Tj Leonard got his first guitar from his grandfather when he was eight. He taught his grandchild to play swedish folk music and evergreens. Soon TJ was introduced to pop and blues through his cousin that was a little bit older and played in a famous swedish pop band.
At eighteen he became lead singer and guitar player in a dance band. A lot of genres passed through TJ:s life. Jazz, hard rock, gospel, soul/r&b but not until country music came along it felt like home. Together with Tex Taylor he started CHESTNUT band in 2010 and later that year they released their first single 110% Country followed by the EP American Dream. CHESTNUT band played at most of the country festivals all around Sweden and even in Denmark and in both 2012 and 2013 they were nominated in Swedish Country Music Championships.
Sometimes things change and it´s time to write a new chapter. Therefore TJ decided late 2013 to release his songs under his own name TJ Leonard.
Hosted by: LouLombardi aka Loudini and Kevin O'Connor
Title: What is a publicist? Why you need one!
Time: 11/20/2015 07:00 PM EST
Episode
Notes: This week Kevin and Lou discuss the importance of hiring a good
publicist with a little help from a short ebook by the indie music buzz
generator Ariel Hyatt. PLUS the boys preview guitar god Leslie West's
new record Soundcheck.
All this and music by featured Loudini artists
Mitch Woods, Madelyn Victoria, and Brad Vickers. AND birthday shout outs
to Joe Walsh, Duane Allman and Norman Greenbaum.
Mitch Woods and His Rocket 88s have been the torchbearers of a great
American blues musical heritage, not for three years but three decades.
Taking their inspiration from the great jump n’ boogie outfits of the
late 40s and early 50s, they breathe fresh life into the music that gave
birth to rock n’roll. Woods styled his group after the jumpin’ n’
jivin’, shoutin’ n’ honkin’, pumpin’ n’ poundin’ bands of Louis Jordan,
Wynonie Harris, Joe and Jimmy Liggins, Amos Milburn, and Roy Milton.
Adding a healthy dose of New Orleans rhythm and blues, piledrivin’
piano, and some of his own contemporary playful lyrics, Woods and His
Rocket 88s forge their own brand of music they call “rock-a-boogie.”
Born
in Brooklyn in 1951, Mitch Woods began playing classical piano at
eleven, but his real initiation into blues and boogie piano had already
been assured at age eight. “My mom would hire this superintendent of the
building, a black man, Mr. Brown, to take me to school, and we stopped
off at his cousin’s house, where somebody was playing boogie-woogie
piano. It really hit me.”
Woods was putting together bands in
Greenwich Village by his mid-teens. By the time he entered the
University of Buffalo, Woods was sitting in at local clubs and
discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert
Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for
the next five years performed as Mitch Woods and His Red Hot Mama (with
singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris
heard Woods opening for Charlie Musselwhite and was reminded of the
sound and theatrics of early R&B pioneer Louis Jordan. Indeed,
Jordan has always been a primary influence on Woods. “I actually did see
Louie Jordan in Oakland. He was the bridge between swing and rock and
roll. He would do a five or six piece band, get a lot of power out of
that.”
That kind of power was to become rallying cry for Mitch’s next
project, Mitch Woods and His Rocket 88s, which started in 1980 and
quickly rose to the top of the Northern California club circuit. Their
first album, Steady Date (Blind Pig Records) got hot reviews in 1984 and
led to appearances at two San Francisco Blues Festivals, openings for
the Fabulous Thunderbirds, Stevie Ray Vaughan, The Blasters, The Neville
Brothers, and James Brown. By 1987, Woods was doing a six-country
Europe tour highlighted by a rousing performance at the Belgium Rhythm
and Blues Festival.
In 1988, the 88s released Mr. Boogie’s Back In
Town (Blind Pig Records) and music pundits started to acknowledge Woods’
place in the ranks of American music: “Woods lays down an authentic
50s-vintage rock piano groove, comparable in power and rhythmic nuance
to classic recordings by the young Jerry Lee Lewis,” said Keyboard
Magazine.
On 1991 album Solid Gold Cadillac, Woods and his band were
joined by Ronnie Earl, Charlie Musselwhite and the Roomful of Blues
Horns. Woods himself was starting to become a guest star, appearing on
that year’s new releases by John Lee Hooker and John Hammond, and the
boogie pianist headlined both the Amsterdam Blues Festival and the
Montreal Jazz Festival.
Woods was developing his passion for band
leading and discovering the power of being a strong singer. “I’ll always
consider myself a piano player, but my voice has developed over the
last few years. It’s an incredible release, when you can sing, it’s like
blowing an axe, and it’s great to entertain an audience,” he says.
Another interest was taking hold, too – the funky piano-driven music of
New Orleans. Woods had long been infatuated with the music of the Big
Easy. “I’m a boogie woogie and blues piano player for the most part, but
I also incorporate other styles within that, like the New Orleans
influence. New Orleans R&B piano playing, like Dr. John, of course
Professor Longhair. “New Orleans has been a really great source of
inspiration, it’s a piano town. New Orleans reveres the piano player.
People respect me and I appreciate that. I’ve always been able to feel a
real sense of music there; if you’re a good player, you get in. For the
past 25 years it has become my second home, ” Woods says. “I’ve gotten
to play with all the great players who live there, and I just hire them,
guys from Fats Domino’s band, like Red Tyler, sax player, Johnny
Vidakovich, drummer with the Professor, and George Porter on bass.
Woods
toured constantly in the mid-1990s, stopping long enough to put out
Shakin’ the Shack (Blind Pig Records) in 1998. Woodswrote all but one
song, demonstrating how well he’s absorbed the conventions of blues and
boogie woogie music, further proving his ability to inject new life into
these vintage forms. Woods also realized another dream in 1998 when he
brought together some of the surviving kings of the American blues
legacy, like John Lee Hooker, James Cotton, Johnnie Johnson, Earl King
and Lee Allen, to make Keeper Of The Flame (Lightyear/WEA Records), all
paired with Woods in a wonderful run of classic tunes.
