Rock And Blues International - February 2024

February 2024

Rock And Blues International Tinsley Ellis ALSO IN THIS ISSUE

Saxon Carlos Santana Robert Jon & The Wreck Dr. Sugar Shinedown Robert Trout Bon Jovi and more!

Rock And Blues International February 2024 Hello Rock And Blues International readers. I hope everybody had a great January. Welcome to 2024. I hope and pray that everybody has a better year than last year. Each year should always be better than the last.

Rock And Blues is happy to announce that we have now entered the era of Podcasts. We would really like you to check out our new Podcast Channel - Rock And Blues International - The Podcast. If you like the interviews we feature in our publication, then you will love our Podcast Channel as we feature those interviews in their entirety there. On our Podcast Channel you can actually hear those interviews as they were originally done. Our special guests so far are the Chris O’Leary, Paul Reed Smith, Honey Island Swamp Band, Paul Reed Smith, Bob Margolin, Don Dokken, Foghat (Scott Holt), Puddle Of Mudd (Wes Scantlin), The Blackburn Brothers, Coco Montoya, Barry Kerch from Shinedown, Jerry Shirley from Humble Pie, Jim Stapley from Humble Pie Legacy, Kissing Judas, Nick Moss, Devon Allman, Stevie D. from Buckcherry, Chris Henderson from 3 Doors Down, Garnet Grimm from Savoy Brown, Phil Lewis from L.A. Guns, Graham Russell from Air Supply, Robert Jon from Robert Jon and The Wreck, Selwyn Burchwood, J.W. Jones, Chris Henderson from 3 Doors Down, and Warren Haynes from Gov’t Mule. Future podcasts include Tinsley Ellis, and Biff Byford from Saxon.

You can check it out on all the major podcast channels as well as at our website at http//www.rockandbluesinternational.com. We hope you enjoy them.

And now on to the February issue of Rock And Blues International. On the cover of this issue you can see Tinsley Ellis.

Tinsley has a new album titled Naked Truth which will be released this month on Alligator Records. In this issue Tinsley tells us all about his new album. I can hardly wait for you to hear the podcast later this month. It was a fantastic interview.

He really gives us a lot of great insight into this new gem of an album. We’ve also got a great story by Edoardo Fassio about Dr. Sugar. Be sure to check that one out too, it’s very interesting. There are also stories on Carlos Santana, Peyton Parrish, Enter Shikari, Robert Jon & The Wreck, Tom Rush, Bernard Allison, Shinedown, Walter Trout, Foreigner, Bon Jovi, 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”.

Read it and than email us back with your thoughts on this. So far our readers seem to really like this Blues loving Biker.

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” February 2024 • Rock and Blues International

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Contents

VOL. 4 NO. 7

FEBRUARY 2024

ISSUE NO. 43

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Page 34 Dr. Sugar Page 6 Tinsley Ellis

Edoardo Fassio talks about Pierre Citerne also known as Dr. Sugar and his debut album These Words.

Tinsley Ellis Releases His First All Acoustic Album Naked Truth On Alligator Records

Page 22 Saxon Saxon Announce New Album Hell, Fire, & Damnation And New World Tour Hell, Fire, & Chaos

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Rock and Blues International • February 2024

Photo Credit: Maryanne Bilham

Page 50 Carlos Santana Carlos Santana Releases New Single “Let The Guitar Play” Featuring Darryl “DMC” McDaniels Out Now on Candid Records

Contents

VOL. 4 NO. 7

FEBRUARY 2024

ISSUE NO. 43

Page 86 - THE BIKER Page 54 Robert Jon & The Wreck Robert Jon & The Wreck’s New Track “Ballad Of A Broken Hearted Man” Brings a Fresh Perspective to High Octane Southern Rock Worldwide Tour Starts This Month As New Music Fuels An Exciting New Year

Page 68 Shinedown Shinedown Continues Chart Dominance with 21st No. 1 Hit “A Symptom Of Being Human”

The Continuing Saga Of A Lone Biker On The Road To Explore The Freedoms Of America 6 22 32 34 35 38 42 46 48 50 52 54 56 58 60 64 68 70 72 74 76 80 82 84 86

In This Issue:

Tinsley Ellis Saxon Wicked Lo-Down Dr. Sugar (English) Dr. Sugar (English) Dale Penner Blues Foundation Class of 2024 New West Peyton Parrish Carlos Santana Enter Shikari and Jason Butler Robert Jon & The Wreck Disco Donnie presents Disco Donnie Tom Rush Bernard Allison Hand Of Kalliach Shinedown Walter Trout Foreigner Bon Jovi Scott Stapp Leah Magnum Sam Cooke The Biker February 2024 • Rock and Blues International

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Tinsley Ellis Bares All With Naked Truth 6

Rock and Blues International • February 2024

By Kevin Wildman On his 21st album, Naked Truth, Ellis departs from his blistering, guitarfueled full band style to deliver equally passionate, soul-searching acoustic folk blues. The album, set to be released on February 9th through Alligator Records, features 12 songs, including nine newly written originals, showcasing Ellis’s famed guitar chops and musical creativity. Recorded live in the studio, Ellis uses his cherished 1969 Martin D-35 and his 1937 National Steel O Series guitars, infusing each song with unvarnished intimacy, whether intricately fingerpicking the Martin or playing hairraising slide on the National Steel.

Atlanta-based blues guitarist, singer, and songwriter Tinsley Ellis has taken a bold step with his latest endeavor, the first-ever solo acoustic album titled Naked Truth. Describing the album as both “a departure and an arrival,” Ellis, who has been a fixture in the blues scene for over four decades, is showcasing a different side of his musical prowess.

Known for his feral, guitar-fueled, original electric blues-rock that has captivated audiences worldwide, Ellis is delving into the folk blues traditions with Naked Truth. Drawing inspiration from legends such as Muddy Waters, Skip James, Son House, Robert Johnson, and even Leo Kottke, Ellis emphasizes that this acoustic venture is not a new direction but an extension of his music, tapping into the raw essence of the blues.

“This is a record I’ve always wanted to make, and one that my longtime fans have been asking for,” Ellis reveals. Having already incorporated an acoustic mini-set in his concert performances for years, he expresses the joy of performing over 100 solo shows in the last 12 months, often alongside fellow Alligator label-mate Marcia Ball.

On his 21st album, Naked Truth, Ellis departs from his blistering, guitarfueled full band style to deliver equally passionate, soul-searching acoustic folk blues. The album features 12 songs, including nine newly written originals, showcasing Ellis’s famed guitar chops and musical creativity. Recorded live in the studio, Ellis uses his cherished 1969 Martin D-35 and his 1937 National Steel O Series guitars, infusing each song with unvarnished intimacy, whether intricately fingerpicking the Martin or playing hairraising slide on the National Steel.

The opener, “Devil In The Room,” is an original inspired by a phrase from Ellis’s close friend, the late Col. Bruce Hampton. The album spans a range of

Tinsley Ellis Releases His First All Acoustic Album Naked Truth On Alligator Records styles, from the Skip James-inspired “Windowpane” to the Delta-styled “Tallahassee Blues,” and even the humorous “Grown Ass Man.” Four introspective instrumentals, including a cover of Leo Kottke’s “A Soldier’s Grave On The Prairie,” add depth to an album brimming with emotional authenticity.

Tinsley Ellis, born in Atlanta in 1957, has been immersed in music since childhood. Acquiring his first guitar at the age of seven after being inspired by The Beatles, he discovered the blues through British Invasion bands and Southern rockers. Ellis’s journey includes forming The Heartfixers in 1981, which became Atlanta’s topdrawing blues band. His debut Alligator release, “Georgia Blue,” in 1988 marked a turning point in his career, leading to a string of acclaimed albums and perfor-

mances that earned him recognition in national and regional publications.

We had a chance to sit down with Tinsley prior to the album’s release and he was really candid and open about the new album and the making of it, not to mention his desires of performing the album in it’s entirity on the road. So without any further ado, here’s Tinsley Ellis and the wonderful interview he had with me about Naked Truth.

Rock And Blues International: So what what’s it like being on stage by yourself all the time now, not being able to blame anything on the other guitaris, the drummer or anybody else if anything goes wrong.?

Tinsley Ellis: That’s a good description of it right there. And that’s why we named the album Naked Truth

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that it was going to be a whole new reality, a whole new reality and it’s going to be helped a lot, I think by the new album, because then people will know I’m serious about it. Then also I’ll have some songs that may be ,by the time I get to different towns all over everywhere, people may have listened to the album already may have some favorite songs on the record to play, so the album’s gonna really help quite a bit.

Rock And Blues International: Great, great. Well, this is quite a departure for you from the previous albums, doing an an all acoustic album like this with with the steel guitar and with your Martin guitar. It sounds like you’ve been hanging out a lot with Robert Johnson.

Tinsley Ellis (continued from previous page) because it’s a naked feeling up there, just me. I stomp my foot a lot, so that’s kind of my accompanist. It’s scary when I first go on, but after a couple of songs, I find that I kick into cruise control with it.

It kind of reminds me of when I was first starting out playing in bands, and we get this terrified feeling going on stage and then that feeling went away. So hopefully over time, it’ll be less terrifying to go out there unaccompanied.

Rock And Blues International: Well, I understand that feeling. When I used to go to jams and I played with the band, it was great. But then when I started going and doing the open mics where I just sat there with an acoustic guitar. It was very, very strange at times.

Tinsley Ellis: Yeah, and actually in this format, I’ve done quite a few shows in the past year and actually got a chance to play some really large like rock, blues8

rock kind of concerts with a big PA and if you get into it enough, if you’re energetic enough, it works with any size or demeanor of audience.

Rock And Blues International: Right, right. When you went out in this last year and you did your first of the, I think you did about 100 gigs so far....

Tinsley Ellis: Yes, so far about 100. Most of them with Marcia Ball.

Rock And Blues International: Tell me about the first night on stage when you walked up there.

Tinsley Ellis: Well, they came and got me out of the dressing room, the sound man. It was almost like the executioner was leading me to the gallows or something or to the guillotine and I went out there and like I said, it was a few songs into it that I realized

Rock and Blues International • February 2024

Tinsley Ellis: Well, that’s high praise for sure. It gets no better company to hang out with when you’re talking about acoustic blues music. And you know, I got the Robert Johnson album in the early 70s, and we all were getting into that and I think it’s just a part of, of what I’ve always done, it’s just a different format of doing it. I played acoustic guitar before I played electric guitar. Now that was a long time ago.

That was 1964 when I got my first acoustic guitar after seeing The Beatles on the Ed Sullivan Show. I begged my parents for a guitar and they got me this cheapo acoustic guitar, which actually I still have. And so I did acoustic guitar first. And I always have done, for a long time at least, included an acoustic subset within my show. So this is just the kind of the full extension of that.

Rock And Blues International: Right. All right. Well, you’ve got an interesting selection of songs on here, both covers and original ones. And I’d like to talk a little bit about some of the songs on here. The first one on here “Devil In The Room” was inspired by Bruce Hampton. So tell me a little bit about that song when you wrote it?

Tinsley Ellis: Well, for those of your readers who might not know who Bruce Hampton was, he was a sort of Georgia’s answer to Frank Zappa, or Captain Beefheart. He had a band called The Hampton Grease Band in the 60s that Duane Allman got signed to a big deal at Columbia Records. They did one album and then the album pretty much flopped and the band broke up. Bruce Hampton has been kicking around the jam band scene in Atlanta since the since the 60s and then with a resurgence of the continued on page 10

Febreuary 2024

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Hampton meant when he told us to go out on stage and put the devil in the room. I think he was talking about the devil’s music there, blues.

Rock And Blues International: Well, but it was a good inspiration for another song though.

Tinsley Ellis: Yeah, he told us that for 30 years and and I talked to some guys in his final band. They said hey, he used to tell us that too. So it’s something he used to say that was in his arsenal of clever sayings.

Rock And Blues International: Well, some people have these sayings and they can’t escape from them. They follow them around, they say him all the time and they don’t even know they’re saying them half the time.

Tinsley Ellis: That is true and he did the word thing much like Frank Zappa and he was quite a character.

Rock And Blues International: Do you have a catchphrase before you walk on stage?

Tinsley Ellis: Not really. When I was a band leader, what did I say? I think I used to say “is the van locked” meaning make sure our shit didn’t get stolen out of the van. You know, did you lock the van and that was that was my saying.

Rock And Blues International: That’s a rough thing for traveling musicians. The van is always the target. The trailer is always the target. You worry when you go in to get a cup of coffee.

Tinsley Ellis: Yeah, I’ve got a good dose of paranoia goin’ when I get to different towns. I had a bass player at one point that would announce what level we were at. We’d get to New York City and he would say “red level, red level security.’

Tinsley Ellis (continued from previous page) jam band thing, he was kind of the, the granddaddy of the Georgia jam band scene and he’s also into blues and folk and jazz music. Unfortunately on his 70th birthday at the Fox Theater here in Atlanta with all of us there, Warren Haynes, Derek Trucks, Chuck Leavelle, some of the guys in Phish, the jam banders and some blues people too, he died on stage at his 70th Birthday concert in front of 5000 fans. He literally fell to the stage dead. Well, anyway, I started playing with him 30 years ago back in the 90s. And before we would go on stage at night, he would always tell us, ‘let’s go put the devil in the room’. I thought that’s a great song concept, so I wrote “Put The Devil In The Room” and that’s the opening song on the album. It’s kind of in the R.L. Burnside, Fred McDowell, Mississippi Fred McDowell tradition of Hill Country Blues.

Rock and Blues International: Any specific meaning besides that to you?

Tinsley Ellis: Well, it’s a guy telling a woman “you put the devil in the room”, meaning she’s not not doing right and nothing is more sinister than El Diablo, the devil. So yeah, it’s kind of a tough talking song. It’s not exactly what Bruce 10

Rock and Blues International • February 2024

Rock And Blues International: Well, I’ve known a lot of musicians. I’ve talked to a lot of musicians and it’s amazing how people will steal from musicians.

Tinsley Ellis: Oh yeah, I’ve stolen a lot of licks for musicians too. So I guess it goes both ways.

Rock And Blues International: Well, the resurgence in blues in America was people stealing from people stealing from someone else. When I was first turned on to British blues, I didn’t realize they were ripping off the American artists.

Tinsley Ellis: In a way they did but but also they were exposing Americans to our own music. First time I ever heard anything that sounded like electric slide guitar was the Rolling Stones when Brian Jones played the slide guitar part on “Little Red Rooster”. And turns out that’s our music. I just didn’t know it. And I’d always heard that kind of music here in Georgia, Florida area. I just didn’t know what it was called until the British guys like Peter Green and The Stones and The Animals and of course, the Yardbirds, Clapton and Cream. We had to get our our own music from far away. And that’s the way I got it. Definitely. I won’t lie to you.

Rock And Blues International: It comes full circle.

Tinsley Ellis: Yes, it really does. And then Jimi Hendrix continued on next page

Tinsley Ellis (continued from previous page) and the Allman Brothers took our music back for us really in a big way.

Rock And Blues International: Oh, yeah. Oh, yeah.

Tinsley Ellis: And Top, ZZ Top, one of my favorites.

Rock And Blues International: Right. Let’s go to the next song “Windowpane”. Did she ever come back?

Tinsley Ellis: No, never did and that’s what the song is saying and that song’s in the Skip James tradition of blues, tuned to an open chord. There’s five different guitar tunings on this album, five or six different guitar tunings and that one is tuned to a minor chord. It is the only lament on the album.

Rock And Blues International: Well, this is a song written by your own experiences, right?

Tinsley Ellis: Yes, it is.

Rock And Blues International: Do you still have bad luck into this time?

Tinsley Ellis: Oh, I have bad luck, I have good luck and I have no luck at all. I have all different phases of luck.

Rock And Blues International: Okay, well tell me a little bit about that song as well.

Tinsley Ellis: Well, “Windowpane” is like I said, it’s in the tradition of Skip James who used to tune his guitar to a D minor chord. I had learned years ago his version of “Hard Time Killing Floor Blues” and so I wanted to write a song in that style, just kind of a really eerie open sounding minor key dirge, a lament.

Somebody compared it recently to Canned Heat and I think that from where I’m at, they’re putting me in King’s company when they started talking about bands like Canned Heat or Butterfield Blues Band. So it’s Mississippi Blues done with a modern slam.

Rock And Blues International: Great, great. “Death Letter Blues” comes up next. What made you pick that Son House song?

Tinsley Ellis: Well, that’s a song

that’s been covered by so many people, including the Grateful Dead and White Stripes, but nobody had done it in a while. Nobody had done that song in a while. So I wanted to do a version of that. And it’s a part of my live concert every night. In fact, I close out a lot of shows with it because it’s a real powerful song. And yes, it is hallowed ground to cover Son House. It’s a blues standard and it tells the story, a long story. It’s got you know, eight or nine different verses.

Son House has never played it twice the same way and I do the same thing. I’ll sing the verses out of order sometimes or leave verses out or even make up my own words just like he would have done and it’s one of the darker songs on the album and tells a sad story about a guy who gets a letter that his wife had died and he goes there and to the burying ground and stuff like that. It has a lot of imagery in it.

Rock And Blues International: It certainly does. His love died and no one knew he really loved her until they lowered her in the ground.

Tinsley Ellis: Yeah.

the people standing around. He’s sounds like he’s feeling pretty out of place there.

Tinsley Ellis: Yeah, he’s out of sorts and they never really say why he had to gather up his suitcase and take off down the road. I guess he was living apart from her at the time or maybe he was on the road as well.

Rock And Blues International: Where the hardest thing I find to discuss with people is their instrumentals.

You’ve got “Silver Mountain” on here next. It’s hard to say, well tell me about “Silver Mountain”. What did that mean?

Did that start off is just a pattern that you came up with.

Tinsley Ellis: Yes, it did. I found out a guitar tuning that Jimmy Page used on a lot of songs, songs like “Kashmir” and “Black Mountain Side” and stuff like that. I’d found out about that tuning from another guitar player and I put the guitar in that tuning and just sort of started messing around. But that song is what came out. It is definitely one of the more folk music songs on the album, as opposed to blues.

Rock And Blues International: What imagery that is!

Rock And Blues International: Right, right. I love the song. It’s great.

Tinsley Ellis: It really is. They talked about the graveyard, they talk about the cooling, and she’s on the cooling board.

Tinsley Ellis: Thanks. I had four different instrumentals on this. I had to kind of space them out and that’s my favorite one of the four so I put that one first.

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pick the songs. I’d come into the album with quite a few songs and whittled it down to the best 50 minutes of music or the best 12 songs and music and it’s not easy to do.

Rock And Blues International: What did you start off with, 20 songs?

Tinsley Ellis: oh no, more. I started off with about 40 songs and about equal amount are different recordings of those songs so it was hard to do. Once you decide which songs, you got to decide which order to put them in.

Rock And Blues International: Well that’s the trick right there, getting the whole album to flow properly from song to song on there. It’s really easy to screw things up by putting the wrong song in the wrong place.

Tinsley Ellis: Yeah, and you know, the fans decide what they like and by that time it’s too late to re-sequence and also now we do vinyl, so “Sailors Grave On The Prairie “closes out the first side of vinyl and the opening song of side two on vinyl is “Tallahassee Blues”, which is an up tempo Delta blues song.

Rock And Blues International: Well back in the early days of vinyl when you did close out the first side and go to the second side you really had to have something on there to make people want to turn that record over.

Tinsley Ellis: And it’s usually a long slow piece of music on an album side, something you drift off to sleep with. I remember that was the way I think The Allman Brothers “Eat A Peach” ended side one with, Duane Allman’s instrumental “Little Martha”, a quiet acoustic piece. So I’m still of the mindset that you open an album side with a rocker and you close with something kind of long and drawn out and emotional.

Tinsley Ellis (continued from previous page) Rock And Blues International: Right. You do “The Sailor’s Grave On The Prairie” which is the instrumental by Leo Kottke. You’d been doing that one for quite a while. So how’d it feel to actually put it on this album the way it’s supposed to be?

Tinsley Ellis: Well, I’ve been doing that song, that’s the oldest song on the album. I did that starting almost when it came out. It came out over 50 years ago and I’ve been playing it the whole time and and recently sent a CD to old college guitar playing friend and he goes “you showed me that song over 50 years ago” and I go “Yeah”. He said 45 years ago, but I’ve been playing the song for 50 years. I’m not old enough to have gone to college 50 years ago thankfully. I will be soon though, but anyway that’s a song that I used to play in the dormitory there in college and that one flowed naturally out of me and and it was actually recommended by Bruce Iglauer at Alligator Records. He wanted me to put that on there because he’d heard me do it live in concert.

Rock And Blues International: Bruce always has a lot of suggestions for people on his label.

Tinsley Ellis: Yep, he gets right in there and he helped me 12

Rock and Blues International • February 2024

Rock And Blues International: Kind of something a little more mellow.

Tinsley Ellis: Yeah, drift off to sleep.

Rock And Blues International: Well, another cover you have on here is Muddy Waters “Don’t Go No Further. “I got to love somebody, Somebody’s gotta love me”. Muddy Waters has a lot of songs. So what drew you to that one?

Tinsley Ellis: He did have a lot of songs and that’s one that hadn’t been done to death you know, there’s a million versions like “Got My Mojo Working” or “Rock Me Baby”, but I don’t know too many versions of this Muddy Waters song. I tried to pick one that not a lot of people had done. And I always thought Muddy Waters wrote that song, but then when we were putting album credits together, I found out that Willie Dixon wrote it, like he wrote a lot of Howlin’ Wolf and songs for other artists and in so this is a Willie Dixon song that I’m guessing he wrote specifically for Muddy.

Rock And Blues International: What a great song. I wasn’t really familiar with this one.

Tinsley Ellis: Yeah, and that’s one of the reasons I wanted to do it, because like I said, they’ve been done to death.

They’ve been done great and, and this is a different one. Now it’s lacking one element that the Muddy Waters version had. continued on next page

Tinsley Ellis (continued from previous page) Muddy Waters had an incredible harmonica solo on his version played by Little Walter, while I took a guitar solo and I stand on it.

Rock And Blues International: Well, you’re gonna have to learn that now. You can still play harmonica and play guitar at the same time. I see it done all the time.

Tinsley Ellis: I’m the man who put the word harm in harmonica. Yeah, I’m not that good at it. I sound like Bob Dylan on a bad night on harmonica. That’s my style of playing, and so I’ll leave it to the experts.

Rock And Blues International: Okay, and you wouldn’t be able to have anybody overdub it on this album, or it would destroy the whole purpose of what you were doing with the album.

Tinsley Ellis: Yeah, this record is very much a live album. Live in the studio with guitar, voice and my foot stomping, and that’s pretty much... It’s gonna be cool to be able to go out and perform the album in its entirety and have it sound just like the record and that’ll be a first.

Rock And Blues International: I love the sound of your steel guitar and the Martin sounds beautiful. I mean, you can really tell the difference between the two without a doubt going from song to song. When you do “Alcovy’s Breakdown”, that Martin just sings .

Tinsley Ellis: Yeah, “Alcovy’s Breakdown”.

Rock And Blues International: Yeah, “Alcovy’s Breakdown”. It just sings on that one.

Tinsley Ellis: Inspired by Steve Stills. He had a song, I can’t remember what the name of his instrumental was around the era of... it might have been Buffalo Springfield, or definitely Crosby, Stills and Nash, but he had an instrumental song that went kind of like that. That’s another song and an alternate tuning and that is folk music.

Rock And Blues International: Okay, “Tallahassee Blues,” I feel sorry for this guy. His woman left him, took his money. Took his baby, took his whole life from him and just left him with nothing. Now, tell me that’s not from experience.

Tinsley Ellis: No, it’s not. But I mean, what could be more poetic than a town named Tallahassee? It just kind of rolls off the tongue. And, you know, it’s definitely a Native American word like Chattahoochee. And it just rolls off the tongue and you got St. Louis Blues and Beale Street Blues.

And here you have the Tallahassee Blues and coincidentally, I’m playing this week in Tallahassee, so I’ll definitely do that song.

Rock And Blues International: That ought to go over real good there as soon as you announce it.

Tinsley Ellis: Right, Well, I think I may have to play it twice.

Rock And Blues International: People love to hear songs with the title of their town in there or somebody they know.

