Rock And Blues International - June 2021 by Rock and Blues International

JUNE 2021

Rock And Blues International Curtis Salgado ALSO IN THIS ISSUE

Short Story The Biker cover photo by Jennifer Noble

Bruce Iglauer Russell Hitchcock John Palumbo ‘PG Petricca & Gipsy Rufina’ Citizen Cope and more!

Rock And Blues International June 2021 Hello Rock And Blues International readers. I hope everybody had a great May. As we’ve been telling you, concert tours are beginning to hit the road. I’ve got a whole list of festivals and shows that are beginning to be announced. Among the festivals are the Rebel Rock Festival, Lollapalooza, Aftershock Festival, Utopiafest, 22nd Punk Rock Bowling Festival in Las Vegas, the M3 America Fest featuring Kix, Queensryche, Night Ranger and a whole lot of other bands, not to mention the Louder Than Life Festival with Korn, Metallica, and Judas Priest. Other tours hitting the U.S. and Europe are Styx, Deep Purple with Blue Oyster Cult, Dead and Company, Megadeth with Lamb of God, Alan Parsons Project, Shinedown, Dirty Honey, Black Crowes, Ministry, Deicide, and The Dead Daisies. ShipRocked 2022 has even been announced. There’s going to be a lot of live music hitting the road before the end of the year. And now on to the June issue of Rock And Blues International. In this issue you can read stories about Blues sensation Curtis Salgado, not to mention Bruce Iglauer, the President and CEO of Alligator Records. Other great artists and bands included here are Air Supply, John Palumbo from Crack The Sky, PG Petricca & Gipsy Rufina, Volveat, Dirty Honey, John Linnell of They Might Be Giants, Citizen Cope, James The Prophet, Eli & Fur, Nightbeats, Chthonic, Tom MacDonald, Tony Sarno, Deniz Tek and the Mortmen, Devils Envy, Jamestown Revival, and more. As you can see, there are a lot of varied genres of music here for you to check out, or as we like to say, there’s a little of something for everyone here. We have even included the current installment of the novella, “The Biker”. Chapter 3 is being presented here this month and we are looking forward to your feedback on it. Read it and than email us back with your thoughts on this. Should we continue it or should we scrap it? I sincerely hope that everybody reading this publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.rockandbluesinternational.com. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at rockandbluesinternational@gmail.com and in the subject line simply put “Sign Me Up” and we’ll email you a link to the magazine each month when it is published.

Kevin Wildman Kevin Wildman Editor and Publisher

Rock And Blues International Kevin Wildman Editor and Publisher

Web Address Http://www.rockandbluesinternational.com Mailing Address Box 1162, League City, TX 77573 Phone 281-650-1953

For Advertising email us at rockandbluesinternational@gmail.com or call 281-650-1953 For A Free Subscription email us at rockandblues international@gmail.com and in the subject line put “Sign Me Up Now” June 2021 • Rock and Blues International

Contents

VOL. 1 NO. 11

JUNE 2021

ISSUE NO. 11

CURTIS SALGADO Curtis Salgado Talks About His New Alligator Records Release Damage Control

18 BRUCE IGLAUER

Alligator Records’ Bruce Iglauer Talks About The 50th Anniversary of Alligator Records

28 28

PG PETRICCA & GYPSY RUFINA Edoardo Fassio Talks About their new album, Statale 578

JOHN PALUMBO

John Palumbo Of Crack The Sky Talks About His New Solo Album, Hollywood Blvd.

46 46

RUSSELL HITCHCOCK of AIR SUPPLY Russell Hitchcock talks about Air Supply, Touring, And The New Normal

Rock and Blues International • April 2021

Contents

VOL. 1 NO.11

JUNE 2021

DIRTY HONEY

ISSUE NO. 11

JAMESTOWN REVIVAL Jamestown Revival Announces Their New EP, “Fireside With Louis L’Amour”

Dirty Honey Selected As Main Support On The Black Crowes’ “Shake Your Money Maker 2021 Summer Tour”

90 90

THE BIKER LIMITED EDITION SHORT STORY EMAIL US AND LET US KNOW WHAT YOU THINK OF THIS ONE AND IF YOU WANT MORE OF THIS SERIES.

In This Issue: 6 Curtis Salgado 18 Bruce Iglauer - Founder and CEO of Alligator Records 28 Pg Petricca & Gipsy Rufinga (English) 23 Pg Petricca & Gipsy Rufinga (Italian) 32 Tony Sarno 36 John Palumbo of Crack The Sky 40 Janita

41 Volbeat 44 James The Prophet 46 Russell Hitchcock Of Air Supply 50 Tom MacDonald 52 John Linnell of The Might Be Giants 54 Claire Rosinkranz 56 Citizen Cope 58 Dorian Electra 60 Jamestown Revival

62 Deniz Tek and the Mortmen 64 Eli & Fur 56 Nightbeats 76 Dirty Honey 78 Paloma 80 ShipRocked 2022 83 Chthonic 85 Devils Envy 86 Backstaged 90 The Biker June 2021 • Rock and Blues International

Curtis Salgado Talks About The Making Of His New Album Damage Control by Laura Carbone 6

Rock and Blues International • June 2021

By Kevin Wildman When it comes to the Rock & Roll and the Blues, there are many stories to be told. Some happy, some sad, some funny, some serious, and with this new album, Damage Control, award-winning musician Curtis Salgado has a lot to tell. Curtis recently released his new Alligator Records release, Damage Control, and with this new album he has also created a first with Alligator Records. While Alligator is primarily a Blues record label, Curtis has transcended that and brought a little Rock And Roll to them. His first three Alligator Records, Soul Shot (2012), The Beautiful Lowdown (2016), and Rough Cut (2018) were definitely Blues albums, however with this new one, Curtis wanted to try something different. One might say that the “Rock” bug bit him, so his songs all tend to lean that way. The album contains 13 great songs, 12 originals and 1 cover tune. Some of you are definitely going to remember this tune. It is the Larry Williams’ “Slow Down,” which was also covered by The Beatles. However with this one, Curtis definitely puts his own stamp on it. But first, let’s give you a little background on Curtis before we get into the record. Curtis was born in Eugene, Oregon. His family was the primary influences in getting him started on his journey into music. As can be expected in a situation like this, his father had an extensive record collection that totally captivated Curtis. Music was constantly spinning in the Salgado homestead. From Fats Waller to Ray Charles, Curtis was constantly being exposed to the finer parts of Music. His older brother and sister also played a part in that also as they turned him on to a little more of the blues influences that sparked his musical curiosity with songs from Wilson Picket to Muddy Waters. And all this was happening by the time he had reached his 13th birthday. It wasn’t long before Curtis got his hand on a harmonica. Now his musical direction was getting a bit more serious as he started emulating the music of Little Walter and Paul Butterfield. Did we tell you that Curtis taught himself how to play the harmonica… well, he did. He is a self-taught harmonica virtuoso that learned what soul was from a very early age. Along with that, he also taught himself how to sing. And let me tell you, Curtis can sing anything. Just listen to any of his 11 albums and you’ll catch on very quickly to his beautiful, soulful voice. Things took off fairly quickly for Curtis as he started his foray through the Eugene club scene. By the time he was in his twenty’s, he joined up with a band called The Nighthawks where he fronted their band as a vocalist and harmonica player. Word about Curtis’ skill on the mouth organ spread and it wasn’t long before he joined up with the world renowned Robert Cray band as the band’s co-leader. His influences of Otis Redding, Muddy Waters, Little Richard, Sonny Boy Williamson, Lightnin’ Hopkins,

and Howlin’ Wolf were quickly helping him develop a style all his own. Soon he was sharing the stage with his own inspirations, such as Muddy Waters, Bobby “Blue” Bland, Albert Collins, and more. By the time 1982 had rolled around, Curtis had moved on again to join up with the legendary Roomful Of Blues, who he toured with from ’84 thru ’86. As can be expected, this just wasn’t enough for Curtis and he broke out on his own to form Curtis Salgado & The Stilletos. It was back to the club scene where he was just burning up stages everywhere he went. After perfecting his craft for the next few years, Curtis finally took the big leap into recording his own album and making his own mark on the music business. His first release was the self-titled Curtis Salgado & The Stilletos (1991), that was released on IRS Records. From there he moved on to Rhythm Safari/Priority Records where he released More Than You Can Chew (1995), and then on to Lucky Records for Hit It ‘N Quit It ((1997). Shanachie Records managed to sign him to their label in 1999 and there he remained to record 4 albums with them until he came to the eyes of Alligator Records, and the rest is history. He has been signed to Alligator Records since 2012 and is very much pleased to be with them. Now we’re up to the new album….

Damage Control, the name of his new project, and it just sizzles with the great sounds of Rock And Roll with a tinge of Blues thrown in. And before I go any further, I really must throw this in. Curtis Salgado is more than just a musician… He is a survivor. He has gone through quite a bit of adversity and none of that has kept him down. He has conquered liver cancer (2006), lung cancer (2008) and in 2017 he also went through quadruple bypass surgery. Without a doubt, God is one his side and definitely wants all of us to hear Curtis’ beautiful music for a long time to come. This guy is one of my heroes. Any man that can go through all that and still stand up on stage and bring joy to roomfuls of people all over the world is a true ‘hero’. He is truly an inspiration to us all. Throughout all that he has managed to be come a world class singer and songwriter, and believe me, there’s no doubt to that. Just listen to the 12 original songs on Damage Control. They rock! I had the great fortune of sitting down with Curtis and talking about his life and career and now I’d like to share a little of that with you. It’s going to be hard to share the whole thing, as our short little interview went on for right at two hours. We had a beautiful conversation and I must say this was one of the most interesting interviews I’ve ever done with anyone. continued on next page June 2021 • Rock and Blues International

Curtis Salgado: That’s them. You know, you’ve been in this business a long time, so that’s a very good point to bring up. Rock And Blues International: Well, is this your best album, or could you first album be your best album, since it was a relatively new experience for you at the time? Curtis Salgado: No, I’m going to go with what Duke Ellington said. He said when he was asked what was his favorite music he made, he said, ‘The new one… the next one. The next project.’ And that’s kind of what it is. What’s your favorite record Duke… after “Take The A Train” and “Sentimental Journey” and all these great songs he wrote with Billy Strayhorn. The interviewer goes ‘what’s your favorite song,’ and he goes ‘The next project I’m working on.’ Rock And Blues International: So is this your best record? Curtis Salgado: No, I don’t have a best record. I like them all. Rock And Blues International: So what sets this one apart from the others?

by Jessica Keaveny

Curtis Salgado continued from previous page Rock And Blues International: Hi Curtis. How are you doing today? Curtis Salgado: I’m doing good. Rock And Blues International: How’s the heart? Curtis Salgado: The heart is good… My Liver is good… When was that? That was 2017. Rock And Blues International: I’ve been through that myself. I’ve had a few heart attacks. I’ve flat-lined twice.

Curtis Salgado: We’re in that special club. (laughs) I’ve been blessed. I’ve had cancer three times and a liver transplant and a heart attack. But the heart attack was light and they gave me a quadruple bypass and then they said ‘Okay, that ought to last you for another 15 years,’ and then he walked out the door. That was nice. You know, it’s always nice to put a shelf life on yourself. I’ve been very lucky. I’m 67 years old. I have a lot of friends that are going through cancer now and heart attacks and just this week, two friends of mine had heart attacks. One had to go ahead with open-heart surgery. We’re at that age.

Rock And Blues International: Yeah, but you had to have a bypass, which is a bit more serious.

Rock And Blues International: This is your 11th album release and you’re fourth on Alligator Records and it says in the bio that this is your best album. I realize that every time someone puts out an album, they say it’s their best album yet.

Curtis Salgado: Yeah, I had a quadruple bypass.

Curtis Salgado: I never said that, that’s them (Alligator Records).

Rock And Blues International: When I saw in your biobyand the health problems Photo JeffallFasano you went through, I felt kind of close to you.

them?

Curtis Salgado: I had mild one when I was on the road.

Rock and Blues International • June 2021

Rock And Blues International: That’s

Curtis Salgado: Well now, that’s because I just set out to do a Rock And Roll Record… And all of my records have a Rock And Roll tune on them. All of my recordings have a Rock and Roll tune, not that I plan it. They have Blues, Soul, Rock And Roll, and Gospel. It’s all the same. I don’t want to be pegged into one thing. I’m a Blues guy. R&B guy, basically. Rhythm and Blues is what I play, and that encompasses everything under the same umbrella. Does that make sense? Rock And Blues International: Sure, you’re even a Classic Rock guy. Curtis Salgado: Well, not a Classic Rock guy. That would be Steve Miller. Rock And Blues International: No, you’ve got “Slow Down” on there. Curtis Salgado: Yeah, I got a Classic Rock song on there. I see what you’re saying. Yes, I do and that’s because I just love the song. And by the way, we didn’t plan it. I just said, ‘Can we do this, cause the band that I’m playing with plays this one also. Rock And Blues International: How do you think this record defines you as a musician. Are you a Rock guy or a Blues guy here. Curtis Salgado: Let me explain this. There’s three different rhythm sections on this record… Nashville guys, Kid Anderson in San Jose, and Johnny Lee Schell down in Los Angeles with a band they call the Phantom Blues Band. Actually what these guys are, they’re all studio musicians and onthe-road musicians as well. Now for me, I continued on next page

Curtis Salgado continued from previous page am everything that’s under the Rhythm and Blues umbrella, because that’s what I grew up with. That’s what I do. That’s all I know how to do. I realize that you’re interviewing me to help me launch the best record I’ve ever done, but I really like The Beautiful Lowdown and I like Rough Cut. I like Wiggle Outta This. That’s my life. My life is to write songs, record them. Hopefully people will listen to it and people like you will review it and put it out, and that’s what pays my rent. This is how I make my money. That’s what I am. I’m a singer, songwriter, harmonica player and producer now. I produced this, so that’s one of the reasons it stands out to me. When I set out on this one… When I wanted to write a Rock And Roll record, and I didn’t know if Alligator Records would be interested in it. So, to me, this is my kind of Rock And Roll record. I don’t like labels. I’m a Blues guy. I like it all. This is my wheelhouse, so it’s Rhythm & Blues. Funk is the same thing as Rhythm & Blues. Rock And Roll, Gospel, Funk, Soul. It’s all the same omelet, just scrambled differently.

Rock, it’s this, it’s American music. It’s certainly not Polka from Germany. This is American music. So to say, is this my favorite record? Yeah, the latest ones are always the favorite. I like them all. Rock And Blues International: As you mentioned, you’re doing this with three different rhythm sections. What’s the hardest part of working with three different rhythm sections and what’s the easiest part of working with three different rhythm sections? Curtis Salgado: Well there isn’t really a hard part… the hard part is getting everybody together. It’s like herding cats. It’s the scheduling and how much time and putting all the red tape together. That’s the hard part.

That’s where you call up a studio, see if their calendar fits your calendar. Like I said, it’s like herding cats, getting everything together. The business part is the hardest part. The music part is the fun part and everybody knows that. I love music. I hate music business… that kind of thing. But the hardest part is just scheduling, getting it together and who you’re going to put on, but I know all of these guys and so we all run across each other at one point or another during the touring. When you’re out touring with your band and everybody’s out trying to make money in the summertime, right. So there are the festivals, the theaters, and the clubs and now everything’s destroyed. We’re still struggling to figure out how we’re going to do this. Let’s pretend it’s 2019. Now let’s pretend and you go out, you work your product, you work your record and that’s what it is. Record, tour, record, tour, record, tour. That’s the cycle you’re in and hopefully people will continued on next page

Rock And Blues International: When I read the bio, I couldn’t help but wonder. It said this was a Rock And Roll record, and Alligator is not necessarily known as a Rock And Roll label. How did they take it when you presented it to them? Curtis Salgado: Well, that’s what I’m calling it. Have you heard it yet? Rock And Blues International: Yes, I have… several times now. I like it. It’s got a little of everything in there. I like the honkytonk piano in there. Curtis Salgado: Yeah, and it’s not really guitarcentric and stuff. But here’s how it works Kevin. I needed to put out a record and I want to write a bunch of Rock And Roll tunes. Now, not every song on there is what you would label as Rock And Roll. Certainly “Slow Down” is. Certainly “Precious Time” is. Certainly “Count Of Three” is, and so is “You’re Going To Miss My Sorry Ass.” That was the first song I wrote. But that’s what I set out to do. It’s really not a Blues record and Alligator Records is pretty much a Blues label. But they accepted it and they liked the music and they said, ‘Yeah!’ And I think that’s pretty open-minded of them to do that. Rock And Blues International: Well, you may have opened a new direction or category for them as well. Curtis Salgado: Yeah, I don’t know if I’ve done it or not, but obviously they like me enough to put it out. And then we’re also working as an Americana format. Once again, another label. It’s Classic Rock, it’s June 2021 • Rock and Blues International

Finnegan and Tony Braunagel? Rock And Blues International: Yes, very much so… Tony’s from Houston. Curtis Salgado: Good, so you know whom I’m talking about. So, I know these guys like you do. I know if I bring them the tune and explain it, they know where I’m coming from. I made a demo tape and then they take it and fill it in and I know they’re going to knock it out of the park. So there’s this song called “The Longer That I Live.” That’s at Greaseland with Kid Anderson. Michael Finnegan’s on the organ, Jimmy Pugh’s on the piano, Jerry Jemmott is on the bass, Kid Anderson is on guitar and Kevin Hayes is on drums. Kevin Hayes is from the Robert Cray Band and Tower of Power. I love Kevin Hayes’ playing, so they set up, we go, here’s the tune. I’ve already made a demo tape and they’ve heard it, so they get an idea and then boom, we play it. Okay, we play it again… let’s change this… probably three takes. Now, you’re listening to the third take. So that’s how it goes. It’s the musicians I hire. It’s the fun of doing that. And then I listen to it and it’s like, ‘Damn, this is even better than I imagined it would be. That’s how good these guys are.

by Jessica Keaveny

Curtis Salgado continued from previous page come and see your show. Hopefully people buy your music. Hopefully people speak well of you and like your music. That’s what it’s about. So to answer your question, the hardest part is the business part… who’s going to play. Rock And Blues International: Tell me a little about the recording process, the writing, the recording, and even the selection of the musicians. Curtis Salgado: There comes the fun part with all of these guys I know. I know Kevin McKendree. There’s two bass players that Kevin brought in. Tommy McDonald’s one of them and another one is Mark Winchester. Mark plays with Brian Setzer. I’d never met them, but these are two Nashville guys. I know George Marinelli. He plays guitar with Bonnie Raitt. I know Jack Bruno. I met him playing with Taj Mahal a few years back, but he’s with Delbert McClinton now. He used to be with Tina Turner for her entire solo career. The point I’m trying to make is that these are all top line musicians, the best musicians. These are seasoned pros that play in the studio and also play on the road. And so all three is easy. And so here what happens. I write the lyrics, I think of an idea, and I make a demo tape. They’re not really intricate, or this, this, and this. I make the best demo tape I can, that

Rock and Blues International • June 2021

explains the song. You write a chord chart to it. You write where you want it to go. So I come in and go, ‘here, I’d like to do this song, here’s the charts.’ And they look at the charts and go ‘Okay,’ and that’s the bones of the song. Here’s the punch line. You bring them the bones. But I know these guys. We all play the same music. We all play and we can play anything. I understand the idiom and so do they. Here’s the song. It’s called “You’re Going To Miss My Sorry Ass.” It’s kind of a Jerry Lee Lewis feel, I told them. They see the chord changes and they know. I kind of give them an idea and off we went. They know I’m going to be doing a Rockabilly thing, the feel of it. It was the same thing down in L.A. I bring them in chord changes to a particular song. It was the same with Kid Anderson at Greaseland Studios in San Jose. Here’s the tune, here’s the changes. I call up one of the musicians and he writes out all the chord changes. I bring the lyrics, and I write out the description and they’re so good. They fill in the muscle. They fill in the bottom, the heart, the groove and I know the song is going to sound good. Because I know so, I picked five songs for Nashville, four songs for Kid Anderson and Greaseland in San Jose, and I picked four songs for Johnny Lee Schell at Ultrasound, which is basically members of the Phantom Blues Band or basically studio musicians. Are you familiar with Michael

Rock And Blues International: Well, I’m sure these songs really evolve from the moment you write the lyrics down till you walk away with the finished product. Curtis Salgado: You’re absolutely right. I’m just making it easy on everybody. It’s just like… I go in and if I get a good vocal track or a scratch vocal… cool! If not, I’ll go back and do it and you know what this needs is harmony. So I add a harmony guy. This song might need a horn section. What’s different about this with me is that it’s pretty much stripped down, straight, straight down. I only have background singers on a couple of songs, a horn section on one tune… on “Hail Mighty Caesar.” But that’s just it, the process is wonderful. And the Nashville boys are just wonderful… Greaseland with Kid Anderson was just a ball. Rock And Blues International: On this album, you used three different studios in different parts of the country with three different rhythm sections. When you use the same four or five musicians on every track, they all seem to have the same feel. With this you divided it up and the album and music definitely has three or four different feels to it. The musicians all have their own distinctive style of playing lending a big variation to the music on the album. They don’t all sound the same. There’s obviously a big advantage to that. Curtis Salgado: You’re absolutely correct. You know, when I did the five in Nashville, I’d already played with that band on stage on the Delbert McClinton Sandy Cruise Beach Tour and we did “Slow Down.” continued on next page

Curtis Salgado continued from previous page Secondly, I already play it with my band. It’s my closing encore song over the last summer or so. My band is not on the record and we do “Slow Down.” So, I’m in the studio on the four songs and I stick my head out of the vocal booth and go, can we do “Slow Down” like the one we did on the boat. Oh yeah, sure… and we sort of went, ‘how do you wanna do it.’ So I played them a little bit of the original and asked George Marinelli if he would do that lead guitar line, but not a lot. I don’t want it all the way through the song. So I said listen to the original version by Larry Williams, not The Beatles. I’m a Larry Williams freak! It was so good, that we kept it. And then I came back home here in Portland and then I asked my guitar player in my band to do a solo over it. When we play this live, Alan Hager tears it up and that’s his solo on there. Alan Hager’s playing lead guitar on “Slow Down.” Rock And Blues International: Is he your only band member that performs on this album. Curtis Salgado: Yes he is, except the horn section that also plays me on and off. They’re from Portland. Gary Harris, Michael Bard, and Tim Bryson. I sang them the part and they did it. I had a ball making this record. Let’s go back to the top… I just wanted to make my kind of Rock And Roll Record, which is basically New Orleans. And there’s a girl on there that I’d like to mention. Here name is Jackie Miclau. She’s a genius… she’s so incredible. She’s probably about 28 now, but when I met her, she was a teenager and she was playing in a bar secretly. She had to lie to her parents. She had to lie to her parents to tell them she was going somewhere else and she’d sneak into this bar and play. She’s ferociously good. Anyhow, I got together with her in 2017 and said, let’s write a song and she wrote the music. That’s her idea for “Oh For The Cry Eye.” She just started playing and I just started making up filler lyrics, just singing whatever came in to my head. I had no lyrics and then me and Michael Finnegan wrote the bridge to it. But when she was playing, I went… this sounds like New Orleans… Allen Toussaint. I said, ‘Jackie, have you ever heard of Allen Toussaint,’ and she said, ‘no,’ but she’s whipping out this stuff and I thought, this is great. So I recorded it on my phone and then thought of a subject to write about, that would fit and that’s how “Oh For The Cry Eye” came out. Rock And Blues International: She’s

by Alan Hager also on “Always Say I Love You” too.

first album you produced for yourself.

