Keep scrolling down the page for our blog/program guide.
Pics, bios, reviews, album art and links to where you can purchase the music featured on the show!
Jailhouse- Marty Stuart and His Fabulous Superlatives- “Saturday Night / Sunday Morning”
Jailhouse Blues- Billie Poole- “Confessin’ The Blues!”
A Week In A County Jail- Tom T. Hall- “The Definitive Collection”
I’m Here To Get My Baby Out Of Jail- Billie Joe and Norah Jones- “Foreverly”
Put Me Back In Jail- Kevin Selfe- “Long Walk Home”
Johnny Getting Out Of Jail Barbecue- Liz Talley- “More Than Satisfied”
Jailhouse Rock- Elvis Presley- “30 #1 Hits””
Hot New Music:
The Big Stomper- Lost Dog Found- “Dine On Danger!”
Tears In My Gumbo- Adam Carroll- “Let It Choose You”
Cadillac Shuffle- The Cadillac Jack Revue- “The Beat Goes On”
Fine And Mellow- Molly Johnson- “Because Of Billie”
Crash And Burn- Carolina Story- “Chapter Two” (EP)
Young Women And Old Guitars- JP Harris and the Tough Choices- “Home Is Where The Hurt Is”
The Devil’s Joker- Eddie Martin- “Blues Took Me By The Hand Vol. 1: Acoustic Sessions”
That’s No Joke- Shirley Horn- “The Swingin’ Shirley Horn”
The Joke’s On You- The Starline Rhythm Boys- “Red’s Place”
The Joke Is On You- Irma Thomas- “My Heart’s In Memphis- The Songs Of Dan Penn”
Joking Henry- Caleb Klauder- “Western Country”
The Joker- The Steve Miller Band- “Greatest Hits”
** Keep scrolling down the page for our informative blog/program guide. Follow along as you listen! **
Jailhouse- Marty Stuart and His Fabulous Superlatives
If you were to give country music an address, you might say it’s at the corner of sacred and profane, two doors up from the blues and folk, and just across the street from gospel, R&B and rock ‘n’ roll. And on a deeper emotional and spiritual level, it resides where Saturday night meets Sunday morning.
No one understands these coordinates better than Marty Stuart. For over forty years, the five-time Grammy winning multi-instrumentalist, singer, songwriter, photographer and historian has been building a rich legacy at this very crossroads. On his latest release with his band The Fabulous Superlatives, the double-disc Saturday Night & Sunday Morning, Stuart captures all the authentic neon and stained-glass hues of country music – from love and sex to heartache and hardship to family and God – in twenty-three tracks.
One of country’s most historically minded new traditionalists, Marty Stuart was also one of the most eclectic, moving between honky tonk, rockabilly, country-rock, traditional country, and bluegrass. He was also one of the more flamboyant showmen, supporting his party-hearty image with a wardrobe of rhinestone-laden Nudie suits. Stuart was born in Philadelphia, Mississippi, in 1958 and grew up obsessed with country music. He learned guitar and mandolin as a child and by age 12 was performing with the bluegrass group the Sullivans. He soon met Lester Flatt bandmember Roland White, which led to an invitation to play a Labor Day gig in Delaware with the band in 1972. Flatt invited Stuart to join the band permanently and took responsibility for overseeing the teenager’s continued education.
Stuart stayed with Flatt up until the legendary bluegrass master broke up his band in 1978 for health reasons; he passed away the following year. Stuart moved on, playing with fiddler Vassar Clements and guitarist Doc Watson while doing session work, and was invited to join Johnny Cash’s backing band in 1980.
-Steve Huey, AllMusic.com
Jailhouse Blues- Billie Poole
Lucille „Billie“ Poole (21 March 1929 in Edwardsville, Illinois – 21 May 2005) was an American Jazz and Blues singer.