Tinsley Ellis: Yes, they really do. And Bo Diddley, you know, he used to put his name in every song. You know, “Bo Diddley Is A Gunslinger” and he has a song called “Bo Diddley”. So I’m sure he loves singing about himself. And I’ll be in Tallahassee and we’ll be playing that song and I’m sure it will get some applause as soon as they hear their name.

Rock And Blues International: Right. Yeah, Bo Diddley was quite a character. I’ve met him before we’ve interviewed before, which the interview didn’t exactly go as I planned, but things happen.

Tinsley Ellis: He was a character for sure. A friend of mine presented him in concert in Denver, and picked Bo Diddley up at the airport and he immediately said he was hungry and wanted to go to McDonald’s. So then he took Bo to McDonald’s and then they did the concert and then after the concert, he asked if McDonald’s was open and they went to the eat at McDonald’s after the concert. And in the morning, picked him up to take him to the airport and again he wanted to stop at McDonald’s and have breakfast, so he liked McDonald’s.

Rock And Blues International: That’s good. It’s affordcontinued on next page February 2024

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spot and then had to write the words to the songs after I recorded it.

Rock And Blues International: Isn’t that rough when you have to learn your own music?

Tinsley Ellis: That means it’s a pretty simple song if you can do that and it is a simple song. It’s mindless, and doesn’t tax the brain to listen to.

Rock And Blues International: Did you have an inspiration for this song?

Tinsley Ellis: Did I, let me think.

Rock And Blues International: Somebody in particular?

Tinsley Ellis: Maybe, maybe I did.

Tinsley Ellis (continued from previous page) able, it’s easy to get to, easy to get in and out and they’ve got great French fries.

Tinsley Ellis: You know what you’re gonna get there, that’s for sure.

But when I’m in Europe and see a McDonald’s, man, I always go. I go more there than I go here because I know what I’m gonna get there. And it’s gonna be the same worldwide, except that they put mayonnaise on French fries in France. Now that’s fucked up.

Rock And Blues International: They do it in Canada, too.

Tinsley Ellis: Yep. So that’s weird.

But anyway, they better not put any on my french fries. I put a little salt on mine. That’d be it.

Rock And Blues International: I went to London once and I looked out of the window of my hotel and right across the street was Kentucky Fried Chicken and yeah, that just freaked me out. I could not believe downtown London. It’s Kentucky Fried Chicken. And around the corner it was McDonald’s.

Tinsley Ellis: I think that, um... I could be wrong, but I think KFC is more popular outside the United States than it is in the United States.

Rock And Blues International: Oh my gosh!

Tinsley Ellis: Yeah, I think they they’re global presence is just like all the 14

other fast foods. But I think they do more business outside the U.S. and because you know, that’s a definitely an American fried chicken. Chicken the way they do it is definitely an American thing.

And so they’ve got their formula down.

Rock And Blues International: Yeah, that’ll work. Let’s move on to “Hoochie Mama”.

Tinsley Ellis: “Hoochie Mama”!

Rock And Blues International: Oh, yeah, “she’s the sweetest thing, she sugar in the morning. She’s an angel in the daytime and then she’s the devil in between”.

Rock And Blues International: I’m not even sure what a hoochie mama is, but it sounded kind of bluesy, so I decided to be a good song title.

Rock And Blues International: I always thought a hoochie mama was like, kind of like a loose woman.

Tinsley Ellis: Yeah, I think that’s what it means, like a hoochie coochie.

Yeah. And that particular song I wrote, I didn’t even write the lyrics out. I just had that “Hoochie Mama” title, I just started singing and I recorded the song. I just made it up on the spot. It’s definitely based on kind of an old Muddy Waters type song and then after I recorded that, I had to play it back to myself and write the lyrics out so it’s a rare time where I wrote a song just out of thin air on the

Rock and Blues International • February 2024

Rock And Blues International: “The Devil in Between”. It had very interesting lyrics. I like them. There’s a lot of imagery in this song too.

Tinsley Ellis: Yeah, it talks about the day and the night and then the devil in between is that time where it’s in between day and night, that’s twilight. I think, twilight hour, that’s what he’s talking about. That’s a spooky time of the day. You know, Twilight, It’s not dark and it’s not light either.

Rock And Blues International: Right? Well, we talked about “Alcovy’s Breakdown”. The next song on there is “Horseshoes and Hand Grenades”. Your girl was cattin’ around, is that what’s going on there? She gave herself to somebody else and it sounded like it became a habit.

Tinsley Ellis: That is a old expression. You know, they say ‘well, I got close’, then the other person says ‘well, close only counts in horseshoes and hand grenades’. And so that’s an old expression and in this song, he gets close to having it made with a woman but you know, close only counts in horseshoes and hand grenades. So a little bit, a little bit of humor there.

Rock And Blues International: Was it inspired by anybody in particular.

Tinsley Ellis: No, that was not. It was inspired by a cliche, and then I said that needs to be in a song.

Rock And Blues International: Good, because what this person is continued on next page

Tinsley Ellis (continued from previous page) saying, just doesn’t sound like somebody I’d like to know.

Tinsley Ellis: I can’t even remember what she did, but chances are if it’s in a blues song, it’s not a good thing.

Rock And Blues International: Yeah, there’s a lot of sadness in blues songs.

Tinsley Ellis: A lot of loose, loose morals too.

Rock And Blues International: Loose morals, alcohol, and just a little of everything.

Tinsley Ellis: It all goes in together to make one delightful package that’s worthy of song.

Rock And Blues International: I think my favorite song on here is “Grown Ass Man”. This has got like the fastest beat of any of the songs. It really has something. I guess you’re you get your foot really tapping on this one when you start doing it.

Tinsley Ellis: This song, “Grown Ass Man”, which is a good description of what I am. I’m a grown ass man. And that was almost the title of the album. And then I think somebody at Alligator said, this is kind of serious music and kind of dark blues in places and “Grown Ass Man” is kind of funny, so let’s go with a more serious title like “Naked Truth” and a “Grown Ass Man” is a story about... He says to a woman, ‘you just can’t stand serious love from a grown ass man’.

Rock And Blues International: Yeah. She wants liquor, wine, money, and you’re broke.

Tinsley Ellis: Yeah, she wants it all and she doesn’t get it.

And the man says she’s asking me for money, but I ain’t got a dime.

Rock And Blues International: Obviously, he was a musician.

Tinsley Ellis: Yeah, probably or something in the nighttime employment industry.

Rock And Blues International: Right, nightwatchman.

Tinsley Ellis: Yeah, something like that. Ooh, good title.

I’m writing that down right now, man. nightwatchman. Thank you.

Rock And Blues International: Oh, my pleasure.

Tinsley Ellis: Yeah.

Rock And Blues International: Now the last song on here closes with an instrumental, so you’ve got that mellow song to even at the album here, the easy out song.

Tinsley Ellis: Side B side closer.

Rock And Blues International: So the “Easter Song” and it’s the shortest song on the album. Was it an afterthought?

What was it? Was it another practice pattern you were doing?

Tinsley Ellis: It’s just like “Silver Mountain”. It’s in that same tuning which coincidentally is a tuning that Jimmy Page uses a lot on some of his songs. I think I mentioned “Kashmir” being one of them. And it’s a song that is, it’s pretty music. It’s a side closer and basically it’s there so people can settle the hell down at the end of the album. I think it’s a pretty piece of music and it’s really the only place it could go. You wouldn’t really want to put it in the middle of an album side. So it’s got to close the album side. And in this case, it closes the album.

Rock And Blues International: I think it’s a great closer there. I enjoyed that one too. But “Grown Ass Man” was my favorite one on it. That really has some great rhythm to it. It doesn’t have a drum, but it’s still got a great beat.

Tinsley Ellis: It’s got a finger snapping and foot stompin’ and on it which gives it that back beat and that’ll be a fun one to play live. I’ve only performed it once so far live and people can relate because blues fans, there’s a lot of grown ass men that are blues fans.

Rock And Blues International: Okay, you’ve been out continued on next page February 2024

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Rock And Blues International: When I was a kid, Billy used to give guitar lessons to the guitarist in our band.

Tinsley Ellis: Well, there you go. I can’t think of a better teacher. He’s such a tasteful player.

Rock And Blues International: Can you imagine having that as a legacy?

Yeah, I learned from Billy Gibbons.

Tinsley Ellis (continued from previous page) will I think that’ll be in May, from what

doing the solo thing already. How many of these songs appeared when you were performing?

I’m told.

Tinsley Ellis: I played them all live at this point at some point. I don’t think I’ve played them all together as an album live, but it’d be nice to be able to perform the album in its entirety once it comes out in February.

Rock And Blues International: Oh, that’d be great. I’d love to see you if you make it to Houston.

Tinsley Ellis: Yeah, I will. I’ve got a couple of different offers there to perform. And I’ve been playing Houston since the 1980s. I used to play a place there called Club Hey Hey.

Rock And Blues International: Right. It’s like the ninth or the 12th or something?

Tinsley Ellis: Yeah, the ninth.

Rock And Blues International: What’s the anticipation like? When you do an album like this and we’re sitting here talking a month away from the release date, do you get nervous?

Tinsley Ellis: I feel like I’m about to give birth or something. You know, I’m in the eighth month and I’m pregnant with this album. It’s ready to come out and it’s a uncomfortable feeling. In my mind, I’ve already imagined all different scenarios, and really it’s going to be what it’s going to be. There’s going to be this really long tour. I’m going to perform the album live nightly. I’m going to be doing a lot of interviews like this one and it’s gonna be a lot of driving. I’ve got shows all the way from the tip of Florida to Seattle to San Diego to Maine.

Rock And Blues International: Are you coming to Texas?

Tinsley Ellis: Yeah, I think that 16

Rock And Blues International:Oh, I remember that.

Tinsley Ellis: Great place on Washington Ave. And then I played the place across the street from them. I can’t think... that was....

Rock And Blues International: Rockefellers.

Tinsley Ellis: Yep, and then the Bon Ton Room.

Rock And Blues International: Right, Pat and Pete’s Bon Ton.Room.

Tinsley Ellis: Yep. And they were the ones that had Club Hey Hey, and then I played up in The Woodlands.

Rock And Blues International: Dosey Doe. Tinsley Ellis: Yep. At both of those locations, although I think there’s only one of them still left. And yes, I’ve had a just such a strong Texas music tradition.

I mentioned ZZ Top earlier. Probably my favorite rock and roll band. It’s still going.

Rock and Blues International • February 2024

Tinsley Ellis: Yeah, I wish I could say that. I’ve only learned by listening and playing along. I don’t know how you would teach what Billy Gibbons does, because he is such an extension of his amazing personality, but I would surely love to sit down and chew the fat with him with a couple of guitars.

Rock And Blues International: Well, you gotta keep it down to three chords.

Tinsley Ellis: That’s right. That is true. That’s a good formula right there.

Rock And Blues International: Well, so you’re self taught on this then?

Tinsley Ellis: Completely.

Rock And Blues International: No lessons at all? Or maybe a couple along the way?

Tinsley Ellis: Yeah, a couple right, when I was starting. I’d seen the Beatles on Ed Sullivan Show in 1964 and begged my parents for a guitar. They rented me an acoustic guitar with the stipulation that I would take some lessons and I think I took maybe three or four lessons and released myself on my own recognizance, and completely self taught. If you put a piece of sheet music in front of me, I would just stare at it and stop playing.

Rock And Blues International: So you don’t read music, it’s all by ear.

Tinsley Ellis: It’s completely by ear. I’m what used to be called a keg party jammer. Somebody would have a keg party with beer. And you know, I put together a collection of musicians and we jam out on some Allman Brothers and blues and Rolling Stones and Cream and stuff like that, and I haven’t really gotten far from that in all these years.

Rock And Blues International: But when you watched the Beatles on TV, what was it that inspired you to learn to be a musician? Was it the music? Or was continued on next page

Tinsley Ellis (continued from previous page) it the screaming from the girls?

Tinsley Ellis: It was the twang of it. It had the twang. I heard those guitars and the beat. And then of course, you saw the fans getting into it. And the whole thing just made me want to do music and then told my parents that’s what I wanted to do and of course, they were horrified. And that’s what I do now and I’m pinning the whole thing on those maptops.

Rock And Blues International: Yeah, so you probably remember the expression, something like ‘well, you better learn how to do something else, just in case’.

Tinsley Ellis: Yep. And that’s the problem with having something to fall back on, is you tend to fall back on it. So I’ve never had an escape plan, or else I would have probably taken it over the years several times.

Rock And Blues International: Well, that’s a good thing that you didn’t do that because then it just made you better and better and better. You’ve done what... 20 albums so far.

Tinsley Ellis: I think this is the 21st or 22nd album. And then I was in a band called The Heartfixers back in the early 80s and we did four albums. Some of those are included in those 20 ones so quite a few at this point. They started off when they were on vinyl and then vinyl went away and CDs and now vinyl is back so I’ve come full circle.

Rock And Blues International: Right, everything comes full circle in this business.

Tinsley Ellis: Yeah, it’s kind of like the croissant, the rolls. You know, I remember when those were called crescent rolls, and then they became croissants. And now they’re back to being crescent rolls again. So what goes around comes around.

Rock And Blues International: Right, so what do you want a person to think when they hear this album, especially the person that just heard your music for the very first time?

Tinsley Ellis: Well, I’ve always put the guitar in the driver’s seat, whether it’s electric or acoustic. And I’ve done one instrumental album. I’ve done some live albums and obviously this is a different guitar sound, but I think it puts the guitar in the driver’s seat. In fact, I’m sure it does still, because the guitar is the main denominator of all good music I like and so I’m thinking, it’ll be for guitar fans, in addition to being for blues fans, Rock And Blues International: It is totally different from anything you’ve done in the past. I mean, you worked with full bands before now. And now you’re naked on stage.

Tinsley Ellis: Yeah, some people might prefer one or the other. But we’ll see what happens. I mean, I’ve done live albums and worried about the sound quality versus a studio album. And then the Live albums are revered because there’s more energy to it. And so this is sort of like one of those specialty albums I’ve done in the past. I did an all instrumental album, and they’ll say you’re not going to sing on it, and then

I’d go, ‘well, no, it wouldn’t be an instrumental album, if I sang on it. And so this is one of those kinds of special albums and time will tell what’s next. But right now, this is what I got on the runway ready to take off.

Rock And Blues International: Well, you get to travel light with this. You don’t have to carry a ton of equipment and a van full of people.

Tinsley Ellis: Well, yes, but it’s also just me driving all over America. That’s a little scary, because I’m used to walking through dark parking lots in the middle of the night to get into my hotel room with a crowd of scary looking guys. And now it’s just gonna be me carrying a couple of guitars. So that’s a little, a little scary.

Rock And Blues International: I think I’ve been to a couple of those hotels before. You’re having to carry a suitcase and you looking looking all around you in all directions. And you see someone off to the side. And it’s a little apprehensive for you.

Tinsley Ellis: Yes, so that’s the trade off with with continued on next page February 2024

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Rock And Blues International: He’s got a new album out.

Tinsley Ellis: Oh, is it brand new?

Rock And Blues International: Yeah, it’s been within the last year which is relatively new.

Tinsley Ellis: Yeah that’s that’s the one I got the song on actually and time will tell as to whether that’s his last album or not but if I know John, he’ll at least keep recording. He is not touring anymore, but he just loves it.

Rock And Blues International: Now after over 70 years of touring, sometimes it gets a little old.

Tinsley Ellis: 90 years old is pretty old for sure. He’s older than Buddy Guy. Rock And Blues International: Yeah, So are you a touring musician or recording musician? What is in your blood.

Tinsley Ellis (continued from previous page) traveling by yourself, I think. You know, but I’ll figure it out. It’s gonna be what it’s gonna be.

Rock And Blues International: Well, when someone hears this album, what do you want them to come away with? What is the feeling that you want to instill in these people?

Tinsley Ellis: Hopefully, the songs are going to be memorable and like you had your favorite with “Grown Ass Man”, hopefully somebody else will hear one and say, ‘well, I really like “Windowpane” or something, for instance.

Hopefully, the songs will resonate, and I’ve been fortunate enough to have artists cover my songs over the years, my original songs, people like Jonny Lang and John Mayall and Mike Zito and Albert Castiglia. They’ve all done my songs and so maybe, maybe some of these songs will find their way into others repertoire as well.

Rock And Blues International: Yeah, when John Mayall covers one of 18

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your songs, you know, you’ve made it.

Tinsley Ellis: That’s kind of how I felt about it, because he was one of the guys that got me into doing blues music in the first place.

Rock And Blues International: I saw John Mayall perform. One of the times I saw him perform, and he was on a bill with a band called Brownsville Station, and Alice Cooper. And it was just the weirdest lineup you ever saw, but everybody loved every act.

Tinsley Ellis: That sounds like my kind of concert actually, those three acts... I may have seen all three of those acts before. I opened for Alice Cooper one time. I didn’t get to meet him. But I would have thought it was 1972. The audience... there’s a lot of people out there in the crowd, and he was great and I used to open for John Mayall quite a bit. He’s retired from performing at this point at the age of 90. But uh, yeah, I mean, that’s good.

• February 2024

Tinsley Ellis: That’s interesting that you say that. I used to be much more of a touring musician, but then the pandemic hit and I had almost two years off the road and I got into songwriting and recording more. So I would say that it’s the scale is tipping a little bit towards recording, but it’s primarily a live act.

Rock And Blues International: All right, well, I’m, I’m really interested in seeing you do this. You’re going to start the album at song number one and take it all the way through? Are we going to have some other songs thrown in between these?

Tinsley Ellis: Yeah, there’ll be songs in between from all the various albums, probably leaning heavily on the live album, which is sort of the most popular songs I’ve got, and a lot of songs off the “Storm Warning” album, which was by far my most popular album, 1994.

Rock And Blues International: Well, at least when you play the ones from this album here, you can actually going to hear what was on record since you pretty much kept it down to those two guitars.

Tinsley Ellis: Yeah, because in the past, I’d make an album either with studio musicians or with my road band and then I would add stuff to it, you know, get like a Chuck Leavelle or Reese continued on next page

Tinsley Ellis (continued from previous page) Winans to play keyboards or something on it, and maybe even put horns on it, although I’ve never traveled with horns, and I rarely traveled with the keyboards. But so now what you hear is what you get for, for the first time in many years.

Rock And Blues International: But that’s got to be a pleasurable thing to you.

Tinsley Ellis: Yeah, it will be nice. And like I said, it’d be nice to play the album every night in its entirety.

Rock And Blues International: All right. Well, I tied you up for quite a while. But what haven’t I asked that I should have asked What am I missing here.

Tinsley Ellis: I always like to direct people to my website, which is Tinsleyellis.com and they can see where I’m playing. And since your magazine is international, you know, there’s a good chance we’ll be going overseas at some point again, and people can see what I’m up to. There’s also a way to get autographed albums and CDs, some of the older stuff as well. So people do the mail order thing and just check out where we’re playing and maybe come out or send friends out to hear me play.

Rock And Blues International: Okay. What have you always wanted to be asked by an interviewer but never been asked and you’ve just sat there waiting for years going, “when the hell they’re going to ask me this one question”. Is there anything at all?

Tinsley Ellis: Let me think about that. A good question that I would like to be asked is ‘What did it feel like to win a Grammy? I haven’t won a Grammy, but if someone asked that question, it would mean that I had so that would be a great one to be asked.

Rock And Blues International: I was thinking I didn’t remember you winning one and I was thinking, Damn, how did I miss that one?

Tinsley Ellis: No, I would definitely be talked about if I had, but that would be a question I would love to be asked someday and if you live long enough and play roots music, eventually your time will come around. And you know, it’s been a long hard climb to the middle and work to playin’ blues and folk music until I can’t do it anymore. And that’s a long ways off for me.

Rock And Blues International: Well, let’s rearrange that question just a little bit. What would it be like for you to win a Grammy?

Tinsley Ellis: That would be really nice. I sure would love to. If I did, it would probably almost definitely except for this album might be in a folk music category, but it would be in a blues category and they tend to go to the elder, blues artists like Buddy Guy and John Mayall, Delbert McClinton, stuff like that. So I’ve got to wait my turn.

Rock And Blues International: Okay. And who are you going to thank?

Tinsley Ellis: Well, I would thank the fans first. I think that all acceptance speeches for things like that should thank the fans first and then you thank the business people next, but the fans always come first. You can’t go wrong making an album for your fans.

Rock And Blues International: Well, that’s a great answer right there. What, what else do we need to talk about?

Tinsley Ellis: I sure appreciate it today and I am looking forward to to reading this and and hopefully, it’ll come my way. I know you’ve got a Chris O’Leary story that’s out right now and his album is a damn good one. It just coming out this week, I think. Right?

Rock And Blues International: Yeah. Yeah, Chris was a hoot to talk to. I mean, the whole conversation we had... laughing during the whole interview.

Tinsley Ellis: Well, I tell you what, he’s, he’s sitting pretty now because it’s really hard to get a record deal with Alligator records, and everyone tries. And as you know, he’s gonna go from being relatively unknown to being like the man, starting this Friday.

Rock And Blues International: But it was his dream. That was his big dream. If you get around to reading the interview, continued on next page February 2024

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you?

Tinsley Ellis: The hotels will charge me extra if my dog pees in them.

Rock And Blues International: Oh, okay. Well, I understand that. I heard the conversation your dog had a little bit to say about the interview.

Tinsley Ellis:Yeah, the mail must have arrived or something. But uh, you know, I look forward to reading this very much and nice to make your acquaintance. I hope I see you in Texas when I play there.

Rock And Blues International: I hope we see each other that’d be wonderful. I want to thank you for the time you spent with me here. I really enjoyed our conversation and I’m looking forward to talking to you again and hearing the next album.

Tinsley Ellis: Thank you so much my friend.

Rock And Blues International: Okay, we’ll talk later then.

Tinsley Ellis: Bye bye.

Rock And Blues International: Bye.

Tinsley Ellis (continued from previous page) you’ll see that it was his dream. And we’re also going to have a podcast coming out with that interview in another week or so. In fact, your interview’s going to wind up in our podcast. Besides doing the magazine, we also do the podcast. For those that... say are reading impaired, or just too lazy to read. They just sit back there with a beer in their hand and listen to the interview.

Tinsley Ellis: It’s a good thing to listen to, like on a drive, for instance, where you wouldn’t be reading. You put something on, and I do that driving around, because it’s either that or talk to myself, and I try not to do that. But yeah, I mean, that would be a great way. I look forward to listening to that. I haven’t read the story. And although I scrolled 20

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through it, I guess a couple of days ago when it showed up in my feed. And so I look forward to hearing because I can do that while I drive alone all by myself.

Rock And Blues International: And you’re not going to take anybody on the road with you for companionship?

Tinsley Ellis: Not at this point. But there’ll be a time later in my life where I’ll need to do that. Right now, I’m just looking forward to just traveling at my own leisure. If I want to get up at six in the morning, take off. I’ll do that. If I want to sleep in, I’ll do that, I don’t have to organize a posse.

Rock And Blues International: You’re not going to bring your dog with

• February 2024

As you can tell, Tinsley just can’t wait to get out on the road and start performing this new album for his fans across America. With “Naked Truth,” Ellis continues to evolve his sound, stripping away the electric fervor to reveal a rawness that speaks directly from his soul. The album is a revelation, presenting another side of Tinsley Ellis that remains recognizable to his fans. His gruff, full-throated vocals seamlessly intertwine with bare, acoustic arrangements, creating a timeless yet immediate musical experience.

Having shared stages with legendary musicians and earning the respect of peers, Tinsley Ellis is set to bring Naked Truth directly to his fans in an intimate North American tour. Embracing the simplicity of “two guitars and a car,” Ellis promises an authentic live experience, staying true to the essence of the album. “Now I’m the whole band and there’s nowhere to hide. It’s scary every single time I go up on stage alone. But nothing could be more honest,” he concludes, highlighting the genuine and unfiltered nature of Naked Truth.

Saxon Announce New Album Hell, Fire, & Damnation And New World Tour Hell, Fire, & Chaos

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• February 2024

Saxon (continued from previous page)

By Kevin Wildman In the realm of heavy metal, the year 2024 dawned with a thunderous release from the legendary British band Saxon. Their 24th studio album, “Hell, Fire And Damnation,” set the stage for an auditory journey that seamlessly merged the old and the new. The album’s arrival on January 19th was marked by the commanding voice of internationally acclaimed actor Brian Blessed OBE, who added a touch of grandeur to the proclamation for the opening track, “The Prophecy.”

