Anthony Gomes has announced a new acoustic album titled Containment Blues. The album follows 2018’s Peace, Love, and Loud Guitars, which was voted Blues Rock Review’s #1 album of that year.

“We are living in stressful times and music is the best way to bring people together and give them some comfort,” says Gomes about the album. “It was wild to record with just one mic and no overdubs.  I had to move the guitar closer to the mic in certain points and back it off in others.  The same with my vocals.  I definitely have a new appreciation for the pioneers of the recording age.”

Gomes has released a music video for the title track.

“Your health and well-being is our concern,” Jorma Kaukonen speaks on the postponement of the Fur Peace Ranch workshops. While the ranch is closed, the music has not stopped.

 

Join us for a special live performance by Jorma Kaukonen from the Fur Peace Ranch!
Jorma will perform a “Live from the Fur Peace Ranch” concert Saturday, April 4, 2020 at 8 p.m. EDT, for the first in a series of performances.

Here is the link:

Jorma also will be teaching online classes and even weekend workshops from the Fur Peace Ranch. Stay tuned to hear more. Join the Hot Tuna Fan Club

Been So Long,’ Jorma’s autographed book, is out in paperback April 7.

Ellis Marsalis Jr., jazz pianist, teacher and patriarch of one of New Orleans’ great musical families died on April 1st after being hospitalized with symptoms of COVID-19. He had been tested and was awaiting results.

Ellis Marsalis

A statement on his Facebook page read: “It is with great sadness that we announce the passing of Marsalis Family Patriarch, Ellis Marsalis, Jr. There will be a private family funeral with a public memorial to be announced at a future time. The family wished to thank everyone both in the New Orleans community and around the world who have reached out to express their condolences. In accordance with Ellis’s wishes in lieu of flowers and cards please make donations to the Ellis Marsalis Center for Music in memory of Ellis Marsalis, Jr. to support the ongoing efforts to bring music and cultural activities to the children of New Orleans.”

Marsalis was born in New Orleans on November 14th, 1934. played saxophone during high school but switched to piano while studying classical music at Dillard University, graduating in 1955. He later attended graduate School at Loyola University.

In the 1950s and 1960s he worked with artists including Ed Blackwell, Cannonball Adderley, Nat Adderley, and Al Hirt. During the 1970s, he taught at the New Orleans Center for Creative Arts, and his students included Terence Blanchard, and Harry Connick Jr.

Ellis influenced the careers of countless musicians, as well as his four musician sons: Wynton (trumpeter and artistic director of Jazz at Lincoln Center in New York), Branford (saxophonist who led Jay Leno’s band on The Tonight Show), Delfeayo (trombonist, record producer and performer) and drummer Jason. Two other sons, Ellis III, a photographer-poet, and Mboya, did not follow their father into music.

Marsalis released 20 albums beginning with Syndrome in 1985. He also recorded with his sons, Irvin Mayfield, Kermit Ruffins, Dave Young, Nat Adderly, the Preservation Hall Jazz Band, Irma Thomas, and many others.

Marsalis and his sons were group recipients of the 2011 NEA Jazz Masters Award, and Ellis himself was inducted into the Louisiana Music Hall of Fame in 2018.

New Orleans Mayor Latoya Cantrell issued a statement yesterday which read in part, “He was the prototype of what we mean when we talk about New Orleans jazz. He was a teacher, a father, and an icon — and words aren’t sufficient to describe the art, the joy and the wonder he showed the world. This loss cuts us deeply.”

Marsalis’ son Wynton too to Instagram to say, “He went out the way he lived: embracing reality.”

*Feature image Nu Jazz Entertainment

Young, eager and extremely well versed in blues history, King Solomon Hicks strikes a colorful balance between a traditional blues tribute and new submissions to the blues canon on his debut album, Harlem. His reverence for blues lore and legend is evident in his playing, arrangements, and selection of easily identifiable covers.  He also leaves a little room for a couple of cross-genre renditions and guitar voicings that show a welcome willingness to add some personal flair.

As the album progresses through its eleven tracks, the overall feeling is that Hicks gradually loosens up both his playing and his writing. Obviously, as a studio album, this is not a result of playing through opening jitters of a live recording, and nor would this be likely from a musician who has been playing large gigs since the age of 13. It appears to be the result of the songs moving from calculated blues standards and motifs into more organic and open structures, rhythms and riffing. Purists might be happier with some of the early tunes, and seekers of modern reimaginations may prefer the back side, but the sheer quality of Hicks and his ensemble make it likely to be enjoyed cover-to-cover by all.