Curtis Salgado: Yes, she is. And check that out too. Me and David Duncan wrote the song… just guitar and lyrics with real straight changes. Then I wend with Jackie to a church on Sunday. Her brother is a minister there and we went in and… this is a Romanian girl by the way. This girl is just unreal. She sits down and I put the chord changes in front of her and literally, that’s what you’re hearing now. She took these straight changes and just turned it into a church masterpiece, a Gospel masterpiece. I mean, literally what you’re hearing… I took her into the studio and said play exactly what’s on my little demo tape because I had lyrics this time and she just played that. Literally the arrangement is there, he break, the little piano run in-between the verses. That’s all off the top of her head and I went, ‘I’m taking that.’ That’s writing done easy. Basically what she played is the arrangement I used and then of course, we embellish it and put a bass on it and put an organ on it. Michael Finnigan kills with a great solo on there, and then I sit down and sing it and those guys are so good. It’s like ‘boom’. I’m very proud of that song. I’m very proud of the whole record.

Curtis Salgado: Yes, I produced this record. I learned from a guy named Marlon McClain. He used to be in a Funk band called Pleasure, which was a killer band here in Portland. They’ve been broken up, but they had a few hits in the ’70s. “Glide” is the name of one of them. This guy is a contemporary Funk producer/guitar player, and he’s my mentor. He taught me. Tony (Braunagel) helped as well. Tony and Marlon produced the last records. Not just Rough Cut, but The Beautiful Lowdown, and I started using The Phantom Blues Band back when I did this record called Clean Getaway on Shanachie Records. Marlon is my mentor and this is my first album where it is just me producing.

Rock And Blues International: Well, you should be proud of this record, you took on an extra role this time. You were also the producer. I believe you told me this was the

Rock and Blues International: Let’s talk about a couple of other songs on the album. How about “Precious Time”? How did that come about? Curtis Salgado: “Precious Time”…. George Marinelli is the guitar player on the Nashville sessions. George is Bonnie Raitt’s guitar player for 20 years, and before that, he was with Bruce Hornsby for a long time, and before that he was with Billy and The Beaters. George Marinelli is a journeyman guitar player. He can play anything, whether continued on next page June 2021 • Rock and Blues International

by Jessica Keaveny Saying life’s finite and It’s time to make a change.”

Curtis Salgado continued from previous page you want mandolin, you want guitar, you want slide guitar. And he’s a wonderful person. I met Bonnie Raitt in 1980 when I was in The Robert Cray Band and she’s always been very nice to me and I’ve done many a show with her. Anyhow, so therefore I get to know George and I call up George. I call up George and I tell him I’m basically making a Rock and Roll record. I go, ‘are you familiar with this guy named Chris Whitley. He’s a little like John Hiatt and I sent him a song or two. Now the song doesn’t sound like Chris Whitley, but it just has that feel, that Rolling Stones, Chris Whitley, John Hiatt Blues feel. That’s what I sent to him. And he sent me back the melody and the music without the bridge. So I called him and I said, ‘this is great and I’m going to write lyrics to it, then I wrote lyrics to it with, get this… A lot of people don’t know this, but I have a daughter. My daughter came and said, ‘will you come and see my boyfriend play. He’s in a band.’ And it’s a hobby with this guy. His name is Andrew Harrison. And so I go and see him and damn if he isn’t cool.

It was just him and another guy and they got a bass drum they’re playing with their foot and a couple of loop pedals and a couple of loop pedals, but man, the stuff he was writing was edgy and cool and it’s like ‘I want to write with him.’ I had this, so here is the whole song for you. So what I had was this: “He had a dream that he would travel No destination, no place to stay Just the clothes on his back And the wind guiding the way Off in the distance he sees his shadow.” And that’s all I had and I didn’t know where to go. Well I went and saw this Andrew, my daughter’s boyfriend. I said ‘would you help me with a song?’ He said sure, he was excited to do it. And so he sent me back the rest of it,

Rock and Blues International • June January 2021 2021

“Off in the distance he sees his shadow The shadow screams and Seems to know him by name

I was like ‘damn, that’s it.’ And then he wrote the chorus, “It’s in the way that they tremble When they must say goodbye.” Those are great lyrics and so then I have the chorus and I wrote the bridge and I flew to Los Angeles to see Michael Finnegan who does punch-ups with me and helps me write. I say, I’m thinking power chords like The Who and we just start it. I think it took us like 45 minutes, because he’s just a chord machine. I’m going… yes… no… I like that… stop… what did you just do… It’s kind of just like that. Bang, Bang… and we came up with the chord changes, and then I wrote the lyrics to that. “Moments fly by But the years always seem to just crawl Trapped in the ages Doesn’t feel like a freedom’s call And in time, time won’t exist at all.” continued on next page

Curtis Salgado continued from previous page So that went over the chord changes that Michael and I wrote and then I wrote the next lyrics after that, the third verse and the repeated chorus line. It changed it around. “It’s in the way that they tremble when they’re loving at night.” So we go back and forth and I go back over to Andrew’s house and change this word in that… words that seem better than other words, you know, like he might have a word and it’s not going to roll off the tongue easily. And so we did punch up. So basically that wonderful course, which I think is brilliant. What makes the song is Andrew Harrison. I wrote the first verse, he wrote the second and then I wrote the chorus and whatever and we punch it up. But he’s the one who launched it lyrically for me. I had the first, but he just took it into the end zone and I got to be, you know, I give credit where credit’s due. And George, he basically wrote the meat of the song and the melody. So there you go. Those four people wrote that song, but it’s me going ‘I want so and so to help me. I’m not going it’s me, me, me. I mean, it’s like I’m the producer. I have a plan. I know we’ll do it. I picked this kid out of a bar that I just met because I listened to his lyrics and I went, ‘I think he can give me something’ and he did so that’s producing. You know, I know what can deliver. So here’s a person know one has ever heard of who is basically a computer programmer, but he helped me with those lyrics and it just took off from there. Once I get, you know, I couldn’t get launched in this projected particular case. So that’s how “Precious Time” comes about. Rock And Blues International: Let’s talk about another song on here. “Hail Mighty Caesar” is a pretty interesting song. How did that one come about and what was the inspiration behind that song. Are you a history buff? Curtis Salgado: I love history. I love Roman history, but I like the history of anything and everything. I like to know what and why, but I’m really into Roman history. Rock And Blues International: I could tell, You’ve just about got everybody in this song, including Cleopatra. Curtis Salgado: Well, not just Cleo, it’s Cleo and Caesar and then, it’s a great love story and I wrote that song in the 1990s. I started working on it and then I had the lyrics and then I met Kevin McHenry. That’s why

by Jessica Keaveny he gets the credit for it, because it’s not rocket science. It’s 1 to the 5 to the 4. It’s like a Huey “Piano” Smith song, and I’ve always liked Huey “Piano” Smith. So when I thought I’m going to make a rock and roll record, I thought I’m going to add this song that I wrote back in the 90s. In like 2006 or 2007, I think 2008, I met Kevin McHenry through my friend David Duncan and I had the lyrics with me and I said would you help me? So we made a demo tape? This is like 2008, 2009, 2010, 2011. It’s like 15 years ago. So anyhow, I met Kevin McHenry in 2008 and I had the lyrics and I told him it was Huey “Piano” Smith and he can play that all day long. It’s like a Professor Longhair thing, but there’s the storyline and then you work on the lyrics and I didn’t change much. I kept touching it and changing it and changing it and changing it until I got the story just right. The story is about it Caesar and Cleopatra and the punchline is, “Cleo loves his power Caesar loves her looks Love brought them together So it says in history books But he don’t understand Cleo loves her country She’s the queen of Egypt land.” That’s what comes first to Cleopatra man. And you know, she spoke like seven languages. She was brilliant. Egypt is the breadbasket of the world at that point and Rome wants it. That’s where the food is. That’s where the wheat is. That’s where this, this and that is and if they control that, they control food. And Cleopatra, she just making it, like Nubian bands playing and Cleopatra showing ‘em how to shake it. And then, “Caesar loved his women Couldn’t leave him all alone Had a swinging situation

With the nightlife back in Rome Got hisself a wife But she ain’t hip to the fact He loved Cleopatra That’s why he brought her back” He brought her to Rome. Can you imagine that? And he has a kid by her! And there’s his wife and his mistress. “He loved Cleopatra, That’s why he brought her back. He brought her back from Egypt land, “To dance at Palace Square He made a lot of enemies But he didn’t care” And that’s the song. It’s basically all true. It’s all-true. And then she sees Marc Anthony. “Yeah, she knew the stud was hot But what about poor Caesar He’s in trouble all-alone Politicians killing him In the name of Rome” That’s a true story and it is to me man. It’s like Cleopatra was brilliant. So I’m telling you I’m celebrating Cleopatra. Rock And Blues International: Let’s talk about “You’re Going To Miss My Sorry Ass.” I love that one. Curtis Salgado: I’m so glad you like that. That was the first fresh song I had written. I started writing down in 2016 and 2017 and I had an idea. I played the legendary Blues Cruise and I’m sitting at the back of the boat. I’m looking out over the sunset and there’s a couple about 15 feet to my left and they’re having an argument. It’s not a loud one, but you can hear the rumbles continued on next page June 2021 • Rock and Blues International

‘I’ll stick you with this. I have AIDS. Give me the money in the cash register.’ This was in Eugene, Oregon and they made an example out of him. I think he’s the first guy that’s ever done that. You know, he robbed a convenience store with a filthy syringe and I also have a couple of other friends. One of them is a piano player friend of mine who would get me in trouble man. We would end up in four-wheel drifts across the highway and he’d punch it just in time to miss the semi as he went down a side road. You know what I mean? We’re like spinning in circles and the side I mean incredible acrobatics. We call this guy Enzo Stewarte. His name is David Stewart. We ran together. We were running partners and I would get in so much trouble with him, but somehow survived and the same with Rick. I’d get in so much trouble, but I would somehow survive, and that’s what the song is based on. “My daddy was wild He ran with bad men He robbed a drug store with a filthy syringe He got a nickel and a dime In the state pen And the warden said He’d never last Well that wasn’t true Oh, the story instead Yeah, three squares, a blanket And a bunkbed He did15 years standing On his head And parole came up fast” And then another verse is… “Like father like son I make no amends I’m causing hell and then A Hazard to my friends So I got none I’m just a rolling stone I got two big balls made of brass”

by Laura Carbone

Curtis Salgado continued from previous page when I was 13. He was 16… and we all have underneath their voices. All of a sudden she one of these guys and he was 16 years old. walks away and out of the corner of my eye I He was a juvenile delinquent. He spent time turned my head and he’s got a drink in his at one of those schools for boys. When I was hand a cigarette in the other. Yeah, when I’m dead and gone, you’re going to miss my sorry walking down the street in my neighborhood, I met this guy smoking a cigarette and he ass. And so I went that’s a song and so I took goes who are you. I said who I was. It’s like my phone out, push notes and wrote ‘you’re ‘who are you.’ His name was Rick John’s going to miss my sorry ass.’ And then from and he’s a wonderful character in my life who there I started working with my guitar player would put me in trouble and pull me out Alan. So a month or so later we’re on the again. He would end up unfortunately strung road and I call up Alan’s room… Alan, are out on dope and had a real rough run but he you busy. ‘No, what’s up.’ I got an idea for a was a brilliant person, hilarious. He taught song and I go over to the room and we start me girls and drugs and drink and this and that pounded out how I wanted to go. And that’s and all the things that a juvenile delinquent its, cut, no I’m looking for that. Yes that, no, does, I learned with him. And as life went on not that and let’s start, and I was thinking I would keep in touch with him, but he ended full-on Rockabilly, and the song is of course, up in such bad straits with his addiction that like father like son. Basically I have a friend he robbed a drug store with a syringe and said that I grew up with… I had a friend back 14 Rock and Blues International • June 2021

That’s what the song is. And one of the people reviewing this song I could tell never really heard the record. They just kind of like push play and heard one bar and push play there, you know, because he goes them... This is a song about a couple who’s in love with each other when they you know, it’s like… No, it’s not it’s about it’s about a father is an ex-con and his son is following his footsteps. And there’s… ”So, don’t expect no apologies I got none to give I showed you how to walk the razor’s edge And a chance to finally live What’s so bad about doing wrong? My saying ‘sorry’ won’t change the past When you look on back And think of me You’re gonna miss My sorry ass” continued on next page

Curtis Salgado continued from previous page So that’s what the song is. And that is my favorite. You know, I’m proud of that because how it came out. The whole thing is fun. I like writing songs and I’m getting better at it. So there’s a quote. I’m trying to make a living and I’m getting better at writing songs and I’ll tell you what, Kevin, the bar is high. Yeah, there’s a lot of great songwriters out there man. Rock And Blues International: Tell me a little about the songs “ Don’t Do That No More” and “Count Of Three.” Curtis Salgado: That sounds a bit like a Delbert McClinton song, but I wrote it with a guy in Nashville that is sort of tied in with those people. I met him back in the early 2000s. His name is David Duncan. On this record he wrote with me “The Longer That I Live” and “Truth Be Told” and this one, “ Don’t Do That No More.” So “I Don’t Do That No More” is a pure Rock And Roll song. With this song I worked with the Nashville guys. It’s pretty much Delbert’s band. It kind of sounds like a Delbert McClinton song. As much as I say it, I love Delbert, but I don’t want to copy somebody, but it’s a Curtis Salgado song. Me and David wrote that and basically I’m clean and sober. I haven’t had any of that stuff for two years but it’s pretty much the truth. And “Count Of Three”… the melody and the idea comes from a guy that I use… he’s my secret weapon. His name is Vyasa Dodson and Vyasa was the leader of a band here called The Insomniacs. It was a local band here in Portland. He’s retired, he’s young, and he’s a housefather. His wife works for Nike and he’s raising their child. He’s not in the music business anymore. He didn’t like the road. Vyasa is a hell of a songwriter and he had the beginnings of this song. We’re both fans of The Five Royales. They were like the Cadillac of Doo Wop bands that played at the Apollo theatre. They had many hits. James Brown had even covered their songs, like “Think.” That’s a Five Royales song. They used to be a Gospel group and then they went Rock N Roll. They do good Gospel too. They’re incredible. So Vyasa says to me, ‘I’ve got this song and it reminds me of The Five Royales…’ and sure enough, it did. He had the first verse, and then I wrote the second and third verse. We wrote it together. It’s kind of like he started it and then we finished it and we do that sitting down together and running through ideas, then we punch it up. It goes back and forth. But, that’s Vyasa Dodson. I’m trying to give credit where credit is due.

by Jessica Keaveny album, “Damage Control.” Rock And Blues International: Let’s talk about the song, “The Fix Is In.” Curtis Salgado: Okay… “The Fix Is In”. That is the title that my girlfriend said to me before Covid hit and the division. I mean, we’re talking about Congress fighting. Republicans are fighting. Congress is fighting on both sides. What I notice is that no matter who’s making decisions out there, the fix is in. The fix is in and then just yesterday I saw a movie called ‘White Boy Rick’. It’s about this kid who’s seventeen years old, the biggest drug dealer in Detroit. Rock And Blues International: I saw the previews on that. Curtis Salgado: Well, let me tell you, I’m sitting there watching it and eventually towards the end, the kid Rick has spent thirty years in prison and is still there. It’s getting better for him, but the fix was in. Wait till you see this story. It’s remarkable and sad and it makes you angry. Somebody behind the scenes is keeping this kid for a nonviolent act and gave him life for drugs, but you’ve got to see this whole story. The fix is in. I got the title from my girlfriend, because where Congress, Trump, Blue, Red, everybody, the Facebook. I can’t stand Facebook. I can’t stand the Internet. I do fall into it for the music and I go down the rabbit hole on Youtube. I’m not too much of an Internet person. The fix is in. My girlfriend came up with that and the point that I’m trying to make, that I wander around with, is that all the trouble that is going around… politically, Internet, Facebook, people hating each other, and the bullying. You know what, ‘the fix is in.’ Rock And Blues International: Well we really need to move on from that and talk about one of the most important songs on the

Curtis Salgado: That is a great song…. “Damage Control.” This is how I put a song together. I’m a songwriter and there are no rules. I do it by hook or by crook to get the job done. Same thing with recording. That’s how this record it. I want this guy on this and this is going to make this and then it all comes to play, so you don’t really know where it’s going, and that’s where it’s exciting. About four years ago I was in Los Angeles and I was with Mike Finnigan… and Finnigan sits down at the piano and starts playing this minor piece, and it reminded me of Horace Silver or Dr. John, or actually it reminded me of Eddie Harris and Les McCann. He starts doing this minor kind of Blues thing. I loved it and this is four years ago. It reminded me of Eddie Harris and Les McCann. Whatever it was, it was cool. And then when I was writing for this record. It’s three years I go back and I see Michael Finnigan and he’s helping me punch up songs. Finnigan helped me write the bridge for “Truth Be Told.” It’s not rocket science. He helps me write the bridge of “Oh For The Cry Eye” and that’s a difficult song. My point is that I went back to him and I said, ‘we got to finish this.’ So we sat down and wrote the first section and I have no lyrics. And there’s this friend of mine and his name is Ryan Waters. He is credited as one of the writers. It’s Curtis Salgado, Michael Finnigan, and Ryan Waters. And Ryan Waters is a guitarist and he was in the ‘Prince camp’ with Prince the last few years of his life, like the last five years. And there’s a couple of girls here in Portland that were in the ‘Prince camp.’ Before he was with Prince he toured with Pink and Sade. He is this kid I met years ago. He’s from Salem, Oregon. He used to come and see me play and we became friends. He was a fan first and then he was a friend. He’s a killer guitar player continued on next page June 2021 • Rock and Blues International

by Jessica Keaveny

Curtis Salgado continued from previous page and a songwriter. So he sent me lyrics three or four years ago. The lyrics went like this. “Another day just beginning Another day that soon will end And all that takes place in between Is what you call this life, my friend” That launched me, and I read it and I thought, ‘this is perfect.’ And then I came up with the title “Damage Control” and I came up with the next verse, so we just went back and forth. I lifted from a song that he had written. I lifted that verse and a little bit of the third verse from this. But the chorus, Damage Control and the third verse and the stuff about Einstein… that’s all me. He launched it. And so I called him up and asked him if I could use this and could I use these lyrics here. That’s what launched me. So basically, he’s half of the first verse and most of the second verse. The music is me and Michael Finnigan. But that’s how it is. I remember these lyrics that Ryan sent me. And then out of nowhere I just thought of ‘Damage Control.’ Have you ever lost your keys? Have you ever locked yourself out of the house? Walked in to grab your wallet, but you leave your car keys on the table. Then you grab your wallet go out the door and shut it and lock it, but your car keys are still on the table. That’s damage control. And then, at the time that I wrote this, it’s once again the hubbub with America. And that’s it. It’s Damage Control. This whole record was written long before the pandemic. But it was written when America has become split, the internet is helping, Facebook has become a shitstorm. So that’s what it’s about. “So just trying to carry on Take it easy Slow your breathing, yeah Oh, keep your head up Stay down low And deal with this damage control”

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I’m very proud of that song. I pat myself on the back for that one. Rock And Blues International: So, what do we have left to say about this project? Curtis Salgado: We’ve talked about the record. We’ve talked about Alligator Records for being so open minded and going for this. We’ve talked about the wonderful musicians on here. I just hope that people listen to it. That’s all I got to say… I’m lucky… I’m blessed… I sure miss playing. To be honest people, I don’t really know where to end this interview. We just talked and talked for a while more and the more we talked, the more interesting it got… and I’ve already gone over my limit here on words. I guess what I’m saying is that Curtis Salgado is one of the most interesting musicians I’ve ever interviewed. I had truly a wonderful time interviewing this person and I’m sure that we could talk for hours on end about the music business. But to sum things up here, Curtis has just put together a really fine album here filled with some of the greatest music I’ve ever heard. At time the lyrics are funny and hilarious and at times they really make you sit back and think deeply about the subject that the song is about. The music here has been put together by some of the finest musicians that music has to offer. His wonderful choice of using three different rhythm sections in three different studios was just ‘right on’ and really lends to the diversity of this record. His songwriting has just gotten so good over the years and he’s not afraid to collaborate with anyone. He can take one thought and one line from someone and turn it into a masterpiece. If he was a painter, I would liken it to taking a simple line that one painter did and then add to it where it becomes a masterpiece. Really folks, you really need to pick up this album. Go to his website, got to the Alligator Records website. Just go somewhere and get this record now... and Curtis... I had the time of my life talking to you. Stay safe my friend.