Delving into the origins of the album’s title, Biff Byford, the charismatic lead singer and founding member of Saxon, shared a charming anecdote from his Yorkshire upbringing. The phrase “Hell, fire, and damnation” was not just an album title but a familiar refrain from his father during moments of stern disapproval, a nod to the band’s roots that added a personal touch to the release.

Musically, “Hell, Fire And Damnation” showcased Saxon’s ability to traverse the expansive landscape of heavy metal. Biff’s vocals, a cornerstone of the band’s identity, reached new heights, resonating over the rhythmic canvas painted by Nigel Glockler on drums and Nibbs Carter on bass. The guitars, wielded by the dynamic duo of Doug Scarratt and Brian Tatler, added layers of freshness and ferocity, creating an amalgamation of sound that left fans eagerly immersing themselves in the album’s sonic tapestry.

Lyrically, the album unfolded as a collection of stories that spanned the annals of history and ventured into the realms of mystery. From the courts of Marie Antoinette to the battles of Kubla Khan and the historic clash in 1066, Saxon’s storytelling prowess was on full display. The title track itself delved into the eternal struggle between good and evil, prompting listeners to ponder their own choices in the face of such cosmic conflicts.

Behind the scenes, the production magic was orchestrated by the collaboration of Biff Byford and Andy Sneap, the latter also responsible for the meticulous mixing and mastering. The result was a raw and vibrant sound that captured the

essence of Saxon’s musical prowess without unnecessary embellishments.

Biff expressed his satisfaction, highlighting the immense, unfiltered guitar sounds that defined the album.

As the album resonated with fans, Saxon looked ahead to a promising year in 2024. The European tour, set to kick off in March alongside heavy metal titans Judas Priest and Uriah Heep, added an extra layer of excitement. Biff revealed that the urgency in completing the album was fueled by the anticipation of these shows, a testament to the band’s dedication to delivering an unforgettable live experience.

The departure of guitarist Paul Quinn from touring earlier in the year was met with a seamless transition as Brian Tatler of Diamond Head stepped into the lineup. This adaptability underscored Saxon’s resilience and commitment to their craft. The striking cover art, crafted by Péter Sallai, provided a visual counterpart to the auditory journey within the album.

In addition to “Hell, Fire And Damnation,” Saxon had treated fans to “More Inspirations” in March of last year via Silver Lining Music. This album, produced by Biff and featuring Seb Byford assisting with recording, was

a deep dive into the band’s influences, covering classics by Rainbow, ZZ Top, Cream, Nazareth, The Who, and Uriah Heep. It served as a retrospective celebration of the diverse musical tapestry that had shaped Saxon’s remarkable 40-plus-year career.

Biff as the remaining original member in Saxon’s current lineup, reflected on the band’s origins in South Yorkshire, England. Their journey, marked by around 23 million album sales and timeless classics such as “Denim And Leather,” “Princess Of The Night,” “Wheels Of Steel,” and “Power And Glory,” stands as a testament to the enduring impact of their music.

Biff Byford: Hello.

Rock And Blues International: Hello.

Biff Byford: Hi. Rock And Blues International: Biff, this Kevin with Rock And Blues International. How are you today?

February 2024

Biff Byford: Kevin Wildman, wow, continued on next page • Rock and Blues International

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Rock And Blues InternationaL: Well, when you say a magical time putting it together, when you go into the studio now, how is it like compared to when you first started going into the studio quite a while ago.

Biff Byford: Really, I don’t think it changed that much. We still do everything. You know, I mean we don’t... the drummer plays everything live, we don’t have any sort of computers, sequencers going on there. No looping or anything.

So it’s pretty similar, really, to tell you the truth. It’s just the dull digital thing versus analog thing. We use anything really that we feel like would make the sound better. So yeah, we have a lot of analog things going on. And we have a lot a lot of digital things going on as well. So but the basic process is just five guys in the studio making music really.

Rock And Blues International: Well, what I think I met is when you’re younger, and you go into the studio, it’s an extraordinary thing, you get excited and everything is new. Is the excitement still there when you go in now?

Saxon (continued from previous page)

Rock And Blues International: Although at our age, we can just kind of try to forget about the birthdays a little, don’t we.

what a great name. Okay, cool!

Rock And Blues International: Thank you. So, a couple of things.

Congratulations on the new album hitting the streets today.

Biff Byford: Yeah, yeah, it’s getting great reactions. So fingers crossed.

Rock And Blues International: And happy birthday.

Biff Byford: Oh, thank you very much.

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Biff Byford: The family like them, you know, but yeah, yeah. Get some. Get some weird presents at our age.

Rock And Blues International: Oh, yeah. Yeah. Well, congratulations on the new album. I love it. It’s great. It’s everything you would expect out of Saxon.

Biff Byford: That’s great. Yeah, it’s a bit of a special album, this one. It was one magical time pulling it together. So yeah, it was pretty good really.

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Biff Byford: I think we do things a bit different now. We’ll tend to go in.... it’s a bit more workman like now I think.

Writing the songs is very similar to what it was in the early days, because you’re quite excited when you’re writing new tracks, and it’s going really well. But in the studio, I think you have to get down to business and concentrate and play really great. I think back in the day, it was more exciting. You know, you’re only like 20 years old or something, playing your guitar or singing and the first album was like you’re excited, really. But I still think we get a great, we get a great... A lot of juice comes out from recording and new songs, really.

We want them to sound great and we want to write songs as good as we did back in the day. So it’s a different feeling, but still great.

Rock And Blues International: Well with 24 studio albums to your credit, and God knows how many live albums and compilations you’re on out there, I was counting like at least 35 to 40 Does that sound about right?

Biff Byford: Yeah, right. Yeah.

That’s about right.

Rock And Blues International: All continued on next page

Saxon (continued from previous page) right. Well, the the songs on this album, the subject matter on here is really quite varied and I really liked that. It goes from one thing to another. “ Hell, Fire And Damnation” goes to “Madame Guillotine”. “She liked to meet you but don’t lose your head”.

Biff Byford: Yeah!

Rock And Blues International: Where’s the inspiration come for some of these songs. Tell me about “The Prophecy”. That opens up with Brian Blessed on the opening part there.

Biff Byford: The first part of the album is passionately about good and evil, really, it’s about the fight between good and evil, and light and dark and there’s a prophecy in the film, “The Omen”. There’s a prophecy that said, the end of days is coming and there’ll be a big battle and who will win? So that’s what the song is about. And that’s what Brian Blessed is talking about. He’s explaining what the first song is about. A lot of bands do songs about demons and devils and sort of Satan and Satanic this and Satanic that, which is pretty cool, but I just wanted to do one that was a bit more like even, good versus evil, evil versus bad. Which one are we going to choose? Where you’re going to be, are you going to be evil, are you going to be bad, follow the light way or the dark way. I suppose it’s a bit like Star Wars, you know, you follow the dark side or you follow the light side. And I think that theme is in everything these days.

old English., I suppose it’s a way of cursing really, but not quite as bad.

Rock And Blues International: All right, the next song on here, “ Hell, Fire And Damnation”, that’s got an interesting story to it that comes from a saying that your father used to tell you.

Biff Byford: It has, but I don’t think in our genre of music, anybody really cares?

Biff Byford: Yeah, my father used to say it. A lot of people say it in the north of England, not so much now, because it’s probably not woke enough.

But yeah, back in the day, my father would use that as his sort of.... if the car wouldn’t start or you couldn’t get something to work, he would say, “Hell, fire and damnation, this car won’t start again, that sort of thing. It’s still used, I think, in some parts of England. It’s an

Rock And Blues International: Well, obviously, it’s something that stuck with you over the years.

Biff Byford: Yeah, my wife used to say it when I first met my wife, she’s from like, Midlands. She used to say it, so it’s definitely in people’s vocabulary. I don’t think people say so much these days, because everything’s a bit woke, isn’t it? You know, you’re not supposed to do that and you’re not supposed to say that. So I don’t really care about that, it is what my father used to say. And it’s a great tangent, I think for a song and an album.

Rock And Blues International: Yeah, political correctness has kind of screwed things up a little over the years hasn’t it.

Rock And Blues International: Right, right. I just love that the subject matter here. Then we go into “Madame Guillotine”. You’re you’re talking about an instrument of death.

Biff Byford: Well, I’m singing the song from from that point of view. You know, it’s a little bit Alice Cooper-ish I think. I wanted the song to be a little bit like that, and then Alice used to write these songs, probably still does, but quite sort of humorous, but serious at the same

time. You know, “I Want To Be Elected” and “School’s Out” and I wanted this to have that same sort of flavor in the chorus. So yeah, it’s quite an old style Saxon style guitar riff with a sort of Alice Cooper twist to it really. So the guillotine, a bit like the electric chair, it’s a famous execution instrument. Marie Antoinette was Queen of France, and she was the most famous person that got chopped by it. So it’s an interesting story and then if people want to check it out, and just Google it, it’s on Wikipedia. It’s all there.

Rock And Blues International: Well, I find the lyrics very interesting. I really liked that. “Let me introduce you to Madame Guillotine. She’d love to meet you, but don’t lose your head.”

Biff Byford: Yeah, I like that, sort of, bringing that sort of humor into a dark song. Actually, it’s great.

Rock And Blues International: Who’s responsible for the lyrics for that?

Biff Byford: I write all the lyrics.

They are all coming from my crazy mind.

Rock And Blues International: So you got a great sense of humor on top of all that.

Biff Byford: I think it’s good to introduce that sort of thing. You know, in some of the songs. I think it’s cool, a bit like Alice Cooper does. All I can say

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ground zero for UFO enthusiasts. And I think everything from that point, all the Area 51 and all the mysteries and all the conspiracy theories about flying this, and do we know aliens, and do we have alien technology? It’s all stems from Roswell, really? So I think it’s really interesting.

And yeah, I mean, I’m a believer, I thought there’s something in Roswell. So that’s what the lyrics about really? They said it was a weather balloon and I don’t believe them.

Rock And Blues International: Have you been to Roswell?

Biff Byford: No, I’ve not been to Roswell, I’ve been to Salem though, which is one of the songs, but now I’m going to visit Roswell on the next tour.

When we get down to Texas, I’m going to go there.

Rock And Blues International: Okay, that’s cool.

Biff Byford: We’ll shoot the video there. I know you can get alien burgers in the local cafe there.

Rock And Blues International: Oh, yeah, you can get just about any kind of thing there. I think you can get little alien masks. They’ve got the museum there.

Saxon (continued from previous page) really is he’s got that sort of style about him as well.

Rock And Blues International: Right. Right. Tell me about “Fire and Steel”.

Biff Byford: Well, “Fire And Steel”, It’s about a city called Sheffield, in England in Yorkshire and it was my big, my big local city really when we were trying to play in bands and learning to play our instruments and things. and we used to check and watch all the bands, you know, in the 1970s. So yeah, the city was very famous for steel like some of the big American cities are. So I think in the 1970s, if you’re using a knife 26

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and fork, it was probably made in Sheffield. They invented stainless steel there, so it’s a very famous town, a very industrial town and I went to see many, many bands there in my youth. So that’s what the song is about really, “Fire And Steel”.

Rock And Blues International: It’s kind of a salute to Sheffield then.

Biff Byford: It is yeah, it is and to music really.

Rock And Blues International: Well, the subject matter on here spans the whole world, from France to Venice, to the U.S. to the waters off the coast of England there and then we got “There’s Something In Roswell. What made you pick Roswell of all things?

Biff Byford: Well, Roswell, the crash in Roswell in 1947 is sort of

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Biff Byford: Yeah, we’re gonna do it, I’m gonna visit and see what.... They should play our song there, shouldn’t they on the channel there. That’s a classic song that Roswell can have. You know, they can play it for free if they like.

Rock And Blues International: It should become the theme of the town.

Biff Byford: It could be, yeah, could be. U2 could have “Streets With No Name” and we could have “There’s Something In Roswell,” that’d be great.

Rock And Blues International: Yeah, it would be. Well, now we’re heading over to Venice with “Kubla Khan And The Merchant of Venice” I guess I don’t know that story, so tell me a little bit about that.

Biff Byford: Well, it’s an old story.

Back in the day there was a warrior called Genghis Khan. Khan conquered nearly the whole of Europe and into Egypt and Asia. One of his grandsons continued on next page

Saxon (continued from previous page) ended up being the emperor of China.

And a guy called Marco Polo went from Venice there, wrote about it, and he found out that they had invented gunpowder. They invented silk, they invented porcelain, pottery. So many things that was in the West never even seen before. It’s just a good story. Again, you can you can read about it. It’s good. it’s good stuff.

Rock And Blues International: Well, just about everything here is in the history books.

Biff Byford: All this historic stuff fits the metal genre. Iron Maiden do it all, you know, The Tale of the Ancient Mariner. They do quite a lot of historic stuff as well. I think it’s maybe a British thing.

Rock And Blues International: Perhaps, I don’t know. Well, that brings us to “Pirates of the Airwaves”. That was an interesting time when if you wanted to hear rock and roll, it had to be bootlegged. It had to be broadcasted from ships off at sea so they couldn’t be located, the stations couldn’t be located.

It was great to see you do a kind of a tribute to them too. I suppose you listened to a lot of that.

Biff Byford: Yeah, the government wouldn’t allow any radio stations to get licenses. So young people in England didn’t have any outlet to listen to any sort of music they wanted to so these pirate radio stations set up outside the exclusion zone in the sea. Some of them were in Europe and they’d beam in, usually late at night because the BBC station used to stop around 10 - 11 o’clock at night. So we all had to go to bed and be very good little boys and girls. But you know, we all stayed up and listened to these pirate radio stations, so started a big revolution in the UK. Rock And Blues International: Did you ever favorite station that you listened to?

Biff Byford: Yeah, I used to listen to Radio Luxembourg actually, The other big one was Radio Caroline. But in all that massive youth revolution in the 60s,

the swinging 60s basically comes from that. They beat the government actually and created a new fashion, music and everything.

fascinated by Europe.

Rock And Blues International: They sure did. They sure did. And you had people like John Peel that made a big splash in the music business as well.

Biff Byford: Independence Day in America. It’s that sort of thing.

Biff Byford: Yeah, definitely. Yeah, that period was a fantastic time and I was a young teenager in that period, so it really burnt into my memory.

Rock And Blues International: Now, tell me about “1066”. I’m not familiar with that altogether.

Biff Byford: Well, you wouldn’t be because it’s about the invasion of England by the Normans, the guys from France that invaded England and they beat the Saxons. So it’s an important day in English history. 1066. Everybody learns about school. Again, I’m sure outside the UK, nobody knows about it.

The French teach it in their schools as well. But 1066 is a big date in the calendar in England, definitely. Well, in the UK, basically. Because it had a massive effect on Scotland and Ireland as well, and Wales. So, yeah, it was an invasion that happened in 1066 and people keep going on about it today. It’s always on TV. It’s always in books. It’s always on documentaries. People are

Rock And Blues International: Yeah. Is there a specific date?

Rock And Blues International: Right. Is there a specific date that it’s celebrated?

Biff Byford: There is a specific date, yeah. It’s called ‘Battle Day’, but I don’t know what it is at the moment.

You’ll have to Google it and find out, but yeah, there is a day.

Rock And Blues International: Yeah. All right. And now we’re back over to Salem, Massachusetts for the witch trials or the “Witches of Salem”.

Like I said, the subject matter on this album is quite extraordinary. Now, what brought you back to the witches of Salem?

Biff Byford: Well, again, you know, we wrote a couple of songs in the past called “Witchfinder General”, which was based on the witch trials in the UK, in Scotland. The Salem witch trials are really famous. There’s been a few films made about the Salem witch trials. And when you look into it and read about, it’s

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prove that they weren’t which they could never prove they weren’t.

Biff Byford: No, once you were accused, it was very rare unless you are absolutely filthy rich, which is probably the same today. But if you filter it maybe you can get away with it. But if you were accused, then that was it really. That was the end you know, it’s a bit sad really?

Rock And Blues International: Yes. You finished the album with “Supercharger”. That’s a really, really good and fast pace song there. I love that thing.

Tell me about that, the inspiration behind that song?

Biff Byford: Well, yeah, I mean, Douglas, one of the guitarists came up with this riff actually, and he sent me the riff, I was like, What a killer riff, you know, it’s really is a killer, killer rock riff. Back in the day we used to go to a place called Santa Pod down in the southern part of England where all the American air bases were then. They used to do drag races there. The GI’s or the Air Force men used to build drag racers and race them down at Santa Pod. We used to go down and watch them. So that’s where that inspiration comes from, Drag Racing and watching the Americans drag race at Santa Pod. So that’s where that song comes from really.

Rock And Blues International: And now you’re going out on tour with this album, and it looks like you’re... You’ve got so many days lined up, it’s gotta be rough on you to go out on what appears to be already a four month tour, starting out in the UK heading to Germany, and then back over to the U.S. and then back to Europe. That’s got to be pretty grueling.

Saxon (continued from previous page) actually a sad thing, really because it’s just people’s paranoia, and sort of religious sort of fanaticism that sort of accused the women of being witches, when, obviously they weren’t, they were innocent. But just that period is a 28

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fantastic period to look into. And, you know, yeah, let’s sing a song about witches. I’m saying that they were innocent, is what I’m saying in that song.

So I’m not saying they were guilty. So yeah, yeah, it’s an interesting period in American history.

Rock And Blues International: Well, yeah, you even had people that if someone was jealous of another person, they’d accuse him of being a witch and they had to go through all these things to

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Biff Byford: Yeah, it is grueling.

Yeah. I mean you have to relax as much as possible, really, with all the traveling and just concentrate on the show, concentrate on the show, and relax a bit.

Really, whatever you do to relax, whether you want to drink a few bottles of beer or a bottle of wine or something.

You just relax and try and sort of keep your energy for the show. That’s how to do it. Sounds easy. But obviously, as you get older, it’s harder.

Rock And Blues International: Oh, yeah, everything gets harder as you get older. And you don’t have too many continued on next page

Saxon (continued from previous page) dates off on this tour. Some of these you’re doing like three days in a row, you might get a day off. You’re lucky on a couple of these you have a day in between them, what do you do on your days off?

Biff Byford: Well, mostly we”ll stay in bed late, you know, relax a bit, usually have a nice meal in a restaurant, probably get drunk, but some some guys stay in their rooms, and just have some private time. Or the guys all go out together into a bar or something or rock room. We just basically do our own things really on the days off. You know, some people will like I said, some people have a quiet time, other people will go out with their mate who that where they usually go out with so it’s a relaxing day.

So we don’t really do too much your stuff, some nice food and maybe a nice wine, you know.

Rock And Blues International: And let’s see, the European tour features Judas Priest and Uriah Heep. And the U.S. tour just features Uriah Heep with you. I’m told that you alternate opening gigs.

Biff Byford: We will be, yeah. I mean, you know, in some cities Uriah Heep will be more popular and other cities Saxon will be more popular. I mean it’s quite common in America to switch headliners. We’ve done it before.

Rock And Blues International: Well, what’s it like to tour with friends of yours? You’ve known these guys for forever, maybe longer than forever.

Biff Byford: Yeah, we’ve known them for a while. Really? I mean, we’ve known Judas Priest probably more than Uriah Heep because we used to tour together in the 80s. So, yeah. I mean, it’s good fun, they’re and they’ve got a great legacy of music, haven’t they, Uriah Heep and Judas Priest. When we’re together. It’s a great package, isn’t it for fans.

Rock And Blues International: Oh yeah, it’s a great package there.

Biff Byford: Uriah Heep’s been making albums since the late 60s I think.

We only started making albums in 1979, so they have more albums than we have I think. So yeah, I mean it’s a great package really for the two bands. The music’s not the same, so it’s going to be a great, great thing for music lovers definitely.

Biff Byford: It’s impossible to make a setlist that pleases everybody, because we have a lot of hardcore fans that probably want some songs we’ve never played before. So it’s always hard choice to do a setlist.

Rock And Blues International: Well, I first started seeing Saxon in the 80s, so If you didn’t record till 1979, then I got in on the ground floor of something really good.

Rock And Blues International: Oh, yeah, it’s hard to please everybody, that’s for sure. How many songs off the new album can we expect to hear on the new tour?

Biff Byford: Yeah, yeah, “Wheels Of Steel” days and “Denim and Leather”, “Strong Arm Of The Law”.

Yeah, it was a good time to get into the band really.

Biff Byford: I’d say maybe six, maybe seven.

Rock And Blues International: Do you still enjoy touring as much as you did back then?

Biff Byford: Yeah, I think we do.

Yeah. Because it’s all about the new album. We’re not really touring on the big hits, if you know I mean, so it’s a bit different touring on your new album because you have something new to show to people and something new to talk about. You know, you’re not always talking about something that happened 45 years ago. So it’s pretty good.

Obviously, we play all the big hits when we’re playing live. We concentrate on the new album as well.

Rock And Blues International: Well, with 24 studio albums, it’s going to be awful hard to try to even pull one song from each album, so how many songs.....

Rock And Blues International: Oh, that’s great. That’s a good healthy amount there. I remember in the early days of touring, when a band would go on the road, you’d hear them do almost their entire new album. And I remember asking someone one time. Well, why do you do that? And they go, Well, it’s because that’s all we have.

Biff Byford: Back in the day, that’s probably true. Actually. If you’ve only got a few, and your album was big. You know, like say Van Halen or something with a huge big album. They probably did some cover versions when they headlined, I suppose Rock And Blues International: Yeah, yeah, they did. I remember seeing Wishbone Ash. I mean, you’d hear the whole album. So are there any songs in particular that you just love? You have to do that song each show? It doesn’t

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Biff Byford: We’ll get some good breaks as well, you know, so when you do get a break, just to live like it’s the last day.

Rock And Blues International: Would you like to say anything about your bandmates on here. A couple of them have been with you for a long, long time. I’m sure that you are a really good oiled machine.

Saxon (continued from previous page) matter what show, you need to hear that song when you step up to the mic, you feel the pain in your chest?

Biff Byford: Yeah, you have to do “Crusader”. Especially in America. It’s a big song. “Power and the Glory” is a big song we have to do. “Princess of the Night” from “Denim and Leather” is a pretty cool actually.

Rock And Blues International: All right. Well, what do you want people to think about the new album? What do you want to come away with when they listen to the album?

Biff Byford: Oh, we just want them to love it really. I mean, we think it’s a great album. We put a lot of heart and soul in that album. And, you know, it’s come out sounding fantastic with Andy Sneap producing. So yeah, we just want people to check it out really, and come away going, them guys, they’re still rockin’. It’s a great album.

Rock And Blues International: If someone listened to your music for the first time, what do you think you’d like them to hear first?

Biff Byford: I thing if someone hears “Hellfire and Damnation” from the neighbor’s house across the street, 30

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they’re gonna go and check it out definitely.

Rock And Blues International: Oh, all right. Well, what have I missed that we should have talked about so far?

Biff Byford: Sorry” Rock And Blues International: What have I missed in this interview that we should have talked about so far?

Biff Byford: Nothing really, you’ve covered most of the songs about the new album and the new tour. And I think we’re going to try and come back.

We’re not doing any Canadian dates this time or on the west coast. So we’re gonna try and come back and do a few of those after the summer. We’re pretty busy up till August, I think. So yeah.

That’s the plan. That’s the master plan, whether it happens or not, is one of those things, but that’s what we intend to do.

We intend to go to Japan, Australia, some more shows in America, Canada, some more shows in Europe as well. So yeah, that’s the plan for the year.

Biff Byford: So this is gonna probably turn into a year long tour.

Biff Byford: It will be a year long tour. it starts in March and probably won’t finish until April in 2025, I would have thought.

Rock And Blues International: Oh my gosh, yeah, that’s gonna be a long time on the road.

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Biff Byford: Yeah, I mean, the thing is we have a lot fans in America, we have a lot of fans from the 80s in America with the big, big tours with Maiden and across across the country coast to coast. But we picked up a lot of new fans in America over the last 10 years. The fan base in America is really loyal and it’s getting bigger and bigger, really. So we’re always trying to come to America. It’s always on the top of our agenda and we’ve managed it this time.