Billie Poole moved to California with her family in 1943, where she founded choirs. She had performances with them in numerous concerts around San Francisco. In 1954 she went to France and acted in the German/French movie “The heroes are tired /Les héros sont fatigués”. Besides she sang spirituals and Jazz. In 1959 she made recordings with Art Simmons, supported by Clark Terry, Elek Bacsik, Michel Gaudry and Kenny Clarke. On 30 August 1961 she had a live TV-appearance in the German programme “Jazz gehört und gesehen” (Jazz for listeners and viewers) hosted by Joachim-Ernst Behrendt) alongside Humphrey Littleton and Eric Dolphy . After an appearance in Cologne in that year, a recording with the Kenny Clarke/Francy Boland Big Band was planned, but had to be cancelled as Poole had to return to the US.
In 1962 her first album „Sermonette“ for Riverside was published. She sang with pianist Jimmy Jones and orchestra. Her second album “Confessin’ the Blues” (1963) featured Junior Mance, Kenny Burrell, Bob Cranshaw and Mickey Roker).
In 1968/1969 Billie Poole was back in France and performed with Memphis Slim. In her last years she sang with her sister Betty Gadling , who led a choir called Allen Temple Baptist Church Mass Choir (Hand in Hand).
A Week In A County Jail- Tom T. Hall
Tom T. Hall is known as a storyteller, a songwriter with a keen eye for detail and a knack for narrative. Many musicians have covered his songs — most notably Jeannie C. Riley’s 1968 hit “Harper Valley P.T.A.” — and he also has racked up a number of solo hits, including seven number one singles.
Hall is the son of a bricklaying minister, who gave his child a guitar at the age of eight. He had already begun to write poetry, so it was a natural progression for him to begin writing songs. Hall began learning music and performing techniques from a local musician, Clayton Delaney. At the age of 11, his mother died. Four years later, his father was shot in a hunting accident, which prevented him from working. In order to support himself and his father, Hall quit school and took a job in a local garment factory. While he was working in the factory, he formed his first band, the Kentucky Travelers. The group played bluegrass and gigged at local schools as well as a radio station in Morehead, Kentucky. The station was sponsored by the Polar Bear Flour Company; Hall wrote a jingle for the company. After the Kentucky Travelers broke up, Hall became a DJ at the radio station.
-Stephen Thomas Erlewine, AllMusic.com
I’m Here To Get My Baby Out Of Jail- Billie Joe and Norah Jones
Entering a long line of artists who’ve drawn inspiration from the Everly Brothers, Billie Joe Armstrong and Norah Jones serve up a unique tribute with Foreverly. Unlike many others — including Will Oldham and Dawn McCarthy, who released a trippy Everlys covers album earlier in 2013 — the duo doesn’t dig deep into the brothers’ catalog but rather concentrates on a single LP, the 1958 Cadence classic Songs Our Daddy Taught Us. Just a year into their career, the Everlys took the unusual step of abandoning rock & roll for traditional folk and country tunes they learned from their guitarist father Ike. Songs Our Daddy Taught Us was one of rock’s first roots albums — the Everlys returned to the concept and use “Roots” as a title a decade later — and it’s a bit of an anomaly in their catalog, a spare, sweet showcase for their close harmonies where the brothers are backed by nothing more than their own guitars.
-Stephen Thomas Erlewine, AllMusic.com
Put Me Back In Jail- Kevin Selfe
Kevin Selfe has been electrifying audiences nationwide since breaking into the blues scene in 2006.
His growing stature as a captivating story teller and passionate performer are surpassed only by his deft mastery of blues guitar.
Having relocated to Portland, OR, the Virginia native is now a leading light in the Pacific Northwest’s robust blues revival. Effortlessly combining the guitar traditions of the legends and the modern masters into his own unique approach, Selfe’s stylistic depth and electric performances resonate with audiences. His live shows have grown in legend largely due to his unique gift for communicating, through guitar, the complex range of moods revealed only by blues.
