Algia Mae Hinton @ CDbaby // Music maker Relief Fund // iTunes

The great people over at Time-Lag have started a Kickstarter in order to fund a new batch of upcoming reissues. This includes albums by the outside folk of Virgil Caine, easy 70's A.M. vibe of Eddie Callahan, the scuzzy Drywater (whose prospective LP was originally produced in an edition of 25!), & 60's garage-psych gold The Bachs.

For those unfamiliar with the label Time-Lag has released music by many artists in the past including Woods, MV & EE with The Bummer Road, Six Organs of Admittance, & The Ponys to name just a few. The preview tracks in the video above assures that the new LP's they are looking to fund will follow with the same good taste as previous efforts.

Read their Kickstarter statement here & learn how to help get these nuggets into print.

THE REAL BAPTiZiNG: A Short Documentary on Willie King and The Liberators

Thx to C.R. Humphrey of Old Gray Mule!

Peter Gabriel - New Blood in two halves

No one could ever accuse Peter Gabriel of not being adventurous and the second outing for the New Blood Orchestra provided some unexpected surprises. I caught the previous tour at the 02 back in early 2010, effectively promoting his Scratch My Back orchestral covers album which I reviewed in some depth here. This show (Wed 23rd March 2011) at the Hammersmith Apollo mainly featured orchestral versions of his own extensive repertoire.

The first surprises were in the first set. To kick off with 'Intruder' seemed a strange choice with all its dissonance and harshness. However, on reflection, it was a good choice to both enable any settling down to take place and keep any hiccups hidden behind the sonic assault the piece has. However, that didn't work as the next song, 'Wallflower' PG actually had to stop after a disastrous start. Even after the restart things still sounded awry with tuning problems and PG's voice barely audible. It seemed the cellos were not playing from the same score, such a massive shame as they stole the show during the 2nd set with a stunning rhythmic part for 'Red Rain'. I sunk into my seat both with embarrassment for the man himself and also in case my good buddies were wondering why on earth I had encouraged them so enthusiastically to accompany me into London for the day!

Strangely, another surprise, it was the back to back selection of the Scratch my Back songs that eased the show back on course despite PG's vocal still being too low in the mix. The empty and plaintive 'Boy in the Bubble' was followed by the dramatic 'Après Moi', then 'The Book of Love' with 'The Power of the Heart' completing the Scratch my Back selection. Another one of PG's more strident pieces, 'Darkness', was shoehorned in before the final surprise of the first set, a brilliant and moving version of his timeless classic 'Biko'. Here the overhead and back of the stage carried a simple film of some candles burning along with a monochromatic picture of Stephen Biko himself. Until then the graphics had been noticeably out of sync with the music, a technical surprise, but once Biko had finished the sense of joy and delight that being part of the Peter Gabriel congregation had returned in abundance.

The second half was blissfully transcendent!

Peter Gabriel is an extraordinary encourager, whether that be of his noticeable support of World Music, cornerstone of The Elders peace initiative and of his music collaborations. So the romantic in me imagines a serious yet inspiring team talk at half time as the all round improvement was staggering! It seemed everything was sorted and now PG's vocal soared... clearly a gig of two halves!

The set started of with San Jacinto and moved through Digging in the Dirt, Signal to Noise, Downside Up, Mercy Street, Rhythm of the Heat, Blood of Eden, Red Rain and finishing with the evergreen favourite: Solsbury Hill. We were then treated to encores of In your Eyes and Don't Give Up with the wistful instrumental The Nest That Sailed the Sky finally sending us on our way. My posse was split on singer Ane Brun's interpretation of Kate Bush's memorable vocal on the original Don't Give Up, personally I thought the girl did great, made it her own with perfect control and diction.

In his March Full Moon video Peter says this whole New Blood project will be put to bed once the last handful of North American dates are complete. We can look forward to both the album and the DVD filmed at the Hammersmith shows, if you can make the real thing I so strongly recommend it. I had not even planned on going, it was all a last minute moment of madness and, despite the gremlins in the first part, I cannot fully express how special it was. Like many established artists PG now has less constraints to find new ways of expressing his creativity even if some think it is merely whimsical. His voice just keeps getting better, his music never ceases to amaze and now John Metcalfe's brilliant arrangements provide another dimension for our listening delight.