Jump For Joy,
Mitch’s fifth release for Blind Pig Records continues Woods’ spin down
the boogie road. He had always followed the boogie greats like Louie
Jordan and Louie Prima, but Jump For Joy keyed off a new influence. “I
started to listen to Cab Calloway, and this new one has lots of Cab
influence; six horns, eleven-piece band with doubled horn lines. He
(Calloway) had a great entertainment style, very similar to Louie
Jordan’s, and that’s what we’ve gone for here,” he says. Woods says Jump
For Joy will unite all factions in the dress-up-and-boogie scene.
“Aside from the blues audience, we’ve been developing the whole swing
crowd, so this will appeal to the swing dancers as well as the blues
lovers.” On Jump For Joy, Mitch Woods has gone the limit, writing sassy
boogie tunes and crafting smooth arrangements that evoke the heyday of
the dancehall Forties
.
On his CD/DVD project, Big Easy Boogie, Mitch
brings together the inner circle of Rock’n’ Roll royalty. Featuring some
of New Orleans’ legends including original members of the Fats Domino
band, Herb Hardesty and the Blue Monday Horns, and Jimmy Moliere on
guitar, the sound is true to the roots New Orleans R&B. It is
vintage rock’n’roll and boogie inspired by New Orleans piano greats Fats
Domino, Professor Longhair, and Little Richard, performed in Mitch’s
joyous entertaining style that makes you feel like you are not only in
the audience but on stage with him having a ball! Whether it is a
pounding piano pumper, a Mardi Gras mambo, or a moody late night blues
with cascading piano and sultry sax, Mitch Woods’ Big Easy Boogie will
delight all lovers of New Orleans music.
After spending more than
twenty five years soaking up the New Orleans sound and performing with
many of the Crescent City’s musical elite, Mitch has finally realized
his dream of recording his latest project with the founding fathers of
New Orleans R&B including Earl Palmer, Dave Bartholomew, and Herb
Hardesty. Woods reunited the surviving members of Fats Domino’s original
band, played a live show in New Orleans during the Jazz & Heritage
Festival, took them into the studio, and filmed the whole shebang. The
results are plenty of good-time, rock’n’roll boogie, played by the
originators of the style, fronted by one of their star pupils. The
CD/DVD, Big Easy Boogie is available worldwide on Club 88 Records. It
has been garnering airplay on all the major satellite and cable radio
stations, including XM (#3 on picks to click-Bluesville), Sirius, Music
Choice, as well as BBC 2 and blues programs worldwide.
Here are what the critics are saying about Big Easy Boogie:
“A two-fisted love letter to Fats Domino and Professor Longhair” — Blues Revue
“if
it’s legitimate roots and Soul music from N’awlins that’s your passion,
step right up for here it is,…by Woods and company.” — Blues Wax
“Mitch
Woods’ Big Easy Boogie is a loving tribute to the vintage New Orleans
sounds of Fats Domino, Little Richard and Professor Longhair”
—Philadelphia Inquirer
In 2007 Mitch was nominated for Pinetop
Perkins Piano Player of the Year Award at the Blues Awards in Memphis.
Presented by the Blues Foundation this is one of the highest
achievements a blues musician can earn. Mitch continues to tour
worldwide with both his Rocket 88’s and Big Easy Boogie. He has
performed at some of the world’s most prestigious music festivals and
venues, including Jazz A Vienne – France, Umbria Jazz Festival-Italy,
San Javier International Jazz Festival – Spain, International Boogie
Woogie Festival – Lugano, Switzerland, Lionel Hampton Jazz Club at Le
Meridien – Paris, Edmonton Blues Festival – Canada, The Legendary Rhythm
& Blues Cruise -2000-2012 , Taiwan Blues Bash – Taiwan, Copenhagen
Jazz Festival-Denmark, New Orleans Jazz & Heritage Festival, and
many, many more.
In 2010 Mitch released Gumbo Blues his tribute to
the legendary New Orleans blues shouter Smiley Lewis. Once again he
assembled his all-star New Orleans musicians, including members of Dr.
John, Fats Domino, Alan Toussaint, and Jon Cleary’s bands. Leading to
appearances at The New Orleans Jazz & Heritage Festival and many
others worldwide as well as another Blues Award nomination and critical
acclaim.
If NOLA isn’t part of your start-up DNA, that can be fixed
with a healthy dose of Mitch Woods’ Gumbo Blues. After a listen, you’ll
feel as if you’ve visited the Crescent City of the 1950s.
In October
2010, Mitch embarked with his band the Rocket 88’s on a tour of Turkey
with the Efes Blues Festival, playing 26 shows in 20 cities over 5
weeks.
“I was deeply impressed with the warmth and hospitality of the
people and their openness and enthusiasm for the American musical form
we call “the Blues”. It made me realize that we are musical
ambassadors-able to cross cultural, religious, and national borders that
most people cannot. In this CD and DVD I document our tour of the
Republic of Turkey, a secular nation with 99% Muslim population that
straddles the border of east and west, geographically and culturally. On
this journey I realized in my heart and soul that music truly crosses
all boundaries and Blues is certainly beyond borders.
“Country music hits the heart, and feeds the soul; it’s the story of all
our lives in one way or another.” That’s Madelyn Victoria’s perspective
on the depth of Country music and just one of many reasons why this
talented young vocalist and songwriter from Deep South Texas decided to
pursue a career in the Country Music industry.
Madelyn Victoria
was born on September 2nd, 1990 in Harlingen, TX, and has literally been
influenced by Country music since then. “My obstetrician, Doctor
Hughston, had Country music playing throughout the operating room while
he delivered me! I think that’s the coolest thing, and one of the many
reasons why I love Country music so much.” Her penchant for singing and
performing was evident at an early age, with only a brush as a
microphone, and coffee table as a stage, Madelyn would perform for her
family singing along to George Strait, Alan Jackson, Selena, and more.