“I’d Rather Be Blind” opens the set and quickly establishes that Hicks and company have a solid grasp of how to cut a great blues track even if nothing here is particularly groundbreaking. A snappy delivery of a familiar blues tale of hardship and lost love, Hicks takes a few cues from B.B. King with repeated call and response exchanges between his voice and guitar. “Every Day I Have The Blues,” perhaps best popularized by King, diverges from previous renditions with a sonic palette that turns up the aggression through an overdriven, crunchy riff, reminiscent of Clapton’s version of “Crossroads.”

“421 South Main” is the first of three instrumentals on Harlem, and one of the album’s best tracks. Amidst organ bursts and a continual trading of guitar licks, it’s also the first song of the set that presents Hicks as not only a serious, calculated student of the blues, but as a natural guitarist who can share his joy of music effortlessly and unselfconsciously. “Riverside Drive” is another wordless jam that features Hicks’s guitar telling the tale, while graciously allowing some of the backing band a little more space in the mix.

Two of the covers are notable, if for nothing more than their unexpected inclusion on an album predominantly centered around blues guitar. The band transforms Gary Wright’s “Love Is Alive” from a keys-based ode to peace and love, into a funky guitar instrumental closer to the style of something one might expect out of the late Freddie King, and although not as successful, a certain amount of credit is due for tackling Blood, Sweat & Tears’s “I Love You More Than You’ll Ever Know.”

The flanged-out guitar and vocal tones of “It’s Alright” add some more breadth to the album as a cool, laid-back track that is unexpected on an album titled Harlem. However, Hicks pulls it off through a mix of chops and chutzpah, and by the time he resolves the album on Sonny Boy Williamson’s “Help Me,” he finds himself back to the origins of the blues, but with a bit more relaxed confidence than expressed at the outset of the LP. 

Harlem won’t end up on every blues aficionado’s “best of 2020” list, but the album is a great debut throughout, and there are a lot of great moments and standout tracks. Although he is still coming into his own voice as a musician, Hicks is undeniably a talent who has mastered the art form, and is a joy to listen to. Most importantly, the risks he does take on this album mostly find their mark and give a glimpse of what might be to come from a very promising bluesman.  

The Review: 8/10

Can’t Miss Tracks

– Every Day I Have The Blues
– 421 South Main 
– It’s Alright
– Help Me

The Big Hit

– 421 South Main

Review by Willie Witten

Buy the album: Amazon | Amazon UK

MESSAGE FROM RAY BENSON

Wow, I am filled with so much love and gratitude right now. Thank you so much for the calls, texts, emails, notes on social media from concerned family, friends and fans from all over the world. I appreciate it more than you know and I apologize if I haven’t responded, but I am responding as much as I can with what my energy level allows!

To clear up any confusion or questions, I have tested positive for the COVID 19 Virus. I had become bed ridden with headaches and extreme fatigue/dizziness. I made an appointment with my doctor on Saturday, March 21st to see what was up. Got tests for flu, influenzas etc.. All came back negative. I then asked for a COVID 19 test. They said they didn’t have any! So I just went back home and hunkered down to see if it went away. Unfortunately, the same symptoms kept occurring/progressing. Being extremely fatigued, just falling asleep all the time, headaches were getting worse. Went back to doctor on Monday the 30th to do some bloodwork and other tests to try and figure out what was going on.

After not finding anything through those, I was finally given a COVID 19 test and was sent home and said they’d call me with the results. So I got a call Tuesday morning saying I tested positive! Luckily for me nothing has progressed any farther and feel very lucky and optimistic about my current situation. I am still very fatigued/dizzy and in bed for now. Doctor says if nothing further comes up like elevated temperature, respiratory, cough etc., I should be in the clear in the coming weeks.

What I’d like to get out there is I am and was very frustrated with the lack of testing available. It took basically testing for everything else to acquire a COVID 19 test. Luckily, I wasn’t around that many people within this time frame and was practicing the standard things like washing your hands/sanitizer, wearing a mask at the doctors, keeping proper distance etc.. So I’d like everyone to know the  “symptoms” that are out there as ways to know if you have it or don’t have the virus, doesn’t necessarily apply to everyone. They didn’t for me!