Sick New MiX&DORP track

New MiX&DORP track based on It's Hard by Harrison Kennedy

It's Hard by miX&dorp

We're a little late on this one but it seems that Gary War and Taylor Richardson (Infinity Window, Purple Haze) have teamed up to launch there own label Fixed Identity. The two plan on seeing the label play host to "next-level psychedelic achievements of the preesn, past and future." Something not far off from what each have been pursuing throughout their own careers thus far.

The freshly implemented label have two releases announced thus far. The first being the recent reissue of Martin Newell's wacked out psych pop burner "Songs For A Fallow" which saw release this past February. The LP brings a unique take on the whole self-recording style, while at the same time retaining a similar vibe to luminaries such as Gary War (makes sense), Ariel Pink, & Outer Limits Recordings to name a few.

Also after a little false start the label is getting set to release their 2nd title. The release will also be composed of archival recordings this time by way of The Prefab Messiahs & titled Peace, Love and Alienation. FI have also announced some cassettes from the likes of Amen Dunes, Gary War, & The Gamecock. Exciting times for left-field pop lovers.

Thou shalt not covet...

From acoustic mastery in the last post to technological masterpiece in this one! Always been a Moog (and Yamaha) man, this boasts a tweaked polyphonic Moog Little Phatty along with two iPads, iPods, mini keyboard, Mac Mini as a controller all set in a beautifully crafted wooden case... and it's a prize in a competition by audio company Spectrasonics, there will only be one made... ever!

Enter competition here (a purchase definitely required!)

Hear it working in this video, from about half way through


MiX&DORP ~ BLUES + BEAT: The Blues Deconstructed & Reimagined

Mix&Dorp online // Facebook // iTunes // Soundcloud

I'm no purist & I just love folks who love to fck sht up challenge me musically.  As I've said before, music that is not evolving and changing is busy dying.  Which is why i've  always appreciated the art of the remix.  Yes, Virginia it is an art.  It used to be said, eons ago when the 12" remix was first coming to market that a remix is something that wasn't done right in the first place. How boring is that?
     If anybody should know the score on whether or not it's being done right it'd be Netherlander Jan Mittendorp, boss of Black and Tan Records.  Mittendorp has released a slew of terrific modern blues recordings by the likes of Boo Boo Davis, Billy Jones, Big George Jackson, Roscoe Chenier, Harrison Kennedy, as well as a beautiful (and essential) recording by the late Ernie Payne.  Each of these artists, save Payne, Mittendorp lovingly mines for deep dirty roots, gold, and blue diamonds.  Smelting the raw vibe in the crucible of his Macbook he grinds, twists, and remixes the beats & boom into funkyass grooves that would make most DJs  weep white hot tears of jealousy.  
    Moby's brilliant 1999 album Play, and the remixes Fat Possum Records did of tracks by T-Model Ford, Asie Payton, and Paul "Wine" Jones, along with their brave yet spotty 2000 release New Beats From The Delta which pitted dirty south hip hop producers against tracks by Fat Possum artists, and perhaps more importantly R.L. Burnside's 1998 album Come On In, drove blues purists out of their ever-lovin' gourds. Those recordings set the stage and pryed open our ears for what MiX&DORP is doing today. 
     Mittendorp tells me that his ultimate goal with this music is to form a band to play his mixes (I really should stick to the term reimaginings here as what he does is more than a mix) live, much like the work France's Eric Bling, or Skip "Little Axe" MacDonald (guitarist for Sugarhill Records artists like Grandmaster Flash, Fat Possum alumnusreal worl & now with Peter Gabriel's challenging Real World Records) is doing using samplings of Howlin' Wolf and others.
   Be sure and check MiX&DORP's Soundcloud page for more reimaginings of the likes of John Lee Hooker, Howlin' Wolf, and an axe work gang field holler sampled from Lomax's prison recordings.  MiX&DORP - Blues + Beat takes the blues remix to wicked fresh & durrty heights. It's a thrilling & joyous ride forward through the past & future of music.