Selfe’s songwriting style bridges the gap between joy and angst, using piercing irony, humorous metaphors, and daring autobiographical subject matter from his own occasional walks with the blues.
Photo by: Greg Johnson
Johnny Getting Out Of Jail Barbecue- Liz Talley
From coast to coast and across the world people seem to be intrigued with the music that comes out of the Lone Star State. For years people have been entertained with many great singers in all genres of music that hailed from the great state of Texas. Native Houstonian Liz Talley is no exception. When she sings, it’s pure Texas delight! This gal’s music is a breath of fresh air from the sounds of today’s radio. She takes you back to the days of the Texas Dancehall with twin fiddles and a steel guitar. “That’s exactly what I grew up listening to” says Liz “People took their kids to dances and Sunday gatherings. I learned to dance standing on my daddy’s feet to that honkytonk music, always loved that sound.”
Jailhouse Rock- Elvis Presley
Elvis Presley may be the single most important figure in American 20th century popular music. Not necessarily the best, and certainly not the most consistent. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Viewed in cold sales figures, his impact was phenomenal. Dozens upon dozens of international smashes from the mid-’50s to the mid-’70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history.
More important from a music lover’s perspective, however, are his remarkable artistic achievements. Presley was not the very first white man to sing rhythm & blues; Bill Haley predated him in that regard, and there may have been others as well. Elvis was certainly the first, however, to assertively fuse country and blues music into the style known as rockabilly. While rockabilly arrangements were the foundations of his first (and possibly best) recordings, Presley could not have become a mainstream superstar without a much more varied palette that also incorporated pop, gospel, and even some bits of bluegrass and operatic schmaltz here and there. His ’50s recordings established the basic language of rock & roll; his explosive and sexual stage presence set standards for the music’s visual image; his vocals were incredibly powerful and versatile.
-Richie Unterberger, AllMusic.com
The Big Stomper- Lost Dog Found
Taking the classic sounds of jump blues, Americana, swing, rock, and soul, Lost Dog Found has always had the intention of combining those musical styles into a modern sound that is distinctly their own. It’s part Ray Charles, part Bruno Mars, part Brian Setzer Orchestra… and extremely danceable.
From city concerts and festivals, to swing ballrooms and nightclubs, the band is famous for packing the dance floor with their infectious blend of contemporary original songs. The music is somehow familiar, yet current in feel that appeals to a wide fan base; not only have they found success locally (the band won the Press Democrat “Best Local Band” award in 2013), but globally, with fans of all ages in over 50 countries.
How’d this whole thing get off the ground?
One of many pleasant surprises that I’ve encountered over the last few years as I’ve been writing this blog is my personal discovery of swing music and modern swing bands in particular. Of course, I knew about swing and I like to listen to the old stuff in my collection. But what I never really dove into was the modern swing artists. Yeah, I knew Setzer was doing it, but I didn’t know–though of course, I probably should have–how many other great modern swing bands there are out there.
Lost Dog Found is one of those great modern swing bands. I’d never heard of them before I received an email from Band Leader/guitarist/pianist Stevie Mac asking me if he could send a CD my way. Of course I said, “of course!” When I put Dine On Dangerin, I was hooked by the first few bars of the first song, “Hot Swing is Back.”
The core band consists of seven guys all playing guitars, saxophones, basses, drums, trumpet, and more. And the guys have a great feel for the music which Mac describes as “a hybrid of swing/roots music, jump blues, and rockabilly all mixed up together, then given a more modern feel.”
-Buster Fayte, August 21, 2014, rockabillyromp.com
Tears In My Gumbo- Adam Carroll
A Texas Songwriter born and raised, Adam Carroll takes the events of ordinary lives and turns them into deeply moving, often humorous songs.
With seven Indie CDs supporting regular tours across the USA, Canada and Europe as “one of the hippest songwriters on the Texas music landscape”, this engaging Americana guitar-picker has earned further critical acclaim with song placements in the Grammy nominated film, Country Strong and others.