We haven’t been since before the pandemic. I think the last time we played in America was with Judas Priest on the “Thunderbolt” tour. So, yeah, we’re really looking forward to it and I think people will be really happy with the new album, the way it sounds live. And yeah, the big hits are going to be in there as well.

Rock And Blues International: All right. Well, tell me a little bit about the band, your band members, your colleagues there, and, and how you feel working with them still.

Biff Byford: Yeah, I mean, obviously, we haven’t really had a lineup changes since 1994. Brian Tatler is in the band now from Diamondhead, which is, you know, the dynamics of the band’s changed a little bit, I think it’s changed for the better. Because he brings a bit of a, you know, he hasn’t really had much chance to write some of these great riffs before. So he came along with a couple of great riffs in fact, “Hellfire and Damnation” is a Brian Tattler riff. So yeah, I mean, the guy’s are great really.

And Douglas Scarratt is a guitarist, writing great riffs, great songs. Nibbs Carter, the bass player is a great songwriter, as well. Nigel Glockner is a drummer, you know, he plays keyboards, so it surprises with a lot of noises and things and, you know, things like that.

So, as a band, we’re a great working unit. And we all play multiple instruments, so it’s really good fun writing. I play guitar sometimes, sometimes Nibs continued on next page

Saxon (continued from previous page) will play the drums. I play bass guitar so we have a lot of fun writing music together.

Rock And Blues International: That’s wonderful. Well the drums on this album are just thunderous. They’re just something really, really special.

Biff Byford: They are and we recorded the drums in an old cinema, on the stage in an old cinema, so it sort of sounds like that. It sounds big. And that’s what we wanted, really.

Rock And Blues International: All right. Well, I think that’s about all I have for this right now. Unless you have something you’d like to add that I should have asked and I didn’t ask.

Biff Byford: No, nothing, really.

Great interview. I like talking to you.

And hopefully everybody loves the album and, you know, spread the word and try and get as many people listen to it as possible. That’s, I think that’s the way to go.

All right. Well, we’ll certainly help spread the word for it. And I’m looking forward to seeing the band when you come to Houston. That’s where we’re based out of.

Biff Byford: Yeah, well, by the time we get to Houston, we should be really firing on all six.

Rock And Blues International: Oh, yeah. I think it’s like, the third day before the end of the US tour. hope so. Thank you for taking my call.

Biff Byford: That’s right. Yeah.

Should be great. Yeah. We always love playing Texas, so that’s gonna be a great finish.

Rock And Blues International: Well, Texas has always been a big heavy metal state. We go for the hard edge stuff here.

Biff Byford: Definitely. You don’t mess about. Okay, good. It’s been great talking to you. And I’ll speak to you again sometime. See you in Houston.

Rock And Blues International: I

Biff Byford: No problem. See you later.

Rock And Blues International: Okay, bye.

Biff Byford: Bye. Well it certainly looks like Saxon has another sure fire winner on their hands with “Hellfire And Damnation” This album is fantastic and ranks up there with some of the biggest hits of their career. Every song on this album, from the opening notes of “The Prophet”

to the closing notes of “Super Charger” is Saxon at their finest. Every song on the album is heavy as can be and just rocks. Now, with the European tour looming on the horizon and the album poised to make waves in the heavy metal scene, Saxon’s enduring legacy seems destined to leave an indelible mark on the landscape of rock music, ensuring their place as torchbearers of the genre for generations to come. Heavy metal fans, don’t hesitate. If you get a chance to see Saxon on this tour, be sure you do.

Not only will it be one of the heaviest shows you’ve ever seen, it will be one of the best. Don’t miss Saxon on Hell, Fire And Chaos” Tour.

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Gulf Coast Records Announces the Signing of New England-Based Blues/Roots Band, The Wicked Lo-Down, and Will Release Their Label Debut, Out of Line, on March 8th Band Will Celebrate Album Release with Gulf Coast Records Revue at 14th Annual Winter Blues Festival in February The Wicked Lo-Down: A Blues Odyssey Unleashed by Gulf Coast Records Pre-order The Wicked Lo-Down album here at https://www.wickedld.com/ 32

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By Greg Fontaine Gulf Coast Records is making waves in the music industry with the recent signing of The Wicked Lo-Down, a New England-based blues and roots band poised to inject a fresh rhythm into the genre. March 8th, 2024, marks the highly anticipated release date for their label debut, “Out of Line,” a musical journey that blends raw Texas blues and hardhitting Northeast R&B. Comprising the formidable lineup of Nick David (Vocals/Harmonica), Paul Size (Guitar), Jeffrey Berg (Guitar/Background Vocals), Brad Hallen (Bass), and Nick Toscano (Drums), The Wicked Lo-Down brings forth a sonic tapestry that captivates audiences with its authenticity and sheer musical prowess. The album, produced by the band and meticulously crafted by Jeffrey Berg at Walking Stick Studios in Auburn, Mass, serves as a testament to their dedication to the craft.

Gulf Coast label head, Mike Zito, couldn’t be more effusive in his praise for the band, stating, “Nick David has a blues and rock ‘n’ roll sound that’s deep and soulful. His singing, writing, and harp playing are old school, yet fresh all at once. The Wicked Lo-Down is a fantastic group behind Nick. Paul Size on guitar is legendary in Texas Blues. Together they bring an exciting new album to the genre and Gulf Coast Records.”

Lead singer Nick David echoes the excitement, “We are honored knowing that Mike Zito sees something in us and our music that is worth putting some muscle behind. Gulf Coast is the perfect label for the music that we are creating, and we look forward to a long and fruitful relationship with them.”

Founded in the tumultuous year of 2020 just before the global pandemic, The Wicked Lo-Down is the brainchild of guitar virtuoso Paul Size and powerhouse blues belter Nick David. Their debut album, “We Hot,” garnered critical acclaim, establishing them as a force to be reckoned with in the blues world. A testament to their resilience and creativity, the band forged ahead to create their second record, “Out of Line.”

“Out of Line” promises a musical journey, featuring 11 original tracks and two unexpected covers, including a bluesified rendition of Britney Spears’ “Toxic,” transformed into a fierce, rockin’ Texas shuffle with the help of the great Monster Mike Welch on guitar. The album places a spotlight on the songwriting prowess of Berg, David, and Size, ensuring a listening experience that resonates with hard-core fans of blues legends like The Red Devils and the original Fabulous Thunderbirds.

One of the standout tracks, “The Wildest One (Lester’s Boogie),” serves as a heartfelt tribute to the late Lester Butler.

Crafted around a riff that reminded longcontinued on next page

Wicked Lo-Down (continued from previous page) time bandmate Paul Size of Lester, the song’s lyrics by Nick David pay homage to the life and music of the great bluesman.

The Wicked Lo-Down is set to celebrate the release of “Out of Line” at the 2024 New England Winter Blues Festival and Tour as part of the Gulf Coast Records Revue. The band will grace the stage alongside other recording artists, bringing their unique sound to the forefront of the blues scene. Limited editions of their new CDs will be available at these shows, with additional CD release parties planned for the spring, promising fans more opportunities to dive into the band’s sonic universe.

The 2024 New England Winter Blues Festival, a monumental event, will feature not only The Wicked Lo-Down but also showcase the talents of four Gulf Coast Records recording artists and four revered guitar slingers, including Popa Chubby, Albert Castiglia, Monster Mike Welch, and the legendary Paul Size, ready to unleash a bona fide Blues Guitarmageddon upon New England.

In the heart of the blues and roots realm, Gulf Coast Records proudly presents The Wicked Lo-Down, a musical consortium set to redefine the very fabric of their genre. The saga commences on March 8th, 2024, with the unveiling of their latest creation, “Out of Line,” promising an auditory voyage that fuses raw Texas blues with the soulful echoes of Northeast R&B. Nick David, a dynamo blues shouter and unorthodox harmonica ace with a 25year legacy, takes center stage in this musical odyssey. His mesmerizing stage presence, honed through years fronting Mr. Nick & the Dirty Tricks and collaborating with legends like Luther “Guitar Junior” Johnson and Ronnie Earl, sets the tone for a performance that transcends the ordinary.

Paul Size, a 40-year maestro of blues guitar, emerges as a juggernaut in The Wicked Lo-Down. His journey from The Red Devils and Mick Jagger to collaborations with The Allman Brothers and The Black Crowes places him among Texas Blues royalty. Size’s indelible mark on the genre promises a sonic journey that resonates with the essence of blues craftsmanship.

As the rhythmic heartbeat of the ensemble, Brad Hallen, a full-time musician since 1975, has adorned over 200 records with his bass mastery. His extensive collaboration with blues and

R&B luminaries like Duke Robillard, Susan Tedeschi, and James Cotton showcases his versatility, commanding the rhythmic pulse that defines The Wicked Lo-Down’s sonic landscape.

A stalwart in the New England Blues scene for three decades, Jeff Berg wears many hats in The Wicked LoDown’s musical tapestry. Fronting and playing guitar in Night Train, contributing bass for Ryan Hartt and The Blue Hearts, and serving as the chief recording engineer at Walking Stick Studio, Berg’s multifaceted contributions stand as a testament to his deep-rooted musical expertise.

Completing this ensemble of sonic storytellers is Nick Toscano, whose drumming experience spanning over 30 years has left an indelible mark on diverse musical settings. His rhythmic prowess, heard on albums by various artists, amplifies The Wicked Lo-Down’s live performances, shaping the dynamic presence that defines their stage allure.

As “Out of Line” emerges as the next chapter in The Wicked Lo-Down’s musical legacy, each band member’s

individual brilliance weaves together a narrative that beckons audiences to join this extraordinary ride. In the realm of blues and roots, a new saga is being written, and The Wicked Lo-Down invites music enthusiasts to embark on this harmonic odyssey.

Out of Line Track Listing and Songwriting Credits 1) Kill Me or Keep Me (J. Berg) 2) Marchin’ On (N. David, P. Size) 3) Bogeyman (N. David) 4) Out of Line (N. David, P. Size) 5) The Wildest One (Lester’s Boogie) (N. David, P. Size) 6) Toxic (C. Dennis, H. Jonback, C. Karlsson, P. Winnberg) 7) Action Woman (N. David, P. Size) 8) If I (J. Berg) 9) Dime Store Darling (J. Berg) 10) You Don’t Know Me (J. Berg, N. David) 11) Vanna Be (P. Size) 12) Put Up With You (N. David) 13) Just Can’t Make It (T.R. Taylor)

The Wicked Lo-Down Socials Links: Website: https://www.wickedld.com/.

Facebook: https://www.facebook.com/thewickedlodown Instagram: https://www.instagram.com/the_wicked_lo_down/ https://www.gulfcoastrecords.net/ February 2024 • Rock and Blues International

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Dr Sugar, the sweet Crescent City lands in Montpellier

by Edoardo Fassio Pierre Citerne, one of the most relevant figures in the lively French music scene, has more than a quarter of a century of militancy behind him. A multi-instrumentalist and a singer-songwriter with a tender and confident voice, he is the founder of Les Marvelous Pig Noise.

With that band, inspired by both classic gospel quartets and Ry Cooder’s Moula Banda Rhythm Aces, in 2001, he won the France Euro Blues award as best French singer. Five albums, twelve years of full activity, 500 performances in his homeland and on stages in Italy, the Netherlands and England.

Citerne, who lives in the south of the Hexagon - in the heart of the Occitan area of the Mediterranean, not far from Montpellier - feels a special affinity with the sounds of the Deep South of the United States. Above all, it is the music and culture of Louisiana that seduces him. A region with a French past - the dominion lasted for more than a century - and a city, New Orleans, where ethnic and cultural stratification contributed to the birth of blues, jazz, gospel and hosted the subsequent evolutions of rhythm & blues.

And it is with a funky blues-with-rhythm, of a frank and personal nature, that Citerne has re-emerged in recent years as a solo artist. He now adopts the nom-de-blues of Dr Sugar, a “doctor” who apparently graduated from the same university as Dr. John, Prof. Longhair and Snooks Eaglin.

On his debut record, These Words, Sugar plays guitar, piano, dobro and harmonica; he is joined by Niko Sarran (drums, percussion, and production), Pierre Cordier (bass), Emmanuel Beer (Hammond B3), Philippe Anicaux (brass) and the exquisite New Orléans Gospel Quartet on backing vocals.

The album consists of ten original songs, all in English except the last, “Je m’suis bonifié”, a witty confession in his native language, whose groove is contributed by a solo from guest guitarist Bruno Deplaix.

The conceptual and sonic references are numerous: there is both old England and the legacy of Syl Johnson’s soul blues in the hypnotic “My Heart Is Beating”, while in “The Little Church” Levon Helm and James Booker meet.

The obvious respect towards the Crescent City, mostly perceptible in the second-line moods of “Ready to Love Again” and in the old-school funk of “Half-Hearted Lovin’ (Just Won’t Do),” becomes an explicit cry of love in “I Want to Go to New Orleans,” a Dixie musical postcard with a complex arrangement and an artfully dragged tempo, at once illuminated and dark, sweet and restless. Just like the spirit of the man who revives the Big Easy in the French Midi.

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Dr Sugar, la dolce Crescent City sbarca a Montpellier

by Edoardo Fassio Pierre Citerne, tra le figure più interessanti dell’animata scena musicale francese, ha più di un quarto di secolo di militanza alle spalle. Polistrumentista e cantautore dalla voce tenera e sicura, è il fondatore della band Les Marvellous Pig Noise, che prendeva le mosse sia dai classici quartetti gospel che da Ry Cooder & The Moula Banda Rhythm Aces. Con Les Marvellous, nel 2001, ha vinto il premio France Euro Blues come miglior cantante francese, mettendo a segno cinque album, dodici anni di piena attività, cinquecento esibizioni sui palchi di casa e in Italia, Paesi Bassi e Inghilterra.

Citerne, che risiede nel sud dell’Esagono - nel cuore dell’area occitana del Mediterraneo, non distante da Montpellier - avverte una speciale affinità con i suoni del Deep South degli Stati Uniti. È soprattutto la musica e la cultura della Louisiana a sedurlo. Una regione dal passato francese - il dominio durò per più di un secolo - e una città, New Orleans, dove la stratificazione etnica e culturale ha contribuito alla nascita di blues, jazz, gospel e delle varie evoluzioni del rhythm & blues.

Ed è con un funky blues-con-ritmo, di natura schietta e personale, che Citerne è riapparso negli ultimi anni. Ora adotta il nom-de-blues di Dr Sugar, un “dottore” che a quanto pare ha conseguito la laurea nella stessa università di Dr. John, Prof. Longhair e Snooks Eaglin.

Nel disco di presentazione, These Words, Sugar suona chitarra, pianoforte, dobro e armonica; è affiancato da Nicolas Sarran (batteria e percussioni, oltre che produzione), Pierre Cordier (basso), Emmanuel Beer (Hammond B3), Philippe Anicaux (ottoni) e dallo squisito New Orléans Gospel Quartet ai cori.

L’album si compone di dieci brani originali, tutti in inglese salvo l’ultimo, “Je m’suis bonifié”, una spiritosa confessione nella sua lingua al cui groove contribuisce un assolo del chitarrista ospite Bruno Deplaix. I riferimenti ideali e sonori sono molteplici: ci sono la vecchia Inghilterra e la lezione del soul blues di Syl Johnson nell’ipnotica “My Heart Is Beating”, mentre in “The Little Church” si incontrano Levon Helm e James Booker.

L’ovvio rispetto verso la Crescent City, emesso soprattutto negli umori second-line di “Ready to Love Again” e nel funk vecchia scuola di “Half-Hearted Lovin’ (Just Won’t Do)”, diventa un esplicito grido d’amore in “I Want to Go to New Orleans”, una cartolina musicale Dixie dall’arrangiamento complesso e dal moto artatamente trascinato, a un tempo illuminata e oscura, dolce e inquieta. Proprio come lo spirito dell’uomo che fa rivivere la Big Easy nel Midi francese.

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Conversations With The Professionals

by John in Houston

Meet Dale Penner the much sought after behind the scenes pro For the vast majority of artists and bands their original music is a cultural presentation delivering its own signature if you will, a combination of lyrical poetry set with appropriate rhythms that compliment the human senses. One could easily point to such memorable releases as The Doors for example. In “Riders On The Storm” it was Jim Morrison’s lyrics combined with Ray Manzarek’s marvelous keyboard interpretation along with Robby Krieger’s lead guitar work and John Densmore with his incredible percussion work. Hard to imagine the results if that song had been recorded by a non-interpretive engineer.

That intro leads me into this month’s conversations with the professionals article and this month I met with Mr. Dale Penner for a second time. The first time I was the guest of Synapse Publishing and Entertainment’s recording session at Richard Cagle’s New Mexico studio Montrose Records.

I had not met Dale previously but knew of him because of his panel work on the national artist’s educational forum Barry Coffing’s Spring Board. Professionals within the industry, studios, artists and music supervisors had told me of this man but this would be my first get to know you opportunity. Like so many others I learned of this Canadian producer’s results by listening to Nickelback and Loverboy. Brilliant end results both of them. So here we were together in this mountain top studio with highly qualified session musicians for Dale Penner panel member (second from right) two days of recording Barry Coffing’s Spring Board work. I watched this man meld with the Montrose team right from the beginning, it was like watching a maestro raising his or her baton and the orchestra openly, willfully, paying attention. In this particular situation not because Dale was the boss and the famous producer, but because he had taken the time to get to know them individually prior to the sessions. In fact he was so open with them that while in the sessions no idea, suggestion, was continued on next page 38

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• February 2024

Dale Penner (producer) and Richard Cagle (engineer) @ Montrose Recording Studio

Conversations With The Professionals by John in Houston Meet Dale Penner the much sought after behind the scenes guy Page 2 shunned no matter who brought it up and when some were added or for that matter rejected no feelings were hurt. Dale had assembled a unified room with one singular goal in mind - give these two artists (Julia Cozby and Delaney Ann Baysinger) the best result they could and boy did they ever.

This unified presence is a noted trade mark of Dale Penner’s.

Professionals within the music industry comment on that presence over and over again. Take for example the remarks from Management Company executive Peggy Lafrate of the Strega Group, (right) “Dale is the best of the best, his patience and open mind are the perfect partner to his outstanding music and production knowledge. I am thrilled to partner with Dale whenever I can.” Add to that the words from Barry Coffing the famous television and movie music placement professional, “Dale Penner is an amazing producer and mixer. He is so versatile he can excel at almost any style. We mixed three tracks in three days for an indie film.

Irene Cara sang a new version of “Flashdance”, Barbara Streisand’s sister Roslyn Kind on a beautiful ballad and Michael McDonald sang the end title song with a rock band.” Finally, Darice G, CEO of Synapse Publishing & Entertainment LLC, shares this highly complimentary remark that speaks to the point at hand, “Dale Penner is more than an excellent producer and engineer. As part of the team responsible for the quality of the music his engagement and understanding of the purpose of the project, the timeline, and the budget all play into him being the integral member that brings an extra touch. He understands artists and labels intimately and is a true fan of the music. His ability to take in suggestions with patience and finesse makes him one of the top producers we have worked with and someone we definitely will work with again.” When I asked Dale directly what he felt personally were the keys to his success the normally rather humble Dale Penner shared, “The future holds some of the elements of the past, production experience is a premium in today’s music industry. Along with that the technology that is available today is simply stated, remarkable. One of the key elements that experience teaches the producer, mixer and engineer is to listen intently to the vision of the artist/band. Get to know who you will be working with in the upcoming sessions. The music production business is more than knobs and dials. It includes the human equation, the artist and the session players delivering one’s soul through creative influences.

Session players for example are tops at what they do, respect and understanding go a long way to supporting the overall outcome. Finally, I would say that professional products such as Session Wire deliver cost reduction possibilities including costs related to travel and lodging. This benefit allows the producer to be there without being there. So to me the zenith arrives with the blending of real world experience, with finding the human equation and remaining up to date through new advancements in technologies.” A prime example of what Dale is talking about are the recent Nashville recordings at Hutton Hotel Studios. The client was Synapse and the artist was the chart topping Americana Country artist Andrew Salgado. Dale listened to what both the publisher and record label wanted and he also listened to the ideas of the artist himself. Once he had captured the complete picture his years of being in the music business allowed him to place direct calls to top rated performance and session players who would agree to join them in the session. Musicians continued on next page February 2024

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Conversations With The Professionals by John in Houston Meet Dale Penner the much sought after behind the scenes guy Page 2 such as Rich Redman the drummer for Jason Aldean and Jason Mowry the fiddle man for Keith Urban. Beyond inside the studio Dale’s career long industry relationships with decision makers at such famous organizations as the Grand Ole Opry opens even more doors. In fact, during the recording project with Andrew Salgado in Nashville Dale made arrangements for Andrew to tour the Opry’s backstage area and to step out and get a feel for the main stage as well. (left) Andrew Salgado writes, “The recording process was truly incredible, not only because of Dale’s talent and amazing ear but his care and love for the songs he chooses to produce. It’s an incredible honor for someone of his caliber to be a part of my journey and EP.” Additionally, Dale’s presence within the movie music industry has allowed him to augment the inclusion of such noted artists as Loverboy in the Top Gun Soundtrack along with music being well placed inside the famous Iron Eagle 2 movie and another as well, Blair Witch 2. Among his multiple milestones one can hardly write a piece about Dale Penner and not include the fact that he recorded the world famous Winnipeg Symphony in Canada. Currently Dale is putting the stepping stones in place with the aspiring songwriter/artist Angie Goeke (above right) at Across The Road studio in Katy Texas.

Then he moves on to Phoenix Arizona where he will be in the studio with pop recording artist Hanna De La Vega. (right) To reach Dale: Paradise Alley Productions @ Contact — Paradise Alley Productions (paradise-alley.com) Bottom copy: All rights reserved. All trademarks, symbols and photographs are property of their respective owners

All rights reserved. All Trademarks, symbols and photographs are property of their respective owners 40

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The Blues Foundation Honors Blues Hall Of Fame Class Of 2024 Inductees This Year Include Lurrie Bell, Odetta, Jimmy Rushing, Scrapper Blackwell, William R. “Bill” Ferris, Sugar Pie DeSanto, Lil’ Ed And the Blues Imperials, & O.V. Wright ~Induction Ceremony In Memphis On May 8, 2024~ Landmark recordings by: Junior Parker, Bobby Bland, Billy Boy Arnold, Jazz Gillum, Clarence “Gatemouth” Brown and Lil Green Individuals – Business, Production, Media, Academic: William R. “Bill” Ferris To receive Hall of Fame recognition at The Blues Foundation’s ceremony in Memphis These tickets are available alongside

By Deshaun Phillips Meet The Class Of Blues Music Awards tickets, ensuring 2024: A Tapestry of that blues enthusiasts can immerse In a resplendent celebration of themselves in the full spectrum of the the indomitable spirit and enduring Blues Legends legacy of the blues genre, The Blues Foundation is set to host the 44th class of The Blues Hall of Fame at The Canon Center For The Performing Arts on May 8. This annual Induction Ceremony promises to be a night of music, history, and reverence, paying homage to the incredible musicians and contributors who have left an indelible mark on the blues landscape.

The festivities kick off with a Cocktail Reception at 5:30 p.m., honoring not only the Blues Hall of Fame inductees but also the nominees for the prestigious Blues Music Awards. Attendees will have the chance to mingle with the titans of blues before the formal inductions commence at 6:30 p.m. Tickets for this unforgettable evening are priced at $75 each, which includes access to both the Ceremony and Reception.

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genre’s celebration.

The Blues Hall of Fame will, in its tradition, showcase special artifacts representing the 2024 Class of inductees. These historical items will be open to the public, displayed at The Blues Foundation from the first week of May, offering a unique opportunity for fans to connect with the musical heritage of these remarkable artists. The artifacts will remain on exhibit for a year, allowing visitors to experience the essence of the Class of 2024 throughout the seasons.

The Blues Foundation expresses its gratitude to partners and sponsors such as ArtsMemphis, Legendary Rhythm & Blues Cruise, Memphis Tourism, Tennessee Arts Commission, and BMI, whose support contributes to the success and grandeur of this event.