Wet Hair have announced a new full-length to be released by Chicago's De Stijl records. In Vogue Spirit sees the duo expanding their sound, as well as their line up. Now, with bass player in tow, the trio really hones into a similar territory Suicide took during the 80's.

"Echo Lady", the LP's single, is a propulsive tune that shares resemblance to quite a few kraut rock groups. The song structure has been streamlined towards a more general pop sensibility, while the fidelity the same. While the video seems to be set in some psychedelic desert paradise. The album will be released May 6th and might even good beer drinking music come summer now that I think of it.

Wet Hair will be on tour you can check him at the dates below.

While above you'll find a fantastic video by Michael Yonkers for the track "Cold Dance." There is no part of this video I do not love. It mixes a serious cold wave track that I wouldn't be surprised to be done by more contemporary acts such as S.S.P.S or anything happening over at Weird records. I'd also like to point out that I probably look a lot like this dancing to this track myself. So does that mean I'm biased towards liking this then?

MARCH 2011
MONDAY the 28th- Ypsilanti MI- House Show 317 S. Grove St. w/ Winter Ruby, Full Frontal, Daytime Television
TUESDAY the 29th- Toronto ON- The Tranzac 292 Brunswick Ave. w/ Simon Frank + the Deeep DJ Set.

APRIL 2011
FRIDAY the 1st- Montreal Quebec- Partly Excavated exhibition with Seripop at ARPRIM 372 Sainte- Catherine O. #426 (art opening to musical performance)
SATURDAY the 2nd- North Hampton MA- Feeding Tube Records 90 King St. w/ Sore Eros and Blanche Blanche Blanche
SUNDAY the 3rd- Brooklyn NY- Monster Island Basement 128 River St. (Williamsburg) w/ Silk Flowers, Dog Leather (Sewn Leather + DJ Dog Dick), Drip House, Coconuts
WEDNESDAY the 6th- Cleveland OH- the Happy Dog 5801 Detroit Ave. w/ The Twerps, Puffy Areolas
THURSDAY the 7th- Chicago IL- Crown Tap Room 2821 N. Milwaukee Ave. w/ The Twerps, Tyler Jon Tyler
FRIDAY the 8th- Minneapolis MN- the Medusa w/ The Twerps, Food Pyramid


Just learned about these dudes from an interview with the mighty James Leg, who said, 

"Cut in the Hill Gang. Do you know that band? They’re from Cincinnati. It’s Johnnie Walker from the Soledad Brothers, Reuben Glaser, who was the frontman of Pearlene, Lance Kaufman, who’s the frontman of this rockabilly band called StarDevils, and then myself. So it was four frontmen, and… when the Soledad Brothers split up, Brian Olive did his own thing, and Johnnie Walker started Cut in the Hill Gang. He’s a doctor of medicine now, so it’s kind of a hobby for him. But anyway, we got four frontmen together, we made a record, it’s on Glitterhouse Records. Specifically, Stag-O-Lee Records, which is to Glitterhouse as Alive is to Bomp. Glitterhouse is the biggest label in, I think maybe Europe, but definitely Germany. So, we made a record called Mean Black Cat in August, and it’s a fucking amazing record. Check it out, Mean Black Cat, Cut in the Hill Gang. And it’s a shame because it’s only in Europe, and nobody in America is going to fucking hear it. Because they don’t have distribution over here, and it’s available online, but nobody’s going to hear it.
An Ohio-based band, I need to hear that!
I know. It’s a Cincinnati-based band. And there’s been some talk, like, Jack at Third Man was interested in it, and there’s been some talk about maybe licensing it over here. But nobody in that band – everybody’s go their own thing going on, so nobody’s really motivated, and it’s a shame because it’s a great record. Glitterhouse commissioned us to do this covers record, basically. They wanted blues-punk covers in our version. So there’s a Hound Dog Taylor song into an MC5 song, there’s a John Lee Hooker song. It’s all raw as hell. It’s a good record."