So, please take this virus seriously! It’s for real. Please follow the safety guidelines out there.  If you think or subscribe to those folks whose opinion is that this virus isn’t that big of a deal, please consider otherwise. Please use your voice to demand getting testing out to everyone NOW! Please send your thoughts and prayers out there to all the wonderful people putting their health and their families at risk defending ours. We all know someone or somebody who has lost their life to this virus and we have lots of folks currently fighting the virus and their families need your thoughts and prayers as well.

Please love each other and treat everyone with respect in this time of crisis. This is real and needs to be treated as such. Be safe, wash your hands, STAY OUT OF THE PUBLIC, hunker down and I look forward to getting out on the road and playing music with my band and seeing everyone ASAP!

“We’ll probably do this for the internet. Unless, you know, something terrible happens and we have to cheer up the world on the TV show.” These are the portentous words of Stephen Colbert preceding a duet with John Prine back in 2016.

Their performance of “That’s the Way the World Goes Round,” filmed in the Ed Sullivan Theater, had not been broadcast until this latest at-home episode of The Late Show. 

Colbert unearths the clip with this statement: “I’d like to take a moment right now to send out a personal message to a friend. Last week, our friend and yours, the musical great John Prine was placed on a ventilator with coronavirus symptoms. My thoughts are with John and his wife, Fiona, and his family — and everybody out there touched by this virus. I’d like to share with you right now one of the happiest moments I’ve had on my show or any show. And that’s when John and I sang a duet in 2016 that we never broadcast, but we’d like to now. Happy enchilada, John”

Prine remains in stable condition.

Watch Prine and Colbert below:

 

 

 

I’m Richard Tweeddale and I’ve been on the committee and a director of the Edinburgh Blues Club for 4 years and became its Chairman in March 2019. Originally a member of the club, I answered a ‘call to arms‘ when the original directors became overwhelmed with the workload the club presented.

I was initially, exposed to blues music as a child via my father, mainly the classics, Eric Clapton, Jimi Hendrix, The Rolling Stones etc. As a teenager and in my early twenties, I was mainly into rock and funk music but I found myself gravitating back towards the blues. In my late twenties, I started learning guitar and it was the blues I was inclined to learn. I had that classic realisation that most of what you listen to has it’s roots, in blues and often, it’s actually this blues influence that was most appealing to me. Since then I’ve been hooked on the blues.

1 – Layla – Clapton (D&TD)

Good old childhood association, I used to hear this song in my Dad’s car all the time and loved it. It was my first taste of the blues and I still love the song to this day. It’s also the first time a slide guitar caught my attention.

2 – Ball & Biscuit – White Stripes

Raw, dirty, 12 bar blues, solo’s and references to hard drugs, what’s not to like? It’s the simplicity of this track that gives it its appeal. It’s a great example of it’s not what you play, it’s how you play it.

3 – Cross Road Blues – Robert Johnson

This song transports me in time. What at first sounds like a very simple song, upon further listens reveals itself as rhythmically clever with lots of subtleties and variances.

4 – Gangster of Love – Johnny Guitar Watson

I just love the swagger of this tune by the flamboyant funkster himself. I’ve heard it played by live and it’s the live version where it really comes alive.

5 – Red House – Jimi Hendrix 

Just oozes class. A simple, conventional 12 bar structure, slow blues interspersed with Jimi’s solos. I love how Jimi played with this song when he performed it live, always keeping it fresh and different

6 – Plastic Hamburgers – Fantastic Negrito

A modern take on a familiar sound. Perhaps a contentious choice to blues purists but I love the groove and the funk in this song.

7 – Beggars & Hangers On – Slash’s Snakepit

Part of my journey from a rock lover to blues lover. A blues/hard rock amalgamation, Slash’s slide guitar work brought the blues to the forefront of my mind at a time when rock was my go to genre.

8 – Look Away – Larkin Poe 

I love the beat, the slide and the harmonies. Simple as that.

9 – No Good – Kaleo

Modernising the blues and making it cool again. A song entrenched in the blues is the most charming, regardless if it is rock, indie, alternative or whatever else you could call this song.

10 – My home is in the Delta – Muddy Waters

I love the intimacy of this song, it feels like Muddy is playing in your living room. This song (and the whole Folk Singer album) is like a re-set button when I feel the pace of life is getting to me.

To find out more about Edinburgh Blues Club please click here.

 

 

The post RICHARD TWEEDDALE’s Top 10 Blues appeared first on Blues Matters Magazine.