June 2021 • Rock and Blues International

by Chris Monaghan 18

Rock and Blues International • June 2021

By Kevin Wildman This year is a very important year for the Blues, not to mention Alligator Records. It’s been a little over 50 years since a young man named Bruce Iglauer made the pilgrimage from Cincinnati, Ohio to Chicago, Illinois the home of the blues to embark on the biggest adventure of his life. Little did he know that he would go on to create one of the most prestigious, if not the most prestigious Blues Record Label in history. Things like that are not planned, they are thrust upon you at the most unexpected opportunities. This year Alligator Records celebrates it’s 50th Anniversary, and it’s owner, CEO, and mentor Bruce Iglauer just couldn’t be much more prouder about it than he is now. Now Alligator Record hosts over 350 album titles and features an unbelievable roster of Blues Greats, artists that have changed the face of Blues and brought the legacy of the Blues full force into the 21st Century. Artists on Alligator include Hound Dog Taylor, Koko Taylor, Son Seals, Albert Collins, Johnny Winter, Lonnie Brooks, Professor Longhair, Luther Allison, Charlie Musselwhite, Guitar Shorty, Rick Estrin & The Nightcats, Lil’ Ed & The Blues Imperials, Marcia Ball, Shemekia Copeland, Mavis Staples, Tinsley Ellis, Joe Louis Walker, Tommy Castro, Chris Cain, Curtis Salgado, Selwyn Birchwood, and the list just goes on and on. It is simply amazing that a chance encounter with The Blues could create such an extraordinary company and with such a rich legacy. This is the label that up and coming young Blues artists aspire to be on. When he started his treks to Chicago to discover the blues, there was no inkling that Bruce Iglauer would go on to such heights in Blues Music. However, Bruce’s journey into the Blues started much earlier than his first trip to Chicago. Like many young men at the time, Bruce was a ‘folky’. You’ve seen pictures of them before. They look like Bob Dylan with a guitar strapped across their back, just looking for a cool place to play. Yes, Bruce was one of them, although he told us that he was an ‘actively bad musician.’ No matter, unknown to him, he would grow up to be the kind of man that musicians would bow down to and listen to his every word, but we’re jumping ahead now. Essentially Bruce’s first real encounter with the Blues was at a Folk Festival of all places. It was there that he encountered and discovered the ‘real’ Blues in a performance by Mississippi Fred McDowell. “My Blues journey first started in 1966 when I was just 18,” explains Bruce. “I was a ‘Folky’. I had my acoustic

guitar, my harmonica, and a rack. I was listen to the great performers that the city an actively bad musician, and I went to a had to offer. At this point he needed more Folk Festival and amongst other people than just records, he needed to hear the there was Mississippi Fred McDowell. I music ‘live.’ The music scene just sucked could not have been culturally much more him in. He knew he had to be a part of it distant from this band. I grew up in a anyway he could. That led him to the comfortable middle-class suburb of door of Bob Koester, who owned the Cincinnati and my parents went to college famous Jazz Record Mart and Delmark and we had a roof over our heads and a Records. reasonable security… and Fred had grown up in intense poverty in Missis“When I went to Chicago for the sippi and had very little education. He first time,” continues Bruce, “My only had very little education, struggled to read point of contact for the Blues was that I and write and yet created this music that had read an article in a Folk Music reached across 20 rows of seats and magazine that said, if you ever go to grabbed me by the collar and shook me Chicago, go to the Jazz Record Mart at 7 18 and Blues International 2020 and said, ‘wake up, this for you.’ And •• August West Grand, and Bob Koester, who also 26 Rock Rock and is Blues International November 2020 that was my moment of Revelation.” owns Delmark records will take you out to hear music on the Southside or the From there Bruce was bitten by the Westside.” Blues Bug. He just couldn’t get enough of it or find enough of it. He scoured the At that time there was no Blues stores for Blues records, but unfortunately Scene in the white community at all. The in the 60s, particularly the mid-60s, there only places to hear the Blues was on the just weren’t that many available. He still Southside or the Westside. You had to collected as many as he could find, venture out into the black areas of town to however it just couldn’t satisfy his Blues find these clubs, as they didn’t really appetite. He eventually discovered advertise either. They weren’t in the Chicago Blues and artists such as Muddy newspapers and they weren’t on the radio Waters, Howlin’ Wolf, Sonny Boy, Little stations. Every once in a while musicians Walter and even Paul Butterfield. Thus would drop their flyers off at the Jazz began his little pilgrimages from his Record Mart to publicize their appearcollege to Chicago where he would continued on next page experience the music scene there and June 2021 • Rock and Blues International 19

“I was spending every night out at the clubs too, so I got to meet a lot of musicians that way. In fact, I met Hound Dog Taylor at Theresa’s Lounge at 48th and Indiana in less that a month after I moved to Chicago. I went to see him in January or February at the legendary Florence’s Lounge, which only had music on Sunday afternoon’s. That’s where I had my other charismatic experience and fell in love with the band and thought, ‘These guys have got to be recorded.’”

by Nicole Fanelli

Bruce and Hound Dog Taylor

Bruce Iglauer continued from previous page ances, but for the most part you just had to know or discover these clubs for yourself, and Bob Koester was the one who knew about all of them. This was actually Bruce’s key introduction to the real thing. “I went there,” says Bruce, “the first time I went to Chicago and met this charismatic man named Bob Koester and listened to him talk about Blues, Jazz, and many other subjects, and I became a huge fan.” Bruce continued to go to the Jazz Record Mart and he quickly became friends with Bob. After a while, he became a frequent visitor to those clubs with Bob Koester, who really took a liking to this young kid who obviously had a love for the Blues. This eventually led to a job with Bob. “I began hinting around that I’d like to work for him and after much hinting and putting on a concert with his brandnew artist Luther Allison at my college, I got him to hire me as the Delmark Records shipping clerk, part time for $30 a week and based on that I moved to Chicago in 1970,” continues Bruce. It was there where Bruce kind of

Rock and Blues International • June 2021

jump-started his new career. He quickly found a studio apartment that cost him $70 dollars a month including utilities, pretty much it was just a one room apartment, but it was a start. It was also there where he would eventually start Alligator records within the next few years. The journey continues… “Delmark was in the basement of the record shop and believe me, it was a tiny record shop and it was kind of seedy and not in a very good neighborhood. It wasn’t an amazing experience to work in the basement, which was somewhat vermin-infested, but it was amazing to be around Bob Koester. All these musicians would just drop into the store, so I got know people like Mighty Joe Young, Carey Bell, and Jimmy Dawkins, who were Delmark artists, and also aspiring Delmark Artists that would walk into the store.” As it turned out, right after Bruce started working there, Bob Koester and his wife had their first kid and Bob was out of the store quite a lot, which left Bruce at the helm of Delmark talking to artists, fielding calls and pretty much meeting new musicians. One could say that at the time he was the only one to talk to when Bob wasn’t there.

For quite a while, Bruce really tried hard to get Bob Koester to sign Hound Dog to the Delmark label, but Bob kept turning him down. “Well, when I first heard him and fell in love with the band, I first, of course, went back to my boss, Bob Koester, and tried to convince him to record them, but he had heard Hound Dog ‘sitting in’ with other musicians. At ‘sitting in,’ Hound Dog was kind of a disaster. People didn’t know how to follow him, so the songs would fall apart and Hound Dog would tell a joke that you couldn’t understand and then start laughing at it so hard that he couldn’t finish the joke, and so Bob didn’t take him seriously. I couldn’t get him to come out to Florence’s to see him and I worked at it for over a year and then I decided, ‘well, I’m going to have to do it myself.’” Now, we’ve reached the pivotal part of Bruce’s journey, pretty much the defining moment. After trying to get Bob to sign Hound Dog to the Delmark label and getting turned down, Bruce took it on his own to dive headfirst into the pool of vinyl and start his own record label, Alligator Records. It all began so that he could record his favorite band, and now 50 years later he’s still recording his favorite bands. Now, for that trivia question about Alligator Records. No, the name wasn’t born in the swamps of Louisiana. It came from a more unlikely place, and a girlfriend he had at the time. “Alligator was my nickname. I have a funny habit of… Sometimes when I listen to music, and I do this subconsciously, I’ll play little drum parts by clicking my teeth together. Well, I can play shuffles and various rhythms and quite a few different notes. My girlfriend at the time when I started the label used to call me ‘little alligator’ as a pet name. So when I started the label, I thought, well… nobody can pronounce my last name, which is Iglauer, and they never will be able to pronounce it. It starts with a vowel and has a ‘g’ and a ‘l’ and an ‘r’ in it, so it’s a little bit like Alligator and the music I love was born in the South and that’s continued on next page

Bruce Iglauer continued from previous page where alligator’s live. And also, I wanted to be at the top of the Distributor’s payables piles, so I though that if I start out with an A, they will pay the ‘A’ bills before they pay the ‘Z’ bills, so I’ll get paid more quickly. I also have to say that there have been musicians on the label who have never been able to say my last name and they just call me Mr. Alligator. So it worked out that it sounded like my name.” The first person to be signed and recorded by the new Alligator Records label was Hound Dog Taylor, of course. Hound Dog was 55 when Bruce recorded him on May 24th, 1971. Bruce was about 30 years his junior and the two had hit it off quite well. Hound Dog was pretty much acquainted with Bruce at the time. Bruce had probably been there to see in about 50 or 60 times, so Hound Dog was pretty familiar with this young kid. In fact, Bruce was pretty familiar with just about everybody in the room at Florence’s Lounge. After all, they only had music on Sunday afternoons, and it was usually the same old crowd there every weekend. The regulars would just show up there after church. For the most part they all lived in the same neighborhood. Along with the regulars were musicians that also wanted to sit in and jam with Hound Dog. Bruce was definitely no stranger to Hound Dog. When asked to sign to Alligator Records, one might think that it could have been quite awkward for the two of them with Bruce being so young and new with this business, but as Bruce tells us, Hound Dog handled it in typical Hound Dog fashion. “When I approached him about recording, he had recorded two 45s. That was all he’d ever recorded some years before. They had been on local jukeboxes on the Southside and otherwise he was just another one of the many people who played on the Southside and the Westside. Actually because it was three pieces and because it wasn’t a band with records, they were one of the cheapest Blues bands in Chicago. And by cheap, I mean that they played for 15 dollars a man on the weekends and $10 a man on weeknights. $10 each for the three of them. So when I approached Hound Dog and said I’d like to make an album with you, he didn’t say, ‘well, how much are you gonna pay me, or what’s the royalty rate, or do you have any distributors.’ He said the same thing he said when anybody ever made a request. He said, ‘I’m with you baby, I’m with

you.’ I think he was surprised when I told him I was going to pay him and was even more surprised when I paid him royalties. So, it wasn’t a hard sell at all. Not only did Bruce pay him, but also he paid him in advance. He paid exactly what the Musician’s Union in Chicago suggested. He paid Hound Dog the suggested $240 for the leader of the band and each of the sidemen received $120 each. You have to remember that this was 1971 and that was a lot of money for the time, especially when bands were only getting paid $10 a man per night. On top of that, they also kept getting paid their royalties, something that other labels tended to hold back on. If a local band recorded a 45, someby Alligator Records times there would be no royalties and a lot of them have felt that they were cheated out of that. But not Hound Dog and his band, they was. I was the target market. I first heard kept getting their royalty checks regularly. Blues in College. I knew that where I had It’s just another reason why Alligator gone to College the monthly diet of music Records received so much respect from that you heard in dorm rooms you heard the moment they started. Hound Dog was some Blues. Now it wasn’t generally pretty pleased about that. He was a poor anything very authentic, but it was Blues guy and by the end of his life he was now none the less. By then, Progressive Rock doing well financially. radio had started up and this meant that Rock, for the first time was on FM radio Yes, Hound Dog was doing better at stations. Basically before then it was this time due to his inherent talent and the basically Top 40 singles and the FM drive of a young Bruce Iglauer. Success stations because they were off of those didn’t happen overnight for the two of signals weren’t not even getting used by them. It took a lot of work on both their the AM stations that owned them. The parts. Especially on Bruce’s. He had to FM stations could kind of program develop a plan to get this music out to an whatever they wand to and did for a few audience that had not necessarily listened years. Each DJ was programming his or to the Blues. It took a bit of gorilla her own show and they would mix album marketing on his part and a large stamina. Rock, not singles so much, but album But Bruce had a plan, and the newly rock with some blues and jazz and folk appearance of album rock on FM radio music along with some weird was going to help him out a lot. psychedelia… even some classical sometimes. So it was the lucid form of “I fell in love with the band,” commercial radio in American history.” continues Bruce. I had to get other people to hear the band on record and in This would definitely work out well person for them to fall in love. When I continued on next page started out, I knew what my target market

Bruce and Albert Collins

June 2021 • Rock and Blues International 21

by Michael Smith

Bruce and Professor Longhair

Bruce Iglauer continued from previous page in Bruce’s favor. He didn’t have to be on a playlist already. He didn’t have to show up on a chart, and he didn’t even have to convince a music director or a program director that they ought to ad this to their playlist. He just needed to find the right DJs. Sounds easy doesn’t it. Not quite. It means lots of driving, sleepless nights and the ability to talk to every DJ one on one. You don’t just find 20 stations on the same street. It means driving across America. “I just had to go and meet a DJ and say, ‘Here’s a copy of the record I made with my favorite band and would you play it,” says Bruce. I started by taking a three-week leave from Delmark and driving across half the country visiting radio stations. I would go to the radio stations and meet each DJ as he or she came on the air and give them a copy of the record. Not just one person at the station, but everyone at the station and I got instant radio play, which is exactly what I intended, and people began falling in love with the sound of this band, especially with “Give Me Back My Wig.” That was the song that got the most play and that’s the one that opens our new Alligator Anniversary Release, 50 Years Of Genuine Houserockin’ Music.”

Creem, or any other publications like that, he was knocking at their door. He was bound and determined to win over everybody he needed to…. one at a time if needed. He also started booking Hound Dog as well. There was nobody else to do it. In addition to that, he became a master of press releases and publicity and started sending out releases to anybody and everybody that could help. Not only were they press releases about the music, but he also sent out releases about each gig. Rumor has it that somewhere along the way he took a nap. He certainly stayed as busy as he could. He was definitely a one-man band and he was doing a great job at it. He not only had something to prove to Hound Dog and himself, but he also wanted to prove something to his mentor, Bob Koester. Winning over one convert at a time was Bruce’s plan. “I knew that people like Bob Koester felt that there was sort of a ceiling on this field’s possible sales and media coverage of Blues records. I wanted to prove to them that there was a much larger market and that they just had to be turned on to the music. That the problem was not the music and the appeal to it, but they didn’t know it existed, and especially in those early years when radio was so loose, that worked out really well.”

Not only did Bruce go after the DJs, he also went after every journalist he could, to present this new music to. If he It took a while for the inevitable to could find out anyone who wrote for happen. It was time to make a choice… Rock publications such as Rolling Stone, Delmark or Alligator. By this time Bruce 22 Rock and Blues International • June 2021

was a full time employee for Delmark, not to mention a full time employee for Alligator. It had to happen eventually, but it took a while. “Bob Koester was extraordinarily kind to me. After I started Alligator and took that three-week leave, I was still working for him. I was working full time and I was making a whopping ninety dollars a week and I was bringing boxes of Hound Dog’s records in and when I went to the Post Office with his records to send to his distributors, I could send mine out too. So Bob let me work there for him, even taking bookings for Hound Dog on his phone, because there were no cell phones then. I released Hound Dog’s record in ’71 and in April or May of ’72 Bob sat me down and said, ‘you have to decide if you’re working for me or working for yourself. You can’t do both.’ And frankly, he should have said that to me about six months earlier and was nice enough not to because he saw me to some extent as his protégé, which was correct. In the early years, I just wanted to grow up and be Bob. But then when I released Hound Dog’s record, I also wanted to show Bob that there was a bigger market out there and a bigger audience that he could reach if he wanted to do that, if he wanted to market it that way. It’s kind of like you wanted to please Dad, and you want to show Dad that you can do what Dad does, but better. So Bob kept me until that following Spring… and after that, I’ve only worked for myself.” As time progressed, so did Bruce… After all, he was the entire company. He was doing this every day out of a tiny little apartment. Every now and then he’d get his girlfriend or a friend to help out, but he was also branching out and signing more bands… one at a time. After he got a number of records out, he rented a little… as he describes it… a falling down dilapidated house’, where he still lives. It was there were he ran the company for another 10 years. Sounds easy doesn’t it. Not really. There were times where he didn’t know if he would make it. “Every year I thought that the company would go bust,” continues Bruce. “In 1974 there was a vinyl shortage because of an oil crisis and I couldn’t get LPs pressed. LPs were my business and for a while, I had nothing to sell. I was living off of a quarter pounder with cheese and an order of french fries a day. So this was pretty rough, but I was determined to make it. I never gave up. I did have days when I thought this is impossible, but mostly I just kept at it, plus the music kept feeding me and I was still going out to the clubs all the time and hearing and going on the road with continued on next page

Bruce Iglauer continued from previous page Hound Dog… And then later to some extent with Son Seals and Koko Taylor. So being in the audience with my own artists and watching people react and then being in the audience with other Blue artists, it was all nourishment to me, emotional nourishment. Yeah, it was hard, but the triumphs… every round of applause that one of my artists got was a personal triumph for me.” It didn’t take long for word of Bruce and Alligator records to get around. He was becoming quite a force in the Blues Community and artists started approaching him. His other competitors were having their own problems and he looked like the solution. Chess Records was sold and Leonard Chess was dead. VeeJay was out of business. There was also very little Blues on the Black radio stations, which had played some Blues 45s at one time. Unfortunately at the time there just weren’t very many opportunities for Blues artists to record at the time. However, the Chicago Blues Scene is pretty closely knit and everybody knew that if you wanted some success and make some decent money, Bruce was the guy to talk to, so he got approached pretty often. After all, it had paid off for Hound Dog and it just might be the right move for them. Next up for Bruce was the second album for Alligator Records. For this release, he chose Big Walter Horton. Not only did Walter already have a bit of notoriety under his belt and just might help spur sales, but he was also Bruce’s favorite harmonica player. He was somewhat known to Blues aficionados and the hardcore fans would buy it. As Bruce tells us, the idea of recording his favorite harmonica player as his second album release was ‘just thrilling.’ His third release was Son Seals. As Bruce tells us, “When I signed Son Seals, who is my third artist, the record came out in 1973 and like most of my records, it was recorded in about eight hours. He was completely unknown to the point where he couldn’t fill a club on the South side, much less out of town, but his music was so intense and so passionate and in a way it helped me release my internal anger, like it helped me let it go. His

by Roman Sobus

Bruce and Guitar Shorty music was often very angry, but he was getting it out. He wasn’t telling you to go hit somebody, he was helping you expel your anger and that’s the feeling I had when I was with Son that I wanted to capture in the studio and then share with the world.” Bruce didn’t just relegate to signing unknown artists, he also signed artists with more visibility also. Even established artists started flocking to his door. Albert Collins made the move to Alligator. He was definitely well known. Koko Taylor wasn’t as well known, but she became an Alligator artist, and then there came a call that really shocked Bruce. Rock star Johnny Winter had his manager contacted Bruce and that just blew him away. Johnny wanted to return to his Blues roots and he wanted to do that through Alligator Records. Bruce didn’t call Johnny or even expect the call. Johnny called him. It is extraordinary to watch the growth of Alligator Records. Remember, this wasn’t bank rolled by some millionaire. This was done with a young man with a vision and only $2500 dollars in his savings. No bank would have ever loaned him this money. He lived on quarter pounders with cheese. Every decision on whom to sign and when to sign them had to be done properly. These were big decisions. “I had to make smart business decisions,” states Bruce, “but also smart gut decisions. We talk about

the blues being soul soothing music. Some musician said to me when I came to Chicago that ‘you don’t listen to Blues to be sad, you listen to the Blues to get rid of the blues’. And you know, that stayed with me and I wanted music that would make people feel better. Not necessarily by hiding their problems, but maybe like Son Seals music, just kind of wrenching their problems out of them and so there was the gut side and then there was the business side, and I’ve always tried to accommodate both of them to some extent.” Now we fast-forward twenty years down the road. Alligator Records is ‘the Blues Label’ out there now. They are pretty aggressive with their sales. They are certainly making a name for themselves in the Blues market. They have become the go-to label for aspiring new Blues artists. Their roster has quite a few big names on it and they have some of the finest Blues artists on their label that the Blues has to offer. “Well,” Bruce thinks back, “20 years down the road. You know, the label was pretty well established by that time. We had recorded Johnny Winter, Roy Buchanan, and Lonnie Mack along with Albert Collins who had already been known before he signed with us, but would become one of the best known names in Blues… and also Koko Taylor. continued on next page June 2021 • Rock and Blues International

long, it truly must be a family. As far as signing people to Alligator now, Bruce’s criteria has changed a bit. He’s not as involved in looking for old classic performers as he was in the past, he’s looking for the next new thing. He’s looking for passion. Bruce explains that, “The older styles of that were fresh 50 years ago have become classic styles. The first thing I look for in an artist is ‘passion’, passion in their performance, passion in the studio. I want someone who throws themselves emotionally into their music. I look for originality. The Rules of the Blues have become kind of… they have become a little too rigid. So I’m looking for artists who are trying to bend the rules or push the rules, or push the envelope, as they say. I look for artists who are writing songs that are relevant to contemporary audiences and sometimes songs that contemporary audiences can dance to. Blues has a tendency to recycle old beats, which is not really a great way to get younger listeners. At the same time, if somebody performs in a more classic style, but is just great at it, I want that on the label too.”

by Chris Monaghan

Bruce and Lonnie Brooks

Bruce Iglauer continued from previous page We had a catalog of about a hundred and ten or a hundred and fifteen albums by them and other artists. We had artists like Koko who have been with us. From that point she’d been with us 15 years. She was with us for the entire rest of her career from which she signed on until when she passed. I like to call Alligator a family. We’re not just a business. The artists are friends of ours. They come to our homes and we go to their homes. If the artists are in trouble, we’re there for them and we look out for them a lot more ways than other labels I think that don’t, because for other labels, it’s much more of a business relationship.” To celebrate their 20th Anniversary, Alligator Records did something rather extraordinary for a Blues label. They launched a 20th Anniversary Tour. As Bruce explains, “At that point, we did a 20th Anniversary Tour with Koko and her band, Lonnie Brooks and his band, Elvin Bishop, who’s with us by then and Lil’ Ed and the Blues Imperials, whose still with us after 35 years. I rented a bus and got a

Rock and Blues International • June 2021

booking agent to book it and we barnstormed up and down the East Coast and then went out to California and then barnstormed up and down the West Coast. It was a pretty triumphant year for us. Things were going pretty well. By then our staff was about 10 or 11 and I actually wasn’t scared that the company was going to go out of business, which was a nice change. Now, as we roll into Alligator Records 50th Anniversary, things have really progressed at Alligator. The staff has grown. Bruce tells us that he has two full-time publicists on staff, full-time radio promotion people, an online publicist marketer, and a sales manager. He has all of these people working together to get the music in front of the people. Without a doubt, the staff has definitely grown in so many areas. And as he likes to say, Alligator is a family. It’s so much of a family that some of the people working for him have been with him as much as 25 years. For a label like his to have people staying around for that

And Bruce is certainly getting what he wants. The artists signed to Alligator Records in the last couple of years have been spectacular. Right now they have an active roster of about 15 artists and have had one signing this year so far with another one on the horizon. “We’ve had one signing this year,” explains Iglauer, “Chris Cain, who has been around for a long time, but is a very interesting exploratory songwriter and guitarist, and we have one that we haven’t announced yet. But, I’m always looking for artists who have their own vision. And then again, I gotta look for artists that have their heads together, who can take care of business, because leading a band on the road… and all of our artists tour, most of them on the highway. Some of them, like Elvin Bishop, fly in for special events. They don’t play clubs up and down the road, but most of our artists play clubs up and down the road. So, I need artists that are good bandleaders, who have their heads on straight as far as business. They don’t have to be fancy businessmen. I do have an artist with a Masters in Business Administration, Selwyn Birchwood, which has shocked me. For the most part they just have to have good common sense, because artists have to be so available on social media and so available for traditional media. Now the job isn’t just about playing music. Now it’s got to be somebody who’s committed to doing it 24/7, 365 days a year and don’t expect to continued on next page