It is our sad misfortune to hear that Arthur Magazine will be closing their doors. For many, especially those of us here at Last Nights, Jay Babock & everyone involved in the magazine brought us a great gift that unfortunately could not be sustained.

Peter's House Music is the solo guise of Peter Shuette of Silk Flowers. You may have noticed him as he is the unusually tall & slender tourist parading around NYC in the video above. Regardless the track The Mirror Has Two Faces is a dance floor hit that is culled from the Jump 12" released on All Hands Electric.

While we're on the subject of the dance floor the great people over at Friendship Bracelet had Silk Flowers create a mix for their site offering a nice snapshot of the groups influences an infatuations. You can check it out below.

Friendship Bracelet Friendship Club #11 - Silk Flowers by UUUTAPES

BROKE and HUNGRY ADMiTS: "MiSTAKES WERE MADE" --> New 2Disc Retrospective w/tons of Unreleased Stuff!

Konkel, what the hell were you thinking? 


New Two-Disc Retrospective Celebrates Label’s First Five Years!
      In April 2006, Jeff Konkel made the nearly 500-mile drive from his home in St. Louis, to the tiny town of Bentonia, Mississippi. There he set up a card table outside of the rural juke joint owned by blues musician Jimmy “Duck” Holmes. Konkel stacked the table high with copies of Back To Bentonia, the debut CD by Holmes and the inaugural release from Konkel’s Broke & Hungry Records. 
      Although the entire town of Bentonia showed up that evening for the CD release party, sales were light. At the end of the event, Konkel tallied up the transactions: Four CDs sold. It was an inauspicious label launch, but somehow Konkel and his humble operation have managed to persevere for another five years. 
     With a half decade under its belt, Broke & Hungry Records is celebrating the milestone with the release of Mistakes Were Made: Five Years of Raw Blues, Damaged Livers & Questionable Business Decisions, a two-CD retrospective that features 30 tracks from some of the best traditional blues artists living in Mississippi today. Included are 14 never-before-released recordings along with popular favorites from the label’s back catalogue. 
     In addition to Holmes, the compilation features contributions from T-Model Ford, Odell Harris, Wesley “Junebug” Jefferson, Terry “Big T” Williams, Pat Thomas, The Mississippi Marvel, L.C. Ulmer, Terry “Harmonica” Bean and Bill Abel. The collection will be available through the label’s web site (
beginning Tuesday, March 29, 2011. 
    “Honestly, there was never a real ‘game plan’ for Broke & Hungry Records,” Konkel confesses. “I had never owned a business before and I knew nothing about music production. I just felt very passionately that some of these great artists needed to be recorded while they were still among us, so I jumped in with both feet. Somehow, despite my inexperience, the label has managed to capture some incredible music. I’m proud of what we’ve accomplished over the past five years.”

The complete track listing for the collection is:
1. Train I Ride – Odell Harris

2. Six Little Puppies – Jimmy “Duck” Holmes (previously unreleased electric version)

3. The Wolves Are Howling – Wesley “Junebug” Jefferson 

4. Pretty Baby – Terry “Harmonica” Bean (previously unreleased)

5. Woke Up This Morning – Pat Thomas (previously unreleased) 

6. Everything’s Gonna Be Alright – The Mississippi Marvel 

7. Taking Chances – Terry “Big T” Williams (previously unreleased) 

8. It’s Over – Jimmy “Duck” Holmes 

9. The Mississippi Diddley (Instrumental) – Bill Abel (previously unreleased)

10. Ain’t It Alright – R.L. Boyce & Lightnin’ Malcolm 

11. All Night Long – Jimmy “Duck” Holmes 

12. Bean’s Boogie – Terry “Harmonica” Bean (previously unreleased) 

13. Big Road Blues – The Mississippi Marvel (previously unreleased) 

14. Beefsteak Blues – Pat Thomas 

15. Cooter Mae – Wesley “Junebug” Jefferson (previously unreleased) 
1. Meet Me In The Bottom – Wesley “Junebug” Jefferson