Swedish Blues Scene In The Midst Of The COVID-19 Outbreak By Brian Kramer.
Photos by Lotta Lindström

Saturday, March 21st 2020, I head out for my weekly Blues Jam in Stockholm, just celebrating our 23rd year. The train station is completely empty, and I am the only passenger to board from Hedemora to Stockholm. Central Station is also noticeably bare for this bustling major hub in Sweden.

As of this morning, there are a little more than 600 reported who have the COVID-19 virus in Stockholm, not as intense as other parts of the world; Italy, Spain, the US… The message is for “social distancing”, however, there is no direct order or panic to shut down clubs and venues here. At least not the modest-sized ones.

The local blues scene here is still churning along and I have not had my weekly shows cancelled as of yet. Club Engelen is asking for folks to take personal responsibility; stay home if feeling sick, wash hands etc. So, there are a good half dozen venues with Blues Jams and shows still providing the opportunity for musicians to perform and a small public to gather.

I personally feel this is okay, as long as we all are socially responsible. We need the music and there is a great appreciation for this as well as keeping the fear in check. For this day during my Blues Jam, we have arranged something unique and special though. In consideration for many of the folks at home who are stuck there, and don’t want to risk being out in public gatherings, we have for the first time ever arranged to Live Stream my Blues Jam direct to Facebook. The entire four-hour session, from start to finish will unfold over the internet uninterrupted, improvised, every unexpected twist and turn. I have also made the interactive consideration to leave many of the grooves within the songs with open-solo spaces, specifically for musicians stuck at home to Jam along.

image of swedish blues jam

I have prepared for this session to allow people who join in live, to feel a bit more secure by swapping out microphones for additional singers as well as puff screens covering the extra mics. I also have a handy 100ml pump bottle of hand sanitizer on stage for those who wish to partake (I did announce that a shot of tequila at the bar cost 10 bucks, but a shot of sanitizer from me cost 15, depending on your needs). The Houseband is in good spirits and we assume it will be a challenging day, but we are always ready for anything. A small crowd starts to steadily filter in as well as a handful of jammers. It’s a beautiful March day with the warmth of the sun basking everything and we are about to go live.

All of the venues and restaurants everywhere are taking a huge hit through all of this madness. Many struggling businesses have been devastated. Engelen is a popular music venue that is celebrating their 50 years in business, and we are fortunate to be able to perform there every week. Under normal circumstances, the room is packed throughout the day, which is quite fantastic for a Blues event on a Saturday afternoon anywhere in the world. Now with 20 to 30 people scattered standing and seated through the room at a healthy distance, I am reminded of the old days in New York when this was the more normal reality for any Blues Jam.

We have some brave jammers showing up now and I start to navigate and usher them on to the scene, remembering to switch out microphones and offer hand sanitizer, also refraining from the habitual and spontaneous handshaking or hugging. This is such a surreal experience and admittedly it’s a bit stressful just keeping tabs on all this. However, spirits are high, songs are flowing, and jammers are in motion, and the public is loving it all as well as a very healthy real-time response coming in from the Live Stream on Facebook. Messages from around the world; South Africa, Spain, Greece, America, Norway, UK, France. Musicians reporting that they are enjoying jamming along with us at home.

image of swedish blues jam

A few bassists show up, a few singers, harp players, a keyboardist, guitarists, it’s a good healthy jam. Unfortunately, no drummers, so our brilliant Markku has to really earn his keep today, but I do break it down halfway through for some old school Delta for a few songs of relief with just myself on guitar, keyboards and harp accompaniment.

Engelen is a good-sized space for an intimate scene and holds 250 people in the main room with another 100 or so in the joining room where they have TV monitors set up so folks can still view the on-stage activities as they eat and socialize. I believe Engelen is just happy or satisfied that they can continue to do some business and have regulars feel welcome, rather than creating a sense of disappointment amid this time of worldwide shutdown where everybody is feeling vulnerable. Also, the phenomena of incredible ceaseless streams on the internet of artists on every level posting or live streaming performances in the comfortable state of their home surrounding are just remarkable!

image of swedish blues jam

Not just out of the sense of boredom to do something because mainly all performing artists have been forced to cancel every tour and event, where more than 50+ people gather, but out of the genuine heartfelt gesture to lift people up throughout the world during a time when fear and instability are the most contagious. I have also put a few candid songs up and plan to do some more. Bringing this live stream of our International Blues Jam to the people that can’t attend somehow feels good.