She then had her first public performance at a San Benito High School
Christmas Play when she was only five years old. “I remember feeling
nervous but loving it at the same time… the nerves slowly went away with
every performance after that… this is what I was born to do.” Eager to
continue singing and performing, she entered local talent competitions
and pageants in South Texas, earning top awards and gaining recognition
throughout her youth.
Band Members:
Brad Vickers: guitar, vocals
Margey Peters: bass, vocals, fiddle
Jim Davis: clarinet, saxophone
Bill Rankin: drums
Special
guests Bobby Radcliff, gtr; Arne Englund, piano, gtr; Dave Gross, bass,
gtr; Matt Cowan, saxes; V.D. King, gtr, percus, Barry Harrison, drums.
Brad
Vickers learned on the job playing, touring, and recording with
America’s blues and roots masters: Jimmy Rogers, Hubert Sumlin, Bo
Diddley, Chuck Berry, Odetta, Sleepy LaBeef, Rosco Gordon, and Pinetop
Perkins—with whom Brad had the good fortune to play on the
Grammy-nominated discs, “Born in the Delta” (Telarc) and “Ladies’ Man”
(MC)—to name just a few.
Now his own group, The Vestapolitans,
offers a good-time mix of originals and covers spanning blues, ragtime,
hill country breakdowns, and more great American roots ’n’ roll. A great
new CD, “Great Day In The Morning" (2013). joins “Traveling Fool”
(2011), “Stuck With The Blues” (2010), and “Le Blues Hot” (2008). All
have met with terrific reviews, radio play on 250+ stations (all are
still in rotation on Sirius XM Bluesville). Best of all, audiences love
them!
Brad comes from the Pine Barrens of Long Island’s rural East End. He is the scion of a musical family
from the Pine Barrens of Chintoteague, Virginia,
where his grandfather played lap steel and drums.
Stay in touch with Brad Vickers & His Vestapolitans at http://www.BradVickers.com
What is a Vestapolitan?
Well, you see...
When Brad Vickers was looking for a "V" name for his group, he chose The Vestapolitans. Here's why:
Back
in the 1800s, refined young people were taught, among other skills,
"parlor guitar". There was one popular piece called "The Siege of
Sebastapol," whose title referred to a town that figured in the Crimean
war. This instrumental was what was known as a "character" or stage
bravura piece, with sections meant to emulate sound effects like a bugle
call, stirring battle sounds, etc. This kind of piece was learned by
advanced students for recitals.
Most importantly, it was played
in "open" tuning. This tuning caught fire and circulated among players
almost at once, and though the piece itself did not become a standard,
there must have been enough performances to get the name into
circulation. By the 1920s "Sevastopol", as it was then spelled, tuning
became very popular with players from all walks of life, both chord and
slide guitarists. As the years went on, the name got bent into all kinds
of shapes, Vestopol, Vestapool, Vastopol, Bestapol, etc. In fact, Bo
Diddley said that he first learned guitar in "Vastabol" tuning. (Bo
favored open E, and would use a capo to vary the key).
Vestapol
refers to the chord voicing—the relationship between the open
strings—not necessarily the key. The most commonly played Vestapol
tunings are D Major (where the tuning is: D-A-D-F#-A-D) or E Major
(where the tuning is E-B-E-G#-B-E. ) Brad uses both of these tunings.
Massachusetts singer-songwriter, Franki Dennull is a man of music and faith, and he brings those two aspects of himself together with wisdom, balance, and obvious talent in his brand new single, “Butterfly”, releasing on Shine On Records on November 15th!
Dennull writes and performs under the band name “Purpose for Life” for a long time, and though the members have changed, Dennull’s purpose and reasons for making music have stayed the same. When he started making music with Wendy Dennull in 1991, it was obvious that their harmonies were perfect compliments, and they’ve been making music together ever since!
Dennull’s music has been compared to that of The Beatles, Bob Dylan, and Tom Petty, and while those are accurate reflections of the musical influences that can be readily discovered in “Butterfly”, Dennull does Franki_Dennullretain his own unique sound that’s not quite like any of those artists.
There are subtle differences in overall song composition, lyrical message, instrumentation, and vocal tone that make “Butterfly” stand out from the past, and with its rolling melodies, expanded harmonies, and uplifting lyrics, “Butterfly” seems as apt a title as the lyrical content. There’s a great sense of lightness and softness of the heart in this song that gently reassure the subconscious that there is good in the world, so when you’re in need of a great song to warm your soul, a cool tune to hit the road with, or a friendly jam to ease into your evening or weekend, make “Butterfly” your choice!
PURPOSE is a Band, it's a ministry , and it's a life long dream . Our hope is to reach the world with our music for the sake of the Gospel ( the Truth) The music is a tool to show off our Father. He is the reason we live and breathe and have our being...
Franki Dennull has been using the name PURPOSE as a band and cause since 1978. Though the players have changed, PURPOSE remains. Now PURPOSE FOR LIFE ."We are all called to a purpose, and ours is to make music that not only pleases the ear, but blesses the soul," says Franki. It has been said that Franki's songs paint pictures in your mind and leave an impression on your heart. That is exactly what music is suppose to do. It takes you from where you are to a place you want to be.
There is a strong Christian message if you listen for it .Classic Rock and blues is the style of music that PURPOSE FOR LIFE is mostly described as. Franki's writing and vocal style has been compared to John Lennon / Beatlesque, and Bob Dylan and Tom Petty as well , while still retaining his own unique style.
When Franki and Wendy Dennull started making music together in 1991, it was a forgone conclusion that their harmonies were a winning combination. After Franki struggled with his own failures, their marriage ended and the music stopped. But that was not the end of the story. Through many tears and prayers, God brought this dynamic couple back together and they were re-married on New Year's Eve 2011.Ordained Evangilists and "Musicianaries". . Now they endeavor to shine their light and bring the music back.
Getting The Hell Out and Making Music For Christ's Sake.......
PURPURPOSE FOR LIFE has preformed in several prisons on the Eastern Sea board as well as churches and festivals . All Church denominations Weddings, Funerals , as well as coffee houses and clubs across the country.