2. I’d Rather Be The Devil – Jimmy “Duck” Holmes

3. Laundromat Blues – Terry “Harmonica” Bean (previously unreleased) 

4. Rosalee – L.C. Ulmer

5. Incarcerated Blues – Terry “Big T” Williams

6. Waterboy, Waterboy – The Mississippi Marvel

7. Boogie Chillen – Pat Thomas (previously unreleased) 

8. Eyesight To The Blind – Jimmy “Duck” Holmes (previously unreleased) 

9. Hill Funk – Odell Harris 

10. No Hard Time (Get You Off My Mind) – Bill Abel (previously unreleased) 

11. Hi Heel Sneakers – T-Model Ford 

12. Rainbow At Midnight – Pat Thomas 

13. Evil – The Mississippi Marvel 

14. Who’s Gonna Be Your Sweet Man When I’m Gone – Terry “Harmonica” Bean (previously unreleased) 

15. Take A Trip (Partial) – Jimmy “Duck” Holmes (previously unreleased) 

For more information on this release or on Broke & Hungry Records, contact the label at

Seth Lakeman, Benji and Cormac play a blinder!

Went off to Colchester Art Centre last week to see the amazing Seth Lakeman, this time in his acoustic trio line-up featuring Benji Kirkpatrick (guitars, mandolin and bouzouki) of Bellowhead and the amazing percussionist Cormac Byrne, of Uiscedwr, as above demonstrating his skill on the Bodhrán. The evening was fantastic, three superb musicians in perfect synergy made all the more special by Cormac's incredible versatility and engaging smile.

Interestingly even though these three guys have done so much to re-energise folk music they are generally frowned on by traditionalists who say they both don't play their instruments 'correctly' and they're dumbing down the genre... reminds me of something??!!


THE BARNBURNERS - The Rawboogie Ep Liner Notes

This cover is different from the one I have.
      So yeah, Dan Auerbach used to have a tightly wicked and raw boogiefied three-piece back around 2001 called The Barnburners. The put out a terrific disc called The Raw Boogie Ep. Even got a cease and desist over the band name from some olde school rock farts (and where are those dudes today?)
     Dan and I got to be acquainted via a Yahoo group called Too Bad Jim (which still lives but due to over-spamulation was moved and the name changed to Real Punk Blues). 
      Back in the olden days I had a website called Rick Saunders World, and part of that world was an early version of this Deep Blues page (which still lives as a ghost thanks to  Dan had a cool website called Raw Boogie, where he posted Barnburners info etc (that page also lives on in ghost form thanks to  
     So blahblahblahdeblah, Dan suggested that he liked what I scrawled on my Deep Blues page and asked me to write some liner notes for his bands Ep. I thought his band was frkn great and I was delighted and honored to do it. The band was happy with my spiel and that was that. Next thing ya know and a gazillion gigs and a Grammy later, Dan's a household name. Couldn't have happened to a better dude.
      A couple of friends wanted to read what I wrote about The Barnburners so many super moons ago. You'll find a scan of the cover and the notes below. Dan doesn't want the Ep spread around, and I can respect that. If you look hard enough you might find it lodged in one of the interwebs tubes somewheres. Snag it if you can find it. You'll be glad you did. I think it's kind of cool that what I wrote about Dan ten years ago still holds true today.

Interesting note: I saw the Ep mentioned on a blog recently and it listed the following tracks: Back to Georgia, Big Road Blues, Things I Used To Do, Train I Ride, Meet Me In The City, and Take Five. 
My copy has Train I Ride, Back to Georgia, Big Road Blues, Your Cheating Heart, Last Fair Deal, and Meet Me In The City but not Things I used to Do or Take Five.