“The core of what I do is songwriting; it’s the one thing I’m passionate about. It’s the most fulfilling and challenging job I can imagine.” explains Adam.
From his studio records produced by Grammy Award winner Lloyd Maines (South of Town, Lookin’ Out the Screen Door, Live at Cheatham Street, Far Away Blues) through to his latest releases (Old Town Rock N Roll, Hard Times with Michael O’Connor, Live at Flipnotics), the quality of his songwriting stands out.
Given a rare command of the English language and an amazing sense of melody, it’s little surprise Adam has earned enviable comparisons to Townes Van Zandt, Todd Snider, John Prine and Bob Dylan as well as being recognized as a creative influence on his songwriter peers.
Eight albums into his career, Adam Carroll still paints vignettes in the simplest terms while making them sound like he’s filming in Technicolor. There have been some changes in his manner. Let It Choose You finds the Austinite sounding as confident as he’s ever been, and producer Lloyd Maines provides new licks for the songwriter to hang his poetry on.
-Jim Caligiuri, August 15, 2014, austinchronicle.com
Cadillac Shuffle- The Cadillac Jack Revue
Growing up in L.A. in the 1960’s-1970’s I got to watch top tier players like Muddy Waters, Albert King and John Lee Hooker weekly for $2 a show at The Ash Grove in Hollywood. Throw in a road trip to Nashville, Jerry Lee Lewis, Hank Williams and Merle Haggard.
This was the inspiration for the Cadillac Jack revue. Jack formed CJR, in 1994. The Cadillac Jack revue has logged in close to 1,000 performances at clubs, festivals and great parties, and is still going strong!
With a line up of top musicians, this band plays every song from the heart!
Specializing in Chicago Blues and American roots rock, this band with expose you to the many styles of American music.
Fine And Mellow- Molly Johnson
The Toronto, Ontario, Canada-based Johnson is one of the most promising jazz vocalists to emerge in the new millennium. Her career began at a young age, and led to performances across North America, as well as formal training at both the National Ballet School of Canada and the Banff School of Fine Arts. Johnson then landed in an obscure 80s art-rock outfit, Alta Moda, before joining another group, Infidels, during the early 90s. It was also during this time that Johnson began supplying backing vocals to a variety of Canadian rock artists, including Helix, Jeff Healey, and Tom Cochrane. Despite these musical detours, Johnson kept returning to her true love, jazz, as she eventually became one of Canada’s top singers of the genre, playing some of the country’s most prestigious venues, and opening shows for artists such as Ray Charles and B.B. King. With her career beginning to take flight, Johnson somehow found the time to also focus on charitable causes, as she founded the Kumbaya Foundation (and later, the Kumbaya Festival), which raises money for the care of those diagnosed with AIDS and HIV.
Back in the ’80s when Order of Canada recipient/Juno-winner Molly Johnson was singing for her supper (and rent) at Toronto’s hub of bohemia, The Cameron House, a key inspiration was blues/jazz legend Billie Holiday. The only surprising thing about her coming out with an homage to Holiday album is that it has taken so long. As a fan since those early days, this scribe certainly welcomes its appearance and we know others will. The Pledge-funded Because Of Billie is the soulful chanteuse’s sixth studio album, and the title references her debt to Holiday.
-Kerry Doole, newcanadianmusic.ca
Crash And Burn- Carolina Story
It’s rare you find a married music duo that adheres to none of the married-duo-cliches. Carolina Story writes and performs songs, knowing that there are enough love songs on earth. They evoke the blue collar man and woman, because that’s exactly who they are.
From their genesis, they have crafted their sound to be a perfect mix of the lyrical grit and wit of Hank Williams Sr. and the tender atmosphere of Heartbreaker-era Ryan Adams.
Carolina Story (Ben and Emily Roberts) are from Arkansas and South Dakota respectively, meeting and falling in love in Memphis, Tennessee, setting up shop in East Nashville and making a name for them selves in every state in between.