Bruce Iglauer continued from previous page have a day off. At least they’re going to be posting things on their Facebook pages, they’re going to be responding to emails, they’re going to be doing interviews, they’re going to be doing other things to promote their careers. So I need artists who can do all those things… and then, they still have to ‘move’ me. If an artist can do all that and I still can’t feel it, they’re not going to wind up on Alligator.” For Bruce now, the vision is for the future… the future of the Blues… the future for Alligator Records. He wants the label to last for a long time into the future and continue the legacy that Alligator Records is known for… great music, great artists, great Blues! “I want a label of full of people that I want to go see live,” says Iglauer. I want to hear their records. That isn’t necessarily the smartest commercial choice, but in terms of making records, that will stand the test of time, I think that is what Alligator is supposed to be doing. The other part of my mission right now is that I want to introduce the artists that will carry the Blues in some form forward for the next 50 years. I’m constantly looking for younger artists, as I said, ‘visionary artists.’ Our youngest artist now is Christone “Kingfish” Ingram, whose second record will be coming out in July and he just turned 22. His first record was cut when he was just 18. Shemekia Copeland, who’s been with us a long time, cut her first record for us when she was 18. And Selwyn Birchwood is a little bit older, but still definitely in the young generation of Blues artists. I’m watching for people who are making Blues that 20 year olds can relate to, not just people that I can relate to.” And Bruce isn’t afraid to let his artists experiment a bit. If he likes them and trusts them, he’ll give them a little leeway to try something a bit different. Take the case of Curtis Salgado. Curtis Salgado has been making Blues records with Alligator for a while now, but with his new one, he veered off the Blues path a bit to create something personal and it really grabbed Bruce and he had to put it out as well on Alligator. “Curtis Salgado. Great guy and very interesting because he keeps creating. Curtis is not that much

by Marc Norberg

Bruce andartistCoco Taylor that we just mentioned here is younger than I am, but he’s constantly creating new songs. He’s carrying his music into different directions, especially with his new album, Damage Control. He’s not making a Blues record, he’s not making a soul record, he’s making a very personal record that also rocks like crazy and has some pretty deep messages, but is also fun. He’s a very sweet guy, a little bit vulnerable. He wears his emotions on his sleeve. That’s one of things I like about him.” When Curtis approached Alligator with his new album, Bruce pretty much stayed true to his direction with Alligator Records. If it moves him, he’s interested. It may take a while to get there, but needless to say, Bruce is pretty much an open-minded guy. “I had released three albums by Curtis. One was an acoustic duet album and there were two full band albums that were pretty much more in the Blues and kind of traditional R&B… let’s say, Stax style R&B. When I first heard it, honestly I wasn’t taken to the bank. I didn’t immediately fall for it, but I began listening to the songwriting and realizing how good it was. And then once I realized that it wasn’t going to be a Blues record, as I defined Blues records, I just wanted to know that it was a record that moved me. I can’t exactly call it a rock record. It’s like a rockin’ singer/ songwriter record with a ton of humor, by the way. It was a little bit of a stretch for me. As I said, I didn’t love it right away, but I recognized the honesty in the performances and as far as I was concerned, it just felt pretty Bluesy. It didn’t follow the structures of Blues, but it made me feel like I was listening to the Blues.” Another one of Alligator’s newest

Christone “Kingfish” Ingram. Bruce Iglauer is extremely proud of this new artist, not only is he Alligator’s youngest artist at the moment, but his music seems to be maturing at an extremely fast pace. He’s the type of talent that Alligator is looking for right now. “Christone recorded his first album when he was 18. We released it when he was 19, or he might have just turned 20. It was recorded before we signed him. His manager came to us with a finished record that was just really good. And so based on that, we signed him. The second record was recorded about four or five months ago… I think it might have been in December. It shows an amazing amount of artistic growth. He was already a very mature musician, period. Not mature for his age, just mature and he’s been a sensational success for us. I mean, he became one of our very biggest artists in the course of less than two years. And part of it is because he does incredibly wonderful thrilling live shows.” Bruce Iglauer is an incredibly brilliant man and a very wise man when it comes to picking talent, but he doesn’t always rely on himself to discover the talent. There are several people out there that he trusts and sometimes they turn him on to incredible people that he might have let slip by had he not know about them. That is definitely the mark of a smart man. You’ve got to have smart people around you. “I listen constantly, and I also have friends around the country who are ‘ears’ for me who have turned me on to new artists and people that I might not of heard of in some cases. When William Clarke came to the label, my continued on next page June 2021 • Rock and Blues International 25

it’s a reality you have to deal with. I’m disappointed that I can’t publicize my 50th Anniversary and have events. Other people are dead! I think they have more to be disappointed about that than I do.”

by Paul Natkin

Johnny Winter

Bruce Iglauer continued from previous page longtime friend and co-producer Dick Sherman said, William Clarke has been recording for a long time, but he’s finally ready for Alligator, because he kept growing artistically. I listened to him and Dick was absolutely right. The artist had stepped up to another level. I have people around the country to turn me on to music I haven’t heard. I still miss things. I feel bad about artists who got by me and sometimes I feel confident that because we’re so committed to this form of music that we will be there when the artist decides that they could do better.” So now, as Alligator Records celebrates its 50th Anniversary, a lot of the worries that Bruce had experienced had gone by the wayside. His dinners are a lot better than the quarter pounder with cheese period he went through, however we think he still might have one now and then. He survived the oil crisis of the ’70s when vinyl became as valuable as gold to record labels. He even survived the dreaded bootleg crisis that erupted in 26 Rock and Blues International • June 2021

1999 that started closing down record stores. It’s hard to sell music when the stores are shutting down and people have found a way to steal it. He can breathe a little easier now, but he still remembers them sometimes. “I often can’t believe I made it this far any day,” laughs Bruce, “not just the 50th Anniversary… any day for the last 50 years. It’s always a wonderful shock to me that I get to keep doing this, but yeah, it’s certainly a very nice way to get recognition. The frustration is the damn pandemic, because I like what I did with the 20th Anniversary. I would have put a tour on the highway this year. And of course, I can’t. And I would also be traveling around doing a lot more live interviews and having local events as well. The Chicago Blues Festival was supposed to have a big celebration of Alligator’s 50th Anniversary and The Chicago Blues Festival is essentially cancelled. It’s only going to be one night, so that’s been a big disappointment, but

Although the pandemic still looms greatly across the world, some of Alligator’s artists are hanging in there, but it’s been tremendously hard on them as well as with the entire music business. Although it’s a tremendous occasion for Alligator Records, it becomes very hard for Bruce to celebrate the occasion himself because of the feelings he has for his artists. How can he be that happy if they aren’t? He takes the moment in stride wishing that things could be better for them and Alligator. It’s really hard to sell music if the artists themselves can’t get out there and perform and create an energy about the product. It’s hard for him to be happy when they aren’t. Remember folks, this is his family. Not only does the label help to support them, but they also help to support the label. The whole situation is rather ironic. As I sit here and write this story, a tear comes to my eye as I think about a man who should be celebrating this great milestone in his life. But his thoughts are primarily focused on his extended family of musicians and this pandemic that has affected his moment, not to mention all the musicians that are part of the Alligator family. It really puts a damper on what he should be experiencing at the moment. Such a tragedy! “They get to do interviews about the 50th Anniversary and I’m actually doing a TV shoot for Chicago local news tomorrow and three of my artists are coming to the office with acoustic guitars and harmonicas to play a little for TV,” adds Bruce. “The artists have been very badly hurt by the pandemic because they are self-employed. They’re not label employees, they are their own employees. They’re under contract to the label, but they’re self-employed, so they’ve struggled a lot because self-employed people have been the last ones to be covered by any kind of government services or unemployment insurance. In the past self-employed people weren’t covered at all, but now they’ve got some benefits, but they need to work. So the main calls I get from artists are not ‘congratulations on the 50th Anniversary, but ‘what am I going to do because I don’t have any gigs because people won’t hire us because they’re too scared to have events’. So it’s been a very hard year for the artists. I’m not spending a lot of time kind of wallowing in self-glorification. I mean, first of all, once you’ve thrown continued on next page

Bruce Iglauer continued from previous page your shoulder out of joint patting yourself on the back, then you do it again, your arm hurts. So there’s a point in which you say, ‘okay, I patted myself on the back enough. I never mind when other people pat me on the back, but I’m thinking about the next 50 years. I’m not thinking about what I’ve accomplished, I’m thinking about what we need to accomplish.” So what lies in store for Bruce Iglauer, Alligator Records, its artists and legacy in the next 50 years. Bruce has a plan and from my conversation with him, I fully believe that Alligator and their artists will prosper and thrive once the pandemic is completely over. All of them have the stamina it takes to prosper over adversity. “You know, we need to be choosing the artists and finding the artists that will really carry this music forward”, says Bruce,” and that’s my mission. If I can find another artist this year, who I think is a ‘visionary’ that will be the most memorable part of this year I will be very happy.” So how does Bruce see the future of Blues down the road. What lies in store for the musicians of the future? Will it be the Blues that we have come to understand or evolve into something different… but the same? “I see the Blues evolving slowly,” says Bruce, “but continuing to evolve. So I’m expecting that the music that I wouldn’t hear as Blues now, I would hear as Blues in 50 years because I will understand how it got from and what Blues is now to what it is then. You will still have that feeling. You’ll still find that tension and release. And, of course, it’ll still have that onefoot in the tradition. But you know I’m expecting artists to be more exploratory as people get more formal education in this country, which is slowly happening. I’m expecting that we’re going to have different kinds of lyrics and subject. Some of my artists are doing songs that you would call ‘social commentary’ or ‘political’, like Shemekia Copeland for one and Toronzo Cannon, and like Selwyn Birchwood. I think of them in particular because they’re very committed to that. Writing a ‘social commentary’ is not something that happens in the Blues

by Rory Doyle

Christone “Kingfish” Ingram very often. There have been social commentary subtexts, but not so much about people writing about gun control, gender identification, racism, and police brutality. Artists are writing about those things, some of them. And I think more of them will be and I see more extension to the world audience. I can’t lead the artist, I have to follow the artist, and so I have big ears. I hope to hear what Blues will sound like in the future and I have to promote the artists who are going to carry that forward and keep it a living tradition and not a re-creation of what’s already been done.” To celebrate this auspicious occasion, Alligator Records has put together a special album release titled Alligator Records - 50 Years Of Genuine Houserockin’ Music. The album is a 3-cd set which features 58 tracks of their most notable artists to celebrate their 50 years of bringing the Blues to the masses. The title of the album comes from the promotional flyer for Alligator Records first release, Hound Dog Taylor & The Houserockers. The promotional flyer carried the banner headline, “Genuine Houserockin’ Music”. It took Bruce quite a while to run through thousands of songs on 350 albums to select the 58 cuts on the album release, and he is quite proud of the selections he made and the running order of the songs. He was also happy to be able to make that trip down memory lane and listen to so many songs that he hadn’t heard in long time in making this selection. Bruce spent a long time remastering all these cuts, maximizing the

sound quality. This album will be released in two forms, a 3-CD set of 58 songs, and for the vinyl purists, there will be a doublegatefold album containing 24 of the crucial tracks from the 58 song CD set. The album starts out with the first song released by Alligator Records, “Give Me Back My Wig” by Hound Dog Taylor & The Houserockers. This is followed up with songs from Koko Taylor, Big Walter Horton, Fenton Robinson, Professor Longhair, Son Seals, Johnny Winter, Albert Collins, James Cotton, William Clarke, Lonnie Mack, Lonnie Brooks, Luther Allison, Clarence “Gatemouth” Brown, Roy Buchanan, The Paladins, and many more! Without a doubt, this album release alone provides a rich experience in the Blues and Alligator Records. Alligator Records definitely has a rich history. It’s the kind of story that gives meaning to “The American Dream.” Anything can be done in America, and Bruce Iglauer should be applauded for carrying the torch of Blues music. Face it folks, if it wasn’t for him, there would be a lot of great music missing from the pages of history. Rock And Blues International would like to applaud Bruce Iglauer and the staff at Alligator Records for helping to keep the America Dream alive. Imagine that, 50 years of Genuine Houserockin’ Music brought to the world by Alligator Records and Bruce Iglauer. Wow!

Rock And Blues International June 2021 • Rock and Blues International 27

video

Pg Petricca & Gipsy Rufina: This land is our land By Edoardo Fassio The National Road 578 SaltoCicolana, also known as the Rieti-Torano highway, connects the Cicolano and the Marsica, two mountain areas of central Italy. The route, which runs for about sixty kilometers between Lazio and Abruzzo, is not quite “the longest road I know”, such as the “61 Highway” sung by Fred McDowell. Yet that area has been a pulsating nerve of the Apennine ridge since pre-Roman ages, when it was populated by settlements of Equi, Etruscans and Sabines. In more recent times it was the scene of brigandage; carried out by gangs of outlaws who haunted the roads for the purpose of robbery, it was often romanticized and narrated through songs in popular culture. Statale 578 is kind of a return to the “Land where the blues began” for Pg Petricca and Gipsy Rufina, two local guys who made it big in the international music community. Rufina, an original folkoriented artist, earlier associated with several hardcore punk bands in Rome, has performed thousands of shows through Europe, Russia and the Americas and boasts six albums to his name. Petricca, a master of resophonic guitar, before starting his solo career was half of the Papa Leg Acoustic Duo; along with Marco Tinari he has appeared on stages both sides of the Atlantic, collaborating with Jimbo Mathus, Olga Munding, Rich Del Grosso and Elam McNight. In their tasty “on the road” lyrics, rather than the Italian language, Pg and Gipsy use a couple of Marsican dialects, surprisingly showing how relevant linguistic varieties still survive, even in a relatively small area. Combining sharp songwriting, neo-folk and regional blues with rough, exquisite musicality, the two musicians tackle ancient stories, such as “Viola”, the telling of the nineteenthcentury brigand Berardo Viola, or, in a ballad worthy of Fabrizio De André, “La Strega” (The Witch), endowed with a charismatic social role in the peasant community of bygone days. There’s contemporary tales, too, such as “Pasqualine”, the village fool who rides a bicycle in search of impossible loves, while fleeing from social services that try to lock him down, and the “Bestia” (Beast), about the popular card game that goes well with liquor, swearing and cigarettes. Just like your typical blues, “’cause no one is waiting for you at home”. http://www.pgpetricca.eu/ http://www.gipsyrufina.com/ 28

Rock and Blues International • June 2021

Pg Petricca e Gipsy Rufina: Questa terra è la nostra terra By Edoardo Fassio La Statale 578 Salto-Cicolana, nota anche come superstrada Rieti-Torano, collega il Cicolano e la Marsica, due aree montuose dell’Italia centrale. La direttrice, che si estende per una sessantina di chilometri tra il Lazio e l’Abruzzo, non è esattamente “the longest road I know”, come la “61 Highway” cantata da Fred McDowell. Eppure la zona che attraversa è stata un nervo pulsante della dorsale appenninica fin dall’epoca preromana, quando era popolata da insediamenti di Equi, Etruschi e Sabini. In tempi più recenti fu teatro del brigantaggio, attuato da bande di fuorilegge che infestavano le vie di comunicazione a scopo di rapina; un fenomeno sovente romanticizzato, narrato in canzoni della cultura popolare. Statale 578 rappresenta un ritorno alla “Land where the blues began” per Pg Petricca e Gipsy Rufina, due musicisti originari di queste parti che frequentano le ribalte internazionali. Rufina, interprete di originale orientamento folk già associato a diverse formazioni hardcore punk della capitale, ha effettuato migliaia di concerti in Europa, Russia e nelle due Americhe e vanta sei album a suo nome. Petricca, asso della chitarra resofonica, prima dei dedicarsi alla carriera solista è stato metà del Papa Leg Acoustic Duo; insieme a Marco Tinari si è esibito sui due lati dell’Atlantico, collaborando con Jimbo Mathus, Olga Munding, Rich Del Grosso e Elam McNight. Nel loro saporito canzoniere “on the road”, in luogo della lingua italiana Pg e Gipsy si servono dei rispettivi dialetti marsicani, rimarcando in modo sorprendente come, pure in un’area tutto sommato limitata, sopravvivano notevoli varietà linguistiche. Tra cantautorato di vaglia, neo-folk e blues regionale, i due musicisti visitano con ruvida, squisita musicalità storie antiche come “Viola”, sulle vicende del brigante ottocentesco Berardo Viola, o, in una ballata degna di Fabrizio De André, “La Strega”, figura dal ruolo sociale

carismatico nella comunità contadina dell’altro ieri. O narrazioni contemporanee, come “Pasqualine”, lo scemo del villaggio che gira in bicicletta in cerca di amori impossibili e in fuga dai servizi sociali che gli danno la caccia, e la “Bestia”, dedicata al popolare gioco di carte che accompagna bicchieri di liquore, imprecazioni e sigarette. Proprio alla maniera del blues, “tanto a casa non c’è nessuno che t’aspetta”. http://www.pgpetricca.eu/ http://www.gipsyrufina.com/

26 Rock and Blues International • April 2021 28 Rock and Blues International • June 2021 26 Rock and Blues International • April 2021 30 Rock and Blues International • June 2021

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June 2021 • Rock and Blues International 29 June 2021 • Rock and Blues International 31

Veteran International Touring Artist Drops New Album Tony Sarno Releases New Blues/Funk/Soul Album “It’s A Blues Thing Too - Muscle Shoals Edition” Tony Sarno (center with hat on) is no stranger to the road, to the studio, and most certainly he’s no stranger to writing and arranging. However, this time around the Nashville based artist may have out done himself with the release of “It’s A Blues Thing Too - Muscle Shoals Edition”. A ten track compilation of from the heart and soul blues, soul, and funk. The man with the sweet high tenor voice gets it done! Tony surrounded himself with the crème de la crème of musicians and background singers and on top of that the recordings were made in Muscle Shoals. Released on the Marconi Records label the new album is available just about anywhere fine music is sold. Tony Sarno has performed on the main stages internationally in countries such as Argentina, Australia, Canada, and Mexico. Inside the U.S. Tony has performed on the big stages in Chicago, Memphis, New York, and San Francisco. When it comes to live performances at music festivals the man has laid it down at Chicago Fest, Gwinnett County, Thredbo, and Wild Hogs. The title track on Tony’s new release, “It’s A Blues Thing Too” has an absolutely great feel to it. It’s brand new music with a really cool kind of historic presence such as you might enjoy listening to “Super Session” with Al Kooper and Mike Bloomfield back in the 70’s. Tony’s on to something. Another track that stands out is “Heartbreak Radio”. This number is an up tempo release with a strong groove that includes the brass section being present but not over powering. This allows the chorus to come on strong, it’s catchy and there is a kick ass sax solo followed by a well placed lead guitar insert. It’s a unique sound that captures your mind and then there is an acapella entrance that is placed perfectly within the song. “Heartbreak Radio” has a Bob Seger kind of feel with a Little Richard kind of vibe on the piano, very cool. It’s obvious that Tony wanted to present a familiar feel on his release but also wanted to debut a brand new sound. He may well have accomplished his goal. Label: Marconi Records, Producer: Mark Maynard, Engineer: Charles Holloman, Mixing & Mastering: Jason Hall, Studio: East Avalon Recorders: Muscle Shoals Alabama Special guest: former Tina Turner Band sax player Deric Dyer To learn more - www.tonysarno.com 32 Rock and Blues International • June 2021

June 2021 • Rock and Blues International

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By Kevin Wildman Crack The Sky’s John Palumbo is back at work again. You would have thought that after the release of Crack The Sky’s recent album Tribes, that would have been enough to take care of John for awhile. But no, singer/multi-instrumentalist John Palumbo jumped right back in again, writing and producing his newest solo album, Hollywood Blvd. This is John’s fifth solo album and it’s quite a departure from what you would normally hear on a Crack The Sky album. The album was released on Carry On Music just last month on the 20th. The album consists of 12 expertly crafted songs written and performed entirely by John himself with the exception of a few acoustic and slide parts that were handled by his Crack The Sky bandmate, Bobby Hird. The entire album was recorded, mixed, and produced by John himself at his home studio on his Protools system. Mastering on the project was handed over to R. Lee Townsend at Real Time Studios, who is also a longtime associate of Crack The Sky. I had a chance to talk to John this past month at his home in New Jersey where he passed on some great information about the new album, Hollywood Blvd. to Rock And Blues International. Evidently the idea of the song “Hollywood Blvd.” came together before the thought of even doing another solo album at the moment. “Actually I wrote the song first,” explains John, “Before even considering a solo album and the reason I put that name on it is because there’s such a cross-section of people there. It was better than “Times Square,” and “Hollywood Blvd.” has a better ring to it.” No people, “Times Square” wasn’t even a thought in his head about this. “Hollywood Blvd. has a better ring to it. John explains that the songs on the album touch quite a few subjects, some of which may be quite disturbing to some, but nevertheless very important to him and his beliefs. “There’s some interesting things there,” says John. For instance the song “Shutdown.” This is a song that touches on a subject that is somewhat taboo, but John felt that the situation really needed to be addressed. “Shutdown,” says John, “is about a father who is so kind of knocked out and snaps and he’s gonna go shoot a priest about what happened to his son who happens to be in the hospital in a coma because he was molested. So, how’s that for ‘up’.” As expected, that kind of a rough topic somewhat seemed a little extreme to me, but as John further explains, “Yeah

continued on next page Rock and Blues International • June 2021

Photo by Rei Perry

Crack The Sky Singer/ Multi-instrumentalist John Palumbo Tells Tales From Tinsel Town On Fifth Solo Album, Hollywood Blvd.

“Crazy” is just, the whole planet is going crazy and you just don’t know it. That’s personal because I had a breakdown and I knew that I was in pain, but I didn’t really know how crazy I really was. It was depression and anxiety. What happened was that I had medication and the doctor that I had screwed up the medication and that put me in another place, so I had to check out for a little while. But, you know, it happens and I came back and I’m fine now. Most artists… I think we all kind of hit that wall once in a while and so it made me a professional artist. If you have a breakdown, you’re a professional (John laughs).” I remarked to him that sometimes true artists are supposed to suffer and he replied, “I really don’t suffer. I have a great life, great family. We live in a really nice place and all that, but it was completely chemical. It’ll still knock the shit out of you.” The song, “In A Cold World is political,” says John. That’s just because the world is so messed up right now. So that was what kind of got me to put that song together. You need love in a cold world. It seems to be the only answer we have as ‘little’ people, since we’re not running anything. There’s so much anger and hatred and divisiveness and I wanted to address that.”

John Palumbo continued from previous page well, it happens. I don’t know how people are going to respond to that, but it’s part of the world we live in, unfortunately.” John tells us that not all the songs on the album are really that dark and extreme. “I’ve tried to write some things that are really current and going on,” continues John. “Things that hit me hard, and that’s one of them. I think that’s the only dark one on there. The rest of them are kind of like slice-of-life stuff and personal things. There’s actually some love songs on there, which I really don’t do that much, in fact, “Hollywood Blvd.” is a love song. It starts out with, ‘I want to dance with you,’ and then moves over to where they get intimate with ‘Lay with you’ and ‘Die with you’, and then they go to the afterlife. So, it’s basically a love song. I don’t know if it comes across that way, but that’s what it is.” As you can tell already, there is a huge difference between Crack The Sky songs, and John Palumbo songs. John says that, “What happens is, “I wrote “Hollywood Blvd.” first. That was when I was finished with Tribes, and I started to

mess with it and I said, ‘whoa, this sounds pretty good. I think I’ll write some more. I intentionally write and record songs that are not like Crack The Sky. So if I do come up with a song that I think is going to be best for Crack The Sky, I hold that off and I intentionally change the style.” The twelve songs on “Hollywood Blvd.” are very personal to John and I asked him to elaborate on a couple of more of them. Are some more personal, or are they more topical? “I think it’s a mixture of both,” he says. “For example there’s “Funky Town,” which is about families that were separated. It’s about the main character moving from the U.S. back to Mexico and is looking for his family. “Lovely Day”, that’s another love song, and when I started to put it together, it sounded a lot like George Harrison. And I said, that’s not bad, so when I brought Bobby in to do the slides and everything, that’s kind of what we discussed.” When it came to the song, “Crazy,” that’s when the lyrics and subject really got personal for John as he told me.