Click Images To Embiggen:


 The Deep Blues Festival is back.
After a year of rest and a change in handlers, America's Only Blues Festival That Matters, steps back into the light.  Original boss of the DBF,  Chris "Wisconsin" Johnson has turned his artistic vision to the craft of BBQ by opening his Minneapolis by way of Texas-style' Bayport BBQ  - A Deep Blues Joint. With the blessing and advice of Mr. Johnson, musicians Jim Chilson of Boston's Ten Foot Pole Cats, and Ted Drozdowski of Nashville's (via Boston) Scissormen have picked up the reins and booked the night of Saturday, July 16th at Cleveland, Ohio's world famous Beachland Ballroom for a night that promises to rock blues infected forward into the past.

For more info, contact Ted Drozdowski at 615-730-7916 or


Deep Blues Festival 2011will be held in Cleveland, Ohio, at the historic Beachland Ballroom on Saturday, July 16, featuring dirty roots music bands from across the country’s rising underground. Bands will play continuously on two stages from 5 p.m. until closing. The Beachland Ballroom is at 15711 Waterloo Road, Cleveland. Call 216-383-1124. Tickets are $20 and available in advance at

         The Deep Blues Festival was started in 2007 outside of Minneapolis by Chris Johnson, a fan of dirty blues based and influenced music of all kinds. He based its name on a term coined by the late, great musicologist Robert Palmer, who used the phrase “Deep Blues” to describe the gritty, artful sound of music rooted in the Mississippi Delta and hill country — both electric and acoustic blues that bridges the traditional and the modern. Palmer published a book of the same title in 1982 and collaborated with director Robert Mugge to make a film of the same name in 1990.
         After the 2009 Deep Blues Festival, founder Johnson chose not to continue the event — but in the two years since the last Deep Blues Festival an underground movement has continued to grow. Today the Deep Blues scene has a community of bands and fan throughout the world and Deep Blues Festival 2011 provides a gathering place for that community to once again come together and enjoy a living blend of some of the most deeply rooted and cutting edge sounds in blues-based music today.
         Deep Blues Festival 2011 is unique because it is an entirely band driven event. It is being organized by the participating bands and the Beachland. Johnson remains the event’s spiritual father and a volunteer advisor.
         As the festival nears, more announcements will be made about special packages for travelers, a potential film festival tie-in, Deep Blues Festival Tour and other events.


Boom Chick: Frank Hoier and drummer Moselle comprise this electric guitar and drums rock ‘n’ roll duo out of Brooklyn, NY, who mix surf music, ’50s ballads and slide guitar blues to make good on all the things rock ‘n’ roll promised us so long ago.

Cashman: Led by Houston raised singer-guitarist Ray Cashman, the Nashville-based group that bears his name weaves the sound of Mississippi hill country juke joint blues ala R.L. Burnside and Junior Kimbrough into a powerful stew captured on two riveting, raucous albums.

Javier & the Innocent Sons: This potent roots music trio from Minneapolis play timeless barrel housing music — with echoes from Appalachian dance parties and Delta fish fries, but projected from the contemporary perspective of songwriter Javier Matos. Their new album is Lost in Loretto.

Left Lane Cruiser: The pride of Fort Wayne, Indiana’s garage roots scene, this duo blend the authority and soul of Muddy Waters and R.L. Burnside into their own bone-crunching sound. As their name implies, they are road warriors extraordinaire, touring widely in the U.S. and Europe. Their music appeared in the 2010 season of TV’s Breaking Bad. Their fourth and latest album Junkyard Speedball has just been released.

Mark “Porkchop” Holder: One of the true pioneers of the modern Deep Blues scene thanks to his earlier role as guitarist in the Black Diamond Heavies, Chattanooga, Tennessee’s Mark Holder puts his own spin on country blues, writing songs and delivering them in a solo performing style that’s an perfect mix of truth and virtuosity. His latest disc is Fry Pharmacy.

Misery Jackals: This Akron, OH, quintet bust out their special blend of old school punk rock on acoustic instruments. They wail on banjo, accordion, guitar, bass, drums and whatever else they can find to produce a one of a kind experience of “Pillbilly Browngrass.”  One time a patron at a music venue asked “The Misery Jackals?  What kind of music do they play?”  The bartender replied “I don’t know man, they’re just f$<#ing awesome!”  