Since 2009, Carolina Story has been hard at work touring, writing and putting out music they believe in; each release astonishingly better than the last. Starting as starry-eyed newly-weds ready for the road ahead with their self-titled debut evolving into wise road-worn troubadours on their album, “Home”, with the ability to turn an insightful phrase at a moment’s notice.
The empathy shared by great duet singers can take your breath away. The ways in which a duo’s voices complement, compete and provoke one another, the weaving of a harmony line above, below and around a melody, and the connection of two voices as they race around banked curves make listeners eavesdroppers as much audience. The Nashville-based Carolina Story, Ben and Emily Roberts, is just such a pair, a married couple whose duets bring mind the the Everly Brothers, Richard & Mimi Farina, and the more recent twang of Holly Golightly and the Brokeoffs.
The opening pair of tracks from this six-song EP sets the bar high.
-Hyperbolium, July 27, 2014, nodepression.com
Young Women And Old Guitars- JP Harris and the Tough Choices
In short, J.P. Harris plays Country Music. Not “Americana,” not “Roots,” “Folk,” or any other number of monikers used to describe a slew of spin-off genres; he plays from the foundation of these styles, the music that has influenced four generations of songwriters. In a world where prefixes have been added to the term “Country,” JP simply sticks to the old-fashioned sounds that have called to him. Referencing influences would be like describing each stitch in a quilt; every scrap of fabric tells a story of how the weathered and comfortable blanket came to be…
Born six minutes before Valentine’s Day in Montgomery AL in 1983, JP’s life was to be full of color, travel, hardship, and grace from the day he first saw the world. After more than six generations in Alabama, his family would leave seeking work, first to California and then on to Nevada. He left home on foot at the age of 14, traveling via thumb and freight train, living the next 4 years mostly from a backpack, tarp, a bedroll. Eventually landing in the northeast, he worked as a farm laborer, equipment operator, lumberjack, luthier, and carpenter.
In the summer of 2011, after two years of touring without much in the way of recorded music, Harris made a trip to the sweltering heat of south Louisiana. In an old Cajun cook shack he and a few pals pounded out an album in three days, and shortly after it’s completion, he made the move to Nashville. JP released his all-original debut “I’ll Keep Calling” in May of 2012 on Cow Island Music. Shortly after it’s release, without the aide of publicists or a large label’s bankroll, it won “Best Country Album of 2012″ from The Nashville Scene, the same honor at the Independent Music Awards, a cameo on NPR’s American Routes, and as JP says “a whole mess of other stuff in the papers and on the internet.” (Two songs were also licensed to the soundtrack of 2012′s “At Any Price,” starring Dennis Quaid and Zac Efron.)
The Devil’s Joker- Eddie Martin
“The most remarkable Blues musician of his generation.. Whether playing as a one-man-band, in a trio or a big band, Eddie Martin excels.” Blues in Britain.
He started playing guitar and songwriting at the age of 15 and playing harmonica from 17 realising straight away that he wanted to make music a career. Performing solo and in bands, the repertoire was largely his own compositions. He was first introduced to electric Blues by school band mates via Freddie King’s “Burglar” album. From an interest in Bob Dylan he discovered harmonica player Sonny Terry from Dylan’s Mentor Woody Guthrie.
From the age of 17 he has continued to explore and study all styles of blues music, electric and acoustic on guitar and harmonica.