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Lurrie Bell: A Sonic Heir to a Blues Dynasty Biography: Lurrie Bell, born on December 13, 1958, in Chicago, Illinois, is a true heir to a blues dynasty. His father, Carey Bell, an acclaimed harmonica player, was himself inducted into the Blues Hall of Fame in 2023. Lurrie’s journey into the professional music scene began in 1977 when he started recording with his father and joined the Sons of the Blues (S.O.B.) band. Despite facing personal challenges, including the tragic loss of his partner and children, Lurrie’s musical talents have persisted and evolved. His partnership with manager Amberly Stokes brought renewed acclaim, and his guitar continued on next page

The Blues Foundation Honors Blues Hall Of Fame Class Of 2024 - cont’d skills, emotive vocals, and dynamic stage presence have made him a prominent figure in contemporary blues.

Notable Works: Lurrie Bell’s discography is rich and diverse, with albums like “Kiss of Sweet Blues” (1998), “Blues Had a Baby” (2014), and “Can’t Shake This Feeling” (2016). His ability to navigate traditional blues while infusing it with his own unique style has garnered him respect among fans and peers alike.

Odetta: The Mother Goddess of Folk Blues Biography: Born on December 31, 1930, in Birmingham, Alabama, Odetta Holmes, known simply as Odetta, stands as “The Mother Goddess of Folk Blues.” Her influential career, spanning five decades, left an indelible mark on folk music. Odetta’s repertoire was versatile, encompassing blues, spirituals, jazz, and original topical songs reflecting her commitment as a civil rights activist. Beyond her musical contributions, she was a key figure in the American civil rights movement, performing at historic events like the March on Washington. Her collaborations with luminaries such as Bob Dylan and Nina Simone further solidified her legacy.

Notable Works: Odetta’s discography includes impactful albums like “Odetta Sings Ballads and Blues” (1956), “At the Gate of Horn” (1957), and “It’s a Mighty World” (1964). Her powerful voice and socially conscious lyrics continue to inspire musicians across genres.

Jimmy Rushing: Mr. Five By Five Biography: Affectionately known as “Mr. Five By Five,” Jimmy Rushing, born on either June 15 or August 26, 1899, in Oklahoma City, was a pioneering figure in blues and jazz. His big band blues belting style became a hallmark, influencing subsequent blues shouters like Big Joe Turner and Wynonie Harris. Rushing’s pivotal recordings with the Count Basie band in the 1930s showcased his commanding vocal

presence and marked him as a leading figure in the big band era.

Notable Works: Jimmy Rushing’s notable recordings include tracks like “Sent for You Yesterday” and “Boogie Woogie” with the Count Basie Orchestra. His influence on the evolution of blues vocals is immeasurable.

William R. “Bill” Ferris: A Multifaceted Blues Luminary Biography: Born on February 5, 1942, in Vicksburg, Mississippi, Bill Ferris is celebrated for his multifaceted contributions as an author, folklorist, professor, lecturer, and administrator. Ferris’s comprehensive efforts to document and preserve the rich cultural heritage of the American South, particularly in blues, gospel, and storytelling, have left an indelible mark on the genre. His fieldwork, including interviews and recordings of blues musicians, has become invaluable in understanding the roots and evolution of blues music.

Notable Works: Bill Ferris’s publications include “Blues from the Delta” (1978) and “Give My Poor Heart Ease: Voices of the Mississippi Blues” (2009). His documentaries and recordings have become essential resources for those exploring the cultural tapestry of the American South.

Scrapper Blackwell: The Virtuoso of Carr-Blackwell Duo Biography: Born Francis Hillman Blackwell on February 21, 1903, Scrapper Blackwell was a virtuoso guitarist who left an indelible mark on the blues scene. Recognized for his role in the iconic Carr-Blackwell duo, Blackwell’s musical prowess extended beyond accompaniment. Despite facing personal and professional challenges, including the tragic circumstances of his death in 1962, Blackwell’s legacy endures through his timeless contributions to the blues genre.

Notable Works: Scrapper Blackwell’s influential recordings with pianist Leroy Carr include classics like “How Long, How Long Blues” and “Blues Before Sunrise.” His intricate fingerstyle guitar playing set a standard for generations to come.

Sugar Pie DeSanto: A Tiny Frame with Astonishing Power Biography: Born Peylia Balinton on October 16, 1935, Sugar Pie DeSanto packed astonishing power and personality into a tiny frame. Her spunk and vigor impressed bandleader and producer Johnny Otis, leading to a prolific career that included hits like “I Want to Know.” continued on next page

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The Blues Foundation Honors Blues Hall Of Fame Class Of 2024 - cont’d Beyond her solo success, Sugar Pie DeSanto’s contributions to Chess Records and her dynamic stage presence alongside longtime friend Etta James solidified her legacy in the blues and soul genres.

Notable Works: Sugar Pie DeSanto’s discography features gems like “In the Basement” and “Slip-in Mules.” Her energetic performances and sassy delivery continue to captivate audiences.

over thirty-five years. Their energetic brand of boogie blues finds its roots in the legacy of Ed’s uncle and mentor J.B. Hutto, a Blues Hall of Fame inductee in 1985.

Notable Works: Lil’ Ed and The Blues Imperials’ acclaimed albums include “Roughhousin’” (1986), “Chicken, Gravy & Biscuits” (1992), and “Get Wild” (2012).

Their high-octane performances and genuine love for the blues have earned them a devoted fan base.

Angela Davis: Chronicling Blues Legacies and Black Feminism

O.V. Wright: Fusion of Blues, Soul, and Gospel Biography: Recognized for his powerful fusion of blues, soul, and gospel, O.V. Wright, born on October 9, 1939, in Lenow, Tennessee, made a significant impact with hits like “That’s How Strong My Love Is” and “You’re Gonna Make Me Cry.” Despite facing personal challenges, Wright’s dynamic performances, often likened to that of a preacher, left a lasting mark on stages across the country. His influence extends to modern times, with numerous hip-hop artists sampling his music.

Notable Works: O.V. Wright’s discography includes soulful classics like “A Nickel and a Nail” and “Eight Men, Four Women.” His emotionally charged delivery and deep, resonant voice set him apart in the realm of soul-infused blues.

Lil’ Ed and The Blues Imperials: HighOctane Blues that Rocks the House Biography: Led by singer and slide guitar maestro Lil’ Ed Williams, Lil’ Ed and The Blues Imperials stand as a testament to the enduring power of tight-knit, infectiously cheerful blues bands. Formed in 1986, the group, including Lil’ Ed’s half-brother James “Pookie” Young, Mike Garrett, and Kelly Littleton, has been making music together for 44

Entering the Blues Hall of Fame as a Classic of Blues Literature is Angela Davis’s “Blues Legacies and Black Feminism: Gertrude ‘Ma’ Rainey, Bessie Smith, and Billie Holiday” (Pantheon, 1998). Angela Davis, a controversial activist, author, and professor, challenges conventional views of women and their songs in the blues, providing a unique perspective on the intersection of blues and feminism.

In Memoriam: Bobby Bland, Junior Parker, Billy Boy Arnold, Jazz Gillum, Clarence “Gatemouth” Brown, Lil Green In addition to the Performers and Individuals categories, the Blues Hall of Fame pays tribute to the Classics of Blues Recording - Album and Classics of Blues Recording - Single or Album Track. The 2024 inductees in these categories include Bobby Bland’s “Here’s the Man!!!” (Duke, 1962) and timeless tracks such as Junior Parker’s “Driving Wheel” (Duke, 1961), Billy Boy Arnold’s “I Ain’t Got You” (Vee-Jay, 1955), Jazz Gillum’s “Key to the Highway” (Bluebird, 1940), Clarence “Gatemouth” Brown’s “Okie Dokie Stomp” (Peacock, 1954), and Lil Green’s “Why Don’t You Do Right?” (Bluebird, 1941).

The Blues Foundation, founded in 1980, has continually played a vital role in recognizing and preserving the heritage of blues music. With over 400 industry professionals, recordings, and literature inducted into the Blues Hall of Fame, the foundation’s mission to celebrate, expand

Rock and Blues International • February 2024

awareness, and ensure the future of this uniquely American art form is stronger than ever.

The 2024 Blues Hall of Fame Induction Ceremony promises to be an unforgettable night, weaving together the threads of the blues genre’s rich tapestry and honoring the legends who have paved the way for generations to come. The Blues Foundation invites music enthusiasts and blues aficionados to join them in this celebration of the enduring spirit of blues music.

The Blues Foundation’s 2024 Blues Hall of Fame Inductees Performers: Jimmy Rushing Lil’ Ed and The Blues Imperials Lurrie Bell O. V. Wright Odetta Scrapper Blackwell Sugar Pie DeSanto Individuals – Business, Production, Media, Academic: William R. “Bill” Ferris Classic of Blues Literature: Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday, by Angela Davis (Pantheon, 1998) Classic of Blues Recording - Album: Here’s the Man!!! - Bobby Bland (Duke, 1962) Classics of Blues Recording – Single or Album Track “Driving Wheel” - Junior Parker (Duke, 1961) “I Ain’t Got You”- Billy Boy Arnold (Vee-Jay, 1955) “Key to the Highway” - Jazz Gillum (Bluebird, 1940) “Okie Dokie Stomp”- Clarence “Gatemouth” Brown (Peacock, 1954) “Why Don’t You Do Right?” – Lil Green (Bluebird, 1941)

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PC: Sean Brown

Toronto-Based Collective New West Unveils “Those Eyes” Bundle with Zeph Remix to Conclude a Phenomenal Year Listen here via Giant Music/Republic Records https://newwest.lnk.to/thoseeyeszephPR Check out the official music video for “those eyes (Group Session)” Here at https://youtu.be/i9UDD6zyCGs FOLLOW NEW WEST Instagram @ https://www.instagram.com/newwest199x/ TikTok @ https://www.tiktok.com/@newwest199x YouTube @ https://www.youtube.com/channel/UCO6OtN39Z032lqFanHOABcQ

By Nathan Pugh As the curtains draw on a remarkable year, Toronto’s very own musical collective, New West, delights fans with the release of the highly anticipated “Those Eyes” Bundle, featuring a captivating remix of their breakout anthem, now enriched by the soulful vocals of Zeph.

In this musical venture, Zeph injects new life into the original track, elevating it with a breathtaking vocal performance that adds an 46

emotional depth to the instantly recognizable hook. The collaboration marks a significant milestone as the first joint effort between New West and Zeph, unraveling a tangible sonic chemistry that promises to resonate with a global audience. Alongside the remix, the bundle includes a “Sped Up” version, the original “Those Eyes,” and a “Slowed + Reverb” rendition, offering fans a diverse and immersive listening experience.

“Those Eyes” initially graced New West’s breakout debut album,

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“Based On A True Story...,” and has since become a fan favorite, amassing millions of streams and counting.

To cap off the triumphant year, New West is set to host a sold-out headline gig in their hometown of Toronto, providing an intimate and unforgettable experience for their dedicated fan base. Their inclusion in Canada’s Spotify Wrapped “OOH” campaign further underscores their impact on the music landscape.

Building on this momentum, the collective is poised for a prolific

New West (continued from previous page) 2024, with plans to treat fans to more of their distinctive musical offerings.

New West’s ability to seamlessly blend genres and captivate diverse audiences positions them as trailblazers in the industry.

Speaking to their global appeal, New West made a significant mark with a stellar performance in Indonesia at Soundrenaline 2023, where they not only showcased their musical prowess but also brought out Indonesian Idol winner Nyoman Paul for a memorable duet on “Those Eyes.” The enthusiastic crowd response was a testament to the universal allure of their music.

The “homecoming / in my city” fan-favorite bundle from 2023 has continued to be a streaming sensation, amassing millions of plays and earning critical acclaim. A1234, in a review, praised the collective’s ability to deliver “soaring anthems that make you feel as if you’re flying through the sky while remaining completely grounded within their ideology.”

In 2023, New West made their late-night television debut with a show-stopping performance of “Those Eyes” on Jimmy Kimmel LIVE!, solidifying their presence in the mainstream music scene. The song, having surpassed 1 million streams worldwide, has been certified platinum in Canada, with the U.S. following closely behind. The accompanying music video, directed

by Sean Brown, provides a cinematic visual experience, showcasing the band’s unparalleled live performances against the backdrop of Los Angeles.

New West, a Toronto-based collective comprising individual artists Kala Wita, Vella, Ben Key, and Noel West, has become synonymous with genre-defying music.

Their debut release, “Those Eyes,” served as a precursor to their unique chemistry and distinctive style. With over 700 million streams between the Original and “Sped Up” versions,

New West is gearing up for the release of their full-length debut on Giant Music/Republic Records in 2024.

Zeph, a leading voice for today’s emotionally intelligent generation, emerged into the spotlight with the release of “Forever & Always” in 2018. Fearlessly sharing personal experiences, the 24-year-old artist transforms emotions into music that seamlessly balances happiness and melancholy. With roots in Maryland, Zeph’s journey in cinematic indie pop includes EPs like

February 6th Ottawa, ON February 8th Laval, QC February 9th Laval, QC February 10th Laval, QC August 22 Toronto, ON

“Scared of Everything” (2021) and “Crush (Demos)” (2022). The debut album, “character development” (2023), propelled her monthly Spotify listeners to 7.5 million, setting the stage for an exciting year ahead with new projects slated for 2024.

1. Those Eyes (feat. Zeph) 2. Those Eyes 3. Those Eyes (feat. Zeph) – Sped Up 4. Those Eyes (feat. Zeph) – Slowed + Reverb

Tour Dates: The Arena at TD Place* Place Bell* Place Bell* Place Bell* Budweiser Stage**

*Supporting Charlotte Cardin **Supporting The Beaches & Valley Tickets can be found at www.newwest199x.com February 2024 • Rock and Blues International 47

Peyton Parrish 48

Rock and Blues International • February 2024

By Troy Wilson In a seismic achievement for the world of hard rock, Peyton Parrish has clinched the #1 spot on the global music charts, eclipsing industry giants Chris Stapleton, Taylor Swift, and Niki Minaj with his latest album, “SOUL.” This triumph marks a watershed moment in Parrish’s already illustrious career, solidifying his place as an influential and groundbreaking artist.

Peyton Parrish’s meteoric rise to the top can be attributed to his phenomenal online presence, particularly on YouTube and TikTok, where he consistently garners an astonishing 20 million plays per single release. With over 1.6 million monthly listeners and counting, Parrish has cultivated a devoted fan base that spans the globe, making him one of the most talked-about names in the music industry today.

The driving force behind the charttopping success of “SOUL” is the release of the mesmerizing single “Poetry Glass,” a song that has already soared to over 1 million spins, accompanied by a visually stunning music video that boasts an impressive 1.6 million views. This 10-track album is a testament to Parrish’s artistry, seamlessly blending rock, electronic, and pop elements with his signature raspy vocals, offering listeners a genre-defying musical experience.

Parrish, reflecting on the album, shared, “This album is really personal for me.

The songs explore relationships, challenging life experiences, and finding the strength within yourself to get through them all. I put my whole heart and SOUL into this record, and I can’t wait for my fans to experience the journey with me.”

The trailblazing success of “SOUL” follows Parrish’s previous triumph with the album “Rise of Vikingr,” which secured the #1 position on the iTunes charts. The album featured viral hits like “Dane,” “Dragur,” and the metal version of “My Mother Told Me,” showcasing Parrish’s unique blend of Vikinginspired metal and post-grunge rock.

Renowned for his inventive cover renditions, Parrish’s venture into rockinspired Disney covers resulted in the Billboard #1 album, “The Most Magical Album on Earth,” in 2023. The album featured selections from beloved Disney classics such as Mulan, The Lion King, and Frozen, further highlighting Parrish’s versatility and creative range.

As anticipation builds for Peyton Parrish’s upcoming overseas tour, set to kick off on February 2, 2024, in London, fans worldwide eagerly await the opportunity to witness his electrifying performances live.

Following a dynamic set at the Wacken Open Air Festival in Germany last summer, Parrish became a word-of-mouth phenomenon, leading to a series of sold-out shows across Germany.

Born in 1996 in Washington, D.C., Parrish’s musical journey began in Los Angeles during high school. He later returned to Washington, where he earned his bachelor’s degree. His initial foray into the limelight came in 2020 with the viral success of his cover of the Assassin’s Creed Valhalla

Peyton Parrish’s Soul Dominates Global Charts Securing #1 Album Release Position WATCH “Poetry Glass” on YouTube! https://www.youtube.com/watch?v=1ac2OcrKYPE SOUL is Available at: Apple Music @ https://music.apple.com/us/album/soul/1720047989 Explore music from Peyton Parrish on Spotify https://open.spotify.com/artist/62uiaKAdkbY94iXJnXyKzc video game song “My Mother Told Me,” a track later featured on the television show Vikings.

In 2020, Parrish released his debut full-length album, “Cowboy Man,” featuring the hit single “Ragnarök.” The album showcased his unique blend of heavy metal, country, and Viking traditions. Subsequent releases, including “Rise of Vikingr” in 2021 and the surprising Disney cover album in 2023, further solidified Parrish’s reputation as

a musical maverick.

Peyton Parrish’s journey from online covers to global stardom is a testament to his undeniable talent, dynamic presence, and unwavering connection with fans worldwide.

As the music industry continues to be captivated by his innovative sound, “SOUL” stands as a testament to Parrish’s ability to push boundaries and redefine what is possible in the world of hard rock.

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By Troy Wilson

Photo Credit: Maryanne Bilham

Carlos Santana Releases New Single “Let The Guitar Play” Featuring Darryl “DMC” McDaniels Out Now on Candid Records Listen to Santana “Let The Guitar Play” ft. Darryl “DMC” McDaniels @ https://ltgp.lnk.to/4UsifqPR Watch the Official Video for “Let The Guitar Play” @ https://youtu.be/UGykkL6uH4c 50

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In a dazzling display of musical innovation, legendary guitarist Carlos Santana has once again redefined his own boundaries with the release of “Let The Guitar Play,” a reimagination of his 2021 hit “Song for Cindy.” Collaborating with esteemed producers Lino Nicolosi, Nicolosi Team, and Narada Michael Walden (known for his work with Whitney Houston and Mariah Carey), Santana’s latest release elevates the original song to new heights. Adding a dynamic twist to the mix, Run DMC’s Darryl McDaniels delivers a poetic rap over an EDM-style drum beat, creating a fusion that seamlessly blends genres.

In a statement reflecting the essence of “Let The Guitar Play,” Santana emphasized the importance of healing in today’s world, saying, “Now, more than ever, it is essential that we heal life, people, and the planet.” He described the music as a force designed to touch hearts, alleviate misery, and remind individuals of their significance and ability to make a positive impact.

The collaboration includes not only McDaniels but also producers Narada Michael Walden and Lino Nicolosi, as well as Cindy Blackman Santana. Santana invites listeners to join in this collective vision of healing, light, and peace.

The release features three distinct remixes—The Radio Version, The Soul Radio Version, and The 70’s Version—each showcasing Santana’s commitment to pushing musical boundaries and extending his legacy to captivate a fresh generation of listeners. The remixes provide diverse takes on the track, highlighting Santana’s versatility and ability continued on next page

Carlos Santana (continued from previous page) to seamlessly navigate different musical landscapes.

“Let The Guitar Play” is a testament to Santana’s enduring positivity and commitment to spreading messages of healing and hope through his art. The legendary guitarist’s mission transcends musical boundaries, and he continues to be a beacon of inspiration for audiences across generations. The release is available now via Candid Records, offering fans an immersive experience into the boundless creativity of Carlos Santana.

For over five decades, Carlos Santana has been a visionary force in the music industry, transcending genres, generations, and cultural boundaries. From the early days of Santana as a groundbreaking AfroLatin-blues-rock fusion outfit in San Francisco, he has consistently pushed the envelope of musical expression.

Santana boasts an impressive collection of accolades, including ten GRAMMY Awards and three Latin GRAMMY Awards. Notably, he secured a record-tying nine GRAMMY Awards for a single project with 1999’s Supernatural, which included the iconic “Smooth.”

His influence has been recognized with the Billboard Century Award (1996), induction into the Rock and Roll Hall of Fame (1998), Lifetime Achievement honor at the Billboard Latin Music Awards (2009), and the Kennedy Center Honors Award (2013). Santana’s impact extends beyond these awards, as Rolling Stone ranks him #11 on their list of the “100 Greatest Guitarists of All Time.” He joins The Rolling Stones as one of only two bands to have an album reach the Top 10 in every decade since the 1960s.

Follow Carlos Santana: Facebook @ https://www.facebook.com/carlossantana/ Instagram @ https://www.instagram.com/carlossantana/ Twitter @ https://twitter.com/santanacarlos Website @ https://www.santana.com/ In 2018, Santana shared his expertise with a MasterClass, and recently celebrated milestones like the 20th anniversary of Supernatural, the 50th anniversary of his legendary Woodstock performance, and the 50th anniversary of his masterpiece Abraxas. His latest album, Blessings and Miracles (2021), showcases his enduring energy and features collaborations with Rob Thomas, Chris Stapleton, Steve Winwood, and more. Santana continues to captivate audiences with his residency at the House of Blues Las Vegas, recently

commemorating his 10th anniversary of performances in the intimate venue.

“Let The Guitar Play” stands as a testament to Carlos Santana’s unwavering commitment to artistic exploration, positive messaging, and leaving an indelible mark on the world through his timeless music. As Santana continues to weave his guitar magic, the release promises to resonate with both longtime fans and a new generation of listeners ready to embark on a musical journey with a true legend.

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Enter Shikari and Jason Butler (Fever 333) Join Forces For New Single ‘Losing My Grip’ Listen Here At https://youtu.be/_dlgnMvY8cM Enter Shikari’s Biggest Ever UK Headline Arena Tour Begins February 9th - £1 From Every Ticket Sale Will Be Donated To The Music Venue Trust EU Tour Dates Follow In Feb And March Follow Enter Shikari Online: Twitter @ https://twitter.com/ENTERSHIKARI Instagram @ https://www.instagram.com/entershikari/ Facebook @ https://www.facebook.com/entershikari Tik Tok @ https://www.tiktok.com/@entershikari Website @ https://www.entershikari.com/

By Nathan Pugh The band concluded 2023 with a series of In a groundbreaking union of musical electrifying live performances across Europe forces, Enter Shikari, the avant-garde postand Australia, setting the stage for their hardcore trailblazers, have teamed up with eagerly anticipated UK headline tour, set to Fever 333’s charismatic lead singer, Jason kick off later this month.

Butler, to deliver an explosive new single Teaming up with long-time friend and titled ‘Losing My Grip.’ Released today, this fellow musical maverick Jason Butler, dynamic collaboration signifies Enter ‘Losing My Grip’ is a sonic journey that Shikari’s triumphant return to the forefront of delves into the chaos of the modern world. the music scene in 2024.

The track not only highlights the unique Coming off the back of a monumental collaboration between Enter Shikari and 2023, where the band achieved their first-ever Fever 333 but also underscores Enter UK #1 album with ‘A Kiss for the Whole Shikari’s commitment to pushing artistic World’ and announced an expansive world boundaries. The band has been on a creative tour, ‘Losing My Grip’ marks Enter Shikari’s roll, collaborating with diverse artists such as first foray into new musical territory this year. AViVA, Cody Frost, WARGASM, and You 50 Rock and Blues International • February 52 November2024 2023

Me At Six over the past year.

Lead singer and producer Rou Reynolds shared his enthusiasm for the collaboration, stating, “We’ve known Jason for years now and have toured much of the world together. I think we always thought that it’d be great to collaborate on something when the right opportunity surfaced. This track certainly felt right.”

Reynolds provided insight into the lyrical themes of ‘Losing My Grip,’ explaining, “Lyrically, it’s about the immense power that our species now wields, and the pressure and weight that adds to our lives. We’re the only species capable of destroying itself, and increasingly, it appears as though we’re only too willing.”

Jason Butler of Fever 333 expressed his admiration for Enter Shikari, saying, “I’ve always been a fan of Enter Shikari. They are an entity in their own lane, and I’m honored to have had an opportunity to swerve in it for a second and very excited to be rockin’ with them on this upcoming tour. WE ARE GODS.” Enter Shikari’s latest album, ‘A Kiss for the Whole World,’ has become a beacon of creative brilliance, winning over fans and critics alike. The record, praised by publications such as Clash, Classic Rock, Kerrang!, NME, and Rolling Stone UK, has also received significant radio support from Absolute Radio, BBC Radio 1, 6 Music, and Kerrang! Radio. The album’s success extends beyond the airwaves, with recognition from MTV and Channel 4’s Sunday Brunch.