“Mississippi” Gabe Carter: Solo dirty blues with a Mississippi regional flavor is this Chicagoan’s specialty, reminiscent of the MS hill country’s Junior Kimbrough and R.L. Burnside, and his Bentonia mentors Jack Owens and Jimmy “Duck” Holmes. His latest album is LIVE At Duke’s With Uncle Walt.

Molly Gene One Whoaman Band: True to her name, Warrensburg, Missouri’s Molly Gene cuts her music to the bone, playing guitar, harmonica and foot drum while singing like a ghost from the Delta flatlands out for vengeance. She tours extensively and had a wildly successful tour with Bob Log III in 2010. Molly Gene is rapidly earning a reputation for her high-powered performances.
Her latest album is Hillbilly Love. 

Old Gray Mule featuring C.W. Ayon: Juke joint blues is this Austin band’s specialty — once again echoing, in particular, the electric blues sounds of the Mississippi hills as minted by the Burnside and Kimbrough families. For the Deep Blues Festival 2011 they’ll be joined by Las Cruses, New Mexico’s C.W. Ayon, who usually performs as a foot stompin’, guitar slingin’ one-man band. 

Scissormen: This Nashville-based guitar and drums duo carry a style straddling the oldest blues traditions and modernist turns like daring improvisation and sonic experimentation, without betraying the music’s lowdown, dirty roots. With four albums and a new Robert Mugge directed movie starring Scissormen called BIG SHOES: Walking and Talking the Blues now playing at festivals, they are earning a reputation for high-energy live concerts in the US and Europe.

Ten Foot Polecats: This blazing trio is from the Boston-area, but they sound like hard-bred juke joint dogs from the Mississippi hills. Nonetheless, their appeal is wide and their churning, psychedelic-yet-downhome sound is gaining them fans in the rock, punk and psychobilly circuits along with the traditional blues scene. Their latest album is I Get Blamed For Everything I Do.

Last Nights Presents:


Our man Seasick Steve has signed a one record deal w/Jack White's Third Man Records. Evidently signed Mr. White's desk in his rolling record store (unless Jack is pullin' our third man leg). You can skip right past Jack White (tho do stop and take a look at his gorgeous guitar) and go right to Seasick Steve at the 5:30 mark.

Watch:: Cry Baby: The Pedal That Rocks The World :: Documentary

Cry Baby: The Pedal That Rocks The World from Joey Tosi on Vimeo.

stolen from the ever stupendous Dangerous Minds

LiTTLE AXE - Bought For A Dollar Sold For A Dime

I've been listening the hell out of the newest Little Axe album. What a thriller! Who's Little Axe? Dude played guitar with Doug Wimbish (bass) and Keith LeBlanc (drums) on may of the early SugarHill Records classics like Grandmaster Flash & The Furious Five's The Message as well White Lines. He also played on many of the Tommy Boy Records releases. From there he went to London to work with ON-U Sounds recordings with Adrian Sherwood, working on releases by Tackhead, Dub Syndivate, and African Head Charge. Take all those vibes and meld them into blues and you begin to get the Little Axe sound. Dig it:

Little Axe @ Facebook // MySpace // iTunes

From previous Little Axe albums, all highly worthy of your ducats:

This is a live version of probably my fave Little Axe track:

Tubular Bells and Girl Power...

This is a re-creation of Mike Oldfield's epic Tubular Bells by an ensemble of New York female musicians under the collective name of The Brooklyn Organ Synth Orchestra.

If you are at all into historic synths, organs and other clever audio devices then this is definitely for you!

Read more about the project here.

h/t DV Magazine

MiKE HENDERSON ~ When I Get Drunk

Bygawd if this ain't how it's done!

Mike Henderson @ site // MySpace
 Stolen from the always brill Rubber City Review


Farewell to JJR's piano man Elliott Mortimer!
Buy Jim Jones Revue