They have enjoied global radio air play for their music and interviews alike.
Hosted by: LouLombardi aka Loudini
Title: Interview with Brad Vickers
Time: 11/15/2015 12:00 PM EST
Episode Notes: Brad Vickers learned on the job playing, touring, and recording with America's blues and roots masters: Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, Rosco Gordon, and Pinetop Perkins with whom Brad had the good fortune to play on the Grammy-nominated discs, "Born in the Delta" (Telarc) and "Ladies Man" (MC)" - to name just a few.
http://www.talkshoe.com/talkshoe/web/audioPop.jsp?episodeId=1029725&cmd=apop
Band Members:
Brad Vickers: guitar, vocals
Margey Peters: bass, vocals, fiddle
Jim Davis: clarinet, saxophone
Bill Rankin: drums
Special guests Bobby Radcliff, gtr; Arne Englund, piano, gtr; Dave Gross, bass, gtr; Matt Cowan, saxes; V.D. King, gtr, percus, Barry Harrison, drums.
Brad Vickers learned on the job playing, touring, and recording with America’s blues and roots masters: Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, Rosco Gordon, and Pinetop Perkins—with whom Brad had the good fortune to play on the Grammy-nominated discs, “Born in the Delta” (Telarc) and “Ladies’ Man” (MC)—to name just a few.
Now his own group, The Vestapolitans, offers a good-time mix of originals and covers spanning blues, ragtime, hill country breakdowns, and more great American roots ’n’ roll. A great new CD, “Great Day In The Morning" (2013). joins “Traveling Fool” (2011), “Stuck With The Blues” (2010), and “Le Blues Hot” (2008). All have met with terrific reviews, radio play on 250+ stations (all are still in rotation on Sirius XM Bluesville). Best of all, audiences love them!
Brad comes from the Pine Barrens of Long Island’s rural East End. He is the scion of a musical family
from the Pine Barrens of Chintoteague, Virginia,
where his grandfather played lap steel and drums.
Stay in touch with Brad Vickers & His Vestapolitans at http://www.BradVickers.com
What is a Vestapolitan?
Well, you see...
When Brad Vickers was looking for a "V" name for his group, he chose The Vestapolitans. Here's why:
Back in the 1800s, refined young people were taught, among other skills, "parlor guitar". There was one popular piece called "The Siege of Sebastapol," whose title referred to a town that figured in the Crimean war. This instrumental was what was known as a "character" or stage bravura piece, with sections meant to emulate sound effects like a bugle call, stirring battle sounds, etc. This kind of piece was learned by advanced students for recitals.
Most importantly, it was played in "open" tuning. This tuning caught fire and circulated among players almost at once, and though the piece itself did not become a standard, there must have been enough performances to get the name into circulation. By the 1920s "Sevastopol", as it was then spelled, tuning became very popular with players from all walks of life, both chord and slide guitarists. As the years went on, the name got bent into all kinds of shapes, Vestopol, Vestapool, Vastopol, Bestapol, etc. In fact, Bo Diddley said that he first learned guitar in "Vastabol" tuning. (Bo favored open E, and would use a capo to vary the key).
Vestapol refers to the chord voicing—the relationship between the open strings—not necessarily the key. The most commonly played Vestapol tunings are D Major (where the tuning is: D-A-D-F#-A-D) or E Major (where the tuning is E-B-E-G#-B-E. ) Brad uses both of these tunings.
Episode Notes: All the cool kids already know DeWitt is one smoking boogie woogie piano/organ gal and it's time for the word to spread beyond her regional awards. Not museum piece boogie, DeWitt and her posse turn up the heat, let smoke and sizzle fly freely and serve up a soul awakening good time. Hot times for the old town tonight are delivered here, hot and fresh. CHRIS SPECTOR, Editor and Publisher Copyright 2015 Midwest Record
Blues piano/vocals, Queen of Boogie Woogie
wendydewitt.com 510/847-5847
She’s well steeped in the stylings of Otis Spann, Memphis Slim, Sunnyland Slim and Albert Ammons - the greats of boogie and blues, and honed her skills working with contemporary artists Steve Freund, Otis Rush and the late Hank Ballard who’s love of the blues showed in all of his rock classics.
Wendy has appeared with Charlie Musselwhite, Otis Rush, and Etta James and has been featured at Berkeley’s historic venue, Freight and Salvage. She performed at the Cincinnati Blues Fest at the internationally acclaimed Arches Piano stage, headed to Boston with Hank Ballard and the Midnighters for a performance at the Boston Symphony Hall and played before a sold out audience at the San Diego Museum of Art with Hadda Brooks in what proved to be one of Hadda’s last shows. Wendy has performed at many major festivals including Peer in Belgium, San Francisco Blues Fest, and Monterey Blues, and Jazz Fests.
Solo or with her band Wendy puts on a high energy show. Material is either written by Wendy or reinvented in her style and delivered with passion. Wendy is afraid of no guitar player and can turn up to 11. But never has to.
Along with her busy performing schedule Wendy is the producer of the Queens of Boogie Woogie shows around California and the Blues Piano Orgy productions in the San Francisco Bay Area. Songs from Wendy’s six albums are heard on radio around the world and she has been a frequent guest on the nationally syndicated West Coast Live.
Recordings include :
Industrial Strength
Take a Little Walk With Me
“ Heavyweight guitarists such as Steve Freund and Dave Workman will attest to Wendy’s extraordinary ability at the 88’s, as did the late Rock & Roll architect, Hank Ballard...Wendy’s vocals are natural and unaffected, ...her piano work is of the first order...” Sean Carney, Columbus Blues Review
You’re Not There
“ ..DeWitt is a sweet-voiced chanteuse with a strong reliance on jazz phrasing and inflection. Her piano style is based on those of Otis Spann, Albert Ammons and other blues masters, and she tears it up on the closer, “Chupacabra Boggie Woogie”…”
Bob Cianci - Blues Revue
Soul Shake
Steve Freund’s C is for Chicago
Boogie Teaser Too (solo recording)
www.wendydewitt.com
All the cool kids already know DeWitt is one smoking boogie woogie piano/organ gal and it's time for the word to spread beyond her regional awards. Not museum piece boogie, DeWitt and her posse turn up the heat, let smoke and sizzle fly freely and serve up a soul awakening good time. Hot times for the old town tonight are delivered here, hot and fresh.
