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January 9, 2009
Volume 4 Issue 1

Special Announcements
CD or DVD Releases
News Flash
Blues Artists on the Rise
Blues Society News
House of Blues Radio Hour
Roots Blues Airplay Charts
Blues Festivals
About Us

Due to unforseen circumstances (we had not 1, but 2 computers crash in the last 2 weeks) we have lost all of our e-mail. If we were going to do a release or announcement for you and it does not show up in the e-guide, please resend your info to Thanks. Once again, I apologize for any missed stories.


The Blues Festival Guide has extended its submission period to January 10, 2009 so that artists away froM the holidays can still have time to get their submissions in but dont delay. The deadline is tomorow.

 The annual "Blues Artist on the Rise" competition, now in its third year, gives blues artists a chance to be evaluated against other up-and-coming blues artists. 12 semi-finalists will be selected to receive FREE advertising/promotion "showcases" in the E-guide. Each showcase will include the artist's bio, at least one photo, and a song performed by the artist.

To enter: CLICK

Stylistically hard to pigeonhole - - Is Trout's music too blues for rock - or too rock for blues? -- to label Walter Trout's music is to limit it. With more than 35 years of touring and recording under his belt, this New Jersey native has been "loved and hated, accused and vindicated, packaged and presented for everyone to see," as his autobiographical song ‘Welcome To The Human Race' details.

Being in the studio with Trout approaches temporary insanity - the excitement, the unknown, the experimentation. Truly tantalizing sounds on par with those infamous Eric Clapton licks and Stevie Ray Vaughan riffs, are testament to Trout's talent. His music speaks to your soul, warms your heart and has your foot tapping. Trout brings the blues to life and invigorates rock in a manner all too rare these days.

Whether an improvisational jam or a carefully arranged song, Walter Trout's thirst for musical satisfaction is seemingly unquenchable. Equally capable of spontaneous serendipity as well as pre-planned perfection, this guitarist is truly in the midst of an all-encompassing love affair with the music he creates.

 "The Outsider" features 13 Walter Trout originals (the title track co-written with Trout's bass player Rick Knapp). Trout's backing band on "The Outsider" includes drummer Kenny Aronoff (John Mellencamp), bassist Hutch Hutchinson and pianist Jon Clearly (Bonnie Raitt), as well as Skip Edwards and Samuel Avila on the Hammond B3 and a special guest appearance by harmonica wiz Jason Ricci.


Contemporary blues is often just a flimsey excuse for some hot shot guitar slinger to cram in millions of gnat-notes. However, when a new artist makes an audacious apperance on the scene with a larger menu of spiced and cured southern fried blues, it is a cause for celebration. Guitarist, singer, and songwriter Ricky Gene Hall servers up a steaming platter of fat back jumping and deep groove blues, country foot-tappers, sly funk and achingly tender ballads on his second release from Yard Dawg Records


The Toughest Girl Alive – the Turbulent Times of Candye Kane stageplay workshop of a work in progress

Blues Diva Candye Kane's life story has been turned into a  stage play/workshop, called The Toughest Girl Alive – at the Diversionary Theater (San Diego. CA) on January 29,30,31 and Feb 1st!!!!

The Toughest Girl Alive is a workshop of a musical based on the life of Candye Kane, Singer/Songwriter/Activist/Diva. The no-holds-barred evening was arranged by acclaimed San Diego director/choreographer Javier Velasco and features San Diego actors Amy Bidel and Daren Scott helping Candye take us on her sometimes shocking, sometimes joyous, always colorful journey.


The show also features 23 of Candye’s songs, performed by Candye and her entire band, including the inimitable Sue Palmer tickling the ivories. So although the show is technically a “workshop”, you will certainly get more than your money’s worth of entertainment.


Due to the workshop nature of the show, Candye will be trying out different material during the run to gauge audience reaction. To that end, while all performances will feature the same script, the Saturday and Sunday shows will feature more adult imagery. This is, after all, the honest accounting of a life lived through hardship. If you are considering bringing an older teenager to the show, perhaps you may chose to attend on Thursday or Friday. The show DOES deal with adult themes, while illuminating the triumph of the positive human spirit. At times dark, at times poignant, the toughest girl alive winds its way thru the curves and pitfalls that paved the way for Candye Kane to become the survivor she is. This is, in the end, a very FEEL GOOD show.