As we reflect on the three-year gap since Enter Shikari’s last album, ‘Nothing Is True & Everything Is Possible,’ which reached #2 on the UK charts, it’s worth revisiting the poignant question the band posed to fans: “Is this a new beginning? Or are we close to the end?” Little did they know that the events of the early ‘20s would cast a shadow over the future of the band, dimming the light on their live performances and connection with fans.

Lead vocalist and keyboardist Rou Reynolds recalled the challenging period, stating, “At the time, it felt like we ourselves, as musicians, were experiencing the death of our band.” However, a pivotal moment in the form of a live show at the Download Festival Pilot, where they played in front of 10,000 fans, rekindled the flame. Reynolds reflected on this turning point, revealing, “I just didn’t realize that the human and physical connection to other people was so central to how I write. Enter Shikari isn’t just four people – it’s hundreds of thousands.”

The album’s lead single, “(pls) set me on fire,” marked the beginning of a new era for the band. Reynolds shared his thoughts on the single’s conception, saying, “Honestly, I thought I was f*****. I’ve never felt so detached from my soul, my purpose, my f****** spirit. I didn’t write music for almost continued on next page

Enter Shikari and Jason Butler (continued from previous page) two years.” The desperation to reconnect with the essence of music, shared experiences, and the energy of live performances culminated in ‘(pls) set me on fire,’ a song described by Reynolds as a “projectile vomit of positive energy.”

In the spring of 2022, the band embarked on a transformative journey to a coastal town in Chichester, where they rejuvenated their studio setup in a dilapidated farmhouse. Utilizing solar power to track the album, Reynolds explained that the decision was made to “bring back some sense of naivety.” This sustainable approach, powered by the sun, contributed to the vibrant and Technicolor palette of ‘A Kiss for the Whole World.’

Reynolds elaborated, “Back to basics.

This band - my best friends - bundled into an old farmhouse, miles away from anywhere.

Off-grid, and ready to rediscover ourselves.

This album is powered by the sun, the most powerful object in our solar system. And I think you can tell. It’s a collection of songs that represent an explosive reconnection with what Enter Shikari is. The beginning of our second act.”

As Enter Shikari continues to captivate audiences with their revitalized sound and profound thematic exploration, ‘A Kiss for the Whole World’ stands as a testament to their resilience and evolution as a band. With each track, they embrace a newfound sense of purpose and connection, embodying the spirit of their second act. As the album resonates with fans and critics alike, Enter Shikari demonstrates that they are not at the end; they are embarking on a new beginning.

To experience the explosive collaboration, stream ‘Losing My Grip’ here and watch the accompanying video here. Enter Shikari’s upcoming UK and Europe tour, featuring Fever 333, promises an unforgettable live experience that fans won’t want to miss. As they continue to redefine the boundaries of their musical journey, Enter Shikari invites their audience to join them on this exhilarating ride.

Enter Shikari will be continuing their World Tour in the UK and Europe this Feb and March. The band’s UK tour is a groundbreaking tour during which £1 from every ticket sale will be donated to the MusicVenue Trust in support of grassroots venues. They will return to the US to wow fans at Welcome To Rockville in May.

The full run of tour dates is below.

Remaining tickets are on sale now UK February 2024 (support from Fever 333 and Noah Finnce) 09 Feb - First Direct Arena, Leeds, UK 10 Feb - Motorpoint Arena, Nottingham, UK - FINAL TICKETS 12 Feb - O2 Academy, Edinburgh, UK - FINAL TICKETS 14 Feb - O2 Victoria Warehouse, Manchester, UK 15 Feb - O2 Victoria Warehouse, Manchester, UK 16 Feb - International Arena, Cardiff, UK 17 Feb - OVO Arena Wembley, London, UK

OUT 21 Feb - Le Trianon, Paris, FR 23 Feb - AFAS Live, Amsterdam, NL 24 Feb - Palladium, Cologne, DE SOLD OUT 25 Feb - Sporthalle, Hamburg, DE 27 Feb - Columbia Halle, Berlin, DE 28 Feb - Zenith, Munich, DE

Europe February 2024 (support from Fever 333 and Blackout Problems) 19 Feb - AB, Brussels, BE - SOLD

US Festival Appearances May 12 - Daytona Beach, FL Welcome To Rockville 2024

Ireland & UK March 2024 21 Mar - The Academy, Dublin, IE 22 Mar - The Academy, Dublin, IE SOLD OUT 23 Mar - Limelight, Belfast, NI SOLD OUT

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By Nathan Pugh In the heart of the Southern rock landscape, the trailblazing band Robert Jon & The Wreck is set to embark on a captivating musical journey with their latest track, “Ballad of a Broken Hearted Man.” The song, now available on all digital platforms, weaves a tale of heartache and resilience through exhilarating slide guitar, powerful whiskey-soaked vocals, and captivating lyrics that paint a vivid picture.

Imagine stepping onto the set of a classic western, where the captivating guitar riff of “Ballad of a Broken Hearted Man” immerses you in a tale of two souls navigating the tumultuous journey of life. It’s a poignant saga of individuals down on their luck, attempting to navigate the labyrinth of existence together, yet somehow missing the mark. Under the expert production of the renowned Kevin Shirley (credited for collaborations with Aerosmith, Black Crowes, Iron Maiden), the track serves as a testament to Robert Jon & The Wreck’s musical prowess, guiding listeners through a compelling and cinematic narrative.

Robert Jon & The Wreck’s New Track “Ballad Of A Broken Hearted Man” Brings a Fresh Perspective to High Octane Southern Rock Worldwide Tour Starts This Month As New Music Fuels An Exciting New Year Stream the new single at https://bit.ly/StreamBBHM Watch the official music video here at https://youtu.be/yjhSh49oCt8 54

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This latest single follows the triumphant trail blazed by their previous hits such as “Help Yourself,” “Hold On,” and the anthemic “Stone Cold Killer.” As anticipation builds for their forthcoming studio album slated for release in 2024, the band continues to showcase their musical finesse through recent offerings like the studio album “Ride Into The Light” and the captivating concert film “Live At The Ancienne Belgique,” a testament to their electrifying live performances.

As the calendar flips to 2024, brace yourself for the monumental Winter tour that Robert Jon & The Wreck has meticulously crafted, set to unfold across the diverse landscapes of the United States. This musical journey promises not only dynamic live shows but also the infusion of fresh, soulstirring melodies into the ears of a wide-ranging audience. From the sundrenched city of Phoenix to the musicrich streets of Nashville, the tour mirrors the band’s rich tradition of delivering electrifying performances and spinning tales through their music. continued on next page

Robert Jon & The Wreck (continued from previous page) Having garnered thousands of new fans while supporting sold-out shows headlined by Blackberry Smoke and Maverick, the band is steadily etching a place in the hearts of a devoted and growing fan base.

In a testament to their prolific songwriting abilities and an unyielding refusal to conform to conventional release strategies, Robert Jon & The Wreck has forged a strategic partnership with Joe Bonamassa’s Journeyman Records. This collaboration affords them the privilege to collaborate with some of the world’s top producers, enabling the release of a continuous stream of high-quality singles that cut through the chaos of the music industry, ensuring that their new music reaches fans as intended.

Originating from the sun-kissed shores of Southern California, Robert Jon & The Wreck has redefined the Southern rock sound, infusing it with their distinctive flair since their inception in 2011. Comprising the talents of Robert Jon Burrison (lead vocals, guitar), Andrew Espantman (drums, background vocals), Henry James Schneekluth (lead guitar, background vocals), Warren Murrel (bass), and the recent addition of keyboardist Jake Abernathie, the band continues to captivate audiences worldwide. Their performances are marked by soaring guitar leads, rich vocal harmonies, and unforgettable tunes, making it impossible to ignore the musical prowess when they take the stage.

As they gear up for an exhilarating year ahead, Robert Jon & The Wreck’s musical journey promises not only to add a vibrant chapter to the Southern rock legacy but to etch their name as torchbearers of a genre steeped in tradition yet propelled forward by their unwavering commitment to musical excellence and storytelling.

ROBERT JON & THE WRECK Website @ https://robertjonandthewreck.com/ Facebook @ https://www.facebook.com/robertjonandthewreck Twitter @ https://twitter.com/i/flow/login?redirect_after_login=%2Frjandthewreck YouTube @ https://www.youtube.com/robertjonandthewreck Instagram @ https://www.instagram.com/robertjonandthewreck/ Spotify @ https://open.spotify.com/artist/4FXvPjJz57tIo23OpzHlYC

US TOUR 2024 2/7/2024 - Phoenix, AZ - Rhythm Room 2/8/2024 - Santa Fe, NM - Tumbleroot Brewery & Distillery 2/9/2024 - Denver, CO - Marquis 2/10/2024 - Winter Park, CO - Devil’s Craft 2/13/2024 - Fort Worth, TX - Tulips 2/14/2024 - Austin, TX - Antone’s 2/15/2024 - San Antonio, TX - Sam’s Burger Joint 2/16/2024 - McKinney, TX - The Guitar Sanctuary 2/17/2024 - Houston, TX - The Continental Club 2/18/2024 - New Orleans, LA - Chickie Wah Wah 2/20/2024 - Tallahassee, FL - House of Music Tallahassee 2/22-26/2024 -Miami, FL - Rock Legends Cruise XI - Miami, FL to Puerta Plata, DR 2/28/2024 - Atlanta, GA - Smith’s Olde Bar 2/29/2024 - Asheville, NC - Salvage Station 3/1/2024 - Chattanooga, TN - Songbirds 3/2/2024 - Maryville, TN - The Shed 3/3/2024 - Nashville, TN - City Winery 3/18-22/2024 - Keeping the Blues Alive at Sea IX - Miami, FL to Cozumel, Mexico 3/22/2024 - Boca Raton, FL - The Funky Biscuit 4/9/2024 - Jacksonville, FL - Springing The Blues Music Festival February 2024 • Rock and Blues International

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Disco Donnie Presents And Probaby Nothing Elevate The Cosmic Experience: Texas Eclipse, A Journey Beyond Imagination, Set To Dazzle In 2024 As the celestial bodies align in a cosmic dance, mark your calendars for the most anticipated event of the decade – Texas Eclipse, a once-in-a-lifetime celebration set against the backdrop of the 2024 Total Solar Eclipse. Disco Donnie Presents (DDP) and Probably Nothing are weaving an intricate tapestry of music, art, science, and technology that transcends the ordinary and propels attendees into a realm where the extraordinary becomes reality.

Save the Date: A Cosmic Odyssey Unfolds Scheduled to unfold from [Event Start Date] to [Event End Date], at Reveille Peak Ranch (just an hour away from ATX), Texas Eclipse promises a five-day and night spectacle that will redefine the very essence of live events.

The cosmic convergence is not merely a festival; it’s an odyssey, a journey into the unknown where the realms of music, art, science, and technology intertwine, creating an immersive experience that defies expectations.

Celestial Convergence: The Symphony Continues Beyond the celestial ballet of the stars, Texas Eclipse’s lineup is a harmonious convergence of global sounds. The event proudly welcomes iconic musical artists deeply rooted in diverse cultures – Tiga, Ivy Lab, Mood Swing & Chevy Bass, AJJA, Spoonbill, Golden Dawn Arkestra, and many more. This diverse lineup serves as a testament to the event’s commitment to creating a melting pot of sonic traditions, echoing across the cosmic expanse.

But Texas Eclipse is not content with just music. The event will host luminaries from the realms of space exploration, technology, and science.

Blue Origin astronaut Dr. Chris Boshuizen, Virgin Galactic astronaut Christopher Huie, and the interstellar vibes of Yuri’s Night featuring Test Shot Starfish will be among the stellar participants, ensuring that attendees not only dance under the stars but also learn from those who have explored beyond them.

Six Realms of Sonic Bliss: A Multidimensional Experience Unveiled At the heart of Texas Eclipse lies a 56

multidimensional experience, where music resonates across six distinct stages – Earth, Sky, Moon, Sun, Lonestar, and Eclipse. Each stage is a carefully curated universe offering a unique sonic journey.

The Sky Stage, synonymous with techno and global house excellence, welcomes luminaries like Tiga and DJ Three. Art With Me co-founder Matt Caines will guide attendees into a harmonious blend of movement and ritual, adding a sophisticated touch to the celestial dance.

The Earth Stage promises the festival’s widest variety of music, weaving together traditional, indigenous, and folkloric live performances with contemporary expressions of dance music. Austin’s own Golden Dawn Arkestra will conduct an extra-dimensional performance involving space and time travel through sound and movement.

Under the lunar glow, the Moon Stage will feature an array of bass, dubstep, glitch, and hip-hop beats. Ahee, Ivy Lab, and Mood Swing & Chevy Bass will ignite the stage with thunderous intensity and invigorating energy.

The Sun Stage promises to be a psychedelic trance playground with names like Riktam, Treavor Moontribe, and a special Goa Gil Tribute. These reputable names will curate a sonic journey across multiple genres, creating an eclectic and vibrant atmosphere.

The Lonestar and Eclipse Stages will transform Reveille Peak Ranch into a magnificent sanctuary for five days and nights, offering an unparalleled convergence of captivating art installations, diverse music genres, space exploration, cutting-edge technology, and the wonders of nature.

Beyond the Stages: A Tapestry of Experiences Unfurls Texas Eclipse is not merely a music festival; it’s a vibrant convergence of captivating experiences. Beyond the stages, the event promises a myriad of art installations, interactive experiences, holistic wellness workshops, and cuttingedge technology demonstrations.

Attendees will find themselves immersed in a sensory wonderland, where creativity knows no bounds, and the boundaries between art and reality blur.

Rock and Blues International • February 2024

The cosmic spectacle invites attendees to explore an Eclipse Village that comes alive with performances, workshops, and interactive installations.

As the sun sets and the stars take center stage, participants can engage in star gazing sessions, guided by expert astronomers who will unravel the mysteries of the cosmos.

DDP: Pioneers of Electronic Dance Music Events Disco Donnie Presents, founded by veteran promoter James “Disco” Donnie Estopinal in 1994, is a force in the electronic dance music scene. With a legacy of over 18 million tickets sold for live events, arena shows, and outdoor festivals across the globe, DDP has become synonymous with groundbreaking entertainment. From major festivals like The Day After to intimate club events, DDP has left an indelible mark on the music world.

Texas Eclipse: A Visionary Fusion of Music, Art, Science, and Tech Led by Mitch Morales, Texas Eclipse is more than just an event organizer; it’s a visionary force dedicated to redefining event standards. Partnering with Disco Donnie Presents and Probably Nothing, Morales aims to create an unforgettable Texas-sized celebration beneath the awe-inspiring backdrop of a total solar eclipse. This cosmic spectacle promises to be a journey beyond the ordinary, an exploration of the extraordinary that transcends the boundaries of our wildest dreams. As attendees gather beneath the Texas sky, they will witness not only the celestial dance of the stars but also a convergence of creativity, innovation, and the unbridled spirit of exploration.

Embark on the Cosmic Caravan: Join the Texas Eclipse Odyssey As the countdown to Texas Eclipse begins, the organizers invite you to embark on the cosmic caravan, where the ordinary becomes extraordinary, and the extraordinary becomes a reality. Be prepared to be dazzled, enchanted, and forever changed by the celestial experience that awaits at Texas Eclipse. Tickets are on sale now, and the cosmic journey of a lifetime awaits those who dare to dream beyond the stars.

Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

February 2024

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Folk Music Icon Tom Rush Set to Release First Album in Five Years, Gardens Old, Flowers New, March 1st on Appleseed Recordings New Release Coincides with 25th Anniversary of Appleseed

By Pinky Black In a return to the spotlight, folk music icon Tom Rush is gearing up to release his first album in five years, titled “Gardens Old, Flowers New.” The much-anticipated album is scheduled to hit the shelves on March 1st, courtesy of Appleseed Recordings. This release is not just a musical comeback for Rush but also marks the 25th anniversary of the independent label, Appleseed, founded in 1998 by activist and attorney Jim Musselman.

The recording sessions for “Gardens Old, Flowers New” took place at Carriage House Studios in Stamford, Connecticut, from March 29th to April 2nd, 2023. Produced by Matt Nakoa, the album features a lineup of exceptional musicians who brought their talents to the project. Tom Rush expressed his gratitude to Nakoa for pushing him to make the album a reality, stating, “I think he got tired of hearing me talk about maybe-someday making another album.”

The album’s title, “Gardens Old, Flowers New,” encapsulates the essence of life’s recurring yet unique moments.

Rush explained, “I mean to convey the idea that many things in life — watching your child learn about the world, or falling in love — have happened millions on millions of times through the eons, but each time is always fresh and different.”

Matt Nakoa, in a collaborative effort with Rush, pointed out the mix of old and new in the album. Rush chuckled, saying, “Matt, however, pointed out (in the kindest way) that, while I’m no spring chicken now, I’ve been coming up with new songs that he genuinely seems to enjoy.”

The album showcases a range of songs, some of which have been hidden in the shadows for a long time. Tom Rush shared that all the tunes, except for “Gimme Some of It,” where he put new words to an old blues tune called “Custard Pie,” were written by him. “As always with my record projects, the songs run the gamut from light-hearted and cheerful to sad and lonely. I’ve been accused of seeking emotional whiplash — I deny everything. I was never indicted!” he humorously added.

Tom Rush’s musical journey traces back to the 1960s folk movement, where continued on next page

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Tom Rush (continued from previous page) he was at the forefront. Apart from his own compositions, he holds the distinction of being the first to record songs by Joni Mitchell, Jackson Browne, and James Taylor. The impact of his work is reflected in the acknowledgment by Taylor and Garth Brooks, both citing him as a major influence.

Originating from Portsmouth, New Hampshire, Tom Rush started performing in 1961 while studying at Harvard University, majoring in English literature. His early recordings included Southern and Appalachian folk, Woody Guthrie ballads, and acoustic-guitar blues. Rush regularly graced legendary folk and blues venues like Club 47 in Cambridge, the Unicorn in Boston, The Main Point in Bryn Mawr, PA, and The Troubadour in LA. Rolling Stone credited Tom Rush with ushering in the era of the singer/ songwriter. His 1968 song, “No Regrets,” became a standard with numerous cover versions recorded by artists ranging from The Walker Brothers to Emmylou Harris and U2. The list of covers also includes Olivia NewtonJohn, Harry Belafonte, Waylon Jennings, and more.

Noteworthy in Tom Rush’s video repertoire is his performance of Steven Walters’ “The Remember Song,” which has garnered over seven million YouTube plays since 2007. The singer, with a touch of self-deprecating humor, remarked, “I’ve been waiting 45 years to be an overnight sensation, and it’s finally happened!”

Adding a nostalgic touch to the album are the contributions of the talented band members: • Matt Nakoa: Producer, Keyboards, Slide Trombone, Guitars, Harmonies, Bass • Abbie Gardner: Dobro Guitars, Harmonies • Mike Reilly: Drums, Harmonies • Craig Akin: Electric and Upright Bass • Monica Rizzio: Fiddle, Harmonies • Seth Glier: Accordion, Harmonium, Harmonies • Joe Nerney: Sax, Mouth Harp, Pennywhistle, Harmonies • Dave Eggar: Cello The audio engineering prowess of Mikhail Pivovarov and the video recording and engineering expertise of Vlad Tipicidi rounded off the team that brought “Gardens Old, Flowers New” to life. As the release date approaches, fans

eagerly anticipate the harmonious blend of old and new in Tom Rush’s latest musical offering. The album promises to be a melodic journey through the timeless landscapes of life, resonating with both loyal followers and new audiences alike.

Tom Rush - Gardens Old, Flowers New Track Listing and Credits 1 Sailing 2 Glory Road 3 Gimme Some of It 4 Nothin’ But A Man 5.+6. If You Will Love Me / Lullaby in E 7. Toy Boat Song 8 One More Time Around the Sun 9 It All Comes Down to Love 10 Siena’s Song 11 The Harbor 12 To See My Baby Smile 13 Won’t Be Back at All 14 I Quit

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Bernard Allison’s Musical Odyssey: A Timeless Tribute to Luther Allison in “Luther’s Blues” 60

Rock and Blues International

• February 2024

By Deshaun Phillips In a remarkable chapter of blues history, the iconic guitarist Bernard Allison unveils his latest masterpiece, “Luther’s Blues,” a poignant tribute to his father Luther Allison.

As Ruf Records basks in the glory of its 30th anniversary, the release of this two-disc set becomes a significant milestone, spanning over three decades since Bernard first graced the world of blues with his exceptional talent.

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The album serves as both a celebration of Luther Allison’s profound influence on the Chicago blues scene and a testament to Bernard’s unwavering commitment to preserving his father’s musical legacy. Luther, a true legend, played a central role in Ruf Records’ history, making “Luther’s Blues” a fitting tribute to the man who left an indelible mark on the label.

Crafted with meticulous care, the two-disc set features 20 stellar tracks, each a Luther Allison composition skillfully interpreted by Bernard. The selection process was deeply personal, with Bernard handpicking songs that may not be the most famous but possess a unique charm. Pauler Acoustics, known for their expertise in the audiophile scene, handled the remastering, ensuring the essence of Luther’s blues is delivered with unparalleled clarity and depth.

For those familiar with Bernard Allison’s musical journey, his dedication to keeping his father’s legacy alive is evident. “I made a promise since day one – to myself and to my mom Fannie Mae Allison – that I’d always include at least one or two of my dad’s songs on every album I record,” Bernard shares. This promise has been a guiding principle throughout his illustrious career, manifesting in both live performances and recorded works.

“Luther’s Blues” is not merely a collection of Luther Allison’s most famous tunes but a thoughtful curation of songs that were over-

Bernard Allison’s Musical Odyssey: A Timeless Tribute to Luther Allison in “Luther’s Blues” looked on each of Luther’s albums.

Bernard, in his own distinctive style, puts a modern twist on these classics, breathing new life into timeless compositions. The tracklist spans 30 years, from the mid-90s recording of “Hang On” in Paris to the recent Billboard Blues Chart-topping cuts from his 2022 album, “Highs & Lows.”

Classics such as “Bad Love,” “Life Is A Bitch,” and “Let’s Try It Again” find a fresh expression in Bernard’s interpretations, reinforcing the impact Luther Allison had on the blues genre. Notably, “Serious,” a Luther Allison favorite from 1987, holds a special place in Bernard’s

heart, describing it as “that special song that I perform every night.” Its inclusion in “Luther’s Blues” is a testament to the enduring popularity and significance of Luther’s music.

While “Luther’s Blues” is not the first tribute album to Luther Allison, what sets it apart is the fact that it comes from Luther’s own progeny – Bernard Allison. A lifelong musician, Bernard’s roots in Chicago blues run deep. He absorbed blues traditions during his youth in Chicago, followed his father to Europe, led the Luther Allison Band, and eventually carved his own path, continued on next page

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The impact of the COVID-19 pandemic brought a temporary hiatus to Bernard’s touring schedule, but it also led to a period of introspection and creative resurgence. In February 2020, a month before the world went into quarantine, Bernard released “Songs from the Road,” sourced from a German concert. The pandemic-induced break paved the way for his return to studio recording with the release of “Highs & Lows” in March 2022, a remarkable 11-song set that traverses modern blues, funk, and R&B. In celebration of Ruf Records’ 30th anniversary, the label approached Bernard to create something special. The result was “Luther’s Blues,” a handpicked compilation of 20 of his father’s compositions recorded throughout his own career. The thoroughly remastered collection, released in January 2024, is a testament to Bernard’s dedication to honoring his father’s legacy.

Bernard Allison (continued from previous page) creating exciting new sounds for a new generation. Throughout this musical evolution, Bernard has remained grounded, never losing sight of where he came from.

Last October, a significant moment in Bernard’s musical journey unfolded as he returned to Bessie Blue Studios in Tennessee. The reunion with producer Jim Gaines marked a symbolic homecoming for Bernard. “Just to be able to create music again after the pandemic,” he reflects, “was incredible.” The resulting studio album, “Highs And Lows,” released in February 2022, showcases Bernard’s acknowledgment of his lineage through classic songs by his father, alongside original compositions that reflect his versatility and musical evolution.