Hosted by: LouLombardi aka Loudini and Kevin O'Connor
Title: YES...People still buy music. Sell More CD's Listen NOW!
Time: 11/13/2015 07:00 PM EST
Episode Notes: Lou and Kevin discuss the concept called "windowing" which they learned from singer/songwriter John Oszajca who sells THOUSANDS of CD's directly with NO record label. Learn how this technique can help you get the most out of your CD.
Plus the boys talk about and play samples from the latest release from the band Vulfpeck and if that isn't enough there is great music by Oustium, Kevin Marshal, Cozmicsoulfire and Winnie Fuzz
Vulfpeck is a half-Jewish
post-geographic rhythm section formed in Southeast Michigan. Originally
studio musicians at Vulf Records, Jack Stratton, Theo Katzman, Woody
Goss & Joe Dart went independent in 2011.
New Release Thrill of the Arts Welcome to Vulf Records 2015 Back PocketFunky DuckRango II Game Winner Walkies Christmas in L.A. Conscious Club (Instr.) Smile Meditation Guided Smile Meditation
Discography Fugue State Fugue State 2014 1612First PlaceSky Mall Christmas in L.A. (Instr.) Newsbeat
Oustium
Members:Erb Jackson (Right)
Erb Jackson grew up in Detroit, Michigan where his father was a
Baptist preacher who did not support his son’s taste in music. However,
Erb was born a free soul with a rebellious spirit and in his early teen
years he found himself seduced by metal music when he attended a concert
with one of his friends. Erb never looked back! Music soon became an
escape from school where he found himself disinterested and uninspired.
Erb takes musical inspiration from bands like Black Sabbath, Megadeath,
and Slayer.
After years of dedicating
himself to his music, Erb realized that he needed to make a drastic
change in his life, so he packed his car one Sunday morning and headed
west. He found himself bouncing around Arizona and California before
settling down in Hollywood where he felt his passion for music could
thrive.
William "Jay" Leirmann (Middle)
William "Jay" Leirmann was born in 1979 in Georgia, but grew up
mostly on the Mississippi coast. His dad was responsible for sitting him
down at the age of 5 with drumsticks and headphones, explaining how it
all worked. Finally, at the age of 13, Jay's mom agreed to let him have a
kit in the house. Jay draws inspiration from many bands, including Pink
Floyd, Grateful Dead, Smashing Pumpkins, Rush, Metallica, Guns n Roses,
Nirvana, and Soundgarden. Over the next 10 years, he played in a few
punk projects, a death metal project, a jazz ensemble, and a classic
rock band. After college, he joined one of his longtime favorite local
bands, Winterset, where he found himself touring the Southeast in the
underground circuit for about 3 years.
Following the retirement of his band mates, Jay played a brief
stint with KFP, a local punk project. After moving to Los Angeles, Jay
answered an ad for a band called Ayin Aleph. While on tour with Aleph,
he developed a camaraderie with guitar player, Scott Ramsay. Scott
introduced him to Chiyo and Erb of Oustium. The following months would
prove to be what Jay was searching for, an up-and-coming band with the
same values Jay was used to, and a drive to always push themselves
musically.
Alvaro "Chiyo" Mossmann (Left)
Chiyo was born in 1987 in a small city located in southern Brazil.
His first exposure to music was through his parents who were huge fans
of Black Sabbath, Deep Purple, Pink Floyd and Nazareth. At 11 years old
Chiyo began to play his father’s acoustic guitars. Although the guitar
was difficult to play, it gave him an avenue to express his the feelings
and ideas he kept buried inside. Overtime, Chiyo was able to advance as
a guitarist and train his voice as a backup vocalist in local metal
bands.
Eventually, it became
evident that Brazil was not the right place to pursue his dreams of
being in a successful metal band, so he made a leap of faith that landed
him in Los Angeles, California, where he felt he could find like-minded
and determined band mates. Soon after, Chiyo established contact with
Erb Jackson and the pair would go on to form the band Oustium.
Members: Kevin Marshall And The
J-Walkers is a line up of some of Charlotte NC's top studio and stage
musicians. Eric Lovell, Gigi Dover, Matthew Carter, Tim McDonnell, Rick
Blackwell, Mike Bader, Jason Atkins.Singer/songwriter
Kevin Marshall is the founder and bandleader of The J-Walkers. He was a
founder and front man for a popular Charlotte NC based band The Wax
Gurus. The Wax Gurus enjoyed the success of their record "Burning Sky"
recorded with local producer Jamie Hoover in 2002. Since then Kevin
Marshall has established himself in the regional songwriting community.
Gigi Dover And The Big Love recorded a song written by Kevin titled "A
Better Place". You can find that cut on their record "The Avocado
Sessions". A VA based band Sparks Will Fly recorded a song titled "So
Bad" written by Kevin Marshall as well as local artist covering his
songs. He has been writing, producing and recording for many years.
After all these years since his last record with The Wax Gurus he
decided to do it again with a newly released record "Am I Missing
Something" co-produced with Eric Lovell at The Blu Bubble Studio in
Charlotte NC. The sound on the new record is best described as a mix of
genres and eras, along with a blend of musical influences with a common
thread throughout.
The J-Walkers consist of some of Charlotte
NC's top studio and stage musicians; Eric Lovell, Gigi Dover, Matthew
Carter, Mike Bader, Tim McDonnell, Rick Blackwell, Jason Atkins, Phillip
Carias, and Doug Henry. Along with the best support team we could ask
for. Shane Combs and Wes Cobb of WestArtVideo. The list keeps growing. The
crowd response to the new material has been incredible and very heart
warming to say the least. We appreciate our fans and look forward to
seeing each and everyone of you at our shows.