One of the more introspective songs on the album is “The Dancing Clown.” John tells us that some people have misinterpreted it to mean somebody else, but it’s entirely about him. “The Dancing Clown” is about me actually. Some people think it’s about Trump, but it’s not. It’s kind of about me…. I guess it’s a continuation of that breakdown thing because it’s like waking up and healing.” I asked him why people would think it was about Trump and he replied, singing a line from the song, “The Dancing Clown has his head up in the clouds.’ “It has an anti-trump feel about it, but it is not about him. I’m not a Trump supporter. I think that was one of the worst things that could happen to us.” I remarked that after everything that has happened, I didn’t have much faith in politicians myself and he agreed saying, “Well, you know what… I totally agree with you. You try to give people the benefit of the doubt and then you see right now where everything is frozen. They just won’t move… Democrats versus Republicans or the other way around, and they just won’t budge or work together and nothing gets done. I’m not keen on politicians either.” continued on next page June 2021 • Rock and Blues International 37

John Palumbo continued from previous page When it came up to the subject ‘is there a favorite song on the album,’ he replied very quickly, “For me, yeah, ‘Shutdown’,” the one about the priest. I had a lot of fun recording it because I used ‘synthetic’ voices to do backgrounds, which was very neat. And I think it’s so topical. If it was up to me, I would put that out as the first single because it’s so topical. People are going to react to that differently, but they’re going to react to it.” Of course sometimes artists don’t get to make those calls and in the case of this album, the first single off the album seems to be the title song, “Hollywood Blvd.” “I think “Hollywood Blvd”, says Palumbo. “I think they might be a little gun-shy about “Shutdown.” As we previously mentioned, John recorded all the parts himself with Bobby Hird adding some guitars here and there, not to mention a few background vocals. “Yeah,” says John, “He did some backgrounds too. He’s a great guitar player and plays with Crack The Sky and we had a great time. There was a lot of drinking involved.” When it came to the subject of what the hardest song on the album was to write and record, he quickly came back with the song, “How It Feels To Be Me.” “That was rough because it’s keyboard oriented,” explains John. “I think it had a great groove to it and I had the hook line, ‘How it feels to be me, but then, I’m like… how does it feel? And so I took it and wrote it about another character as opposed to myself… A guy that kind of lost everything and it’s about that.” And of course, he tells us that the easiest and fastest song on the album to write was “Hollywood Blvd.” “Oh yeah, that just came out,” he said proudly. And that just gave me the reason to write a solo album. And after that, I think the next one I wrote was “Funky Town,” which is kind of a rock and roll song. Then I just said ‘this is going to be pretty good I think, and then I just started writing.” There have been a lot of songs coming out of this Covid-19 quarantine, but John insists that is not due to that. “Not really, this is what I do. My job is to write. Actually, I try to write something every day. That doesn’t mean I get something done every day, but I will attack it every day. I love writing. The pandemic had nothing to do with it because I’m in doing that anyway” 38 Rock and Blues International • June 2021

John tells us that the freedom of having his own Protools studio has lifted the constraints of having to book time and travel back and forth to a studio. All he has to do now is walk down the hall and plug in and start. “It’s wonderful, I get up and have coffee, have a cigarette or two and walk in here and start writing. And when I get something complete, then I get to turn around and record it.” And John certainly loves his Protools studio. As he further explains, there are no constraints and he is free to do whatever he wants, whenever he wants. He tells us that with Protools, “It’s really unlimited. It really is a gift to performers and writers, I think. What I’ve tried to do is build pretty much a proper studio here around using Protools with really good gear.’ Every songwriter has their own way of writing songs and performing them. I asked John where he likes to begin when he starts the writing and recording process and he replied, “Sometimes I’ll start with a groove and the song is in my head, so yeah I can start with the groove and then the song is in time, hopefully. It varies. Sometimes I start out with a groove and a lot of times I will start out with a title. Like “Hollywood Blvd.”, I just worked that around the title. I knew where I was going with it. The music comes first. The music always comes first. Sometime I’ll have a hook in mind and then lay in the drums and then sing and record the hook and then fill in the verses.” This is John’s fifth solo album and I asked him if this was a continuation of the other four, a steady progression or was it something totally different. Just what makes this different from the other four. “This one is not like anything from the other solo albums, nothing at all. This one is not like anything I have done. Certainly from the solo albums. Nothing at all like that. It was more fun basically because I was by myself. I’m spoiled by my studio, so I was able to listen right away and say, okay, well, that’s good, and that’s no good. And then you toss something out and you keep the meaning of the song. You know, move things around. That’s what was fun… seeing the work take shape pretty quickly.

So I asked John what lies in the future for him and Crack The Sky and he tells us that, “We’re doing an all acoustic album with Crack The Sky, and I’m finishing up the writing on that and it’s going to really be beautiful. I’m real excited about that one. That will be our first acoustic record, so we’re really pushing. What I wrote was really for acoustic, with an acoustic album in mind, so we’re really pushing the envelope here.” Without a doubt, the next Crack The Sky album will be a bit of a departure for the band. In the beginning they had been called a Prog band, but their style has changed quite a bit over the years. “I don’t consider us a Prog band,” says John. I consider us a rock and roll band. With the acoustic album, it’s definitely a departure.” The question now is, is it harder to write an acoustic album for him than to go with an electric album and John explained that, “Oh yeah, a little bit, and I’ll tell you why. Like I said earlier, I might start with a groove and I have a feel in my head where it’s going, but the acoustic record I’m writing, I’m writing on an acoustic guitar. That’s a departure for me. I haven’t done that in years. I’m spoiled by having a studio.” So, the big thing now is just what does John Palumbo want people to come away with after they hear this new solo album, “Hollywood Blvd.” What are the emotions he wants them to feel. What should they realize about his new endeavor? How should the fans take it? John tells us, “You know what, I am an entertainer. That’s my job, also as a songwriter. I just want them to come away with just being entertained and to enjoy it. Nothing too heavy, but to just enjoy it. And I guess I’d like them to appreciate the sounds. I would like them to appreciate the sounds and the sonic quality of the album. By the sounds, I mean the sonic tone of the album. I hope people enjoy the album and I really hope they are entertained by it.”

So, there you go folks… If you get the chance, make sure you pick up a copy of Hollywood Blvd by John Palumbo. I’ve listened to all of the songs on the album and this is a first class album filled with 12 delightful songs that will definitely fill you with joy. Yes, there may be a couple of strange ones or one that might shock you, but that’s the beauty of the album. There is something here for everyone. Be sure to tell your friends about it and you can listen and watch a video to the first single off the album at https://ymlps8.com/6c2c6emhuqafaewuwwaoauuyacahubj/click.php. If you want to order a copy of the album, go to https://smarturl.it/HWBLVDoutnow. The album is available now on all digital formats.

June 2021 • Rock and Blues International 39

timeless, sensuous, musical mosaic that deserves to be heard. This woman’s got the goods.” Following two single premieres on Spotify’s coveted New Music Friday playlist and racking up over half a million views across platforms for her music videos “Digging In The Dirt” ( https://youtu.be/hFRWNY4ogxM ) and “Not What You’re Used To,” ( https://youtu.be/jmcaP0o32VU ) Janita has won a new-found global audience. Already an iconic music figure in her native Finland, the long-time New York City resident has enjoyed critical acclaim fused with commercial success––an uncommon achievement which propelled her across 60,000 miles of touring for over 100 performances on both sides of the Atlantic in 2018 and 2019. Recent singles “Bliss I Once Had This” ( https://youtu.be/aqovSa8iLdg ), “I Do” ( https://youtu.be/BCKsyZ99Oz4 ), and “Our Love Is All We Have” ( https://youtu.be/jmcaP0o32VU ), have garnered her national TV, press, and media in the United States and Europe following their releases.

Janita - New Album ‘Here Be Dragons’ Out Now! Listen at your preferred music platform: Here at https://orcd.co/jhbd “Janita is creating a timeless, sensuous, musical mosaic that deserves to be heard. This woman’s got the goods.” –Billboard HERE BE DRAGONS Listen HERE at https://orcd.co/jhbd Janita’s new album, Here Be Dragons (ECR Music Group), arrives on the heels of multiple, triumphant single releases. Billboard Magazine writes, “Janita is creating a

Janita - “Digging In The Dirt” https://youtu.be/hFRWNY4ogxM 40

Rock and Blues International • June November 2021 2020

Downtown Magazine declares her work to be “Anthem(s) of clarity and hope…Janita’s striking genderbending look and mesmerizing ice-blue eyes bring to mind Annie Lennox and Bowie’s Thin White Duke-era guise; her voice is pure lilting compassion.” Paste Magazine writes, “Janita mesmerizes…her distinctive vocals are her stand-out asset, ranging between an edgier Feist and a softer Florence Welch.” Baeble Music adds, “Combining the vocal inatensity of Bat for Lashes’ Natasha Khan with the turbulent rock edge of St. Vincent, Janita continues to mark herself as an artist capable of producing music of great beauty and unsettling power.” Janita’s Here Be Dragons is now available everywhere on ECR Music Group. “Here be dragons” means dangerous or unexplored territories, in imitation of a medieval practice of putting illustrations of dragons, sea monsters, and other mythological creatures on uncharted areas of maps where potential dangers were thought to exist. The album was produced and recorded by indie-music luminary Blake Morgan in New York City. Janita - “Not What You’re Used To” [Official Video] https://youtu.be/0tOM6Q20sBE Janita - “Digging In The Dirt” [Official Video] https://youtu.be/hFRWNY4ogxM

Janita - “Not What You’re Used To” https://youtu.be/0tOM6Q20sBE

Volbeat Announcs European / UK Release Of Hokus Bonus, Rarities And Bonus Track Limited Edition Vinyl Volbeat announces the European/ UK vinyl release of Hokus Bonus: a vinyl-only compilation of ‘bonus tracks’ from special editions of the band’s previous albums, many of which have never been available on vinyl before. The LP, limited to 6K numbered copies, features cover art from long-time Volbeat illustrator Karsten Sand and will be pressed on yellow smoke vinyl. Hokus

Bonus brings several songs such as “Slaytan,” “Under The Influence,” and “Immortal But Destructable” to the vinyl format for the first time, and also includes early versions of fan-favorites “Evelyn,” “Black Rose,” and “Die To Live.” “We all spend a lot of time in record stores both at home and on tour,” said the band, “and bringing these songs to vinyl, some of them for the first time ever, brings us great joy.” Hokus Bonus will be available on Friday, July 16th and can be pre-ordered here. VOLBEAT emerged from Copenhagen in 2001. Since then, they’ve tirelessly clawed their way to hard rock’s upper echelon with endless touring and a string of seven beloved full-length albums. Their latest album Rewind, Replay, Rebound was

released on August 2nd, 2019 and has spawned the hit singles “Last Day Under The Sun,” “Leviathan” and “Die To Live.” Their latest release, Rewind, Replay, Rebound: Live In Deutschland, features live recordings of songs from Rewind, Replay, Rebound as well as fanfavorites recorded during the band’s sold-out 2019 European tour. HOKUS BONUS Track list: Side A: 1. Rebel Angel – 3:25 2. Angelfuck – 1:30 3. Ecotone – 3:47 4. Lola Montez (Harp Version) – 4:28 5. Evelyn (Early Michael Vox Version) – 3:29 6. Slaytan – 0:59 Side B: 1. The Bliss – 4:43 2. Black Rose (Michael Vox Version) – 3:58 3. Under The Influence – 4:32 4. Immortal But Destructible – 4:35 5. Die To Live (Michael Vox June 2021 • Rock and Blues International

Rock and Blues International • June 2021

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December 2020 • Rock and Blues International

Rising 20-year-old French-American hip hop artist James The Prophet has been blowing up in France – hip hop’s second biggest market – for bringing socially conscious and sensitive rap to the forefront. Following last year’s We Love Green festival with Young Thug, Lana Del Rey & Bad Bunny, he’ll be opening up for hip hop legend Mos Def soon. Recently, James dropped a jazzy, boom bap-inflected lyrical odyssey, “Power On,” along with live video here at https://youtu.be/SOkqQkrZOIQ. ‘Power On’ is the track that makes me want to keep going and fight for my place, it makes me not care what people think,” James says. “This is my favorite track from the album. It’s about not giving up and powering through any tribulations.” James’ early freestyle went viral after being shared by the country’s biggest rapper Booba. He went on to share stages with alltimers like The Pharcyde, appearing on France 24, Vanity Fair, GQ and beyond. James’ triple UK, US & French citizenship has given him a foot in all three cultures, though he raps in English thanks to his affinity for East Coast boom bap of idols Nas and Biggie - along with old school hip hop, jazz, soul & funk influences. Unimaginable Storms follows his Bedroom Sessions during the pandemic, benefitting the Paris Hospitals Foundation.

Breakthrough French-American Rapper James The Prophet Drops Jazz-Funk Banger “Power On” Video at https://youtu.be/SOkqQkrZOIQ Listen / Share at https://jamestheprophet.lnk.to/poweron

The latest sample from his debut LP Unimaginable Storms ( https:// jamestheprophet.lnk.to/unimaginablestorms )(out July 9 via Sony Music / Rupture), it comes on the heels of Trumpism protest song “G.O.P” ( https://youtu.be/4SD1iiLoSE0 )(half a million views) feat. French platinum artist Kalash Criminel, “Get it Right” ( https://open.spotify.com/track/5qOi9JSbpAtoVYFILIw7ED?si=0cc615633ad6465d ) and “The Truth” ( https://open.spotify.com/track/7heLgThLy1cktQDqpOhkbC?si=6c2a08a4de544f9f ).

Amidst a backdrop of richly colored beats blending jazz, soul, funk, and old school hip hop, this new album is eclectic, but unswerving in its consistency – holding 10 tracks on which James graciously slows the torrent of demons and visions. The title is a nod to the fact that beyond what may be apparent visibly, everyone is dealing with their private crises. James explains, “‘Unimaginable Storms’ represents the idea you could be six feet away from someone and have no idea what they’re going through. When I was 15 and 16 I started having really bad panic attacks and missed a lot of school, and when I explained it to my teachers a lot of them were really surprised because I didn’t give off that impression when I was with them.” In a genre that can be driven so much by ego, James’ more reflective bars are what sets him apart. “It’s important to be real. My sensitivity is my strength,” he says. Unimaginable Storms is a paradoxical album — at once visceral and inviting, silky-smooth and barbed, amorous and anxious, melancholy and spirited, cool and gloomy, discreet and sometimes exposed. In 2018, James was a promise, a future conjugated in the present tense, the kid no one saw coming who had what it takes to break the status quo: the petty habits of a rap scene fast-gentrifying. With Summer Archives, his first mixtape for Rupture, James The Prophet dug deep, probing his guts and thoughts in an act of explosive intimacy. Maybe James wasn’t yet a prophet in his country, but his name started to circulate. The follow-up, Unimaginable Storms is here, bringing with it the hint of a new generational voice in the global hip hop world. Follow James The Prophet: Instagram https://www.instagram.com/jamesxprophet/ Facebook https://www.facebook.com/jamesxprophet/ YouTube https://ymlps3.com/087eaemqeagaewuwjavaqhsarabyyw/click.php

Twitter https://ymlps3.com/6fdd8emqmavaewuwjalaqhsagabyyw/click.php Rock and Blues International • June 2021

June 2021 • Rock and Blues International 45

Russell Hitchcock Of Air Supply Talks About Touring And What’s Happening With Air Supply Now! 46

Rock and Blues International • June 2021

By Kevin Wildman For Graham Russell and Russell Hitchcock, collectively known as the world famous band Air Supply, the pandemic has been nothing less than a nightmare. Here’s a band that has produced so much memorable music and has constantly been on the road touring for the better part of 46 years getting sidelined by one of the worst pandemics in history. This is the band that brought you songs like “Making Love Out Of Nothing At All,” “All Out Of Love,” “Hear I Am,” “Even The Nights Are Better,” “Every Woman In The World,” “The Power Of Love,” “Just As I Am,” and “Lost In Love” among many, many others. The life that they have known for so many years has taken a back seat to Covid-19. Of course this has affected touring bands all over the planet, but it also really affected them. Graham and Russell have literally been joined at the hip since their first song came out in 1976. Now they were quarantined thousands of miles apart… Graham in Utah, and Russell in Los Angeles, which was also one of the hardest hit cities in the United States. And now Air Supply has done something fantastic that a lot of bands still can’t bring themselves to do. They’ve hit the road again, braving the pandemic to bring joy back to their fans again. At the time of my interview with Russell Hitchcock about their current tour, the band had only been out on the road for a few dates. Some venues were sparsely attended, and some were packed. I saw their show in Houston, Texas and virtually every seat in Houston’s Arena Theater was filled. When they hit the stage, the applause was deafening. The Houston audience was waiting for something like this to happen for over a year now and the first major concert to take place was presented by the brave members of Air Supply. The show was fantastic and the band seemed to be filled with a tremendous amount of energy fueled by the audience there. The band hit the stage swinging with the song “Sweet Dreams.” They moved on to “Even The Nights Are Better,” then into “Just As I Am,” “Every Woman In The World,” “Here I Am,” “Chances,” “Goodbye,” and “I Adore You.” The crowd was going crazy… It was if their every dream was answered by this concert. It brought back a lot of faith and joy into their lives. You could hear it in the screaming and in their applause. Couples were sitting and holding each other and you could see the tears in their eyes…. tears of happiness. Russell Hitchcock left the stage for just a

moment while their resident poet, Graham Russell read one of his compositions to the audience. The place went silent and held on his every word. It was totally amazing. After the poem, the music started back up with Russell returning to the stage after a brief clothing change. No doubt he was soaked when he left only to return rejuvenated and ready to deliver his trademark vocals to this ecstatic audience. They started back up with “I Believe In Love,” and then segued into “Two Less Lonely People In The World,” “The One That You Love,” “Lost In Love,” the Jim Steinman penned song “Making Love Out Of Nothing At All,” Badfinger’s “Without You,” and “Miracles” before ending the show with probably their best know song, “All Out Of Love.” Yes, it was a triumphant return for the band, playing their greatest songs to a packed house. It’s what both of them needed… Graham and Russell looked at each other and they knew that this evening was special to them as well. It was totally amazing and fantastic. I called Russell Hitchcock, vocalist for Air Supply at his house in Los Angeles to find out a little more about the current tour, as well as how they were handling the somewhat peculiar touring status of today. Believe me, touring today isn’t the same as it was two years ago. When we got hold of Russell, he was looking forward to a great weekend and a more solidifying touring

schedule to start up again in July and August. He says that the time off has been pretty boring and he spent much of his time catching up on TV. When you’re on the road as long as Air Supply and they go out on tour, television can be kind of a luxury. Russell was catching up on everything. “Netflix,” says Russell, “I was watching videos. I was watching HBO. I was watching movies ‘on demand.’ I don’t write anything or play an instrument. Graham has been writing his head off in Utah. I’m sure the other guys have had some work to do, whether it’s their own studios or paying gigs. I don’t have that kind of talent, so I was sitting on the sofa and watching movies.” Although Russell tells us he doesn’t have that kind of talent, that definitely is an understatement. Air Supply songs would never be same without his voice. “Oh, I create. My dad was a singer,” continues Russell, “and a very good one, and my sister was a singer as well. She had a great voice. And I’m lucky, I really am. I discovered in my late 20s that I could sing pretty good. And as soon as Air Supply took off in 1980, that gave me a lot of confidence in myself that I never had as a ‘regular Joe.’ But I’m still a ‘regular Joe’. I don’t do anything specific. Actually, I’m the anti-singer. I don’t do anything really, I just show up and we continued on next page June 2021 • Rock and Blues International 47

get the same show, and I’m very adamant about that with the guys that play with us in the band.” Russell and Graham have a sort of mantra they tell the other band members almost every night before a show. “I usually say to them, ‘Tonight’s show is the first one for the rest of your life. So make sure you don’t leave any stone unturned to provide entertainment to the audience, because they paid to come and see you and it’s certainly a relief from anything in the day or the last year or whatever.’ So they deserve everything, and we give it to them, without fail, every show.”

Air Supply continued from previous page vocalize before the show. Not to make any comparison and I wouldn’t do it with this person, but I read an interview with Barbara Streisand… I think it was in Playboy… and the guy asked ‘what do you do for your voice?’ And she goes nothing. She says, ‘I go on stage and I pray that it works. If it works, it works. If it doesn’t, it doesn’t, but it works.” Russell told us right off that the touring schedule keeps changing at the moment. Some things get moved and rescheduled and some things get put off for a while. “It’s still fingers crossed,” explains Russell. “But obviously with the news of the pandemic now under control, it’s way better than it was. We’re looking forward to getting on the road and having a good August through the end of the year.”

you’ve got to go through kind of a mini rehearsal again before you start. Then you do two shows and go back home for a month and it’s really distracting and very interrupting, if that’s the word to use.” He tells us that the scarcity of the audiences in a couple of the cities as designated by the Covid-19 protocols have been a little alarming, but not disparaging. He’s seen audiences like this, but not in a very long time. “You know, there’s two seats together and three empty ones and two together, analytically done obviously, but we’ve been doing this long enough. In the early days in Australia we played to nobody, so two people showing up is good for us.”