Tickets are $15 at the door

Meanwhile, on E-Bay starting January 13th, Candye Kane (now 100 lbs. lighter than a year ago) is selling 
tons of her amazing gowns and stage clothes, including hard to find vintage dresses in large sizes.

Available for purchase are the dresses worn by Candye when she appeared on the television with Roseanne, Donny and Marie and Queen Latifah among other fabulous items.

You can search E-Bay for Candye's items by referencing seller / user name KaneCandye



CHICAGO - The movie "Cadillac Records" tells the story of the artists behind Chicago's famous Chess Records. Notably, Beyonce plays Etta James, Jeffrey Wright brings Muddy Waters to life and Mos Def duckwalks as Chuck Berry.

So why wasn't the movie called "Chess Records"?

"The project wasn't about the Chess brothers, per se," said writer/director Darnell Martin ("I Like It Like That"). "I wasn't really interested in telling the story of the blues, for the first time, coming from the white perspective." She added, "I wanted to start with the guys who actually made it. I wanted it to be a story about what African-Americans did for popular music."

The Chess brothers will still get their story told, however. Marshall Chess, the son of Leonard Chess, has executive-produced an indie feature about his father and uncle called "Who Do You Love," which takes its name from the Bo Diddley song. It debuted at the Toronto Film Festival this year but is still awaiting release. Chess said he has a "love/hate" relationship with both films. "When it's about your family, you want the history to be real," Chess said. As a younger man, Chess worked at the label for eight years with his father and uncle. Although his father is played in "Cadillac Records" by Adrien Brody, the movie leaves his uncle Phil out of the story. "It's insane," Chess said. "It's like doing a film about aviation, with the Wright brothers, but only having one brother. (Phil) was there every day. It was a fully symbiotic, synergistic relationship."
He also takes issue with the onscreen love affair between Leonard and Etta James.
"Now, my father was no angel, but (he) was never caught in an affair," Chess said. "It never happened." He even asked James, a longtime friend, and she told him, "He kissed me on the cheek once."

He has other objections, notably the film's title and the way his father dies.

"That bothers me on a personal level, but that's from the family. Nobody outside the family" cares, Chess said. Martin said she didn't know about Chess' competing biopic until late into the production of her own film "('Cadillac Records') wasn't his dad's story. It was the story about these other guys who made the music, so I didn't really feel in competition with it," she said. Controversy aside, the film has brought more visitors to the historic Chess Records office and studio, at 2120 S. Michigan Ave. But one person who hasn't made it: "Cadillac Records" writer/director Martin. "I read about 26 books and talked to some of the old-timers," she said. A trip to Chicago didn't work out, but it wasn't for lack of trying - just time, she said. "It was primarily because I had so much to do," said Martin. "Strangely enough, I reached out to a lot of people, but people didn't reach back. Nobody wants to talk to you after you've done a spec script."
Martin's movie has generated not only talk, but record sales and a renewed interested in the Chess Records building. "More people are coming down to the building after the movie," said Alex Dixon, vice president at Willie Dixon Blues Heaven Foundation, which is named for his bluesman grandfather and operates tours at the studio. "We're getting more traffic on our MySpace page."

The movie has helped a new generation discover blues music, Martin said. Etta James' "The Definitive Collection" is back on the Billboard charts, as is the soundtrack for "Cadillac Records," which features Beyonce's cover of James' "At Last" and Wright growling through Muddy Waters' "I Can't Be Satisfied." Martin consulted with Chess on the label's most famous songs, which he controls.

"(It) is great - that's what I wanted," said Martin of the renewed interest. "I always told people, I swear to you, if we do it right, people are going to start buying the music again.' " Even with his mixed emotions over the film, Chess said, "I love the fact that it's exposing this music. More people know more about it now than ever before."
He adds: "But it's still amazing there are two films about my family."
Cabo Wabo Replaced By Memphis Blues
MEMPHIS, TN (CelebrityAccess MediaWire) -- Work begins soon to turn Sammy Hagar's Cabo Wabo Fresno into the new Memphis Blues' Barrel Room. The club will integrate a Memphis/New Orleans-theme restaurant and music venue in Granite Park.