Please
check out and enjoy the new record "Am I Missing Something" here on the
website. It is available for purchase here and many other download
outlets. Please sign up for our mailing list so we can keep you informed on what is happening and our show schedule.
Contact And Booking: Kevin Marshall smilingmoonmusic@yahoo.com 704-517-1759
Cozmicsoulfire - So Gorgeous OUT NOW! containing 12 fresh rocking, grooving & heavy,infectious ,vibrant, eargasmic, electric, inspiring ,original songs in rock/pop crossover with metal style written and produced by me Marianne Vedder a.k.a Cozmicsoulfire, for
download and streaming in Itunes/Spotify and over a 1000 portals
worldwide BUY now find out where through my official download shop http://cozmicsoulfire.com/#Downloadshop
Winnie Fuzz - a heavy fuzz rock, based on Russian folklore and heavily congested guitar sound.
To
keep moisture and sound artifacts in two days at the Wolf's Studio ,
the band recorded 12 tracks "live" . At first thought instrumental album
, but Fyodor Lavrov (Division Samoiskoreneniya ) , engaged in recording
and mixing the album , suddenly offered to write lyrics and perform
them . Introducing double single from the upcoming album Burlacu /
PLOUGH.Recorded at Wolf's Studio. Reduction -
Begemotion Records. Registration - Anika Turchan . Winnie Fuzz: Jeka -
dr Micah - gt Serge - b Old Man Lavro - v
Hosted by: LouLombardi aka "Loudini" and Kevin O'Connor
Title: Post Halloween Fallout + When is it appropriate to use backing tracks?
Time: 11/06/2015 07:00 PM EST
Episode Notes: Kev and Loudini when it's appropriate to use backing tracks to fill out your sound... plus music from Jackson Slade, Narrow Plains, Stolen Hearts, Russ Steele, and Midev aka Michael Devore... all this and the debut of "Pittsburgh Kevin"
Jackson Slade
I'm a Florida Native out of Jacksonville, Fla. who remains a self-taught musician through out most of my musical venture: "Style of music is hard to give a specific Genre to.. My Spanish roots come to the surface in my rhythms, and melodies to some extent. I've always loved all styles of music, and I guess my motivation comes from loving how, through music, we make the world warmer and smaller, not so vast. I guess you could say I'm Rock/Country/Jazz/Pop/Blues/Latin Blues and a few more things too ugly to mention" "I thank God for all that I have, and the many blessings he has bestowed on me!"
Episode Notes: Mitch Woods and His Rocket 88s have been the torchbearers of a great American blues musical heritage, not for three years but three decades. Taking their inspiration from the great jump n’ boogie outfits of the late 40s and early 50s, they breathe fresh life into the music that gave birth to rock n’roll. Woods styled his group after the jumpin’ n’ jivin’, shoutin’ n’ honkin’, pumpin’ n’ poundin’ bands of Louis Jordan, Wynonie Harris, Joe and Jimmy Liggins, Amos Milburn, and Roy Milton.
Adding a healthy dose of New Orleans rhythm and blues, piledrivin’ piano, and some of his own contemporary playful lyrics, Woods and His Rocket 88s forge their own brand of music they call “rock-a-boogie.”
Born in Brooklyn in 1951, Mitch Woods began playing classical piano at eleven, but his real initiation into blues and boogie piano had already been assured at age eight. “My mom would hire this superintendent of the building, a black man, Mr. Brown, to take me to school, and we stopped off at his cousin’s house, where somebody was playing boogie-woogie piano. It really hit me.”
Woods was putting together bands in Greenwich Village by his mid-teens. By the time he entered the University of Buffalo, Woods was sitting in at local clubs and discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for the next five years performed as Mitch Woods and His Red Hot Mama (with singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris heard Woods opening for Charlie Musselwhite and was reminded of the sound and theatrics of early R&B pioneer Louis Jordan. Indeed, Jordan has always been a primary influence on Woods. “I actually did see Louie Jordan in Oakland. He was the bridge between swing and rock and roll. He would do a five or six piece band, get a lot of power out of that.”
That kind of power was to become rallying cry for Mitch’s next project, Mitch Woods and His Rocket 88s, which started in 1980 and quickly rose to the top of the Northern California club circuit. Their first album, Steady Date (Blind Pig Records) got hot reviews in 1984 and led to appearances at two San Francisco Blues Festivals, openings for the Fabulous Thunderbirds, Stevie Ray Vaughan, The Blasters, The Neville Brothers, and James Brown. By 1987, Woods was doing a six-country Europe tour highlighted by a rousing performance at the Belgium Rhythm and Blues Festival.
In 1988, the 88s released Mr. Boogie’s Back In Town (Blind Pig Records) and music pundits started to acknowledge Woods’ place in the ranks of American music: “Woods lays down an authentic 50s-vintage rock piano groove, comparable in power and rhythmic nuance to classic recordings by the young Jerry Lee Lewis,” said Keyboard Magazine.
On 1991 album Solid Gold Cadillac, Woods and his band were joined by Ronnie Earl, Charlie Musselwhite and the Roomful of Blues Horns. Woods himself was starting to become a guest star, appearing on that year’s new releases by John Lee Hooker and John Hammond, and the boogie pianist headlined both the Amsterdam Blues Festival and the Montreal Jazz Festival.
Woods was developing his passion for band leading and discovering the power of being a strong singer. “I’ll always consider myself a piano player, but my voice has developed over the last few years. It’s an incredible release, when you can sing, it’s like blowing an axe, and it’s great to entertain an audience,” he says. Another interest was taking hold, too – the funky piano-driven music of New Orleans. Woods had long been infatuated with the music of the Big Easy. “I’m a boogie woogie and blues piano player for the most part, but I also incorporate other styles within that, like the New Orleans influence. New Orleans R&B piano playing, like Dr. John, of course Professor Longhair. “New Orleans has been a really great source of inspiration, it’s a piano town. New Orleans reveres the piano player. People respect me and I appreciate that. I’ve always been able to feel a real sense of music there; if you’re a good player, you get in. For the past 25 years it has become my second home, ” Woods says. “I’ve gotten to play with all the great players who live there, and I just hire them, guys from Fats Domino’s band, like Red Tyler, sax player, Johnny Vidakovich, drummer with the Professor, and George Porter on bass.