Despite the scarcity of the audiOne of the hardest things for Air ences at some times, Russell, Graham, Supply and getting back on the road is and the rest of the band take it in stride. the routine and the scheduling. With the It’s still going to be a good show. It’s constant changing schedule it’s hard for their work ethic that guarantees that. the band to get back in the swing of These guys are professionals and have things as Russell continues to tell us. no trouble handling the audience “Well, for us… we had a couple of shows situations of today. “We just make sure in January and then we played another we have the situation under control. In one a couple of weeks ago. When we’re the old days, when every seat was filled, on the road, and I think it’s pretty much it was kind of a security blanket. But the the same with every band, if you do what bottom line is that no matter who you you do regularly, you get into a rhythm play for, and we certainly have never and you don’t really have to think about done anything less. We give the audience it too much except when you get to the everything that we have, whether it is show. But when you stop and start like fifty or a hundred or in front of five this and you can’t play for a month, then thousand or one hundred thousand, they 48 Rock and Blues International • June 2021

The show is still pretty much a great performance with a lot of energy, containing all the great songs that Air Supply is know for, but with the pandemic still looming, there has been a change or two. “We tend to keep to ourselves now when we’re not at the gig, and in one of the songs that we perform, we used to go into the audience every night for that particular song, but we can’t do that anymore. That was one of the biggest adjustments to the being on stage, when Graham and I would go through the crowd and feel that response up close. That’s a big difference.” And although the band keeps a distance from people while they are offstage, Russell still wears a mask and is fully vaccinated, but maintains a bit of a distance from his fans, reluctantly. He knows that some of them have been fully vaccinated, but he is also aware that some of them have also purchased fake vaccination cards. It’s still a bit dangerous out there and he can’t ignore that. Being one of the first major bands to hit the road, one might think that there might have been a little trepidation on the part of the band before doing that, but as Russell tells us, “I didn’t really have any trepidation. We insisted that all the guys in the band and the crew had gotten tests for Covid. We played a venue in Florida where they insisted that we get tested three times in four days. And once again, the barrier between the audience and us was reassuring for me. So we didn’t have any problem getting out there. We just wanted to get out there to show people that you can still come see a show now even if there’s limited numbers, which will probably be around for a bit. But we just wanted to get out there and give our audience and the public some kind of confidence that things are going to start to get back to continued on next page

Air Supply continued from previous page normal. Being one of the first artists out of the gate, I asked Russell if he had a chance to talk to any other bands out there and compare notes on what was going on with touring and he told me, “I’m pretty good friends with the guys in America. And we’ve chatted this year… when are you starting… what is the plan…what shows do you have booked… and this getting changed and that getting moved around. We’re all in the same boat and everybody’s going through the same thing. That’s what we do. Musicians play and if you can’t play, then your life pretty much has a big hole in it. I’ve been on the road for 46 years non-stop.” Recently, as I mentioned before, I saw the band perform at The Arena Theater in Houston, which is a theater in the round with a revolving stage giving the band a chance to see their entire audiences up close, but not to close. This show in itself provided a muchneeded boost to the members of Air Supply. They were now performing to pretty much a sold-out crowd. Russell tells us that when they got on stage and looked out at the sea of faces, “It was awesome to see.” And after the show the band got together to revel in the experience of once again being in a packed audience and remarked to themselves, “It was like Covid-19 doesn’t exist in this venue and a lot of people weren’t wearing masks. I noticed that being on stage, we’re still separated by this six feet thing, and that was reassuring too. But I was really surprised that they had sold so many tickets. I was blown away, and it was a great show!” Yes, that Houston show was quite a head turner for the members of Air Supply. They had just played for one of the largest audiences they had encountered on their brief tour to date during the season of Covid-19. “I was shocked, absolutely shocked because we were playing few shows, and they were like 50 percent capacity. If there was a 1500 seat capacity place, it was 700 people in the audience. Houston was another planet.” Playing the Arena Theater brought back a few memories for Russell as well. He’s played theaters in the round before

and although you get to see all of your fans up close, there was the occasional problem due to a revolving stage. “We’ve been playing them for years,” Russell remarked about the revolving stage. “There’s a place in New York called Westbury. We played there for like 30 years straight on their revolving stage. There was a place called The Melody Tent in Hyannis, Massachusetts that was in the round. There were a couple of places in Cleveland that had theaters in the round, so it wasn’t new to us. It was quite strange for some of the other guys in the band. In fact, I don’t think any of them had been on a revolving stage before.” Seeing the audience in Houston reminded the band that they still have a lot of fans out there. “Well,” says Russell, “one of the big things for us is that we have tremendous fan support all over the world. We get questions every day on Facebook about ‘when are you going to come back,’ and so I want to give them confidence that we’ll be back. We have a couple of shows in July and I think August is pretty full on. So I just want to reassure everybody that there isn’t a musician that’s home right now that doesn’t want to be back on their own, and we’re with them, because we were never anything but a touring band from 1976 till now. When you take that away from somebody, it’s a great loss, but we’ll be back and we’re as enthusiastic as ever and we’re as excited as ever to play again and see a lot of new faces. One of the biggest things is to go out to an audience and see lots of new faces

and the connection that they have with our music is indescribable. So we want to get back in the routine and entertain as many people as we can.” Entertaining is what Air Supply is all about. It’s as much about their life as anything else could be. “That’s what we were born to do,” continues Russell, “and that’s what we want to do. Our main goal in life is to entertain people during the height of the Covid-19 crisis.” Fans can still revel in the Air Supply experience with something that is rather new. In 2019, the band released a new live album. This time with an unusual twist. It’s called the Lost In Love Experience. Russell tells us that “the latest album that we have out is The Lost In Love Experience. It’s a double album and album one is a live concert. The other record features instrumental version of the songs with a couple of new pieces in it and it was recorded with the Prague Symphony. Graham and I went to Prague to direct that and make sure everything was the way it was supposed to be. That’s been out for over a year now.” And keep your eyes peeled guys, we haven’t seen the last of new material from Russell and Graham. “We’re going to talk about doing something new when we get into some kind of routine. Right now we’re just concentrating on getting the show back to where it’s supposed to be for now, just getting the rest of the year under our belts before we go ahead full steam in 2022. June 2021 • Rock and Blues International 49

Credit: Nova Rockafeller

INTERNET-BREAKING RAPPER TOM MACDONALD PURCHASES EMINEM’S $100,000 NFT BEAT & USES IT TO MAKE HIS NEW SINGLE AND VIDEO “DEAR SLIM” NEW ALBUM COMING SOON 50

Rock and Blues International • June 2021

WATCH THE MUSIC VIDEO HERE AT https://youtu.be/NWj4BSQMkq0 Asserting himself as one of the biggest underground artists in the world with over half-a-billion YouTube views, hundreds of millions of streams, and over one hundred thousand albums sold exclusively on CD directly to fans (you read that right), Tom MacDonald once again shocks the system with his new single entitled “Dear Slim.” Recently, he made headlines for purchasing Eminem’s new original beat “Stan’s Revenge” as a NFT for $100,000. As a lifelong “Stan” himself and possible heir to Shady’s public enemy #1 persona, he rapped over that beat for “Dear Slim.” “I turned the beat on in my headphones, and I wrote an homage to ‘Stan’,” Tom says. “What is a Stan? I’m sort of unclear on that myself. However, I wrote the song from the standpoint of being a fan of Eminem’s music, as a rapper who was inspired by that man to become a rapper, and someone who hears, ‘Man, you remind me of Eminem in the 2000s’ often. Subliminally or subconsciously, listening to him as a kid affected me on such a level that my path right now is parallel with his 15 years ago.” The video picks up where Eminem’s “Stan” video left off. Tom not only embodies Eminem’s most iconic character, but he also writes a stark letter to Slim in the visual. It’s complete with Stan’s Monte Carlo now soaking wet and covered in seaweed from the climax of the original clip—when he drove it off a bridge and into a river 21 years ago…

Eminem cooked up the beat with cinematic orchestration, thumping bass, and thick 808s. Over this sonic backdrop, Tom tears into his own letter to the legend as he confesses, “I was picked on as a kid, and they don’t know what Slim did for me,” and eventually declares, “Marshall, I’m you.” His rapid-fire rhyme-play and chantable hook nod to the G.O.A.T., but also further establish Tom as a slick, subversive, and stunning talent in his own right. Meanwhile, the music video—directed by girlfriend Nova Rockafeller—will make any Eminem fan either happy or extremely pissed off, maybe at the same time…. Earlier this year, Tom continued what’s become a tradition of internet-breaking and conversation-starting moves. He took dead aim at cancel culture with “Fake Woke” and amassed 15 million views on the music video. In unprecedented fashion, it reached the Spotify Viral Top 50, and it also scored four Billboard #1’s with Tom personally crashing the Billboard Emerging Artists Chart at #1. Additionally, “Best Rapper Ever” bested Eminem’s entire Music To Be Murdered By: Side B album on iTunes upon dropping the same day. Everything sets the stage for Tom’s next album—coming this summer. Like Slim, he’s not a role model, but he is the Real Tom MacDonald… Saying what everyone else thinks

without fear (or a single f*ck given), Tom MacDonald doesn’t censor himself, compromise, or change for anybody, and that’s why he’s quietly become one of the biggest independent artists in the world. After a successful career in professional wrestling and a series of early releases, the Vancouverborn artist went from near-poverty to viral infamy with 2017’s “Dear Rappers.” In just four years, he architected a 21st century cottage industry entirely outside of the system alongside his collaborator, video director, and girlfriend Nova Rockafeller. Beyond north of half-a-billion YouTube views and hundreds of millions of streams, he logged six number ones on different Billboard charts in 2021 alone between “Fake Woke” and “No Good Bastards.” At the same time, he’s completely bucked the modern model by selling his last five full-length albums—Deathreats [2018], Ghostories [2019], Killing the Neighbors [2020], Flowers for the Dead [2020], Gravestones [2020], and As Far As The Stars [2021]—only on CD. Within its first week, As Far As The Stars moved 35,000-plus units. He’s the rare outlier to be featured on Fox News and Daily Wire as well as Inked Magazine. Selling out tours, moving merch in mammoth qualities, and occupying #1 on the iTunes Overall Top Songs Chart multiple times, Tom doesn’t need to care what anybody thinks, because he’s empowered an audience of millions to do the same.

Rock And Blues International

MORE LINKS FACEBOOK: http://www.facebook.com/TomMacDonaldOfficial • YOUTUBE: http://www.youtube.com/TomMacDonaldOfficial INSTAGRAM: http://www.instagram.com/hangovergang • TWITTER: http://www.twitter.com/IAmTomMacDonald WEBSITE: http://www.hangovergang.com • SPOTIFY: http://spoti.fi/2H35BQR • iTUNES: https://apple.co/2BQucZO

Apple Music: https://music.apple.com/us/album/dear-slim-single/1566555850 Spotify: https://open.spotify.com/track/1fhrELDz1jZBYhBKWd3EAY?si=mrUbHrTVQKqhtHbLfLQUjA June 2021 • Rock and Blues International

tunes are all united by the catchy-as-the-clap melodies. You’re guaranteed to be continually amazed by the inventiveness and sheer beauty of his melody lines.” Linnell (who was born in New York and raised in Massachusetts) continues to enjoy a prolific career with They Might Be Giants, which he formed with John Flansburgh in the early ‘80s. Since then, the duo has released more than 20 albums, including 1990’s platinum-selling Flood, which included hits “Birdhouse in Your Soul” and “Istanbul (Not Constantinople),” as well as the longtime fan favorite, “Particle Man.” Two-time Grammy winners, TMBG started with a Dial-A-Song service, powered by a lone phone answering machine out of their Brooklyn apartments. Since then they have made more than 20 albums, released countless Eps and live recordings, and have secretly infiltrated your TV with original themes and incidental music to numerous TV shows, movies, and commercials.

State Songs, The Acclaimed Solo Debut From They Might Be Giants’ John Linnell Set For Expanded Digital Reissue Available Today, The Cult Favorite Includes The Original 1999 Tracklist, Plus The Rare B-side “Louisiana” To stream or download State Songs go to https://found.ee/jl-ss-expanded Craft Recordings announces an expanded, digital edition of John Linnell’s acclaimed cult favorite, State Songs. Out today across all major platforms, this special reissue includes the rarity “Louisiana,” available digitally for the very first time. The jovial track was initially released as a B-side on the 1999 vinyl single of “Montana”—a collectible die-cut record in the shape of the USA. As one half of They Might Be Giants, Linnell has long been known for his surreal lyricism and absurdist alt-rock. The singersongwriter brought both of these qualities— plus a myriad of melodic styles—to his solo debut, State Songs. First released in 1994 as a five-song EP, Linnell expanded the collection five years later, turning it into a high-spirited, 16-track tour across America.

songs with the name of the states as a way of avoiding having to come up with song titles. I suddenly had fifty song titles and I could write fifty songs based on that.” He added, “One other reason I was interested in writing state anthems is because I like the style they usually employ…Sort of archaic and kind of square.” The inventive State Songs is anything but square. In tracks like “New Hampshire,” “Utah,” “Mississippi,” and “The Songs of the 50 States,” Linnell employs a spectrum of instrumentation, including a vintage carousel organ, an accordion, an alto saxophone, and even a DustBuster. In each offbeat anthem, Linnell delivers amusing fictional tales and dubious facts. For instance, did you know that Montana once was a leg and that Iowa is actually a witch?

In the album’s original press materials, Upon its release on Zoë/Rounder Linnell offered a bit of background about Records, AllMusic praised that Linnell State Songs’ theme: “I decided to start writing “masters every stylistic leap he takes; the 52 Rock and Blues International • June November 2021 2020

This fall, They Might Be Giants will release their 23rd studio album, BOOK. Available as a 144-page, cloth-bound hardcover book, BOOK will feature full-color photography by Brian Karlsson, paired with lyrics set in the style of poetry concrete by designer Paul Sahre. Linnell, meanwhile, is readying for his first solo release in two decades, Roman Songs. As the title suggests, the EP is made up of songs written entirely in Latin. The first single from Roman Songs arrives in June via They Might Be Giants’ very own Idlewild Recordings. State Songs tracklist: 1. Illinois 2. The Songs Of The Fifty States 3. West Virginia 4. South Carolina 5. Idaho 6. Montana 7. Pennsylvania 8. Utah 9. Arkansas 10. Iowa 11. Mississippi 12. Maine 13. Oregon 14. Michigan 15. New Hampshire 16. Nevada 17. Louisiana (Bonus)

June 2021 • Rock and Blues International

pop back to life with the hook, “Guess, I gotta build my Frankenstein.” About the track, she shared, “I imagine somebody who’s been in a bunch of past relationships, and they haven’t worked out for whatever reason. The guy is just too egotistical. So, you’re fed up and actually try to Frankenstein your perfect boy together. It’s honestly innocent, carefree, and cute.” The official music video for the song also dropped last month Watch it here at https://youtu.be/eARMd9UI5iA. The song heralds her forthcoming sophomore EP—due out this summer.

Credit: Phoebe Neily

Gen Z Pop Phenom Claire Rosinkranz Channels The Cardigans With New Single “Frankentstein” New Music Video For “Frankenstein” Out Now Anxiously Awaited Second EP Coming This Summer WATCH THE MUSIC VIDEO FOR “FRANKENSTEIN” here at https://youtu.be/eARMd9UI5iA LISTEN TO “FRANKENSTEIN” Here at https:// clairerosinkranz.lnk.to/FrankensteinPR After generating over half-a-billion streams and topping off multiple yearend lists in 2020, Gen Z singersongwriter Claire Rosinkranz is back with a brand-new single entitled “Frankenstein” today via slowplay/Republic Records. Listen to “Frankenstein”—Here at https://clairerosinkranz.lnk.to/

FrankensteinPR. “Frankenstein” marks Claire’s first collaboration - with M-phazes, Chelsea Lena, & artist Lexi Jayde. Another quirky and catchy bop, cowbell holds down the guitar-laden beat as Claire adds her own 21st century spin to the song inspired by The Cardigans’ classic 90’s hit “Lovefool.” She immediately shocks

Get ready for more from Claire Rosinkranz soon! Southern California singer, songwriter, ballerina, and multi-instrumentalist Claire Rosinkranz grafts the Gen-Z coming-of-age experience onto quirky D.I.Y. soundscapes often cooked up by her dad in the garage. Within a year, the 17-year-old phenomenon has eclipsed over half-a-billion total streams and received widespread acclaim courtesy of Rolling Stone, Variety, Coup de Main, Buzzfeed, Genius, and more. OnesToWatch championed her as one of its “Top Artists To Watch in 2021,” while New York Times and Billboard named her breakout anthem “Backyard Boy” among “The Best Songs of 2020.” Speaking of “Backyard Boy,” it inspired over 3 million TikTok videos and fueled the trailer for Amazon’s The Map of Tiny Perfect Things. Along the way, she collaborated with the likes of Jeremy Zucker, Role Model, and Clinton Kane and earned the support of Olivia Rodrigo, Tai Verdes, Lexi Jayde, and 347aidan. Now, she presents an unfiltered perspective on being a teen through her 2021 sophomore EP introduced by the lead single “Frankenstein.”

Social Media: TikTok https://www.tiktok.com/@clairerosinkranz?lang=en NSTAGRAM https://www.instagram.com/clairerosinkranz/?hl=en TWITTER https://republicrecords.us5.list-manage.com/track/click?u=3051269687d98ad95ab882a80&id=761f3fdc01&e=8c586f3e2f YOUTUBE https://republicrecords.us5.list-manage.com/track/click?u=3051269687d98ad95ab882a80&id=f1b4738569&e=8c586f3e2f 54 Rock and Blues International • June 2021

June 2021 • Rock and Blues International

Singer/Songwriter Clarence Greenwood AKA CITIZEN COPE, Delivers Poignant New Acoustic Album, The Pull of Niagara Falls The Pull of Niagara Falls Is Available Now For a detailed breakdown of the tracks on The Pull of Niagara Falls, visit https://citizencope.com/blog/2021/2/1/behind-the-pull-of-niagara-falls. The Pull of Niagara Falls is available at https://ffm.to/thepullofniagarafalls.syz. 56

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By Citizen Cope, aka singer / songwriter Clarence Greenwood, has just released his new album, The Pull Of Niagara Falls. The Pull Of Niagara Falls is an all-acoustic album that builds on Citizen Cope’s early career. It also presents three new songs as well as a cover of the legendary Randy Newman song, “A Wedding In Cherokee County.” “‘The Pull of Niagara Falls’ is a lyrically heavy, ballad based, acoustic and vocal driven collection of songs,” Greenwood says. “I’ve read a lot about how Bruce Springsteen recorded ‘Nebraska,’ because I ‘ve had difficulty recording an acoustic album in the past, and wanted some insight. The compositions are weighted in what some may consider dark themes lived through the uncelebrated and flawed characters’ paths between cultural weariness and individual perseverance. The album touches on the symbolism of the shotgun in American culture, weaving in a storyline of an accidental homicide in a rural small town.” For this new album, Cope dug deep into his past and pulled many of the songs out that were originally written before the release of his debut album Shotguns. The songs were written in the late 90’s for Shotguns while he was in Washington D.C. These songs certainly reflect the ideas of an up and coming young songwriter and translate beautifully to his new album. The theme of Shotguns revolves around the shotgun as a cultural symbol of ‘fear and incarceration’. Topics on the album range from the

conflicts between a father and his son on the song “Family” and also get even deeper with the song “Officer Friendly”, which chronicles the accidental killing of a young man during an unfortunate hunting accident. “Difficult conversations of family, country, regret and loss are forged in the storytelling and ultimately reveal the unmatched ability of the human spirit to endure, where there exists a gravitational pull to fall,” Greenwood says. The Pull Of Niagara Falls is a viewpoint of America, as viewed by a group of people opposed to the current culture, often viewed as the wrongdoers in the incidents portrayed “To do a thematic concept record on my debut proved a bit challenging,” says Greenwood. “I haven’t attempted to weave a storyline of songs together intentionally since, but it has happened naturally in some cases where songs connected to one another thematically. Now you can hear these songs as I wrote them on guitar and vocals. Very bare. But they are new recordings. And I felt the need to document these works.” “This is a really heavy record and can be viewed as somewhat depressing,” Greenwood says. “But I’m so grateful for that time and these songs because they took me to a very good place. I kinda consider this my ‘Nebraska’ or ‘Blood on the Tracks.’” Cope’s music has been quite extraordinary since he first entered into the business. He’s had great success with his music. His 2002 single “Let The Drummer Kick” managed to go Platinum with virtually no support

from radio. It was pretty much driven by word of mouth from his fan base. His second album, The Clarence Greenwood Recordings went Gold and also produced three Gold singles, “Sideways,” “Bullet and A Target” and “Sons Gonna Rise”. And again, this all happened with virtually no commercial radio play. As the momentum built slowly year after year, sales exceeded 700,000 copies. This soon opened the doors to television and his songs started appearing in shows such as Entourage, Sons Of Anarchy, and Alpha Dog, among others. Songs from the same record were soon covered by the likes of Carlos Santana, Sheryl Crow, Richie Havens, and Rhymefest. He has even shared the stage with Eric Clapton After releasing his album Every Waking Moment on a major label, Clarence went on to start his own record label and released 2010’s The Rainwater LP and 2012’s One Lovely Day along with his highest charting album, 2019’s Heroin and Helicopters. The Pull of Niagara Falls track listing: A Time Comes Around The Gambler’s Theme The Pull of Niagara Falls Shotguns Officer Friendly Family Eva Sings Wedding in Cherokee County Theresa Scared of Heights CITIZEN COPE online: Citizencope.com @citizencope June 2021 • Rock and Blues International 57

Dorian Electra by Lance Williams

Dorian Electra Releases Music Video For “Ram It Down” Featuring Mood Kiler, Lil Mariko & Lil Texas Shares Lil Texas Remix Of The Track WATCH: “Ram It Down” ft. Mood Killer, Lil Mariko & Lil Texas https://www.youtube.com/watch?v=vxkhwJCoq84 LISTEN: “Ram It Down” (Lil Texas Remix) https://dorianelectra.ffm.to/ramitdown LISTEN: My Agenda https://dorianelectra.ffm.to/myagenda 58

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video still by Weston Allen Last month Pop-music-agitator Dorian Electra released the music video for “Ram It Down” featuring Mood Killer, Lil Mariko and Lil Texas and teams up with Lil Texas for a new remix of the track. Taken from their most recent project My Agenda, “Ram It Down” is written by Dorian Electra alongside Chris Greatti, Zakk Cervini, Mood Killer, Lil Texas, and Lil Mariko (who recently collaborated with Rico Nasty for Full Tac’s song “SIMP”) and explores how homophobia sees queer people being themselves as ramming homosexuality down everyone’s throats. The visual counterpart directed by Dorian Electra and longtime collaborator Weston Allen nods to The Matrix with ‘red pill’ ‘blue pill’ whilst Dorian stars as a crazed scientist and evil genius brainwashing the masses. “Ram it Down” is such a chaotic and fun track, it’s been a blast working with Dorian! They bring so much innovation and humor to the table and have such a clear vision. So naturally, when Dorian asked me to be on the track I felt honored to have been part of ramming it down everyone’s ear holes at the end with Lil Texas!” - Lil Mariko “After so many years of working

together, it was such a high point to collab with Dorian on Ram it Down. I feel so lucky to get to make twisted music and videos with my best friend.” - Mood Killer

Count Baldor, Clarence Clarity, Sega Bodega, and more, the project includes a masterful assortment of genres, including hardcore, metal, pop, dubstep, and epic baroque just to name a few.

“Dorian Electra, in my opinion, is a master of curating a concept. The ability to take something like dark web incel culture or the mundane 9 to 5 grind of an office job and flush it out into a song, video, and content package is something I admire deeply. When they asked me to make the Outro to “Ram It Down” I, of course, said yes. The process was natural and it flowed seamlessly despite a drastic change in BPM. Mariko destroyed the vocals too. Such an honor being involved in something as fun and interesting as this.” Lil Texas

Watch “Ram It Down” and listen to the Lil Texas remix above, see project details below, and stay tuned for more from Dorian Electra coming soon.

To celebrate its release, “Ram it Down” merchandise will be available to purchase in the form of a t-shirt and a performance enhancing pill as seen in the music video. Buy them here. The visual release follows Dorian’s critically-acclaimed project My Agenda. The project explores a deeper, darker, and even more political side, with Dorian examining the ‘crisis in masculinity’ through a queer lens. Featuring production by Dylan Brady, d0llywood1, umru,

“Dorian Electra is one of the most innovative artists alive right now. American Songwriter “one of Electra’s most fascinating releases to date” Billboard “2020’s most audacious musical statement.” The Face Connect with Dorian Electra: Facebook https://www.facebook.com/DORIANELECTRA

Instagram https://www.instagram.com/dorianelectra/ Website https://www.dorianelectra.com

Rock And Blues International June 2021 • Rock and Blues International

Jamestown Revival Announces “Fireside With Louis L’Amour” EP Listen To “Prospector’s Blues,” The First Track From Jamestown Revival’s Upcoming Fireside With Louis L’Amour EP Inspired by the short stories of Louis L’Amour

stream here at https://jamestownrevival.com Video at https://youtu.be/U7rcfBNEzqc The frontier stories of American novelist Louis L’Amour have been an influence on Jonathan Clay and Zach Chance of Jamestown Revival since the band’s formation. At the age of 23, both Clay and Chance read L’Amour’s memoir, The Education Of A Wandering Man, and since then, fans haven’t had to dig very deep to find their hat tips to the late, great legend. On May 28th, Jamestown Revival’s newest project, an EP titled Fireside With Louis L’Amour, will

Rock and Blues International • June 2021

forever immortalize the guys’ love for L’Amour’s storytelling in a six-song roundup of tunes directly inspired by his short stories. When it was all said and done, Jamestown Revival was successful in their effort to distill a half-dozen tales from The Collected Short Stories of Louis L’Amour, Volume 1: Frontier Stories from 30-page adventures down to three and a half minute songs; each directly inspired by individual stories from the collection—Jamestown Revival’s tune

“Bound for El Paso” comes from L’Amour’s “The Gift of Cochise,” “Fool Me Once” was inspired by “The Man from Bitter Sands,” and so on. This past Friday, the band released “Prospector’s Blues,” their thumping, resonator-driven album-closer inspired by L’Amour’s tale of cautious-turned-reckless mining in “Trap of Gold.” Fans can listen to “Prospector’s Blues” here at ttps://orcd.co/prospectors-blues and continued on next page

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pre-order or pre-save Fireside With Louis L’Amour ahead of its May 28th release at https://orcd.co/louis-lamour. “They say that L’Amour was the master of the short story and we would humbly agree. In 30 pages he manages to draw you in, make you invest in the characters, and oftentimes hit you with a twist that you truly didn’t expect,” say Clay and Chance. “The songs on Fireside With Louis L’Amour are our attempt to put a musical spin on some of Louis’ short stories found on The Collected Short Stories of Louis L’Amour, Volume 1: Frontier Stories. It’s been challenging and incredibly rewarding.” To have the family of L’Amour on board was just icing on the cake for Jamestown Revival. “On top of that, it’s been an absolute honor to have the blessing of Louis’ son, Beau, and the L’Amour estate. We hope these songs inspire you to pick up The Collected Short Stories of Louis L’Amour and read the true inspiration behind the music,” they say, before adding “We also feel it’s worthwhile to mention these songs should be best enjoyed sitting next to a fire with a nip of whiskey in the glass.”