His biggest influences on Electric Guitar have been the “three kings” (Freddie King, Albert King and B.B.) and T Bone Walker. Slide Guitar influences include Elmore James and Muddy Waters, and Acoustic Guitar influences include Robert Johnson and Son House . His biggest influences as a lyricist have been Bob Dylan, Willie Dixon and Mose Allison.
b. c. 1965, London, England. Martin played acoustic guitar from his mid-teens and was deeply influenced by early and middle period American folk musicians such as Woody Guthrie and Bob Dylan. Later influences included contemporary bluesmen such as Joe Hill Louis and Dr. Ross. He later took up the electric guitar and fell under the spell of Freddie King’s Texas blues playing. Despite these many influences, Martin very soon brought them under the wing of his own distinctive styling. He quickly built a reputation not only for his skill but also for the authority of his playing. In addition to working as a solo act, playing guitar, harmonica and singing, Martin has worked in trio with Marion Dolton (bass) and Michael Wiedrich (drums). He has also headed larger bands, usually using Dolton and Wiedrich, plus Jason Smith (trumpet), Dominic Norcross (saxophone) and Paddy Milner (keyboards). In addition to playing and singing, Martin writes some of the material that he plays, bringing a contemporary British edge to the style and content of his lyrics while never losing an aural connection with the country blues and folk masters of the American past.
That’s No Joke- Shirley Horn
A superior ballad singer and a talented pianist, Shirley Horn put off potential success until finally becoming a major attraction while in her fifties. She studied piano from the age of four. After attending Howard University, Horn put together her first trio in 1954, and was encouraged in the early ’60s by Miles Davis and Quincy Jones. She recorded three albums during 1963-1965 for Mercury and ABC/Paramount, but chose to stick around Washington, D.C., and raise a family instead of pursuing her career. In the early ’80s, she began recording for SteepleChase, but Shirley Horn really had her breakthrough in 1987 when she started making records for Verve, an association that continued on records like 1998’s I Remember Miles and 2001’s You’re My Thrill. Along the way she picked up many prestigious honors including seven Grammy nominations (and one win for Best Jazz Vocal Album with I Remember Miles), a 1996 induction into the Lionel Hampton Jazz Hall of Fame and France’s the Academie Du Jazz’s Prix Billie Holiday for her 1990 album Close Enough for Love.
-Scott Yanow, AllMusic.com
The Joke’s On You- The Starline Rhythm Boys
Burlington, VT’s Starline Rhythm Boys play a hearty mixture of classic country, bluegrass, and vintage rock & roll. The group released its debut album, Better Luck Is a Barroom Away, in November of 2000. Sean Mencher of the rockabilly band High Noon produced the effort, which featured six originals by Starline upright bassist Billy Bratcher (who has toured with Wayne Hancock) and a handful of originals by the likes of Don Gibson, Johnny Paycheck, and Lattie Moore, among others. The alt-country journal No Depression has compared the album’s warm sound to that of George Jones’ star-filled, traditionalist-minded Bradley Barn Sessions. The Starline Rhythm Boys also includes lead vocalist/guitarist Danny Coane and guitarist/vocalist Al Lemery.
-Erik Hage, AllMusic.com
Few think of Vermont as a hot destination for old-school country music. The Starline Rhythm Boys have set out to redefine that perception. In fact, the heart of this 14-song deep travelogue starts beating near San Antonio’s dusty Floore’s Country Store and ends around midnight on the Saturday night stage at Austin’s venerable Broken Spoke.
Put another way, this is real-deal country music, folks – only, improbably, straight from New England. It’s right there in the titles: “No Gal Cooks Like Mine,” “Drunk Tanks” and “Sin & Salvation,” among them. And thanks to the skilled trio’s impeccable musicianship – it really doesn’t get much tighter than Danny Coane (guitar), Big Al Memery (Telecaster) and Billy Bratcher (slap-string bass) – the band could stand next to some of the Lone Star state’s best.