More than three hours in, and the jam is a success and even with the added stresses, it feels so good to play for a small, appreciative crowd. A favourite local singer, Anna enters the room toward the end of the session and I immediately command her to the stage to take us home. During a rollicking final number of Rollin’ And Tumblin’, Anna looks to me to take a solo and for some reason, I spontaneously reach down and grab the plastic pump bottle of hand sanitizer and start to wiggle it all over the neck of my vintage 1959 Gibson ES225 attempting a slide guitar solo with it, which actually worked better than I thought thank goodness.

One person brilliantly commented that I turned “hand sanitizer into Blues hand satan-izer”. Yes, these are indeed strange and unusual times. Lets all hope for healthier ones soon and get back to some genuine Blues business with the usual, more manageable Blues worries.

The post The Swedish Blues Scene and Covid-19 appeared first on Blues Matters Magazine.

Steven Salter created Killer Blues in 1995 after spending time helping out Billie Thomas at Tant Enterprises, a distributor of Folk, Blues, and independent labels in Montague, Michigan. Soon Billie invited Steve to assist him at festivals selling Jazz, Folk, and Blues CDs. “It wasn’t long before I decided to branch off on my own and service a niche market focusing on Blues only.”

It was a fateful road trip to the New Orleans Jazz and Heritage Festival in 1997 that the Killer Blues Headstone Project was born. On his way Steve decided to stop at a couple of cemeteries in Chicago. He was greatly shocked to find many Blues artists didn’t have markers on their graves. Steve immediately began working to place headstones. In 2009, The Killer Blues Headstone Project became non-profit. He has placed over 120 headstones including: Mississippi John Hurt, Washboard Sam (Robert Brown), Grant Green, Roosevelt Sykes, Eddie King, Luther Tucker, and William “PA’ Rainey.

Steven Salter Photo credit Leslie Salter

Brant Buckley:

How did you get the idea to provide headstones for Blues artists with unmarked graves?

Steven Salter:

It started with a road trip in 1997. I made the decision to take a road trip to the New Orleans Jazz and Heritage Festival. I live in Western Michigan and I did research on Blues locations that I wanted to check out on my way down. A number of them were in Chicago area cemeteries. These were artists I never saw live so I thought I would stop by and pay my respects. The very first one I went to was Muddy Waters’ grave. When I arrived I found a flat one foot by two foot stone on the ground and I was flabbergasted. I couldn’t believe that someone so huge had a marker that was so small. I went on to another cemetery where Howlin’ Wolf was buried and he had a fairly substantial one. I thought this is more like it. Howlin’ Wolf is my all-time favorite Blues artist. I then went to where Otis Spann was buried. I went to the cemetery office and received a location card. I went to the area and looked and looked and couldn’t find anything. I went back to the office because I couldn’t find the stone. They told me he didn’t have one. I couldn’t believe someone like Otis Spann who had such a huge impact on Blues didn’t have a marker. I went to the festival and it bothered me. In 1998 I wrote a letter to Blues Review Magazine and said, ‘Otis is in an unmarked grave, this is terrible, let’s do something.’ People from all over the world saw it and the magazine started a fund. They took care of getting the marker. In 1999 a marker was placed for him. That’s how it started.

How many more unmarked graves are out there? Is it endless?

I am working on a list right now of about forty people. I know where they are buried and I know they don’t have a marker. I have an equal size list of people I am trying to find. First you have to find the grave site to know whether or not there is a marker. I have at least forty there. When doing research if there is a name that I haven’t come across before I do a little more research, I see if I can find where they are. Whenever I find family I love that very much. On average the artists have been gone for twenty years before we get to them. Some have been gone longer so we cannot find family. We always would love to find family. I am working with a family right now on a stone. As to how many more are out there, I don’t have a clue. I’m sure there are plenty.

Who’s your favorite artist you have created a headstone for?

That would be the very first one the headstone project provided: Big Maceo Merriweather. He was a huge influence on Otis Spann. He’s the very first one and he’s buried in Michigan where I’m from. I searched his location for four years before I found him. It took me two years of working with the cemetery to get the stone. That was my first one and I didn’t really know what I was doing. I have since become very adept at doing this.

Where are the gravestones created and do you place the gravestones at the grave site?