With a career spanning an impressive 56 years, Bernard Allison embodies the essence of blues. Born 62

in Chicago in 1965, his early exposure to blues festivals alongside his father introduced him to legends like Muddy Waters, Hound Dog Taylor, and Albert King. Luther Allison’s influence, beyond being a casual record collector, provided Bernard with a rich collection of classic blues and gospel.

After joining Koko Taylor’s Blues Machine immediately after high school, Bernard embarked on a musical journey that led him to Europe, where he assumed the role of the European music director and bandleader for Luther Allison. The mentorship from his father, coupled with influences from Johnny Winter and Stevie Ray Vaughan, shaped Bernard’s skills and musical style.

His debut album, “The Next Generation,” in 1990 marked the beginning of a prolific career, releasing albums on Ruf Records and leaving an indelible mark on the blues scene.

Rock and Blues International • February 2024

As Bernard Allison prepares for a New Year tour, the excitement resonates not only in his music but also in his words. “The song ‘So Excited’ is basically about the excitement of being able to be back on the road again,” Bernard shares.

In a world filled with ups and downs, Bernard Allison’s music continues to serve as a powerful connection to the roots of blues while embracing the ever-evolving sounds of the genre.

As fans eagerly anticipate witnessing a world-class bluesman carrying forward the rich legacy of Luther Allison, Bernard Allison’s “Luther’s Blues” stands as a timeless testament to the enduring power of blues music across generations. In a musical odyssey that spans decades, continents, and genres, Bernard Allison’s journey is a celebration of the past, a reflection of the present, and a promise for the future of blues.

Rock And Blues International

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Debut Album, Metamorphosis out May 12, 2023 Rock RockAnd AndBlues Blues International International

59 49 May 2022 2024 • Rock and Blues International January • Rock and Blues International

HAND OF KALLIACH Signs to Prosthetic Records and Announces Release of Sophomore Album “Corryvreckan” Listen To And Watch The Video For Fell Reigns Here @ https://youtu.be/bGAsoxJ4od4 Order Corryvreckan here @ https://lnk.to/HandofKalliach FOLLOW HAND OF KALLIACH ONLINE: Facebook @ https://www.facebook.com/HandOfKalliach Twitter @ https://twitter.com/HKalliach Instagram @ https://www.instagram.com/handofkalliach/ 64

Rock and Blues International • February 2024

Hand Of Kalliach (continued from previous page)

By Johnny Ghoul Edinburgh-based melodic death metal and Scottish folk music duo, HAND OF KALLIACH, has officially inked a deal with Prosthetic Records, a renowned label with a phenomenal roster in the metal scene. Alongside this signing, the duo has unveiled details about their upcoming sophomore album, “Corryvreckan,” scheduled for release on February 23. The lead single, “Fell Reigns,” is premiering exclusively via Decibel.

John, handling vocals, guitars, and drums for HAND OF KALLIACH, expressed the duo’s excitement about the collaboration with Prosthetic Records.

“We are massively excited to be releasing our sophomore album Corryvreckan on Prosthetic - we’re both long-time fans of the label and are thrilled to join such a phenomenal roster.”

The upcoming album draws thematic inspiration from the legend of the Cailleach, the ancient witch god of winter from Scottish Celtic mythology.

The narrative surrounding the Cailleach is both complex and intriguing, portraying her as a figure embodying dualities – a vengeful hag and a youthful woman, a bitter destroyer, and a nurturing paragon of nature. This duality serves as a significant inspiration for HAND OF KALLIACH’s hybrid sound, blending melodic death metal with ethereal folk elements.

Sophie, handling vocals and bass, delved into the background of their lead single and music video, “Fell Reigns.”

“Building upon the legend of the Cailleach, the ancient witch god of winter from Scottish Celtic mythology, with Fell Reigns, we wanted to explore her seasonal rise to power at Samhainn from a different perspective - that of one of her unnamed eight attendants, that assist her in ushering in winter.”

As the duo explores the multifaceted nature of the Cailleach, their music aims to represent the contrasts inherent in the legend. The juxtaposition of benevolence and malevolence forms the foundation of HAND OF KALLIACH’s unique sound, fusing Celtic and Gaelic folk music with the robust brutality of

melodic death metal.

The band’s name itself, HAND OF KALLIACH, is drawn from the legend of the Cailleach. Legend has it that she resides at the bottom of an enormous whirlpool, Corryvreckan, located between some of the western isles of Scotland. This whirlpool gives its name to the upcoming album. The Cailleach, as the herald of winter, rises from the depths to wash her plaid in the waters of Corryvreckan. Once washed and restored to a bright white, she casts it across the earth where it lands as snow. This ritual marks the beginning of Samhainn, the Celtic precursor to Halloween, and the inspiration for the band’s debut album.

The complex depiction of the Cailleach, symbolizing death, loss, despair, nurturing, and protection, serves as the conceptual backdrop for HAND OF KALLIACH’s music. Their compositions delve into the dual concepts of benevolence and malevolence against the historical, mythological, and scenic landscapes of the Scottish islands.

The threads of Celtic and Gaelic folk music intertwine with the album’s overall theme, set against a backdrop of spectral, melodic death metal. The result

is a captivating and intoxicating blend of musical elements. “Corryvreckan,” the upcoming album, was recorded with Wynter Prior at Sphynx Studios in Brighton, UK. The meticulous attention to detail promises a phantasmagorical journey through ancient tales and a progressive modern metal experience like no other.

As HAND OF KALLIACH prepares to release “Corryvreckan” on February 23, fans can anticipate a musical exploration that breathes life into the rich history, mythology, and cultural tapestry of the Scottish islands.

The lead single, “Fell Reigns,” serves as a glimpse into the dualities and contrasts that define the unique sound of HAND OF KALLIACH, marking a significant chapter in their artistic journey with Prosthetic Records.

Corryvreckan tracklist: 1. Three Seas 2. Fell Reigns 3. Dìoghaltas 4. Cirein-cròin 5. Deathless 6. The Hubris of Prince Bhreacan 7. Unbroken You Remain 8. The Cauldron 9. Of Twilight and the Pyre

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Rock and Blues International • February 2024

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Photo Credit: Sanjay Parikh

Shinedown Continues Chart Dominance with 21st No. 1 Hit “A Symptom Of Being Human” FOLLOW SHINEDOWN Facebook @ https://www.facebook.com/Shinedown Instagram @ https://www.instagram.com/shinedown/ TikTok @ https://www.tiktok.com/@shinedown X/Twitter @ https://twitter.com/Shinedown Website @ https://www.shinedown.com/ Atlantic Records @ https://www.atlanticrecords.com/artists/shinedown

By Troy Wilson Renowned multi-platinum rock band Shinedown continues to etch their name in the annals of music history with their latest single, “A Symptom Of Being Human,” securing its place as their record-breaking 21st No. 1 hit on the Mediabase Active Rock Chart. This remarkable achievement 68

not only reaffirms Shinedown’s position as the greatest rock band in history but also sets new standards in the industry. The band’s unprecedented success extends beyond the Active Rock Chart, with a total of 19 No. 1 hits on Billboard’s Mainstream Rock Airplay chart.

Rock and Blues International • February 2024

The widespread appeal of “A Symptom Of Being Human” transcends genres, as the single not only dominates the Active Rock Chart but also steadily ascends the Alternative charts, currently holding the 12th position. The song’s impact is set to broaden further, as it now continued on next page

Shinedown (continued from previous page) makes its mark at Top 40 radio nationwide, following a highly successful run at Hot AC in 2023 where it reached a Top 15 position. Shinedown’s ability to connect with diverse audiences across radio formats underscores their versatility and universal appeal.

To commemorate their historic achievement, Brent Smith, the charismatic front man of Shinedown, expressed profound gratitude, stating, “We are beyond grateful, and truly astonished and humbled, to be given this incredible record-breaking title.” He extended his appreciation to Mediabase, Active Rock Radio, and program directors across America, emphasizing the band’s deep connection with their dedicated fanbase.

“In Shinedown, we only have one boss... it just happens to be everyone in the audience. We love you Shinedown Nation!!!

Long live terrestrial radio.”

The accolades for Shinedown continue with multiple nominations at the upcoming iHeartRadio Music Awards, further highlighting the band’s enduring impact. Shinedown is nominated for Rock Artist of the Year and Rock Song of the Year for their previous #1 hit, “Dead Don’t Die.” The band’s official photographer, Sanjay Parikh, is also recognized with a nomination for Favorite Tour Photographer, a fan-voted award, for his work during the band’s massively successful Revolutions Live Tour.

Shinedown’s chart-topping success with “A Symptom Of Being Human” goes beyond mere statistics; it reflects the band’s belief in the universal language of music. The track resonates with listeners by delivering an uplifting and important message about humanity being a work in progress. Themes of resilience, mental health, and empathy are intricately woven into the song, showcasing the band’s commitment to addressing meaningful topics through their music. The official music video for “A Symptom Of Being Human” further amplifies these themes, providing a visual representation of the track’s profound message.

The single is part of Shinedown’s seventh studio album, “Planet Zero” (Atlantic Records). “A Symptom Of Being Human” marks the fourth #1 single from the album, collectively amassing over 40 million streams across various versions, including a pop remix, acoustic version,

Above: Shinedown (L-R: Brent Smith, Barry Kerch, Eric Bass, Zach Myers) with iHeartRadio’s Alissa Pollack, EVP Global Music Marketing and Strategy Photo Credit: Sanjay Parikh and piano version. The album itself debuted in the Top 5 on the Billboard 200 Chart and the Official UK Albums Chart, solidifying Shinedown’s status as one of the biggest rock bands in history.

In a significant development for the band’s career, Shinedown has announced their partnership with WME (William Morris Endeavor) for worldwide representation. This global partnership includes long-standing agent Ron Opaleski in the United States and Canada, along with Lucy Dickins and her international team, adding a new dimension to Shinedown’s reach and influence. This strategic move positions Shinedown to expand their global presence and further solidify their standing as a powerhouse in the music industry.

Beyond their chart success and industry recognition, Shinedown continues to prove their dominance as a top-tier touring act. Selling out countless amphitheaters and arenas, headlining major rock festivals across North America, the band consistently delivers electrifying live performances. Shinedown’s ability to captivate audiences extends beyond age demographics, as evidenced by a heartwarming viral moment featuring an elder super fan, Lauri Norris, rocking out front

row at one of their shows during the 2023 Revolutions Live Tour. Sanjay Parikh’s video capturing the moment has amassed over 15 million views on TikTok and IG Reels combined. The overwhelming response from fans has not only propelled the band’s 2008 platinum single “Sound of Madness” back to the top of the iTunes Rock Chart but has also emphasized the timeless connection between music and fandom, proving that age is just a number.

Comprising Brent Smith (vocals), Zach Myers (guitar), Eric Bass (bass, production), and Barry Kerch (drums), Shinedown embodies creative dynamism, constant evolution, singular vision, and uncompromising honesty. With 21 #1 Active Rock hits, 15 platinum and gold singles, billions of global streams, and 10 million albums sold worldwide, Shinedown’s impact on the rock music landscape remains unparalleled. Their latest album, “Planet Zero,” not only debuted in the Top 5 on the Billboard 200 Chart but also topped six other Billboard charts, including Top Album Sales, Rock, Hard Rock, and Alternative Albums Charts.

The band’s success is not just a testament to their musical prowess but also a reflection of their enduring influence on rock culture.

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Blues-Rock’s Resilient Icon Walter Trout Reveals stunning new single “Broken” feat. powerhouse singer, Beth Hart Walter’s New Album ‘Broken’ is out March 1st via Provogue / Mascot Label Group, featuring guest appearances by Beth Hart, Twisted Sister’s Dee Snider, and Harmonica Virtuoso Will Wilde Watch the lyric video for “Broken” by Walter Trout, feat. Beth Hart at https://youtu.be/UKXxImxkJjE Follow Walter Trout Online At: http://www.waltertrout.com/ http://www.facebook.com/waltertroutband/ http://www.twitter.com/waltertrout http://www.instagram.com/walter_trout

By Troy Wilson Blues-rock veteran Walter Trout is making significant strides in the music scene as he gears up for the release of his highly anticipated album, “Broken,” scheduled to hit the shelves on March 1st via Provogue / Mascot Label Group. One of the highlights of the upcoming album is the mesmerizing new single, “Broken,” featuring a powerful collaboration with acclaimed singer Beth Hart. For those eager to get a taste of what’s to come, the music video for “Broken” is available for viewing here.

In addition to Beth Hart, Trout’s album

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boasts guest appearances by none other than Twisted Sister’s Dee Snider and the harmonica virtuoso Will Wilde, adding layers of diversity and musical prowess to the already enticing collection of tracks. Die-hard fans and music enthusiasts alike can now preorder the album here, ensuring they secure a copy of this blues-rock masterpiece.

Walter Trout’s musical journey doesn’t stop at the studio; he has kicked off 2024 with an extensive touring schedule, showcasing his timeless talent and connecting with audiences around the world. Currently embarking on a seven-date tour in Australia, Trout is set to follow up with a series of ten

Rock and Blues International • February 2024

dates in the USA throughout March. The global trek continues as he takes his music to various European countries, including Denmark, Sweden, Norway, Finland, Czechia, Germany, France, Switzerland, Austria, and The Netherlands in April and May, culminating with a much-anticipated stop in the UK in October. Fans eager to catch a live performance can secure tickets at www.waltertrout.com.

Delving into the album and the title track, “Broken,” Walter Trout reflects on the challenges faced in today’s world, particularly in the United States. Collaborating with the incomparable Beth Hart on this poignant track, Trout shares, “I thought my friend Beth Hart could relate to the title track, ‘Broken.’

With that song, I was looking at the world – especially what’s going on in the United States – but also thinking about my recovery from the things that happened to me.”

The album, produced by longtime collaborator Eric Corne, was recorded at the renowned Kingsize Soundlabs in LA. Remarkably, this marks the 15th collaboration between Trout and Corne, a partnership that has stood the test of time. Despite the album’s title and the socio-political mood it reflects, Trout remains optimistic, emphasizing the power of music to help overcome brokenness, one note at a time.

Walter Trout’s enduring career has spanned seven remarkable decades, and his upcoming album, “Broken,” serves as a testament to his unwavering commitment to the blues-rock genre. With a stellar lineup of collaborators and Trout’s resilience shining through, “Broken” is poised to captivate audiences, reaffirming his status as a beacon of hope in the ever-evolving world of music.

‘Broken’ by Walter Trout 1. Broken (feat. Beth Hart) 2. Turn And Walk Away 3. Courage In The Dark 4. Bleed (feat. Will Wilde on Harmonica) 5. Talkin’ To Myself 6. No Magic (in the street) 7. I’ve Had Enough (feat. Dee Snider) 8. Love Of My Life 9. Breathe - written by Richard Gerstein 10. Heaven Or Hell 11. I Wanna Stay 12. Falls Apart

Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

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Rock band FOREIGNER has announced a special treat just in time for Valentine’s Day – the FAREWELL The Very Best Of Foreigner (HOT BLOODED EDITION), a limited-edition red vinyl album. This collector’s item is the perfect gift for music lovers, featuring FOREIGNER’s greatest hits produced by Mick Jones with Jeff Pilson To purchase FAREWELL – Theery V Best Of Foreigner (HOT BLOODED EDITION), please visit https://foreigner.merchmadeeasy.com/hotblooded

By Nathan Pugh Available exclusively at FOREIGNER’s tour stops and online, the striking red vinyl is individually numbered and limited to 5,000 copies. With the band’s two-year farewell tour in full swing, including Las Vegas residences at The Venetian Hotel and upcoming Canadian shows, this album is a unique and thoughtful gift option for Valentine’s Day. It can be purchased at https:// foreigner.merchmadeeasy.com/hotblooded.

The album boasts FOREIGNER’s iconic hits such as “Hot Blooded,” “Cold As Ice,” “Urgent,” “Double Vision,” and the chart-topping “I Want To Know What Love Is.” As many tour dates are already selling out, the limited-edition vinyls are expected to 72

go quickly.

In addition to the Valentine’s Day release, FOREIGNER’s epic two-year farewell tour continues with a co-headlining “Renegades & Juke Box Heroes” tour alongside Styx and special guest John Waite, starting June 11, 2024, in Grand Rapids, MI at the Van Andel Arena. The tour promises a lineup of collective feel-good anthems, including hits like “Come Sail Away,” “Feels Like The First Time,” “Renegade,” “Juke Box Hero,” “Mr. Roboto,” and more.

FOREIGNER’s enduring popularity is evident through its more than 80 million album sales and numerous Billboard Top 10 hits. Led by Mick Jones and fronted by the charismatic Kelly Hansen, the band’s timeless anthems continue to resonate with fans old

Rock and Blues International • February 2024

and new. The lineup, featuring Jeff Pilson, Michael Bluestein, Bruce Watson, Chris Frazier, and Luis Maldonado, delivers a highenergy performance that has contributed to FOREIGNER’s continued success over four decades. Streams of their hits approach 15 million per week, solidifying their status as one of the most popular rock acts globally.

FAREWELL - THE VERY BEST OF FOREIGNER TRACK LIST: Side A: 1. Feels Like The First Time / 2. Cold As Ice / 3. Long, Long Way From Home / 4. Hot Blooded / 5. Double Vision / 6. Head Games Side B: 1. Dirty White Boy / 2. Urgent / 3. Waiting For A Girl Like You / 4. Juke Box Hero / 5. I Want To Know What Love Is

Maybe You Should Run Your Next Tour Schedule In Rock And Blues International! email: rockandbluesinternational@gmail.com or call today 281-650-1953 For Fast Service

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Rock and Blues International • February 2024

Bon Jovi Commemorates 40th Anniversary Of Self-Titled Debut Bon Jovi Deluxe Edition Out Now Limited-Edition Ruby Color Vinyl Out March 24 Limited-Edition Exclusive Cassette Out April 5 Listen to the Deluxe Edition Here at https://bonjovi.lnk.to/BonJovi40 Pre-order on the group’s official D2C store Here at https://bonjovi.lnk.to/BonJovi40

By Albert Schwartz Rock and Roll Hall of Fame band Bon Jovi is marking the 40th anniversary of its self-titled debut with the release of the Bon Jovi Deluxe Edition. This special edition, available on all streaming platforms via Island/UMe, includes the remastered original album along with nine bonus tracks, featuring unreleased studio recordings and rare live cuts. The Deluxe Edition also comes with a 40thanniversary trailer.

In addition to the digital release, Bon Jovi has announced the launch of a limited-edition ruby color vinyl LP on March 24 and a limited-edition cassette on April 5. Fans can explore the Deluxe Edition and pre-order these exclusive releases on the group’s official D2C store.

Produced by Jon Bon Jovi and longtime sound engineer Obie O’Brien, the Deluxe Edition provides a unique insight into the band’s early days. The evolution of “Runaway” is showcased, from Jon’s original cassette writing demo to a full alternate take, as well as an extended version of the band’s first hit with a gripping second guitar lead.

Additionally, listeners can enjoy an early version of “Come Back,” featuring Jon singing his idea for a guitar solo.

The live tracks on the Deluxe Edition were recorded during the group’s 1985 shows in Tokyo, originally available on the CD release Bon Jovi: Special Edition in 2010. Newly mixed for this edition, the live tracks will be available on digital streaming platforms for the first time.

Remastered from the original tapes, the limited-edition ruby color vinyl of the band’s original 9-track LP features an alternate cover design, highend tip-on jacket, and an exclusive

lithograph of an early Ross Halfin photo session. Meanwhile, the limited-edition cassette includes all the original album tracks with an enhanced design featuring lyrics and the original band photo from the LP’s inner sleeve—elements previously missing from the original U.S. cassette release.

Exactly forty years ago, on January 24, 1984, Bon Jovi released its debut album, introducing the band to the masses and launching their storied career. The record went double-platinum and featured classics such as “She Don’t Know Me” and “Runaway,” the latter accumulating nearly half-a-billion streams.

With an illustrious career spanning over three decades, Bon Jovi has earned a place among global rock royalty.

Inducted into the Rock & Roll Hall of Fame and the Songwriters Hall of Fame, the band has sold over 130 million albums worldwide, performed thousands of concerts in more than 50 countries for over 35 million fans, and achieved ticket grosses well over $1 billion worldwide in the last decade alone. Bon Jovi stands as the consummate rock and roll band.

Tracklist: (Original Album) A1.

A2.

A3.

A4.

A5.

B1.

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Side A Runaway Roulette She Don’t Know Me ShotThrough The Heart Love Lies Side B Breakout Burning For Love Come Back Get Ready Bon Jovi(Limited Edition Cassette)

A1.

A2.

A3.

A4.

A5.

Tracklist: (Original Album) Side A Runaway Roulette She Don’t Know Me ShotThrough The Heart Love Lies

B1.

B2.

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Side B Breakout Burning For Love Come Back Get Ready Bon Jovi: Deluxe Edition Tracklist:

Original Album 01. Runaway 02. Roulette 03. She Don’t Know Me 04. Shot Through The Heart 05. Love Lies 06. Breakout 07. Burning For Love 08. Come Back 09. Get Ready Bonus Tracks 10. Runaway (cassette writing demo) 2:14 11. Runaway (pre-production studio demo) 4:08 12. Runaway (alternate version) 4:18 13. Runaway (extended version-2024 mix) 4:42 14. Come Back (reference vocal version) 4:15 15. Roulette (Tokyo Live ’85-Obie O’Brien mix) 5:38 16. Breakout (Tokyo Live ’85-Obie O’Brien mix) 7:06 17. Runaway (Tokyo Live ’85-Obie O’Brien mix) 5:17 18. Get Ready (Tokyo Live ’85-Obie O’Brien mix) 7:03

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By Greg Fontaine Renowned Grammy-winning songwriter, platinum solo artist, and the iconic voice behind Creed, Scott Stapp, is gearing up to embark on a musical odyssey with the unveiling of the first leg of his Higher Power Tour. This series of intimate theater dates is poised to celebrate the impending release of his highly anticipated fourth solo album, “Higher Power,” scheduled to captivate audiences starting March 15, 2024, courtesy of Napalm Records.

The revelation of these eagerly anticipated tour dates unfolds just a month ahead of Creed’s historic reunion, marking their triumphant return to the stage after more than a decade. Fans clamoring for a front-row seat can secure their tickets, which officially went on sale on Friday, January 19 at 10:00 am local time. All ticket details are conveniently available on Scott Stapp’s official link.

Adding to the buzz surrounding this musical phenomenon is the chartclimbing success of the album’s title track, “Higher Power,” currently making waves at an impressive #17 on Mediabase’s Active Rock Chart. Described as “riding in on a riff packed with so much thunder and lightning you’ll be seeking shelter before (Stapp) reaches the chorus” (Louder Sound), the single sets the stage for what promises to be a spectacular musical journey.

Scott Stapp Announces US Tour Dates to Launch New Album, Higher Power, out March 15 via Napalm Records Scott Stapp’s “Higher Power” Surges to #17 on Mediabase Active Rock Chart, Setting the Stage for a Musical Extravaganza 76

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On “Higher Power,” Stapp delivers a musical metamorphosis, delving into themes of loss, frustration, betrayal, and near defeat. The album showcases standout performances by the likes of Dorothy, guitar virtuoso Yiannis Papadopoulos, and a co-writing collaboration with multi-Grammy winning songwriter and musician Steve McEwan.

Produced by the dynamic duo of Marti Frederiksen and Scott Stevens, the album follows the success of Stapp’s 2019 release, “The Space Between the Shadows,” which debuted impressively at #3 on the US Current Rock Albums chart, the US Current Hard Music Albums chart, and the UK Official Rock & Metal Chart. continued on next page

Scott Stapp (continued from previous page) Loudwire aptly notes that Stapp is “primed for a big decade, sounding just as powerful as he did at half his age with a sense of newfound heaviness resting beneath his iconic voice.”

As one of the most iconic voices in rock, Scott Stapp first ascended to stardom as the high-energy, post-grunge frontman of Creed. The band’s anthems, including “Higher,” “My Own Prison,” “My Sacrifice,” and “With Arms Wide Open,” propelled them to unparalleled success, selling over 50 million albums and earning a Diamond certification.