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In 2020, Jamestown Revival released A Field Guide To Loneliness, an intimate collection of songs that finds Clay and Chance reflecting on recent times whereby human contact was limited more than ever. A Field Guide To Loneliness follows Jamestown Revival’s 2019 critically acclaimed release, San Isabel. Recorded in a remote cabin in the majestic and calming landscape of central Colorado, the band embraced a minimalist approach in the recording of San Isabel. Finding inspiration in ‘60s and early 70’s folk and pop, the original songs on San Isabel show reverence for early John Denver and Bob Dylan, as well as Simon & Garfunkel and Crosby, Stills, Nash & Young. About San Isabel, Rolling Stone praised, “...bright harmonies and loping guitar patterns..splits the difference between modern-day Americana and old-school folk.” And Paste Magazine complimented, “The record is abundant with imagery - one minute they’re evoking the expansive west on ‘Round Prairie Road’ and ‘Mountain Preamble’ and the next they’re crooning a thoughtful ballad on ‘This Too Shall Pass.’” Fireside With Louis L’Amour Track Listing: 1. Bound for El Paso 2. Fool Me Once 3. The Ballad of Four Prisoners 4. The Killing Type 5. Beyond the Ridge 6. Prospector’s Blues

Rock And Blues International

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Rockers Lay Down New Texas Psychedelic Release WOW! A famous showman once said, “too much of a good thing is great” and producer/engineer Andy “Mort” Bradley (Andy Bradley Productions) recently reinforced that adage by assembling an incredible line up of who’s who of rock. Not just any rockers but highly experienced, successful rockers that know their way around their instruments and how to bring it together in the studio. The band members include noted singer Tomas Escalante on lead vocals, two masters of guitar the late great Kenny Cordray and the super talented Deniz Tek, Rob Landes of Fever Tree fame on B3, Mark Andes of Spirit on bass, plus studio session experts Paul English on keys along with Tyson Sheth and Todd Harrison on drums. This assembled group of rockers became Deniz Tek And The Mortmen with the new release including a dedication to Kenny Cordray. His sudden and tragic demise occurred right after his contributions to these tracks. The release is comprised of two songs; San Francisco Girls along with Hot Smoke And Sassafras. The release is even being distributed to record stores on the 60’s mode of delivery, 45 RPM records. International distribution is being handled by

L: Kenny Cordray, Mark Andes, Andy Bradley, Todd Harrison, Thomas Escalante Photo by Ron Fontenot

Italy’s Wild Honey Records. Then there is the outstanding sleeve art work provided by Sabrina Gabrielli which is 100% reminiscent of the golden age of the psychedelic era. The official release date is June 12th on Record Store Day. Here is how it all came together in the words of the famed Producer and “House Of Hits” co-author Andy Bradley. “ In December of 2008 Deniz Tek, guitar and band leader for RADIO BIRMAN and I are mixing RADIO BIRDMAN’s Live In Texas. I had recorded their Austin and Houston shows that were part of the 2007 World Tour. While we were mixing we talked about taking a break and recording something fun with cool people. I had just been recording a solo piano CD for Rob Landes, the keyboard man for the legendary, FEVER TREE. So I suggested doing a version of their big hit SAN FRANCISCO GIRLS and a version of The continued on next page

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Rockers Lay Down New Texas Psychedelic Release WOW! continued from previous page 13TH FLOOR ELEVATORS-You’re Gonna Miss Me. You’re Gonna Miss Me was released several years ago as a B-side for Deniz Tek’s 45RPm single release of PRISON MOUSE. I recruited Mark Andes, bass (SPIRIT, JO JO GUNNE, HEART, FIREFALL), Kenny Cordray, guitar, the best guitarist I have ever worked with, no offense to anybody else, and top notch studio drummer and dear friend, Tyson Sheth. Vocals by the amazing singer Thomas Escalante, the owner of the vinyl record store, Sig’s Lagoon here in Houston. After drinking coffee and telling stories at the lunch table at SugarHill Studios, on December 2, 2008 we recorded an amazing version of San Francisco Girls. The guitar work of Deniz and Kenny borders on genius. Rob’s Hammond B3 and harpsichord work is equally brilliant. When Tyson asked the group what style to play, Deniz said, be Keith Moon. Mark’s beautiful bass line lays the cornerstone for this piece of psychedelic bliss. The project actually laid dormant until 2017. Then while talking to Deniz on the phone in the company of Kenny in April of that same year, Deniz said “Round up the crew and record the Bubble Puppy’s Hot Smoke and Sassafras as the B-side. I’ll do my parts in Montana where I’m recording at the moment. Mark and Thomas immediately said yes, Rob said please get Paul English, legendary keyboardist and composer to sub for me. Kenny asked longtime friend and virtuoso drummer, Todd Harrison, who happened to be in town, to join. Next, on May 17th, 2017 the crew recorded a blistering version of the Bubble Puppy hit. Five days later Kenny died in a tragic situation. Kenny’s guitar part was well executed and Deniz then filled in the blanks on guitar. Deniz found a home for the two songs. Wild Honey Records in Italy will release a 45 RPM with a brilliant cover. The same label has just released Deniz’s first solo album, Take it to the Verticle on vinyl. I had recorded that album at SugarHIll in the early 90’s and it was released on Polydor Records internationally. The upcoming release of the 45 RPM disc contains the final recording of Kenny Cordray prior to his untimely demise.” Band members of Deniz Tek And The Mortmen: Vocals - Tomas Escalante (Sig’s Lagoon) Guitar - Kenny Cordray Guitar - Deniz Tek (Radio Birdman) B3 & Harpsichord- Rob Landes (Fever Tree) Bass - Mark Andes (Spirit) Keyboardist & Composer- Paul English Drums - Tyson Sheth Drums - Todd Harrison Engineer/Producer - Andy “Mort” Bradley International Distribution by Wild Honey Records wildhoneyrecords.bandcamp.com Deniz Tek of Radio Birdman Photo by Ann Tek

June 2021 • Rock and Blues International

credit: Robin Parsons

Eli & Fur Announce Their Debut Album Found In The Wild and Release Their First Single From It, “Wild Skies” LISTEN TO FIRST ALBUM TRACK ‘WILD SKIES’ (BBC RADIO 1’S CHILLEST RECORD) OUT NOW@ https://anjunadeep.ffm.to/efws.opr PRE-ORDER ALBUM HERE @ https://anjunadeep.ffm.to/effitw.opr By The British singer, songwriter, and producer duo of Eliza Noble and Jennifer Skillman aka Eli & Fur are scheduled to release their studio debut this month. The two of them have been best known as a live act and their association with each other stretches back almost ten years. The new album, titled Found In The Wild will be released June 25th on the on the Anjunadeep label, with whom they’ve had a long relationship. These two young ladies met in their teens and quickly forged a long 64 Rock and Blues International • June 2021

lasting relationship that has taken them on a long journey in the music business in such a short time. The two of them began their careers as songwriters for the production house, Xenomania. While there they penned songs for musical groups such as Girls Aloud. They have participated in many aspects of the music business with careers as DJs, songwriters, producers, and vocalists. This in turn has had them criss-crossing the globe as touring musicians as well with performances at many festivals, including Coachella, Tomorrowland, and even the fabled

Glastonbury. The two of them are extremely excited about this new release and their fans have been anxiously waiting for something like this to happen. The new album is set to reveal the inner feelings of the two of them as they expose the real Eli and Fur to their awaiting audiences around the world. Eli & Fur jointly tell us that “We wanted to show both sides of us. We are quite varied in the way that we write music and so it continued on next page

made sense to have two parts living side by side. Everything we really love is on the album and we’re super proud of how it’s come together”. Furthermore they tell us that, “Eli & Fur has been a musical journey that has always been open and unlimited. The inspiration behind the album is the journey of finding that sound that we really feel defines us. We have drawn from that journey to get to where we are both musically and emotionally to put together a collection of tracks that really showcase the two sides of Eli & Fur. Not only does our music have two sides, but so do we. We want to bring the listener into those worlds, feelings they also feel. Not just on the dance floor but in their heads and in total solitude.” The album is divided into two parts, “Found” and “In The Wild”. The first part of the album are ‘song-based productions’ showing their collective strengths as songwriters, producers and foremost as vocalists. Their first single from the album is the song “Wild Skies,” and it comes from the “Found” section of the album. Fur tells us that, “Wild Skies came together so organically and naturally. I felt like I was expressing myself without even really realizing how

and the melodies just fell out of me. A lot of the time, I’ll write lyrics before the song, but with this one there was no preparation whatsoever, I just sat down at the computer with the microphone and sung, and that was that!”

hear more structured songs and we also want to show the type of darker, clubbier music we love - there’s no reason why we can’t do both. It’s been such a creative journey so far but we feel more and more sure of what we want to say musically.”

The second half of the album, “In The Wild,” concentrates more on their club influences and differs quite a lot from the first half of the album. These songs take the girls to the dancefloor literally, concentrating on vocals concentrated on their own experiences blended together with some fantastic club songs.

‘FOUND IN THE WILD’ TRACKLIST

“We spent a lot of our career trying to work out who we are and what our sound is, being told we can’t make club tracks which have the type of vocals we love. What’s great is that every single track on the album sounds like us, it’s all Eli & Fur but it’s two different sides of it. We want people to

‘FOUND’ Eli & Fur - Fire To Fire Eli & Fur - Wild Skies Eli & Fur - In Too Deep feat. Holly Martin Eli & Fur - Carbon CamelPhat x Eli & Fur - Waiting (Eli & Fur’s Found Version) ‘IN THE WILD’ Eli & Fur - Am I Even Human? Eli & Fur - Broken Parts Eli & Fur - Come Back Around Eli & Fur - Big Tiger Eli & Fur - Light Up Your Eyes Eli & Fur - Walk The Line Eli & Fur - I Can’t Move

CONNECT WITH ELI & FUR https://www.eliandfur.com Facebook https://www.facebook.com/eliandfur/ Instagram https://www.instagram.com/eliandfur/?hl=en Twitter https://ymlpcdn2.net/1e374jjyjuaoaewuhwafamwuakamheb/click.php Youtube https://ymlpcdn2.net/108cfjjyjeaoaewuhwagamwuadamheb/click.php Junel 2021 • Rock and Blues International 65

now resides), rioting in the streets and a nation in lockdown, Blackwell describes Outlaw R&B as a record “bathed in postapocalyptic bliss.” Outlining the album’s mission statement, he continues: “Outlaw R&B is music for the borderless, the free, the outcasts and the forgotten. Through this medium you escape the confines of mental feudalism and bask in the euphoric glow of psychedelic R&B. The outlaw is the runner. Those whose minds aren’t sold by perfect pitch and clean fingernails.”

Night Beats Shares New Single “Hell In Texas” Outlaw R&B Album out June 4th via Fuzz Club Records With the arrival of the Outlaw R&B LP just around the corner, Night Beats is sharing the new single “Hell In Texas” – the latest to be lifted from the forthcoming album due out June 4th via Fuzz Club Records. Night Beats’ inbound LP is their fifth to date and sees Danny Lee Blackwell steer the band back to its raw, acid-fried roots in a blaze of technicolour glory. It follows 2019’s Myth Of A Man LP (Heavenly Recordings) and last year’s “That’s All You Got” 7” featuring Black Rebel Motorcycle Club’s Robert Levon Been. A haunting country ballad to add to the already expansive range found within Outlaw R&B, you can stream “Hell In Texas” here at https://nightbeats.lnk.to/ outlaw.

R&B, “Hell In Texas” recants Abrahamic gospel country by way of Marty Robbins, Hank Williams and Ernest Tubb. Coupled with a steady outlaw country backing band of his own creation, Blackwell’s haunting voice lingers with Wanda Jackson-like allure. He says of the song: “Inspired by a mysterious postcard found in a curiosity shop in Texas, I built the story of a jealous Satan making a deal with God over land in Texas.” Raised by Hindu and Catholic parents, Blackwell’s religious upbringing is something that constantly appears throughout his work: “I’d usually skip ahead in Bible study as a kid, straight to the most psychedelic verses in Revelation or Leviticus.”

Delivered through Night Beats’ finely-tuned medium of psychedelic

Made during the height of the California wildfires (where Blackwell

With four albums now behind them – their self-titled 2011 debut, 2013’s Sonic Bloom, 2016’s Who Sold My Generation and 2019’s Myth of A Man – Night Beats has garnered a reputation as one of the finest purveyors of contemporary rock’n’roll hedonism around. They’ve clocked up critical acclaim, toured across North and South America, Europe, Asia and South Africa and shared the stage with the likes of The Black Angels, Roky Erickson, The Jesus and Mary Chain, BRMC, The Zombies, Black Lips, Ty Segall and Thee Oh Sees, among many others. Their fifth album, Outlaw R&B, arrives June 4th on London-based label Fuzz Club Records.

Stay in touch with Night Beats Facebook https://www.facebook.com/thenightbeats.u.s/ Twitter https://sable.madmimi.com/c/276973?id=694096.23559.1.7aeef6e0d47895cfde2d045d46a791ef Instagram https://www.instagram.com/thenightbeats/ 66

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Maker Summer 2021 Tour.” The band will bring its sexy, bluesy, new-fashioned rock’n’roll to The Crowes’ U.S. trek that kicks off July 20 in Nashville, TN, and will include a Dirty Honey hometown stop at The Forum in Los Angeles - a long way from the days when the band played the Basement Tavern in Santa Monica, CA. All dates are listed below; tickets are on sale now and can be purchased here at https:// www.dirtyhoney.com. Sharing the stage with The Black Crowes is something Dirty Honey frontman Marc LaBelle has dreamt about his entire life. “The Black Crowes are one of my all-time favorite bands, period,” said LaBelle. “I grew up listening to them in my stepbrother’s car, so to now be opening the show on their ‘Shake Your Money Maker Tour,’ truly is a dream come true.”

Dirty Honey, L-R:Marc LaBelle, Justin Smolian,Corey Coverstone, John NottoPhoto Credit: Daniel Prakopcyk

From the Basement Tavern to The Fabulous Forum...

Dirty Honey Selected As Main Support On The Black Crowes’ “Shake Your Money Maker 2021 Summer Tour” Dirty Honey, one of today’s most buzz seldom experienced by other new exciting and fastest-rising rock bands, rockers, will be main support on The who has been generating the kind of Black Crowes’ “Shake Your Money 76 Rock and Blues International • June 2021

Since “When I’m Gone,” Dirty Honey’s 2019 debut single that became the first song by an unsigned artist to land at #1 on Billboard’s Mainstream Rock chart, the band has injected a potent shot of adrenaline into the rock music scene. They’ve opened for The Who, Guns N’ Roses, and Slash, sold out their first-ever headline tour, was named an “Artist You Need To Know” by Rolling Stone, saw all three of their singles go Top 10 on the rock charts, and earlier this year, the band’s debut fulllength, self-titled album entered the Current Hard Rock Chart at #2. “We’re all so excited to play shows again, share some music with the world, see some fans, and find out how well we can play our new music,” added LaBelle. “And that we’re going on tour with The Black Crowes is just beyond amazing... we really can’t wait.” Before joining The Black Crowes, Dirty Honey - LaBelle, John Notto/ guitars, Justin Smolian/bass, and Corey Coverstone/drums - will headline a three-week club tour. All dates are below. DIRTY HONEY HEADLINE CLUB DATES: June 3 The Marquee, Tempe, AZ* 5 Jake’s Backroom, Lubbock, TX* 6 Hoot’s Pub, Amarillo, TX* continued on next page

8 The Rock Box, San Antonio, TX* 9 Brewster Street Ice House, Corpus Christi, TX* 11 Club LA, Destin, FL* 12 Soul Kitchen Music Hall, Mobile, FL* 14 Shagnasty’s, Huntsville, AL* 15 Capone’s, Johnson City, TN* 17 The Signal, Chattanooga, TN* 19 Diamond Ballroom, Oklahoma City, OK* 20 The Cotillion, Wichita, KS* 22 Bourbon Theatre, Lincoln, NE* 24 Piere’s, Fort Wayne, IN* 26 Ford Park Live, Oshkosh, WI 27 Now Arena, Hoffman Estates, IL * Dirty Honey Headline dates, Joyous Wolf will special guest THE BLACK CROWES’ “SHAKE YOUR MONEY MAKER 2021 TOUR”: July 20 Ascend Amphitheatre, Nashville, TN 21 Ascend Amphitheatre, Nashville, TN 24 Bank of New Hampshire Pavilion, Gilford, NH 25 The XFINITY theatre, Hartford, CT 28 S&T Bank Music Park, Pittsburgh, PA 29 DTE Energy Music Theatre, Detroit, MI 31 Hollywood Casino Amphitheatre., St. Louis, MO August 1 Ruoff Home Mortgage Music Center, Indianapolis, IN 3 Riverbend Music Center, Cincinnati, OH 7 Hollywood Casino Amphitheatre, Chicago, IL 8 American Family Insurance Amphitheatre, Milwaukee, WI 10 Walmart Amp., Rogers, AR 11 Dos Equis Pavilion, Dallas, TX 14 Cynthia Mitchell Woods Pavilion, Houston, TX 15 Germania Amphitheatre, Austin, TX 18 North Island Credit Union Amphitheatre, San Diego, CA 19 The Forum, Los Angeles, CA 21 Concord Pavilion, Concord, CA 22 Shoreline Amphitheatre, Mountain View, CA

25 Sunlight Supply Amphitheatre, Portland, OR 26 White River Amphitheatre, Seattle, WA 29 Red Rocks Amphitheatre, Denver, CO 30 Red Rocks Amphitheatre, Denver, CO September 4 Cellairis Amphitheatre at Lakewood, Atlanta, GA 5 Oak Mountain Amphitheatre, Birmingham, AL 7 Coral Sky Amphitheatre, West Palm Beach, FL 8 MIDFLORIDA Credit Union Amphitheatre., Tampa, FL 10 PNC Music Pavilion, Charlotte, NC 11 Coastal Credit Union Music Park @ Walnut Creek,

Raleigh, NC 14 Saratoga Performing Arts Center, Saratoga Springs, NY 15 Xfinity Center, Boston, MA 17 Jones Beach Theatre, Wantagh, NY 18 PNC Bank Arts Center, Holmdel, NJ 22 Jiffy Lube Live, Washington, DC 23 BB&T Pavilion, Philadelphia, PA DIRTY HONEY DATES: September 25 WMMR MMR*B*Q, BB&T Pavilion, Camden, NJ October 2 98Rockfest, Amalie Arena, Tampa, FL June 2021 • Rock and Blues International

Paloma Share “Lips” • Single Out Today Via All DSPs • Aurora EP Out This Summer LISTEN & SHARE: Paloma - “Lips” - Stream @ https://tellallyourfriendspr.us10.list-manage.com/ track/click?u=63f1674ecdb2a4574b77e600b&id=b8e0bdf941&e=28146e6e7b Paloma shares “Lips,” a languid pop track with an infectiously tight groove. Paloma’s Aurora is the second EP from the band. It is a collection of songs both recorded and played live during the 3 years since the first EP Paloma Luna was released. Originally set to release in early 2020, the band decided to wait another year for what we will all remember as the Pandemic Of 2020 to settle down and cases to minimize to release the record. Formed in Ventura County, California, Paloma is Nick Mariotti, Kentucky Clawson, David Sumner, and Jon Walker. Spearheaded by Mariotti’s songwriting, Paloma evokes neo psychedelia and slow burn funk into the classic alternative gloom that defined 80s new wave. It is the answer for learning to balance the need to make ends meet while expressing the irrepressible creativity brooding inside Upon the release of their debut EP Luna, Paloma began to generate some critical acclaim. Luna’s single “Touch” premiered on Line of Best Fit receiving the attention of Spotify’s “Fresh Finds,” Apple Music’s Chill playlist, Kitsune Music, and culminated with a placement on Indie Shuffle’s Best Song of 2017. Kitsune’s publishing deal with Paloma resulted in a heavy rotation in the French fashion scene. Building off the momentum of ‘Touch,’ Paloma’s latest record Aurora, featuring the single ‘Lips,’ is a deeper exploration into the French Indie House genre. Paloma is gearing up for live shows both virtual and in person to further promote the release of Aurora. LINKS SoundCloud https://tellallyourfriendspr.us10.list-manage.com/track/click?u=63f1674ecdb2a4574b77e600b&id=be3c3d24b9&e=28146e6e7b Spotify https://open.spotify.com/artist/7qIV2Frdxh0HPJdIy8oiHW Instagram https://www.instagram.com/palomamusic/

Rock and Blues International • June 2021

March 2021 • Rock and Blues International

Lamb Of God

ShipRocked 2022: Lamb Of God, I Prevail, Steel Panther, Badflower, Sevendust, Avatar, P.O.D. & More; Ultimate Rock Music Cruise Vacation January 22-27 On Carnival Breeze (Galveston/Costa Maya/Cozumel) 12th Year Of The Ultimate Rock Music Cruise Vacation January 22-27, 2022 On Carnival Breeze From Galveston, Texas With Stops In Costa Maya & Cozumel, Mexico Limited Staterooms Still Available Lamb Of God’s Mark Morton. In addition, A diverse rock lineup has been The Stowaways return as ShipRocked’s own announced for the next ShipRocked, January all-star band, with a revolving cast of special 22-27, 2022, onboard Carnival Breeze sailing guests to be announced. from Galveston, Texas, with stops in beautiful Costa Maya and Cozumel, Mexico A limited number of staterooms are in the Caribbean. ShipRocked 2022 will still available for the 2022 sailing at feature multiple performances from Lamb Of God, I Prevail, Steel Panther, Badflower, www.ShipRocked.com. Sevendust, Avatar, P.O.D., Ayron Jones and many more, with a special performance from Here’s what some of the 2022 80 Rock and Blues International • June 2021