Woods toured constantly in the mid-1990s, stopping long enough to put out Shakin’ the Shack (Blind Pig Records) in 1998. Woodswrote all but one song, demonstrating how well he’s absorbed the conventions of blues and boogie woogie music, further proving his ability to inject new life into these vintage forms. Woods also realized another dream in 1998 when he brought together some of the surviving kings of the American blues legacy, like John Lee Hooker, James Cotton, Johnnie Johnson, Earl King and Lee Allen, to make Keeper Of The Flame (Lightyear/WEA Records), all paired with Woods in a wonderful run of classic tunes.
Jump For Joy, Mitch’s fifth release for Blind Pig Records continues Woods’ spin down the boogie road. He had always followed the boogie greats like Louie Jordan and Louie Prima, but Jump For Joy keyed off a new influence. “I started to listen to Cab Calloway, and this new one has lots of Cab influence; six horns, eleven-piece band with doubled horn lines. He (Calloway) had a great entertainment style, very similar to Louie Jordan’s, and that’s what we’ve gone for here,” he says. Woods says Jump For Joy will unite all factions in the dress-up-and-boogie scene. “Aside from the blues audience, we’ve been developing the whole swing crowd, so this will appeal to the swing dancers as well as the blues lovers.” On Jump For Joy, Mitch Woods has gone the limit, writing sassy boogie tunes and crafting smooth arrangements that evoke the heyday of the dancehall Forties.
On his CD/DVD project, Big Easy Boogie, Mitch brings together the inner circle of Rock’n’ Roll royalty. Featuring some of New Orleans’ legends including original members of the Fats Domino band, Herb Hardesty and the Blue Monday Horns, and Jimmy Moliere on guitar, the sound is true to the roots New Orleans R&B. It is vintage rock’n’roll and boogie inspired by New Orleans piano greats Fats Domino, Professor Longhair, and Little Richard, performed in Mitch’s joyous entertaining style that makes you feel like you are not only in the audience but on stage with him having a ball! Whether it is a pounding piano pumper, a Mardi Gras mambo, or a moody late night blues with cascading piano and sultry sax, Mitch Woods’ Big Easy Boogie will delight all lovers of New Orleans music.
After spending more than twenty five years soaking up the New Orleans sound and performing with many of the Crescent City’s musical elite, Mitch has finally realized his dream of recording his latest project with the founding fathers of New Orleans R&B including Earl Palmer, Dave Bartholomew, and Herb Hardesty. Woods reunited the surviving members of Fats Domino’s original band, played a live show in New Orleans during the Jazz & Heritage Festival, took them into the studio, and filmed the whole shebang. The results are plenty of good-time, rock’n’roll boogie, played by the originators of the style, fronted by one of their star pupils. The CD/DVD, Big Easy Boogie is available worldwide on Club 88 Records. It has been garnering airplay on all the major satellite and cable radio stations, including XM (#3 on picks to click-Bluesville), Sirius, Music Choice, as well as BBC 2 and blues programs worldwide.
Here are what the critics are saying about Big Easy Boogie:
“A two-fisted love letter to Fats Domino and Professor Longhair” — Blues Revue
“if it’s legitimate roots and Soul music from N’awlins that’s your passion, step right up for here it is,…by Woods and company.” — Blues Wax
“Mitch Woods’ Big Easy Boogie is a loving tribute to the vintage New Orleans sounds of Fats Domino, Little Richard and Professor Longhair” —Philadelphia Inquirer
In 2007 Mitch was nominated for Pinetop Perkins Piano Player of the Year Award at the Blues Awards in Memphis. Presented by the Blues Foundation this is one of the highest achievements a blues musician can earn. Mitch continues to tour worldwide with both his Rocket 88’s and Big Easy Boogie. He has performed at some of the world’s most prestigious music festivals and venues, including Jazz A Vienne – France, Umbria Jazz Festival-Italy, San Javier International Jazz Festival – Spain, International Boogie Woogie Festival – Lugano, Switzerland, Lionel Hampton Jazz Club at Le Meridien – Paris, Edmonton Blues Festival – Canada, The Legendary Rhythm & Blues Cruise -2000-2012 , Taiwan Blues Bash – Taiwan, Copenhagen Jazz Festival-Denmark, New Orleans Jazz & Heritage Festival, and many, many more.
In 2010 Mitch released Gumbo Blues his tribute to the legendary New Orleans blues shouter Smiley Lewis. Once again he assembled his all-star New Orleans musicians, including members of Dr. John, Fats Domino, Alan Toussaint, and Jon Cleary’s bands. Leading to appearances at The New Orleans Jazz & Heritage Festival and many others worldwide as well as another Blues Award nomination and critical acclaim.
If NOLA isn’t part of your start-up DNA, that can be fixed with a healthy dose of Mitch Woods’ Gumbo Blues. After a listen, you’ll feel as if you’ve visited the Crescent City of the 1950s.
In October 2010, Mitch embarked with his band the Rocket 88’s on a tour of Turkey with the Efes Blues Festival, playing 26 shows in 20 cities over 5 weeks.
“I was deeply impressed with the warmth and hospitality of the people and their openness and enthusiasm for the American musical form we call “the Blues”. It made me realize that we are musical ambassadors-able to cross cultural, religious, and national borders that most people cannot. In this CD and DVD I document our tour of the Republic of Turkey, a secular nation with 99% Muslim population that straddles the border of east and west, geographically and culturally. On this journey I realized in my heart and soul that music truly crosses all boundaries and Blues is certainly beyond borders.