Creed’s legacy encompasses breaking airplay records, selling out arenas, and receiving numerous Billboard Music Awards, American Music Awards, and a Grammy for Best Rock Performance by a Duo or Group.

Stapp’s solo journey continued with noteworthy releases such as the Platinum-certified “The Great Divide” (2005), “Proof of Life” (2013) featuring his first solo #1, “Slow Suicide,” and 2019’s “The Space Between The Shadows.” The anticipation surrounding Stapp’s reunion with his Creed bandmates in April 2024 adds an extra layer of excitement to an already monumental year in the artist’s storied career. Music enthusiasts worldwide eagerly await the unveiling of “Higher Power” and the immersive experience promised by the Higher Power Tour, a testament to Scott Stapp’s enduring impact on the rock music landscape.

Higher Power track listing: 1. Higher Power 2. Deadman’s Trigger 3. When Love Is Not Enough 4. What I Deserve (feat. Yiannis Papadopoulos) 5. If These Walls Could Talk (feat.

Dorothy) 6. Black Butterfly 7. Quicksand (feat. Yiannis Papadopoulos) 8. You’re Not Alone 9. Dancing in the Rain (feat. Yiannis Papadopoulos) 10. Weight of the World

Listen to “Higher Power” here at https://youtu.be/XRmj57eA2Ck Pre-Order Higher Power here at https://www.napalmrecordsamerica.com/scottstapp

SCOTT STAPP online: WEBSITE @ https://scottstapp.com/ FACEBOOK @ https://www.facebook.com/ScottStapp/ INSTAGRAM @ https://www.instagram.com/scottstapp TWITTER @ https://twitter.com/ScottStapp NAPALM RECORDS @ https://label.napalmrecords.com/scott-stapp Higher Power Tour Dates: 3/10/24 - Ponte Vedra Beach, FL @ Ponte Vedra Concert Hall 3/12/24 - Charleston, SC @ Charleston Music Hall 3/14/24 - Chattanooga, TN @ The Signal 3/15/24 - Asheville, NC @ The Orange Peel 3/18/24 - Nashville, IN @ Brown County Music Center 3/19/24 - Milwaukee, WI @ Turner Hall Ballroom 3/21/24 - Omaha, NE @ Steelhouse Omaha 3/22/24 - Clear Lake, IA @ Surf Ballroom February 2024 • Rock and Blues International

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Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

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Leah To Release Her New Album , “The Glory and the Fallen” on February 16th Pre-orders for ‘THE GLORY AND THE FALLEN’ Collection: Vinyl, CD, 3 Disc Digipak, Hoodies & Bundles @ https://theleahshop.com/ LEAH online: Visit: https://leahmchenrymusic.com/ • Shop: https://theleahshop.com Facebook: facebook.com/LEAHthemusic • Instagram: instagram.com/leahthemusic YouTube: https://www.youtube.com/@Leahmchenry Renowned musician LEAH is set to unveil her highly anticipated sixth album, “The Glory and the Fallen,” on February 16th. A collaborative effort featuring an impressive roster of esteemed musicians, this crowdfunded project promises to be a monumental addition to LEAH’s distinguished discography.

The album credits read as a who’s who of musical talent. All compositions are meticulously penned by Leah McHenry, with the mixing and mastering expertly handled by Tom Müller at Flatliners Studio. Vocal arrangements are a joint effort by Leah McHenry and the acclaimed producer Oliver Philipps. The captivating artwork and layout are crafted by Giannis Nakos, known for his work with Kamelot, Evergrey, and Amaranthe.

The musical lineup for “The Glory and the Fallen” showcases the collective prowess of Leah McHenry on lead vocals and keys, Timo Somers on guitars and bass, and Sander Zoer on drums. Oliver Philipps, contributing orchestrations, programming, and additional keyboards and guitars, completes the ensemble.

Notable guest musicians enrich the

album’s sonic tapestry. Mark Jansen of Epica but also explores some new territory that I and MaYaN lends his harsh vocals to select think you’ll really enjoy.” tracks, while Dagda (Celtibeerian) infuses As an artist who has left an indelible ‘Victory’ and ‘Dream Voyage’ with flutes and mark on the genre of “Celtic fantasy metal,” pipes. Leah’s daughters, Elektra, Victory, and LEAH’s previous works have featured Geneva, contribute vocals to ‘Unshakable’ collaborations with musical luminaries such and ‘Victory,’ creating a familial connection as Troy Donockley, Eric Peterson, Barend within the music. Oliver Philipps and Timo Courbois, Chen Balbus, and Jacob Hansen.

Somers join their voices on ‘Victory,’ and Syr Fondly referred to as the “metal Enya,” she provides vocals on ‘Revive,’ further enhancembodies the archetype of the “warrior ing the collaborative nature of this musical queen” for a dedicated global audience. venture.

“The Glory and the Fallen” follows In a strategic move to cater to a diverse LEAH’s five previously released albums: “Of audience, LEAH will be releasing an Earth and Angels” (2012), “Otherworld” instrumental album alongside folk versions of (2013), “Kings & Queens” (2015), “The several songs, ensuring a comprehensive Quest” (2018), and “Ancient Winter” (2019), musical experience for fans with varied each a testament to her unique blend of tastes. symphonic metal enriched with Celtic, folk, LEAH reflects on the significance of and fantasy elements. this project, stating, “This is one of my Fans and media outlets eager to delve biggest projects to date. Not only because into LEAH’s latest creation can explore her there were more people involved, but also captivating music on platforms such as because of the scope of the music itself and Spotify and Bandcamp. With a promise of a the way I challenged myself in the musical journey through uncharted territories, songwriting process, and vocally. I think “The Glory and the Fallen” is poised to you’ll hear a continuation of my evolution as captivate audiences with its enchanting a songwriter and vocalist. This collection of melodies and collaborative brilliance. songs is very much the classic LEAH sound February 2024 • Rock and Blues International 81

British Rock Icons Magnum Reveal Exclusive Details On New Single And Upcoming Album Release MAGNUM Shares New Single, ”The Seventh Darkness” + Lyric Video Watch HERE at https://youtu.be/MDQC78U-no8 Pre-Order Here Comes The Rain HERE https://magnum.lnk.to/HereComesTheRain Stream “The Seventh Darkness” HERE at https://orcd.co/magnum_theseventhdarkness MAGNUM Online: FACEBOOK @ https://www.facebook.com/groups/ MagnumOfficial/ WEBSITE @ http://http://www.magnumonline.co.uk

by Johnny Ghoul Renowned British rock legends MAGNUM are set to make waves with their latest digital single, “The Seventh Darkness,” an enticing glimpse into their forthcoming studio album, “Here Comes the Rain.” Slated for release on January 12th, 2024, via Steamhammer / SPV, this eagerly anticipated single is accompanied by an intricately crafted lyric video that enhances the auditory experience.

“The Seventh Darkness” stands out as a testament to MAGNUM’s ability to transcend conventional rock boundaries.

The track features brilliant brass sections contributed by guest musicians Chris ‘BeeBe’ Aldridge on saxophone and Nick Dewhurst on trumpet. Tony Clarkin, the 82

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mastermind behind MAGNUM’s distinctive sound, shares his enthusiasm, stating, “The recordings were great fun, especially the moment when Chris’s sax took the lead and my guitar responded. A real highlight on this album!”

MAGNUM, known for their unique melodic prowess, tasteful instrumentation, and charismatic vocals, continue to assert their presence in classic rock. “Here Comes the Rain” promises to deliver a captivating blend of atmospheric soundscapes and timeless rock melodies. The album, available on CD + DVD, double vinyl LP, as a box set, and for digital download, caters to the diverse preferences of their global fanbase.

The captivating artwork for “Here

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Comes the Rain” is once again the work of the esteemed Rodney Matthews, a recurring collaborator with MAGNUM on multiple album covers. The visual narrative features a striking avian battalion in attack mode, providing an allegorical dimension that complements MAGNUM’s atmospheric and dense musical style.

Reflecting on his songwriting process, Tony Clarkin reveals, “When I start to write the songs, I don’t have any fixed ideas in my head. I probably play a bit of guitar or mess around on a keyboard, sometimes I read a book, and usually, this gives me a place to start. But to put this into words that people can understand, I just fiddle about for hours hoping something inspires me.”

The extended writing period for “Here Comes the Rain” allowed Clarkin to delve deeper into his creative process, presenting fans with a more intricate and layered musical experience. Acknowledging the challenges posed by the interruption due to the Covid-induced tour delay, Clarkin highlights the satisfaction of producing new material that resonates with him personally.

As MAGNUM prepares to release lead singles on November 24, 2023, and January 5, 2024, anticipation for “Here Comes the Rain” continues to build. The band is gearing up for an extensive tour scheduled to kick off in early April 2024, promising fans an unforgettable live experience.

Featuring MAGNUM’s lineup photo credit:core Mind Art Visual of Bob Catley, Tony Clarkin, Rick Benton on keyboards, Dennis Ward on bass, and Lee Morris on drums, “Here Comes the Rain” exemplifies their ability to create an outstanding, colorful, varied, and inspired new studio album. Clarkin remarks, “Everyone played their part without me dictating anything. Everyone just instinctively played what their inspiration told them.”

MAGNUM’s enduring legacy in the world of rock music is further solidified with “Here Comes the Rain,” a testament to their unwavering creativity, intuition, and ability to transcend the boundaries of classic rock.

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Sam Cooke

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Sam Cooke’s SAR Record Story Unveiled On Vinyl For The First Time, Promising A Journey Through Musical History Pre-Order Sam Cooke’s SAR Records Story 1959-1965 https://www.barnesandnoble.com/w/sam-cookes-sar-records-story/40876344

By Albert Schwartz The musical legacy of Sam Cooke’s SAR Records, a groundbreaking venture that changed the landscape of the industry, is set to be rekindled as ABKCO releases “Sam Cooke’s SAR Records Story 1959-1965" on vinyl for the first time on February 9th. Originally presented as a 2-CD set in 1994, this timeless collection is reborn as a 4-LP set, allowing fans to delve into the soulful sounds of a seminal black-owned label.

Sam Cooke, along with music publisher J.W. Alexander and S. Roy Crain, founded SAR Records in 1959, setting the stage for a revolution in the music scene. The acronymous name,

standing for Sam Alex Roy, sought to keep the spirit of gospel music alive while venturing into the secular world to captivate a broader audience. As Motown emerged in Detroit, SAR Records thrived in Los Angeles, becoming a rare gem in an era where blackowned labels were a rarity.

The vinyl set, a comprehensive chronicle of SAR Records, spans two LPs dedicated to gospel roots and two LPs focusing on the label’s crossover into the pop world. From the fervent coaching of vocalists by Sam Cooke to the profound influence of groundbreaking artists like The Soul Stirrers, Johnnie Taylor, Billy Preston, and The Valentinos featuring Bobby

Womack, each track unveils a piece of music history.

Milo Miles, in a review almost three decades ago on NPR’s Fresh Air, described the SAR Records Story as being “infused with Sam Cooke’s rapturous sense of how sacred gospel and sexual soul flow together, unbroken.”

The Soul Stirrers, dating back to 1926, transitioned through various phases, including a stint with pre-solo career Sam Cooke. The collection features their SAR recordings, including soul-stirring renditions of classics like continued on next page

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Womack Brothers, later known as The Valentinos under Sam Cooke’s guidance, adds a touch of rhythm and blues with their hit “It’s All Over Now,” co-written

by Bobby Womack. The Rolling Stones’ cover of the song went on to become their first UK #1 hit.

While Sam Cooke himself was never signed to SAR Records, the vinyl set includes unreleased masters recorded under Keen Records, showcasing Cooke’s genius. A demo version of his 1957 hit “You Send Me” adds a personal touch to this musical journey.

The vinyl release is accompanied by comprehensive liner notes from renowned music historian Peter Guralnick, offering insights into the label’s mission to broaden the appeal of gospel music while infusing gospel techniques into the pop world.

As the “Sam Cooke’s SAR Records Story 1959-1965" hits the shelves on February 9th, music enthusiasts can expect an immersive experience through the golden era of SAR Records, where Sam Cooke’s vision transformed the very fabric of the industry.

Sam Cooke’s SAR Records Story 19591965 4LP vinyl track listing:

Sam Cooke’s SAR Record Story

Record One Side One

(continued from previous page) “Wade In The Water” and “Stand By Me Father.” The evolution of the group, now with Johnnie Taylor replacing Cooke, is evident in hits like “Keep On Loving You” and “Rome (Wasn’t Built In A Day).”

Blues singer Johnnie Morisette, known as “Two Voice,” brings his unique style to SAR with a cover of Albert King’s “Don’t Throw Your Love On Me So Strong.” The soulful ballad “Meet Me at the Twistin’ Place,” written by Sam Cooke, became a hit for Morisette and 86

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later received a fresh interpretation by its composer as “Meet Me At Mary’s Place.”

The SAR Records Story also features a notable inclusion from a young keyboard prodigy, Billy Preston, who recorded for SAR sub-label Derby Records at the age of 16. His instrumental piece, “Greazee Part I & II,” from 1963, predates his later collaboration with The Beatles.

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Cleveland gospel group The

1) Sam Cooke & Paul Foster – Wade In The Water (Chatter) 2) The Soul Stirrers – Wade In The Water 3) The Soul Stirrers – I’m A Pilgrim 4) The Soul Stirrers – Praying Ground 5) Sam Cooke & His Gospel Paraders – Somebody (Chatter) 6) R.H. Harris & His Gospel Paraders – Somebody 7) R.H. Harris & His Gospel Paraders – Sometimes 8) The Soul Stirrers – Amazing Grace continued on next page

Sam Cooke’s SAR Record Story (continued from previous page) Side Two

Side Five

1) R.H. Harris & His Gospel Paraders – Pass Me Not 2) Sam Cooke, The Soul Stirrers & Clif White – Oh Mary, Don’t You Weep (Chatter) 3) The Soul Stirrers – Oh Mary, Don’t You Weep 4) The Soul Stirrers – Since I Met The Savior 5) The Soul Stirrers – God Is Standing By 6) Sam Cooke, S.R. Crain & The Soul Stirrers – Lead Me To Calvary (Rehearsal) 7) The Soul Stirrers – Listen To The Angels Sing 8) The Soul Stirrers – Don’t Leave Me Alone

1) Sam Cooke – You Send Me (Demo) 2) Sam Cooke – Just For You 3) Sam Cooke – Somewhere There’s A Girl 4) Sam Cooke – You Were Made For Me 5) Mel Carter – When A Boy Falls In Love 6) The Simms Twins – Soothe Me 7) Sam Cooke & The Simms Twins – That’s Where It’s At (Chatter) 8) The Simms Twins – That’s Where It’s At 9) The Valentinos – Everybody Wants To Fall In Love Side Six 1) Sam Cooke & Johnnie Taylor – Baby, We’ve Got Love (Chatter) 2) Johnnie Taylor – Baby, We’ve Got Love 3) The Valentinos – Baby, Lots Of Luck 4) L.C. Cooke – Put Me Down Easy 5) Johnnie Taylor – Rome (Wasn’t Built In A Day) 6) Billy Preston – Greazee Part I & II

Record Two Side Three 1) The Soul Stirrers – Stand By Me Father 2) The Soul Stirrers – Jesus Be A Fence Around Me 3) The Soul Stirrers – Lead Me Jesus 4) The Soul Stirrers – Free At Last 5) Sam Cooke & Jimmie Outler – Looking Back (Chatter) 6) The Soul Stirrers – Looking Back 7) R.H. Harris & His Gospel Paraders – Born Again Side Four 1) R.H. Harris & His Gospel Paraders – Wait On Jesus 2) The Soul Stirrers – Time Brings About A Change 3) The Soul Stirrers – Must Jesus Bear The Cross Alone 4) Sam Cooke & Curtis Womack – Yield Not To Temptation (Chatter) 5) The Womack Brothers – Yield Not To Temptation 6) The Womack Brothers – Couldn’t Hear Nobody Pray 7) The Womack Brothers – Somewhere There’s A God 8) Sam Cooke – That’s Heaven To Me

Record Four Side Seven 1) The Simms Twins – I Gopher You 2) Sam Cooke & The Simms Twins – I

Gopher You (Chatter) 3) Johnnie Morisette – You’re Always On My Mind 4) Johnnie Taylor – I Need Lots Of Love 5) Johnnie Morisette – Don’t Throw Your Love On Me So Strong 6) Johnnie Morisette – Black Night 7) Johnnie Morisette – Damper 8) Johnnie Taylor – You Can Run (But You Can’t Hide) 9) Sam Cooke & Background Vocalists – Meet Me At The Twisting Place (Chatter) 10) Johnnie Morisette – Meet Me At The Twisting Place Side Eight 1) The Simms Twins – Good Good Loving 2) L.C. Cooke – The Wobble 3) Sam Cooke & The Valentinos – Lookin’ For A Love (Chatter) 4) The Valentinos – Lookin’ For A Love 5) The Valentinos – I’ve Got Love For You 6) Sam Cooke & Bobby Womack – I’ve Got A Girl (Chatter) 7) The Valentinos – I’ve Got A Girl 8) The Valentinos – Tired Of Living In The Country 9) The Valentinos – It’s All Over Now

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The Biker, The Blues, Beaches And Lots Of Open Road If you are up on two wheels and want to scoot non-stop with cold libations and good music at the other end then the highway between mainland Florida and the keys is for you.

From Key Largo to Key West this is one cool ride and a really good time. Obviously the bike festivals on the mainland such as at Daytona Beach are way cool but nothing beats letting your pipes breathe once you hit seven mile bridge. When it comes to a place to park, drink and chow down The Caribbean Club in Key Largo is hard to beat.

Check out that sunset (left) and they present live acoustic performances on their dock. This place is living proof that life is good. Hotels and motels close by. Now I don’t know about you but a lot of things catch my attention while traveling especially a sign near a bar that reads Attention Beyond This Point You May Encounter Nude Bathers.

Well one just has to drop in as if it were a call to duty and that is what I did while making my trek south down to Key West. Interesting beach for sure. Not much to say about this topic but it’s there and if you are into being a sun bather in the nude or maybe watching a sun bather in the nude Florida has the seven top rated nude beaches in America. I fired up Ole Red and made my way to another nice place named the Tiki Bar. Kind of humorous situation - I was tilting back a cold regional brew outside on one of their landings and this dog came up to me (see below). Really cool attitude and so we talked a bit. Well this guy comes up to where I am sitting, sees the dog and asks if it’s ok to pet her. I said well the dog isn’t mine but you can pet her and I think the bar gets five bucks. He didn’t know how to come back to me and immediately turned and went his own way. So later as I go back into the bar to get another cold one there was that guy again. So I told the bartender privately what I had said to the guy and he chuckled a bit. Well being who I am I just couldn’t pass up an opportunity to have some more fun with this guy. So while the bartender was drawing me another draft I moved over next to him to receive the beer. When the bartender came over I asked him if a person has to pay twice to pet the dog or just once for the whole day. Without missing a beat the bartender said no sir just once per day. It helps defray the cost of his food and any vet bills. You should have seen the look on that guy’s face, man that was a kodak moment. I mean sometimes you meet a guy with a stick up his ass and you just want to brighten his day and if humor doesn’t do it well you’ve brightened up your own anyway. I remember another time this guy, out of nowhere, asked me what I did for a living. I told him that I was with the Save The Twinkie movement. His eyebrow furled and he replied “really” to which I sais that continued on next page

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Side 2

The Biker, The Blues, Beaches And Lots Of Open Road the government was out to keep Twinkies from kids. He bit right in, pardon the pun, then I couldn’t help myself. He asked if I was kidding and I said no really that’s what I do I am with the Save The Twinkie foundation out of Washington DC. He was amazed and I could see that he was searching my face for any glimmer of humor slipping out but I had been there longer than he had and I had this story down pat. There had been a gal sitting on my left and she was listening to all of this, I could see her smiling in the mirror. She got up and left but returned soon and when she did she pulled her bar stool closer saying almost in a whisper “I have to hear the rest of this”. I mean the guy was gullible and now I had an audience, well what was a man to do? I had fun, the lady on my left enjoyed the humor and the guy on my right left after a short while. I never let him in on it. Somewhere there was a guy walking around that was possibly searching the net for the Save The Twinkie foundation.

Moving along: myself I made my way to Plantation Florida, another “key” location. I went to a place named Rock & Brews and this place hosts Florida blues great Joel DeSilva. Joel and his band sport a polished look reminiscent of a mid seventies R&B band and deliver righteous blues. Rock & Brews itself has a picture gallery of rock, blues and R&B artists and take it from me the food is very good there too. You can hear live music just about any night of the week. If you get to see Joel perform trust me you won’t be sorry, the man gets it done. Later I checked in at a motel close by and hit the road in the morning about brunch time. I was anxious to get to Marathon, not sure why only that I seemed to remember that one of the Allman Brothers owned a place named the Brass Monkey there. I was wrong they didn’t own it but Greg did play there a couple of times. What’s really cool about the Brass Monkey is both its regulars who are just over the top and the fact that artists can jam there in their sandals. It caused me to remember that “you ain’t in Kansas anymore baby”. Like the Jimmy Buffet song goes, “I blew out my flip flops” yep that’s where you are smack dab in the middle of people kicking back just being cool. Anyway, being anxious I wheeled on to route one also known as Overseas Highway which by the way is appropriate as the highway is over the sea of course. It was a gorgeous day and my bike was purring right along. People were passing me, honking and waving hi, not a mean soul among them. By the way blues lovers the Southwest Blues Society keeps an ongoing list of blues events on Facebook so travelers always know what’s cooking in the keys.

I was coming into Big Pine and it was time to get some gas and check the oil. Across the pumps was a good looking gal and I asked her where I could hear some good blues and blues rock. continued on next page February 2024 • Rock and Blues International

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Side 3

The Biker, The Blues, Beaches And Lots Of Open Road She asked which way I was headed and I said south. She told me about this place named Looe Key Tiki Bar in the next town down the road. I thanked her and got back on route one heading south. The GPS had found the place in nothing flat and it wasn’t going to be out of the way. One of the first things I noticed when I arrived was a pair of legs sticking out of a thatched roof with fins on. The second thing I noticed was that it was daytime and I was not going to be alone inside this place, nope not by a long shot. I asked the bartender what time the band started and she said whenever they wake up.

Laughed my ass off. Yep, this place could work and yet I still wanted to get to Key West. I went outside to contemplate the decision and fired up a Macanudo and to devour a sandwich and the cold brew she had just served me. Beautiful day, couldn’t be better, the keys definitely kill many stress levels. I began to think about washing and polishing Ole Red but then again it was a kick back day if there ever was one. Now about that decision to leave: Well first of all the Albert Cummings’ song “Blues Makes Me Feel So Good” began to play and that grabbed my attention. Then this vivacious waitress came by and brought a dessert menu. Oh ya you could say I was hooked. Good cigar, good beer, good music and something nice to look at, of course I am referring to the local scenery, the indigenous fauna and nothing else. You know I wonder if you go to hell for lying the same as you do for stealing because while all those things might possibly be true my mind was not on the local landscape. Shame on me, shame on me, shame on me. Well believe it or not I decided to leave and made tracks for Key West. Don’t know why but something was pulling me that way. Turned out it was Hogs Breath Saloon. A bustling, crowded place both in the daytime and at night too after all it’s Key West and these people know how to enjoy life. If you want good music and miles of smiles this place has got it working. World famous you know. Key West itself is a no restrictions location such as in no dress code.

People really are kicked back and it’s easy to stay for a week for example before reality says ok time to get your ass moving. My hunch is that if you go there most likely you will go back. The keys experience is quite cool. Tremendous road trip. The problem I experienced personally however is that when I was scooting south through the mainland (Florida) I kept wanting to stop at all the blues clubs along the way and Florida has tons of them. I could have stopped as I am a no schedule kind of guy but the thought of clean beaches, white sands, sunshine, ice cold beer, blues music, people relaxing and an open highway well they were the drivers for me. I will do it again. If you are looking to get away, kick back and just enjoy a destination’s environment do the keys. Until next time this is the biker out on that long open highway saying, “I swear to God officer the girl told me she was eighteen” but that’s another story for another day.

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