Tuesday, March 30, 2010
KENT BURNSIDE, GARRY BURNSIDE, and from NY - Pork Chop Willie on Thursday April 1st at 9pm
Gilrein's - 802 Main St. Worcester, MA
This is no lame April Fool's Day joke, just a night of damn fine cotten field disco by the 1st family of North Mississippi Blues....
Monday, March 29, 2010
Come out and enjoy a great show in a beautiful club in revitalized downtown Haverhill!
The Boston Blues Society is thrilled to announce a kick-off concert with our latest partner, Mal’s Lounge, on the third floor of George’s Restaurant, 77 Washington St., Haverhill.
Diane Blue, Boston’s own “queen of soul” is a sassy singer-harp player who has the distinction of being dubbed a “monster” on harp at the legendary Red’s juke joint in Clarksdale, Miss.
She can do it all – from Delta blues to funky soul to sweet ballads.
Due to a travel red-tape mishap, she will not be joined by long-time colleague, singer-guitarist Roberto Morbioli, leader of the band Morblus, from Verona, Italy.
But the show must go on, so the Italian contingent has been replaced by some great local musicians, including the great Timo Arthur on guitar.
He will be joined by Lenny Bradford, formerly of Entrain, on bass; Cliff Spencer from The Soul Band on keyboards, and John Medeiros Jr. on drums.
Then, there’s the kickin’ horn section led by Jimmy “Two Suits” Capone of Bellevue Cadillac, and Johnny “Blue Horn” Moriconi of the Chicken Slacks.
Admission is just $10. The show starts at 9 p.m., Saturday, April 3, with dinner seating at 7 p.m. with a special lounge menu. Appetizers, and, of course, your favorite cocktails, will be available during the show.
The club has fantastic surround-sound acoustics and a big dance floor.
If you want a truly special evening, enjoy a gourmet meal before the show in the spacious award winning George’s Restaurant, offering everything from smoked duck breast to sushi to a big prime rib with mashed potatoes, topped off by Chef-owner Peter Polasek’s famous cherry bread pudding with vanilla rum sauce.
Either way, come out and enjoy live soulful blues from Diane and her mezza Italian band!
The BBS will have a table at the show, so stop, say hello, and consider becoming a BBS member or buying one of our cool T-shirts. Remember, members get $2 off at our shows!
Not my own original thought, but too good not to repost.
Ok, let's get this straight...we passed a healthcare plan written by a committee whose chairman says he doesn't understand it, passed by a Congress that hasn't read it but exempts themselves from it, to be signed by a president that also hasn't read it and who smokes, with funding administered by a treasury chief who didn't pay his taxes, all to be overseen by a surgeon general who is obese, and financed by a country that is broke. What could possibly go wrong?
And for the record, it is laughable and obscene to think we don't need massive healthcare reform, but it is also dangerous to think this is the answer.
The Red Room @ Cafe 939
Steve Oristaglio and Friends
- Boston, MA April 14th, 2010
The Red Room at Cafe 939 is pleased to welcome Steve Oristaglio on April 14th, 2010.
Steve Oristaglio and the Full Circle Band debut on the Boston music scene with a passion for playing rock 'n' roll, blues, and pop favorites. This exciting multi-talented band of Berklee musicians and tour professionals lights up the night with fresh sounds, driving beats, and the sultry vocals of guest star Maggie Seelig. Oristaglio and his band will also be performing with the opening acts, Chris Lax and Hillary Reynolds.
Also appearing: Chris Lax and Hillary Reynolds.
Tickets for this show are $10 for General Public. Tickets are currently on sale and can be purchased in advance at Ticketmaster.com or the Berklee Performance Center Box Office.
About The Red Room at Cafe 939:
The Red Room at Cafe 939 is a state of the art, all ages venue located in the Back Bay. As part of Berklee College of Music, The Red Room at Cafe 939 is largely student run and features a wide variety of musical genres to include folk, pop, rock, and jazz. Past shows include The Click Five, Tyrone Wells, Rachael Yamagata, and Owl City.
Tuesday, March 23, 2010
The Ten Foot Polecats
“I Get Blamed for Everything I do”
Hillgrass Bluebilly Records - HBE00B02
Review By Georgetown Fats
The Blues emanating from the North Mississippi Hill Country are characterized by an uncompromisable down home sound. While their colleagues in the Delta moved north to Chicago in search of a better life, North Mississippi Hill Country musicians stayed home. The musicians of the North Mississippi Hill Country passed up pompadours, sharkskin suits and personas for hard agricultural based existence. With few outside influences, this hardscrabble existence seeps into every note of the music.