-Brian T. Atkinson, countrystandardtime.com
The Joke Is On You- Irma Thomas
The unrivaled Soul Queen of New Orleans — a title officially bestowed by local officials, no less — Irma Thomas ranks among Crescent City R&B’s greatest and most enduring musical ambassadors, never enjoying the coast-to-coast commercial success of contemporaries like Aretha Franklin and Etta James but nevertheless breathing the same rarified air in the minds of many soul music aficionados. Born Irma Lee in Ponchatoula, LA, on February 18, 1941, as a teen she sang with a Baptist church choir, even auditioning for Specialty Records as a 13-year-old. A year later, she gave birth to her first child, marrying the baby’s father and subsequently giving birth to another child before the union dissolved. At 17 she wed again, this time to one Andrew Thomas, having two more babies before she again divorced, all before the age of 20. Keeping her second ex-husband’s surname, Thomas went to work as a waitress at New Orleans’ Pimlico Club, occasionally sitting in with bandleader Tommy Ridgley. When the club’s owner dismissed her for spending more time singing than waiting tables, Ridgley agreed to help her land a record deal, setting up auditions with the local Minit and Ronn labels. The latter issued her saucy debut single, “You Can Have My Husband (But Don’t Mess with My Man),” in the spring of 1960, and the record quickly reached the number 22 spot on the Billboard R&B chart.
-Jason Ankeny, AllMusic.com
Dan Penn is one of the great Southern soul songwriters, and Irma Thomas is one of the great soul singers, so devoting an entire album to Penn songs was a good idea. Actually, Penn didn’t so much write the material as co-write it; he composed every track with one or more co-writers, with Thomas herself getting in on the act on a couple. Four of the 13 tunes are actually interpretations of songs that have been around for a long time (such as “I’m Your Puppet” and “Woman Left Lonely”), but otherwise they were done specifically for this album.
-Richie Unterberger, AllMusic.com
Joking Henry- Caleb Klauder
The Caleb Klauder Country Band represents the best of the Northwest music scene. Caleb has been touring nationally and internationally for over 15 years, first with acclaimed folk-rock band Calobo, a luminary in the Northwest’s burgeoning music scene, and then with the widely celebrated Foghorn Stringband.
Today, leading with vocals, guitar, and a mandolin, Caleb hosts some of the Northwest’s best singers and players creating a honky-tonk band that stands out as a totem in the country music scene. The band performs Calebʼs praised original songs right alongside classics from George Jones, The Louvin Brothers and Dolly Parton, all at once sounding timeless, fresh, and alive. There is a drive to his music that makes it unique and captivating. This is country music made for people who want to have fun and who want to dance, harkening back to the old dance hall days when people of all walks of life came together to simply dance, socialize, and enjoy live music.
Now this is what I’m talking about.
Caleb Klauder has been a well-kept secret of the Pacific Northwest for too damn long my friends. His latest album Western Country proves why. Some may dub him the Wayne Hancock of the West, revitalizing the classic sound without mimicking or mocking it, but his star is bright enough to burn outside the confines of any region.
I first saw Caleb in a small, dark, smoky barroom in southern Oregon in ’03. It was one of those experiences where you go to meet some friends, and end up being floored by a spectacular no-name musician blowing through town, with only maybe a dozen or less people there to corroborate your fish story, and no MySpace or other such things to follow up with.
-Trigger, February 24, 2011, savingcountrymusic.com
The Joker- The Steve Miller Band
Steve Miller’s career has encompassed two distinct stages: one of the top San Francisco blues-rockers during the late ’60s and early ’70s, and one of the top-selling pop/rock acts of the mid- to late ’70s and early ’80s with hits like “The Joker,” “Fly Like an Eagle,” “Rock’n Me,” and “Abracadabra.” Miller was turned on to music by his father, who worked as a pathologist but knew stars like Charles Mingus and Les Paul, whom he brought home as guests; Paul taught the young Miller some guitar chords and let him sit in on a session. Miller formed a blues band, the Marksmen Combo, at age 12 with friend Boz Scaggs; the two teamed up again at the University of Wisconsin in a group called the Ardells, later the Fabulous Night Trains. Miller moved to Chicago in 1964 to get involved in the local blues scene, teaming with Barry Goldberg for two years.
He then moved to San Francisco and formed the first incarnation of the Steve Miller Blues Band…
-Steve Huey, AllMusic.com