Memphis Blues, which sits next door to Cabo Wabo, was the next restaurant planned for Granite Park. Now the Memphis Blues brand will be expanded to include the defunct Fresno Cabo Wabo.

The concept for Memphis Blues is similar to the famed House of Blues chain, which has a dozen dining/music venues around the country in cities such as Las Vegas, New Orleans, Dallas and Chicago. 

A few concerts are scheduled for the new venue in January: A Jan. 8 date with the Tommy Castro Band, Jan. 16-17 with Skynnyn Lynnyrd, a Lynyrd Skynyrd tribute band and an evening with Elvin Bishop on Jan. 22. --by CelebrityAccess Staff Writers


Long-forgotten old-time music finds new audience
Rediscovered: West Virginian singer Bill Cox is one of a number of roots musicians whose early recordings have been rereleased.
Courtesy of Tompkins Square records

Roots music from the early 20th century is experiencing a mini-revival with a series of new CD releases.

Entertainment galas like next month's Grammy Awards are festooned with fresh faces, trim bodies, and the latest couture. Yet in a second ceremony, when the television cameras are off and the shrieking masses have yet to gather, The Recording Academy acknowledges the less glamorous side of the music industry, which includes awarding artists who not only did their best work before Justin Timberlake was born, they also happen to be dead.

The Grammy category for Best Historical Album was launched in 1978 to little fanfare and designed mostly for compilers of big band or opera recordings. But in recent years, as record companies mine their vaults more aggressively to repackage early recorded music in box sets, and patch together snatches of lost tape to create wholly new albums, the category has grown to represent not just the legacy of a certain era or artist, but also an important new revenue channel.

This year, the category is split among a group of independent labels that are innovating how we listen to and appreciate early-century music, some of it predating electrical recording and performed by entertainers whose names are largely forgotten. Instead of shoving the music into the marketplace and waiting for it to sell, these small operators have lovingly filtered it through an interpretive lens to discover thematic connections between where we came from and who we are today.

As a result, boxed compilations are not just bringing forgotten voices back to life, they are making them suddenly relevant. Here, African-American comedian Bert Williams and popular singer Billy Murray can finally be recognized as the greatest recording stars of the Edison cylinder era.

With technology allowing access to centuries of culture through the click of the mouse, having someone curate the past is becoming more essential.

"One thing we strive for are the historical liner notes and photographs and trying to recreate the time period you just don't get with an MP3," says Lance Ledbetter, founder of Dust-To-Digital, an Atlanta independent whose biggest seller is "Goodnight Babylon," a six-CD collection of early Southern sacred songs and sermons, packaged with a 200-page book in a cedar box with pieces of cotton nestled inside. The box has sold 7,500 to date, a smash hit for a label with little overhead, no staff, and marketing the old-fashioned way: word of mouth and print reviews.

That kind of traditional business model works especially well, Josh Rosenthal says, when targeting the two audiences major labels tend to ignore: well-educated and culturally curious baby boomers and 20-somethings who ignore mainstream media channels and listen to college radio. Collectively they are the two groups that helped make "People Take Warning!" a hit for Tompkins Square, the New York City label Mr. Rosenthal has singly operated for three years.

Endorsed by Tom Waits, who contributes an essay, the three-CD set assembles hillbilly songs, blues, country, and general esotery between 1913 and 1938 into three categories: "Man V Machine," "Man V Nature" and "Man V Man." Followed in that order, the songs unfold like a news ticker detailing the hardships of the first half of the last century, when disease, shipwrecks, and floods shaped the nation's character in the industrial age, and created its folk heroes, like Casey Jones, Stack O'Lee, and Tom Dooley.

Some songs double as historic documents, written in the immediate wake of the event they describe. This includes "Fate of Will Rogers and Wiley Post," sung by West Virginian singer Bill Cox two weeks after the 1935 plane crash that killed the American humorist and his pilot. Seventy-eight years later, the tremors in Cox's voice remain harrowing.