Earache Records was founded in 1986 in Nottingham, England by owner Digby Pearson, helping to kickstart a global music revolution in the process. The label was responsible for some of the very first extreme metal recordings ever released, launching the careers of metal pioneers such as Napalm Death, Morbid Angel and Carcass and ushering in a new scene standard which still thrives to this very day.
Following the worldwide explosion and success of the grindcore and death metal scenes it helped to create, Earache spearheaded the thrash metal revival in the late '00s along with the return of NWOBHM-style heavy metal, before expanding its range to blues rock in the form of rising superstars Rival Sons and The Temperance Movement.
With three Top 20 UK chart hits in the last year alone, two Guinness World Records to its name, and tracks featured in Hollywood blockbuster movies and chart-smashing video games, Earache's innovation and contribution to the music world is unquestioned. The label is still fully independent and founder-owned after over 25 years, with one eye kept proudly on the past and one firmly focused on the stars of tomorrow.
Hosted by: LouLombardi aka "Loudini" Title: Interview with Pam Taylor and Robert Johnson of Stolen Hearts Time: 11/01/2015 12:00 PM EST
Episode Notes: PAM TAYLOR & ROBERT JOHNSON JR. Heart is the name of the game for these two lovers. Self-taught musicians, they have each poured their passion for blues and soul into a given talent that has been moving audiences of all ages in their powerhouse performances together as Stolen Hearts. Both raised in the Carolina's, the lives of Pam Taylor and Robert Johnson Jr. took a number of twist and turns, along with many ups and downs, before their musical paths crossed. Star struck, they quickly became each other's biggest fans. Recently engaged, these award winning rock artists had successful individual careers before joining forces in 2014 to start creating even more musical magic. "Dirty Southern Soul Music" is what they call it. It's a jazzy kind of folk rock specially crafted to deliver the tales of these two musicians, who they are and how they came to be, with an honesty that inspires and heals. It's undoubtedly their authentic connection with their fast growing numbers of fans that has sparked their popularity.
www.podcast.loudinirockandrollcircus.com
PAM TAYLOR & ROBERT JOHNSON JR. Heart is the name of the game for these two lovers. Self-taught musicians, they have each poured their passion for blues and soul into a given talent that has been moving audiences of all ages in their powerhouse performances together as Stolen Hearts. Both raised in the Carolina's, the lives of Pam Taylor and Robert Johnson Jr. took a number of twist and turns, along with many ups and downs, before their musical paths crossed. Star struck, they quickly became each other’s biggest fans. Recently engaged, these award winning rock artists had successful individual careers before joining forces in 2014 to start creating even more musical magic. ‘Dirty Southern Soul Music’ is what they call it. It’s a jazzy kind of folk rock specially crafted to deliver the tales of these two musicians, who they are and how they came to be, with an honesty that inspires and heals. It’s undoubtedly their authentic connection with their fast growing numbers of fans that has sparked their popularity. Their touring escapades have been making a lot of noise on the road. Rock artists with heart; their vigorous and vibrant performances are winning over crowds as they take them on a journey of their lives through their unique sounds. Their song lyrics reveal that life hasn’t always been pretty. But it has certainly provided a lot of material for their on-stage living-room-style comedy routine where, like life itself, there’s always room for silly jokes even though sometimes things can get serious. Always embracing opportunities to connect with their fans – who they call their FRANS (combining their friends with fans) – Pam and Robert see their musical talents as a privilege, and seek opportunities to give back to their community in as many ways as possible. They both prioritize sharing their talents freely to raise money for various charities and benefits. Pam also participates in Girls Rock Charlotte, an empowering camp for young girls, helping them to find their voice, while having fun learning rock and roll skills. Music, to them, is healing. Whether they are playing to small crowds in restaurants or on big stages at festivals, Stolen Hearts have witnessed, first hand, the spiritual benefits of music, enjoyed by both artists and audiences alike. They want their audiences to leave feeling loved and appreciated. They truly are grateful for their gifts, having suffered many trials and tribulations, with Pam overcoming addiction and Robert having faced his own challenges; now being able to share their music together is ever sweeter. It’s no coincidence that, being a blues woman, Pam would fall for a man named Robert Johnson! Pam was lucky enough to receive a year of mentorship on her guitar skills from fellow blues woman Debbie Davis after the Pam Taylor Band dismantled early in 2014. Topping several music charts with her debut CD ‘Hot Mess,’ Pam is eagerly anticipating getting into the studio to record their new creations and combining her skills with Roberts singing, songwriting and composition talents. Pam Taylor WINNER 2012 Charlotte Music Awards for "Best Female Rock Band" and "Best Blues Band" Voted Created Loafing Magazines Readers pick for " Best Local Songwriter" 1st Runners Up in the 2012 Charlotte Blues Society Talent Competition Nominated for Best Rock Female 2013 - Carolina Music Awards WINNER Best Rock Female 2013- Queen City Music Awards Nominated for Best Rock/Blues Release 2013 - The Blues 411 "Jimi" Awards Nominated for Best Female Singer 2013- Severn FM.com "Doc's" Awards WINNER for Best Female Rock 2014- Carolina Music Award WINNER for Best Female Rock Artist of the Year 2014- Queen City Music Award Nominated for Female Vocalist of the Year 2014- Artist Music Guild Heritage Award - Top 5 Finalist* Nominated for Best Female Rock Artist 2015- Carolina Music Awards
Robert Johnson Nominated for Best Male Rock Artist 2015- Carolina Music Awards Winner for Best Male Rock Artist 2014 Queen City Music Awards Winner for Best Singer/Songwriter 2014 Charlotte Music Awards Nominated for Best Rock Male 2013 Carolina Music Awards Nominated for Best Rock Male 2013 Queen City Music Awards Feature in Americana Rhythm Music Magazine June 2014 Issue Chosen for Georgia’s Outlaw Nation USA Battle of the Bands 2014 2014 Raw Natural Born Artist Feature in Alternate Root Magazine June Issue 2014 Aint No Man is currently the theme song for “Huntin The World Southern Style” a reality show on the Outdoor Channel Snow Jams Artist of The Year 2015
