage. Check out what they call "angst-free acoustic" music at http://e-flatters.com I'll definitely catch up with them down the road.
I only caught about thirty minutes of Bad Brad and the Fat Cats, got distracted with Doug again, but heard enough to be impressed with the talented blues trio from Austin by way of Colorado. I have heard their music before, being a fan of a young blue harp whiz from Colorado, who played on their second CD, Take A Walk With Me. What I heard was an energetic trio led by Brad Shivers, who has the blues voice and guitar chops to make waves down here in Texas. http://fatcatsofficial.com
As of May 30, 2008, I retired as a high school teacher with 29 years of sharing my knowledge of journalism, English, and world geography with Texas teenagers and eventually some of their kids (including three of my own).
This blog will provide a piece of the answer to the question I've been asked for the millionth time, "Well, what are you going to do now?"
#1 Son, John Bush, designed the title artwork several years ago and it is remarkably appropriate for this blog. Try this as a contact e-mail: rkbush51 at att dot net.