"All these forgotten stories" in the box makes it "a tribute to these lost people," Rosenthal says.

The renewed interest in early recordings is connected to two landmark reissues of the 1990s: the "Anthology of American Folk Music" in 1997 and the box of complete works by the blues singer Robert Johnson, the latter which Rosenthal helped produce in 1990 in his former life as a vice president of marketing and sales at Sony Music.

Both releases benefited by arriving alongside the Internet explosion. As adventuresome music fans unplugged from the mainstream to hunt online, music that was long marginalized began to be heard by greater numbers.

Having a digital benefactor for such primitively recorded music is an irony not lost on Richard Martin, cofounder with his wife, Meagan Hennessey, of Archeophone Records, in Champaign, Ill.

Mr. Martin says the recordings on his label, which specializes in minstrelsy, early jazz, ragtime, and vaudeville singers from before the advent of electrical recording, can often be unsettling for listeners used to the sleek production standards of today. Before microphones and consoles to manipulate signal frequencies for intimacy and depth, singers were relegated to shouting into conical horns that etched physical imprints onto discs, a primitive process resulting in recordings that today can sound murky and distant.

"You don't have lows or highs, it sounds like a telephone receiver. When you're used to that, like we are, there's a certain beauty. I like the sound of a good, clean record from 1912," he says.

Younger musicians who are inspired by early century music are likewise not bothered by the primitive sound. For them, including Andrew Bird, the acclaimed fiddler-songwriter, the purity is in the performance.

"It's good to remind yourself now and then what it is to be truly naturally musical," says Mr. Bird. "A lot of that stuff is social music, it served a purpose and was not part of the recording industry. That's a big thing for me. It's not one person's headphone symphony and not a personal ego project, it's part of a living culture."

Growing listener interest has created a demand for deeper excavation of sonic antiquity. Because Archeophone deals in the earliest era of recording, that process means salvaging archaic artifacts of a lost era (wax cylinders and heavy shellac discs), transferring them to CD, and packaging them with exhaustively researched booklets. The pursuit leads Archeophone and other labels through collector vaults, flea markets, and even eBay. But no recent discovery is as special as a 10-second recording of the French folk song "Au Clair de la Lune," sung by a young child in 1860, 17 years before Thomas Edison's recordings that, until last March, were considered the first document of the human voice.

Already a free stream via, a site run by a collective of researchers and historians, which includes Martin, the recording will make its official public debut as a 45-r.p.m.--vinyl single on Dust-To-Digital later this year.

Using a credit card over the Internet to purchase a vinyl record of a song recorded before the light bulb may just represent how far technology has come in cross-wiring history, making it possible for Polk Miller, a Virginian bandleader who died in 1913, to receive Grammy consideration the same year as Coldplay.

"This is part of the cultural subconscious," Martin says. "Reminding us of our history is a very good thing."

Art exhibit: 'Rhythm & Roots, Southern Music' in Delray Beach
Exhibit explores the "make-do" instruments of musicians below the Mason-Dixon line

Growing up in the impoverished rural areas around Clarksdale, Miss., James "Super Chikan" Johnson couldn't afford a guitar. Instead, he fashioned a diddley bo from a hank of baling wire nailed to a piece of wood and tuned with a Prince Albert can and Popsicle sticks.

Although Johnson did eventually get a real guitar, and has since performed his blues on stages around the world, he still invests the same creativity and resourcefulness into his "Chik-can-tars," functioning instruments he crafts from 5-gallon military gas cans that are painted and inscribed in a highly individual fashion.

Of course, Johnson is following a time-honored tradition of Southern "make-do" artistry, which can be seen - along with a Chik-can-tar - in the touring "Rhythm & Roots, Southern Music" show, which will set a spell at the Spady Cultural Heritage Museum in Delray Beach.

The exhibit examines the various cultural and regional strands woven into the Southern musical tapestry, from blues and gospel to Cajun and Appalachian styles. Native Americans, as well as transplanted Asian, Caribbean and Latin communities, also added their sounds to the mix, thus influencing all manner of musicians living below the Mason-Dixon line.