ShipRocked artists had to say about the return of the ultimate rock music cruise vacation: Mark Morton / Lamb Of God: “We are thrilled to announce that Lamb Of God will be appearing on ShipRocked 2022! Live music is coming back in a big way and what better chance to make up for all the concerts continued on next page

you’ve been missing out on over the last year than to set out to sea for 5 days of non-stop rock?! Bring your sunscreen, Pedialyte and lots of Dramamine...Let’s gooooooo!” Steel Panther: “Continuing the legacy of legendary seafarers who came before us like Captain Ahab, Captain Nemo and the great Captain Merrill Stubing, Steel Panther is proud to be a part of ShipRocked 2022. It will be the best fishing trip you have ever been on…if you’re fishing for a first mate or just an old-fashioned rockin’ good time.“ Johannes Eckerström / Avatar: “ShipRocked have been very kind to us in the past, and we are happy to return. Who knows? Between the kayak excursions and live band karaokes we might just lose ourselves in the most disgustingly violent sets that ship has ever seen.” Badflower: “We’re stoked to be a part of the ShipRocked family. Thanks for having us back in 2022!” The initial music lineup for ShipRocked is as follows (listed alphabetically): 10 Years, ’68, Avatar, Ayron Jones, Badflower, Blacktop Mojo, Bones U.K., Dead Poet Society, Dead Sara, From Ashes To New, He Is Legend, I Prevail, Lamb Of God, Lilith Czar, Motionless In White, Oxymorrons, P.O.D., RavenEye, Sevendust, Steel Panther, VRSTY, Wage War and Zero 9:36, plus special performances by The Stowaways all-star band, Mark Morton and We Are The Fallen. Chad Nicefield (Wilson) returns as guest host for ShipRocked 2022 can sleep up to five. Guests will sail on the Carnival Breeze (Dream class ship) from Galveston, Texas, with stops in beautiful Costa Maya and Cozumel, Mexico in the Caribbean Sea. After consistently selling out over its 12-year history, ShipRocked—the premier rock music cruise vacation—expanded to the larger Carnival Dream class. ShipRocked 2022 guests will enjoy 5 days of music and adventure at sea and in port. Produced by ASK4 Entertainment, ShipRocked is a once-in-a-lifetime experience that provides guests with the opportunity to vacation with their favorite bands, meet new friends, and reunite with old ones year after year. In addition to unique performances and musical collaborations, ShipRocked onboard and beach activities include photo meet and greet opportunities with band members, artist hosted events and activities, crazy theme nights, after hours parties and more. Check out highlights of ShipRocked 2020 here: https://youtu.be/smI25ypelOw The Carnival Breeze features multiple dining options, well-appointed staterooms, a luxury spa, casino, fitness center, waterpark and more. ShipRocked 2022 features new cabin categories, including spa level interiors, balconies and suites with extra amenities, ocean view staterooms with 2 bathrooms, and even some ocean view accommodations that

Safety and health are of the utmost importance, and ShipRocked producers ASK4 Entertainment are in regular communication with their Carnival cruise line partners regarding policies and procedures to protect the health of everyone onboard. In 2020, ShipRocked had its biggest year to date, with over 3,300 guests in attendance – including 62% returning ShipRockers. The 2020 onboard Cancer Sucks! charity auction, led by auctioneer Arejay Hale of Halestorm, raised over $130,000 – bringing the annual auction’s alltime total to nearly $750,000 raised for cancer research. Throughout the year, ShipRocked’s community of “ShipRockers”—as well as others from around the world—are staying connected via “Making Waves – The ShipRocked Podcast,” which launched in 2020 and is available for free through iTunes, Spotify and Google Podcasts. “Making Waves” is distributed via the Sound Talent Media Podcast Network and hosted by Chad Nicefield (Wilson) and Justin Press (ASK4 Entertainment). “Making Waves” guests have included: Ben Bruce (Asking Alexandria), Ben Wells (Black Stone Cherry), Brian “Head” Welch (Korn, Love and Death), Chris Motionless (Motionless In White), Corey Glover (Living Colour), David Ellefson (Megadeth), Heidi Shepherd & Carla Harvey

(Butcher Babies), Jonny Hawkins (Nothing More), Lajon Witherspoon (Sevendust), Mark Tremonti (Tremonti / Alter Bridge), Nick Reese (Joyous Wolf), Ron “Bumblefoot” Thal, Zakk Wylde and many more. For more information on ShipRocked, visit: Website: www.ShipRocked.com Facebook: www.facebook.com/GetShipRocked Twitter: www.twitter.com/ShipRocked About ShipRocked: Produced by ASK4 Entertainment—a premier rock music theme cruise and destination event producer—ShipRocked is the premier rock music cruise vacation with unique performances and musical collaborations, providing guests with the opportunity to vacation with their favorite bands, meet new friends, and reunite with old ones year after year. The fullship charter provides a one-of-a-kind experience for guests to have the time of their lives with thousands of like-minded friends. ShipRocked activities include photo meet and greets with band members, poolside games, artist Q&A sessions, trivia challenges, game shows, parties, contests and more. The ShipRocked Cancer Sucks! onboard charity auction has raised nearly $750,000 to date for innovative medical research and finding a cure for cancer. www.facebook.com/ASK4Entertainment June 2021 • Rock and Blues International

Rock and Blues International • June 2021

Extreme Metal Masters Chthonic Reveal “Oceanquake” Video from Upcoming Chthonic Megaport 2021 Release Watch “Oceanquake” Now at https://youtu.be/nfB6U4IQAOs Chthonic has revealed a second clip, “Oceanquake,” from symphonic extreme metal masters’ upcoming live album and video, Chthonic Megaport 2021, scheduled for release on May 19. “Oceanquake” features an appearance by Audrey Tang, a longtime Chthonic fan who currently holds the seat of Digital Minister in Taiwan’s cabinet. “Audrey’s voice has been added with Machine Effect,” explains frontman Freddy Lim. “I’ve never known anybody’s voice that fit in so well with this kind of effect. It makes this Chthonic DrumNBass remix so unique!” Chthonic Megaport 2021 documents Chthonic’s return to the stage to headline Taiwan’s massive Megaport Festival. The release will be available digitally and as a special limited “antiepidemic bundle” including a physical CD, Chthonic medicalquality mask, a Chthonic mask lanyard, large and small Chthonic mask containers and a small Chthonic spray can for sanitizer will be available. Pre-orders are available at https:// ciongzo.com/en/product_detail.php?id=602. After making history by successfully managing the COVID-19 pandemic, Taiwan was able to move forward with the Megaport Festival, the first large-scale rock festival since the unprecedented global lockdown. Taking place March 27-28 in Kaohsiung, Taiwan, the festival featured more than 100 artists on 10 stages. Founded in 2006 by Chthonic’s Freddy Lim, who left the organizing team after being elected as a member of Taiwanese Parliament in 2016, Megaport Festival attracts tens of thousands of people every year, with this year’s festival selling out its 20,000 tickets within five minutes. While Taiwan is considered home of Austronesian peoples and a mystic island nation in the Orient, advanced technologies, modern cities, and upholding human rights and progressive values are also part of the image of Taiwan, and Chthonic gives the best interpretation of the contrasting images of the country. Chthonic’s lyrics are inspired by Taiwanese mythology, folk stories and history, and the music incorporates elements of traditional Taiwanese folk music, enka and sorrowful melody from Taiwanese opera, accompanied by traditional Taiwanese musical instruments, such as hena, zheng - also known as “box zither”- and pgaku flute. Contemporary symphonic black metal, melodic death metal, blood-boiling

riffs and solos are also integral parts of Chthonic’s music. Several of Chthonic’s albums have entered the In Taiwanese pop-music charts, and the band has been awarded the Golden Melody Award, the Taiwanese version of the Grammy Award. With exception of its earlier works, Chthonic’s albums include Seediq Bale (2007), Mirror of Retribution (2009), Takasago Army (2011) and Bú-Tik (2013) were all released worldwide, with positive feedback from music critics. The band took on a lower profile with a reduced number of performances after Lim’s election into the Parliament in 2016, but they still released the album Battlefields of Asura in 2018, which won the Golden Melody Award for Best Band, as well as a number of other nominations. In 2019, Chthonic held a concert with a symphony orchestra in the square in front of Taiwan’s Presidential Office. It attracted 50,000 people, and its live video and audio was digitally released in 2020. From Fuji Rock and Summer Sonic in Japan to Ozzfest in the US, Download in the UK and WOA in Germany, Chthonic has performed at major music festivals around the world, and has had toured hundreds of shows in Europe, North America and Asia. The group has also worked with many internationally renowned artists, including Lamb Of God’s Randy Blythe, Trivium’s Matt Heafy, guitarist Marty Friedman, Japanese folk singer Hajime Chitose, and Hong Kong diva Dennise Ho. Chthonic online: https://chthonic.tw/en/ www.facebook.com/chthonictw https://twitter.com/chthonictw https://chthonictw.tumblr.com/ www.youtube.com/channel/UCFn5CIjfAjKZgJtsXw349g

Chthonic Megaport 2021 Out Now + Limited “Anti-Epidemic Bundle” Including CD and Pandemic Gear Available For Pre-Order at https://ciongzo.com/en/product_detail.php?id=602 June 2021 • Rock and Blues International

Rock and Blues International • June 2021

Central Florida Hard Rockers DEVILS ENVY Take on Billie Eilish with New Single, “You Should See Me in a Crown” Orlando-based hard rock quintet DEVILS ENVY has debuted a video for their powerful cover of Billie Eilish’s hit single “You Should See Me in a Crown,” which will appear on the band’s forthcoming Dark Kingdom Records EP. DEVILS ENVY’s rock take on “You Should See Me in a Crown” is available today via Apple Music. Watch DEVILS ENVY the video now at https://youtu.be/reRZO3OjSV4. “In our creative process, we often think about the visuals while writing our music,” explains vocalist Angel Graves. “We wanted the video to showcase our efforts to break out from where we are at as a rock band. Lyrically, ‘You Should See Me in a Crown’ was a perfect fit over the music we had already written prior to deciding this should be a cover song.” Working with a film director, Bryan Bishop, who generally does not shoot music videos and consulting with TV film producers Carlito Rodriguez (MTV, FOX) and Leah Rodriguez (E!), allowed the group to maintain the sort of mysterious quality they have become known for. “It allowed us to capture that nostalgic and cinematic element along with the dark and cryptic vibe we were already going for,” says Graves. “Each scene I’m in captures a different side of what ambitious personalities can be like. You have a patient royal awaiting his opportune time to take over, an edgy poet vibing with his passion, a gangster mastermind and a passive fashionista celebrating his winnings. We wanted to give our fans a chance to see that ‘rockstar’ vibe come back to life within the rock genre, without going too crazy with the instrumentation but shifting the focus on to the visuals, vocals and overall vibe.” Formed in 2016, DEVILS ENVY fires on all cylinders, embracing the charisma, characteristics and attitude of their rock heroes and bursting onto the scene with a voice for a generation that’s long overdue for real, in-your-face rock. With upbeat and insane twists on old-school rock grooves, heartpounding drum beats, ripping guitar riffs and soaring melodies, DEVILS ENVY is a renegade metallic assault unheard of since the late ‘80s wave of American metal. DEVILS ENVY’s single “Psycho” ( https://youtu.be/ oI7rTE4uqaQ ) has been featured on Sirius/XM’s Octane, HardDrive Radio, Music Choice and Touch Tunes. The track

was also on Rock Rage Radio’s Top 20 for eight straight weeks. Another single, “Alter Ego” ( https:// devilsenvymusic.com/track/1605263/alter-ego ) was added to 30 active rock stations across the Unites States. DEVILS ENVY’s debut EP, Dead Inside, was released in 2016 and is available via the band’s webstore at https:// devilsenvymusic.com/music and Bandcamp @ https:// devilsenvy.bandcamp.com/album/dead-inside-ep. Since then, the band has been invited to support numerous national acts, including Nonpoint, Fame on Fire, Upon a Burning Body, Famous Last Words, Eyes Set to Kill and Flaw. DEVILS ENVY is: Angel Graves – vocals Austin Diaz – guitar Brian Kizer – guitar Paul Ziccardi - bass Sean St. John – drums DEVILS ENVY online: www.devilsenvymusic.com www.facebook.com/devilsenvymusic https://devilsenvy.bandcamp.com/music

“You Should See Me in a Crown” Single @ https://music.apple.com/us/album/you-should-see-me-in-a-crown-single/1562793276 and Video @ https://youtu.be/reRZO3OjSV4 Available Now June 2021 • Rock and Blues International

Diversion Podcasts and iHeartRadio, the No. 1 Podcast Publisher Globally, Have Partnered to Launch a New Original Podcast, “Backstaged: The Devil in Metal,” a Deep Dive Into the History and Culture of Heavy Metal Bestselling Author and Music Journalist Jon Wiederhorn Explores Sex, Drugs, Satanism, and the Real Backstage Stories that Shaped Metal Music The 12-Episode Season Features New and Never-BeforeHeard Interviews from The Host’s 30-Year Archive Including Ozzy Osbourne, Eddie Van Halen, Tony Iommi, Rob Halford, Kirk Hammett, Rob Zombie, Paul Stanley, Ice-T, Nikki Sixx, Sebastian Bach, and Many More Diversion Podcasts, a division of Diversion Media, announced today, the launch of Backstaged: The Devil in Metal. Hosted by bestselling author and music journalist Jon Wiederhorn, this 12-episode podcast offers a one-of-a-kind journey through the history and culture of heavy metal. The podcast explores elements of darkness and extremism in the music and, examines how a generation of rebellious rockers took the phrase “sex, drugs and rock n’ roll” to an entirely new level. For the past 30 years, Jon Wiederhorn has interviewed the biggest names in metal and now, for the first time, listeners will be able to hear exclusive, never-before-heard audio from members of Black Sabbath, Judas Priest, Metallica, Dio, Pantera, Slayer, Lamb of God, Anthrax, Motley Crue, KISS, Megadeath, Slipknot, and many more as they share outrageous, uncensored and sometimes unholy experiences from their lives in metal. “I couldn’t be more excited about launching The Devil In Metal,” Wiederhorn says. “Everyone I’ve interviewed has been amazingly honest and revealing and there are so many great stories metal fans will love. “As the saying goes, the show exposes the thrill of victory and the agony of defeat in the way it offers fans a rare backstage view of the high and lows of metal legends and others that shaped this music over the past 50 years.” Episodes 1 and 2 are available now. Hear Jon delve into:

the birth of devil metal; the artsits that celebrate the occult for shock value and those that claim to receive energy and empowerment from Satan, himself; the first artist to use the sign of the horns (it’s probably not who you think), and how the Satanic Panic of the ’80s changed music forever. Future episodes address alternately shocking, hilarious, sometimes heartbreaking stories about heroin abuse, partying, groupies, horror, homophobia and what makes metal sound so raw and gritty. “Backstaged: The Devil In Metal” is a production of Diversion Podcasts with iHeartRadio. New episodes can be found each Friday on the iHeartRadio App, Apple Podcasts, Spotify, and wherever you find your favorite podcasts. Diversion Podcasts, a division of Diversion Media, creates immersive non-fiction audio stories that engage and amaze listeners. Through rare primary source interviews, elegant sound design, and author perspectives unavailable anywhere else, Diversion’s informative and entertaining productions take you deep into worlds and introduce you to characters you’ll never forget. From sports to spies, from true crime to true adventure, across history, music, and even war, Diversion brings real stories to life. For more information visit DiversionPodcasts.com. Jon Wiederhorn is a seasoned music journalist, having written about rock and metal for more than 30-years. He is the author of Raising Hell: Backstage Tales from the Lives of Metal Legends and the celebrated classic Louder Than Hell: The Definitive Oral History of Metal (with Katherine Turman). Wiederhorn is a former editor at Rolling Stone, a former writer for MTV News and the co-author of I’m the Man: The Story of That Guy from Anthrax (with Scott Ian), Ministry: The Lost Gospels According to Al Jourgensen (with Al Jourgensen), and My Riot: Agnostic Front, Grit, Guts & Glory (with Roger Miret) and He has also written for Rolling Stone, SPIN, MTV, Guitar World, and Revolver, among others.

Trailer: Here at https://podcasts.apple.com/au/podcast/introducing-backstaged-the-devil-in-metal/id1565534625?i=1000519432489 Backstaged: The Devil in Metal Episodes 1 & 2: Here at https://podcasts.apple.com/au/podcast/backstaged-the-devil-in-metal/id1565534625 86

Rock and Blues International • April 2021

April 2021 • Rock and Blues International

Rock and Blues International • June 2021

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The Biker, The Blues, The Badlands, and UFOs I rolled up my sleeping bag, attached it to the front tubes, and put out the campfire. The machine fired up right away. I installed a new S&S before going on this odyssey and even at this altitude it was working just fine. I had decided to make my way over to Roswell New Mexico next. I envisioned the stop over as being fun, something to write about along the way. What could possibly happen in Roswell? Here’s the next installment of this odyssey. Lincoln New Mexico is famously known for its jail and two men. One named Pat Garrett and the other Billy The Kid. Some refer to that part of New Mexico as The Badlands and folk lore has it that Billy and his pals trampled all through this area. Just about everybody knows the name Billy The Kid and if you take the road north out of Ruidoso past Alto and head east on route 220 it runs into route 380 then you ride south into Lincoln, about 39 miles. Nice easy ride. I got into Lincoln, not a large town but the remnants of Billy’s stay there is definitely large. I Enjoyed the education, friendly folks, but I really wanted to get to Roswell to learn about the UFOs which was about another sixty miles. Although I must say that I learned from a man in Lincoln that Pat Garrett arrested Billy not once but twice which was interesting to hear. He also said there is more than one story about the man but declined to tell me which one he thought was real and the other being just speculation. So before I pointed the old trusty dusty shovel toward Roswell I thought I would scope out what watering holes were there. I mean after all a man has to have this priorities. A shower would be nice too. I read about a place named the Red Door right on 380 whose website lists their bartenders svelte beer panthers, the bar food looked good and so that would be my choice. Getting back to Roswell - the story goes that an alien space craft crashed there and at first the government reported it as such and then soon after back tracked their announcement as a weather balloon. However, once the genie was let out of the bottle there wasn’t any way to get it back in there really. Hence, a place that was once labeled as the dairy capitol of the south soon became known for something quite different, flying saucers. People would and still do drive hours out of their way just to go there and look around. Me being one of them. I was hoping to find the right person to ask this question, “How do you think aliens have sex?” I don’t know why I wanted to know that answer but I did. Maybe the Red Door might be the place, certainly not city hall I would imagine. Arrived and the first thing I noticed was that it was very clean and folks were quite friendly. I was dying to ask my question but it was too soon. Then something odd came up out of nowhere. I overhead a guy telling a gal that Elvis’s jet was parked over at the regional airport and that you can actually go inside it. Well now that is different and while the subject of aliens is cool too now I had both aliens and Elvis in one county. Oh you have to love the potential for stories. I wasn’t there too long before a man came over and asked me if that was my bike outside and I said yes. Then he asked me if it was a Harley and I thought well I don’t know where this conversation might go from here. However, the man turned to be a really nice guy, a local guy, and although he didn’t know about bikes he did know a lot about the local lore. Somehow we got onto the subject of music and he brought up Steppenwolf and The Doors. His favorites were “The Pusher” and “Crystal Ship”. I wondered if my image and the bike were haunting memories of days gone by for him but the man was tight lipped about his past. I would wait and pry a little bit more in a while, first I offered the man something from the tap. He accepted and after that round I pried a bit more, “Two very deep songs” I said “Were you living here in that era?” He replied no he had been living in continued on next page

Rock and Blues International • June 2021

Continued - The Biker, The Blues, The Badlands, and UFOs LA back then but moved to Albuquerque. Something about the various changes in geography across New Mexico drew him to the Land of Enchantment as he had been a geologist back then and finally he settled into Roswell. I interrupted and volunteered that I was just traveling through but had been intrigued by a city sign that boasts a UFO on it. He smiled and said lots of folks come here for that reason so you are not alone. So I asked a bit more, “so living here for so many years and having heard so many tales what do you believe happened?” Without missing a beat he said it happened alright but many folks were told to keep their mouths shut and that is what they tried to do until they got fed up with federal orders. The man was dead serious. You could read something in the furl above his eyes but yet he wasn’t divulging any facts. I asked him if he had ever seen a UFO no matter where he lived and at first he just stared into my eyes and then finally said yes in fact he had a close encounter. “Barkeep more beer for me and my friend please”. Then I wondered hey wait a minute is this guy hustling me for free beer? If he was then he was one of the best actors I’ve ever met and trust me I have met my share over time. But something was in this man’s eyes and his demeanor changed from being somewhat jovial to being dead serious. He wouldn’t go into it but he did say that thousands of people who claim to have encountered an ET cannot all be lying. He drank up, excused himself, shook hands with me and off he went to places unknown. The svelte beer panther came back and I asked her if the man came in there often and she said she couldn’t remember ever seeing him before. I picked up my phone and searched for place to crash and wouldn’t you know it I found this cool motel graphic that read crash here at The Roswell Inn Resting Pods. So that would be the place. Now all I needed was some slow blues and I would be set. “Key To The Highway” was on the box and that’s always a good choice if it’s done by the right artist. My favorite is Bryan Lee’s version, kick ass if there ever was one. Oh ya that beer was going down right nice oh ya we be having fun brothers and sisters. Listening to Kenny bend the strings for Bryan and the bar manager turned the volume up oh ya we had a day party working big time. Bryan sung, “gonna roam this highway” and Kenny took the lead working them strings. We had us some daytime feel good blues working. Time for another glass of suds and another pick on the machine. I punched in “The Ballad Of Curtis Lowe” by Lynyrd Skynyrd”. It’s kind funny how when you get the blues going in a bar not too long afterward you can tell who’s into it and who isn’t. Who wouldn’t have loved to meet and listen to Curtis Lowe? I distinctly remember choosing Albert Cummings on that machine too, “Barrelhouse Blues”. Ever had the blues? Over a man or a woman? Well this track nails it dead on. Great lyrics and the music is top shelf. He sings, “You can talk to your whiskey people, you can cry in your beer”. Someone bought me a round and the gal behind the bar said “play some more”. That was an easy request to fill. I chose Buddy Guy’s “Damn Right I Got The Blues”. After that it was time to bring the place up to full expressive soul, I chose Sly & The Family Stone, “Dance To The Music”. I looked around and people were keeping time in their chairs , wearing smiles, and digging it immensely. But I still wanted to pose the question to someone, “How do aliens have sex?” I mean a man wants to know. You never know when you might be on Jeopardy and the question you need to give them would be about this topic. Beautiful day in America. I wonder where I might go next? I am thinking about Midland Texas. They have an annual kick ass blues festival and I got together with Lisa and Ronn in Memphis a couple of years back. That could be cool. The nice part about seeing America on two wheels is the freedom that you feel on the journey. Did you ever just want to pack up and go? I did and then one day I did just it. You only go around once so you might as well go around happy. Janis sang “Freedom is just another word for nothing left to lose”. There’s something to that then again there is much to gain once you set yourself free. I don’t think anyone works a full lifetime, passes on, and then gets on the other side and if asked what they would you do if they went back they answer work another eight to ten hours. Nah! I don’t think so. For me, time to check in at the motel, take a shower, go out for dinner and maybe a glass or ten of beer……

To Be Continued June 2021 • Rock and Blues International 91