Throughout the years the gravestones have come from a number of places. When I was first doing this I didn’t know what I was doing and I would use the cemetery because they were always more than happy to sell you a stone. They sold them at an inflated price. Currently I use a company called West Memorials out of Memphis Tennessee. They give us great prices as we are a non-profit. They support us in that measure. There’s a unique story behind every single stone.

Who are your favorite Blues artists in general?

My favorite Blues artists are the Pre-War guys. The term now is inner war years. Charlie Patton, Son House, and the acoustic guys. Also, Sonny Boy Williamson number one. The very early ones are my go to favorites. I like them all.

Killer Blues Garage Photo: Steven Salter

Can you talk about the Killer Blues garage and the painting outside?

That started as a vision in my head. I saw a photo of a West Virginia general store with people sitting on a porch and I thought I would love to have a painting of Blues guys sitting on that porch. I looked around and tried to find an artist that could do that for me and low and behold an artist lived right behind my house. I asked her if she could paint the photo for me. I gave her the original photo of the general store and I gave her photos of all the Blues musicians I wanted on that porch. She actually painted it. The original is a two foot by three foot acrylic and it hangs in my living room. I took that to my local place and they blew it up for me on vinyl. The one that’s up now is the second copy. The first copy we put up in 2008 and it faded to black and white. I had the photo on a disk and had another one printed out. They last about five years. We offer a poster board copy. The painting is called “Blues in Me” and you can purchase it.

Where do you see your organization going in the next 5-10 years?

I want to find as many people with unmarked graves and I want to take of them. I am hoping that we can find many more that need to be found and acknowledged. I have a database of over sixteen hundred Blues musicians that we have documented where they are buried and whether or not they have markers. At some point I would like to run out of people that need markers. I don’t think I will. We are also working on a booklet. It’s a guide to Blues musicians buried in the Chicago area. I know Chicago is a tourist center and a lot of people go there for Blues history. This will give them a source to pay their respects. One other thing I’d like to add is there are five people in the organization besides myself and no one receives any compensation for what we do. This is a labor of love. It is my way of giving back for all the joy I’ve received from listening to the music. It’s a way to honor and acknowledge the artists that created it. It is my hope the project will inspire others to find ways to give back and make this world a better place.

Killer Blues Headstone Project

Purchase The Blues in Me and more

*Feature image courtesy of Steven Salter

When COVID-19 disrupted Dirty Honey‘s plans to return to Australia to record new music with legendary producer Nick DiDia, frontman Marc LaBelle concocted an idea to make use of the unexpected downtime: Suitcase Sessions.

“I’ve always wanted to shoot videos out in nature, in non-traditional locations, and have a high-quality recording rig that was small enough to fit in a suitcase,” LaBelle explained.

Unafraid to defy the innocuous music trends of today, the seemingly out-of-nowhere Dirty Honey, featuring LaBelle/vocals, John Notto/guitar, Justin Smolian/bass, and Corey Coverstone/drums, has proven in just one year that their reinvention of rock n’ roll is so close to heaven yet so far from God.

 

In November 2018, the Los Angeles-based rock band was completely unknown, recording its self-titled debut EP in Australia. The band launched on the scene by opening for heavy hitting legends Guns N’ Roses, Slash, and The Who and stunning audiences at major outdoor summer festivals including Sonic Temple, Heavy Montreal, Rocklahoma, Louder Than Life, Exit 111, and Welcome to Rockville. The strength of the band’s live show paved the way to dive straight into 2020 with a string of sold-out headline shows around the country.

The band debuted their first session on March 30: a stripped-down version of “Heartbreaker” in front of a stunning stretch of mountains in Lone Pine, CA, a location synonymous as the backdrop for the most celebrated Westerns filmed since the 1920s.

“I’ve taken my motorcycle up to Lone Pine for a couple of years now, so I know the area really well,” LaBelle explained. “‘Heartbreaker’ was written on an acoustic guitar, so there was something special about performing it acoustically with those snow-covered Sierra Nevada peaks in the distance.”

The band also saw their second single, “Rolling 7s,” explode into the Top Five at U.S. Rock Radio. “Rolling 7s” follows the band’s debut single into the upper echelons of the U.S. and Canadian Rock Charts, coming in at #5 this week. “When I’m Gone” made record industry history last Fall when it because the first track by an unsigned artist to go all the way to #1 on Billboard’s Mainstream Rock Chart.

Check out the video for “Heartbreaker,” (directed by “Rolling 7s” Director Scott Fleishman).

Dirty Honey

*Feature image courtesy of Dirty Honey