In addition, the show looks at the unique contributions of pioneers such as Delta blues great Charley Patton, gospel composer Thomas A. " Georgia Tom" Dorsey, banjo virtuoso Earl Scruggs and Cajun-music maker Dewey Balfa. Their music spread far beyond their individual bailiwicks and were crucial components in the development of jazz and rock 'n' roll. The exhibit also presents a number of instruments, from a goombay drum to a cigar box fiddle, which are accompanied by sound samples.

"Rhythm & Roots, Southern Music" is on display today-March 29 at the Spady Cultural Heritage Museum, 170 NW Fifth Ave., Delray Beach. $5; 561-279-8883 or

Tupelo to receive next blues marker to honor Elvis
The birthplace and boyhood home of Elvis Presley is open to the public in Tupelo. The modest house draws up to 100,000 visitors to this town of just over 34,000 residents two hours south of Memphis.(The Associated Press file photo)

The latest Mississippi Blues Trail Marker honoring Tupelo's blues legacy is perhaps most widely known - albeit in little detail - via its influence on a young Elvis Presley. The Mississippi Development Authority Tourism Division Heritage Trails Program, the Mississippi Blues Commission and the City of Tupelo held a dedication ceremony yesterday. The marker is located at 399 East Main St. in Tupelo.

"The story behind the king of rock 'n' roll begins with deep roots in the blues," Gov. Haley Barbour said. "It was the sounds of gospel and country found in the blues music that helped to vault a native son of Tupelo into a worldwide music icon."

As a boy, Presley lived adjacent to the African American neighborhoods of "Shake Rag" and "On the Hill." Shake Rag, located east of the old M&O (later GM&O) railway tracks and extending northward from Main Street, was one of several historic African American communities in Tupelo.

By the 1920s blues and jazz flowed freely from performers at Shake Rag restaurants, cafes, and house parties, and later from jukeboxes, while the sounds of gospel music filled the churches. The neighborhood was leveled and its residents relocated during an urban renewal project initiated in the late 1960s.

Mississippi is well known as a destination for music lovers. Gov. Haley Barbour created the Mississippi Blues Trail to recognize the talents of the state's countless musicians in the Birthplace of America's Music. When completed more than 100 sites will offer an unforgettable journey into Blues history.

The Mississippi Blues Commission and the Mississippi Development Authority Tourism Division continues to honor music with new sites and features. For more information, visit the Mississippi Blues Trail on the web at or the official Mississippi tourism site



Order a Highlighted Festival Listing!

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All for only $75! The very first step starts with you wanting your event to be a big success and to give your sponsors, cause, and bands, BIG EXPOSURE.
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Julie Black is a brilliant artist whose rich, soulful voice conjures up raw emotions. Black released her debut album Call Me Angel for Blues (BOJA) in 2007. The album, containing all original music and artwork, has earned Black a spot on several music charts including those on XM Satellite Radio & Roots Music Report. Blues Critic Radio lists Call Me Angel for Blues as one of the Top Ten Contemporary Blues Albums of 2007.

Black's songwriting reflects a passion for Blues while incorporating flavors of other genres. Blues Revue Magazine has called Julie Black "a major singing and songwriting talent". Her unique sound has won her the loyal support of music lovers everywhere.

Julie Black & her band immerse themselves in music, amazing audiences at major events, music festivals & performance halls. During a recent television appearance, the host of the popular show NBC Daytime said "Your music is very strong, your vocals are incredible...the band is just fabulous!" Black's original music, dynamic vocals & diverse band of talented musicians deliver live performances that are creative, passionate & powerful!


Julie"Angel for Blues" Black- Singer/ Songwriter
Michael Johnn- keyboards/ backing vocals
Dave Eichenberger- electric guitar/ backing vocals
"Father" Bill Spicuglia - bass
Mike LaSala- drums

If your heart is craving something rich, if your soul is looking for solace, if your mind needs something fresh & intoxicating... open your ears to the original sounds of Julie Black. This is music you can feel!

What's happening with Julie Black:

• 22 consecutive weeks on Roots Music Report's Roots Blues Charts ‘08!

•Named one of the Top 5 Contemporary Blues Albums of 2007 at Blues Critic Radio!

•Hits #3 on XM Satellite Radio charts at Bluesville!