Though the Ten Foot Polecats are not a North Mississippi Hill Country act, their ties to the music and pathos are undeniable. Rather then water-down their sound with rock roots, or churn out another Chicago Blues disk the Ten Foot Polecats embraced their lo-fi blues punk roots to offer up their first full length release on the Hillgrass Bluebilly Records. “I Get Blamed for Everything I do”, released on March 23rd, is 13 tracks of raw Deep Blues Punk.
The Ten Foot Polecats are Jay Scheffler on vocals and harp, Jim Chilson on the five-string guitar Dave Darling on the drums. From the opening strains of “Chickenhead Man”, a cover of a T-Model Ford classic, the Polecats pay homage to their roots and musical mentors, but go beyond imitating the existing North Mississippi Hill Country sound by adding a punk level of energy.
“So good to me”, penned by Scheffler, proves the band are not just punks. Chilson and Darling groove on a slow and sleazy blues riff while Scheffler howls and spits out lyrics in a style reminiscent of the great Chester Burnett.
The Polecats once again stomp on the gas and hit breakneck speed from the opening of Tommy Johnson’s “Big Road”. "Big Road" is a cover song that is always well received in live performances has been reproduced perfectly on the disk. No ounce of energy is wasted. Scheffler howls and snarls out his vocals while offering some lead work on the harp, Darling’s work on the drums is nothing short of primal, and Chilson’s picks and strums a polyrhythmic guitar at a frenetic pace.
Much like the b-sides to an old 45, The Polecats instrumental “Scratch Ticket” offers a great change-of-pace in the middle of the disk. They may be directed by their blues/punk roots but “Scratch Ticket” is by far more than a 1 chord rocker.
“I’m going crazy”, a holdover from the “Sterno Soup” EP, was given just a few tweaks from the initial recording. Kudos to Sean Wertheim at Nobscot Studios for proving adept capturing the true tone of the band in a lo-fi setting and squeezing just a little bit more out of an already strong track. “Barhoppin” shows that Chilson can do more with a bottle neck than just swill whiskey from it, and “A Couple of More Miles” is probably my personal favorite of the original material. This reviewing can not recall another ballad based off a run-in with the local police. Chilson and Scheffler offer up a poignant scene, albeit with just a little tongue-in-cheek humor.
Paying tribute to two more mentors, “I Get Blamed for Everything I do” closes with covers from Charley Patton and RL Burnside’s catalogs. Both tracks pay tribute to the original recordings without rehashing the tunes note-for-note.
By offering up an updated version of the North Mississippi Hill Country music The Ten Foot Polecats have garnered support within the Deep Blues, Psycho-Billy and Traditional Blues circuits. Having been signed to the Hillgrass Bluebilly Records label The Ten Foot Polecats will have the support of a label that has embraced acts representing the roots of American Music. With record label support, networking and a string of blazing live shows, expect more great releases from this trio.
The Ten Foot Polecats will be on tour nationally supporting “I get Blamed for everything I do”. For more information check them out at;
In addition to being a non-caped crusader, Georgetown Fats is a monthly contributor to The Boston Blues Society newsletter and chief cook and bottle washer at the Boston Blues, Brews & BBQ Blog.
Thursday, March 11, 2010
Shot Through the Heart
Review by Georgetown Fats
As an amateur journalist, and self-professed music snob I have long since gotten over the rationale of why others go to shows. Most people go to a show to hear their favorite songs, played identically the same way they were recorded. I keep paying my admission/ticket price and bar tab for a different reason.
I’m interested in knowing what HAS NOT been released/or in the pipeline. I trudge out to dingy club after dingy club to hear the song live before it is recorded. Stumbling over a hidden gem is why I keep hunting down new great music you have not heard yet.
How The Boss and I managed to connect with Cliff Belcher is a long an involved tale involving a Red Sox Hat (me), Memphis (the three off us), too much beer (me again), a favorite tight black T-Shirt (the Boss & I for differing reasons) and a guy who’s genuine warm personality is only eclipsed by his bass playing abilities (Cliff, all the way). Some of you know Cliff Belcher as Watermelon Slim’s touring bass player, due to Cliff’s outgoing nature, we’re happy to know him as more than his ‘day job’.
Though as a member of “The Workers”, he is quickly becoming a star within blues circles, Cliff is about as honest and genuine an individual as the musical style he prefers. His genuine personality is reflected within his own music.
“Shot Through the Heart” is a genuine interpretation of music once found on the days of Excello Records. With Jimbo Mathis on drums and guitar and Eden Brent on vocals and piano, Belcher has surrounded himself with the A-List of Mississippi and they add to Belcher’s well-written tune. Again, Belcher’s genuine character surfaces. Rather than interpretation of the classic sound, Belcher and company reproduce that soda shop sound with amazing authenticity.
Due to the buzz created by his first release, Belcher is currently shopping offers in order to out the most truest representation of his own sound. Hopefully with the stagnation of what is available on the airwaves, the retro sound will catch back on.