•Celebrates International CD Release in Japan

To see and hear Julie Black & Band performing "Broken Hearted Baby"


Benefit to help our local musicians enjoy Memphis

On Sunday, Jan. 19th, you can experience this year's local International Blues Competition entrants and help raise funds for their trip to Memphis in February. The music goes from 7:00pm to 11:00pm

Jimmy D. Rogers - Cincy Blues Society solo/duo Winner
Ricky Nye Inc. - Cincy Blues Society band Winner
Cheryl Renee w/ Them Bones - Kentuckiana Blues Society band Winner
Piano Mayhem, with Jimmy, Ricky and Cheryl tearing up the keys

All at the Play By Play Cafe, 6923 Plainfield Road in Silverton
Just $5 for card-carrying Blues Society Members, $7 for all others

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She has been called the female James Brown, and for thirteen years she has been fronting one of the premiere soul bands in America. Now, Sharon Jones and the Dap-Kings are starting to reap what they sewed. Join Elwood Blues this weekend with Sharon Jones as his guest as we listen to her great new album, 100 DAYS 100 NIGHTS

for times and stations in your area

Click on festival name to click through to festival website.
Chubby Carrier's Party Cruise
Thursday, January 15, 2009

Galveston, Texas, U.S.
Rogue Valley Blues Festival
Friday-Sunday, January 16-18, 2009

Ashland, Oregon, U.S.
Chicago Blues Tour
Saturday, January 17, 2009

Chicago, IL, U.S.
Sandy Beaches Cruise

Saturday-Saturday, January 17-24, 2009

San Diego, California to Mexico
Jamaica Jazz and Blues 2009
Thursday-Saturday, January 22-24, 2009

Montego Bay, Kingston, Jamaica
Legendary Rhythm & Blues Cruise

Saturday-Saturday, January 24-31, 2009

Ft. Lauderdale, Florida, U.S.

Luckenbach's 2nd Annual Blues Festival
Saturday-Saturday, January 31, 2009

Fredericksburg, Texas, U.S.
Southern Comfort Bllues Bash
Friday-Friday, February 6-15, 2009
Charleston, South Carolina, U.S.
25th International Blues Challenge

Wednesday-Saturday, February 4-7, 2009

Memphis, Tennessee, U.S.
Club Cubano
Saturday, February 7, 2009

San Jose, Costa Rica
Homestead Blues Festival
Sunday, 15 February, 2009

Point Cook, Victoria, Australia
Knology Clearwater Sea-Blues Festival

Friday-Sunday, February 20-22, 2009

Clearwater, Florida, U.S.
St. Augustine Bluz Festival
Thursday-Sunday , February 12-15, 2009

St.Augustine, Florida, U.S.
Australian Blues Music Festival
Thursday-Sunday, February 12-15, 2009

The National Festival of Australian Blues Music
Goulburn, New South Wales, Australia
+61 2 4823 4492
Phoenix Blues Blast
Saturday, February 21, 2009

Mesa, Arizona, U.S.
Traditional Acoustic Blues Festival
Saturday, February 28, 2009

Worthington, Ohio, U.S.
Pickle's Blues Extravaganza
Friday-Saturday, March 6-7, 2009

Lima, Ohio, U.S.
Bonita Blues Festival
Saturday, March 14, 2009

The Blues, Jazz & Folk Music Society
Bonita Springs, Florida, U.S.
St. John Blues Festival

Wednesday-Sunday, March 18-22, 2009

St. John, U.S. Virgin Islands
19th Annual River City Blues Festival
Friday-Saturday, March 20-21, 2009

The Blues, Jazz & Folk Music Society
Marietta, Ohio, U.S.
Tampa Bay Blues Festival

Friday-Sunday, March 20-22, 2009

St. Petersburg, Florida, U.S.
Berks Jazz Festival

Friday March 27 - Sunday April 5th

Sovereign Center
Reading, PA

Springing the Blues

Friday-Sunday, April 3-5, 2009

Jacksonville Beach, Florida, U.S.
Delta Music Experience

Wednesday-Sunday, April 15-19, 2009

Clarksdale, Mississippi, U.S.
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