World-renowned Atlanta-based blues-rock guitar virtuoso, soulful singer and prolific songwriter Tinsley Ellis will release his highly-anticipated new Alligator Records album, Ice Cream In Hell, on Friday, January 31.

Filled with blazing, every-note-matters guitar playing over the course of 11 instantly memorable original songs, Ice Cream In Hell is, according to Ellis, the most raw-sounding, guitar-drenched album of his career. Throughout the album, Ellis’ deeply emotional, lyrical guitar solos perfectly match his fervent vocals. Rolling Stone says Ellis plays “feral blues guitar…non-stop gigging has sharpened his six-string to a razor’s edge…his eloquence dazzles…he achieves pyrotechnics that rival early Jeff Beck and Eric Clapton.”

Recorded in Nashville and produced by Ellis and his longtime co-producer Kevin McKendree (John Hiatt, Delbert McClinton), Ice Cream In Hell is a cathartic blast of blues-rock power. Though inspired by all three Kings (B.B., Albert and Freddie), as well by Carlos Santana, Hound Dog Taylor and others, Ice Cream In Hell is pure, unadulterated Tinsley Ellis. The songs range from the nod to Stax-era Albert King, Last One To Know, to the Peter Green-flavored Everything And Everyone to the Hound Dog Taylor-esqe romp Sit Tight Mama before ending with the hair-raising, slow-burning ballad Your Love’s Like Heroin.

Ever since he first hit the road 40 years ago, Ellis has traveled enough miles, he says, “to get to the moon and back six times.” He’s released 17 previous solo albums, and has earned his place at the top of the blues-rock world one performance at a time. His imaginative songs tell stories of common, shared experiences in uncommon ways, all fueled by his high-octane, infectious, hard-rocking guitar playing. Live, Ellis has captivated and amazed fans in all 50 United States, as well as in Canada, throughout Europe, Australia and South America. The Chicago Sun-Times says, “It’s hard to overstate the raw power of his music.”

Born in Atlanta in 1957, Ellis was raised in southern Florida. He acquired his first guitar at age seven, soon after seeing The Beatles perform on the Ed Sullivan Show. He took to it instantly, developing and sharpening his skills as he grew up. Ellis discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers.

On the advice of a friend’s older brother in 1974, Tinsley and his pals went to see B.B. King live, sitting transfixed in the front row. When B.B. broke a string on his guitar, Lucille, he changed it without missing a beat, and handed the broken string to Ellis. After the show, B.B. came out and talked with fans, mesmerizing Tinsley with his warmth and kindness. Tinsley’s fate was sealed; he had to become a blues guitarist. And to this day, he still has the string.

Less than three years later, Ellis, already an accomplished teenaged musician, left Florida and moved to Atlanta. In 1981, along with veteran blues singer and harpist Chicago Bob Nelson, Tinsley formed The Heartfixers, a group that would become Atlanta’s top-drawing blues band. After cutting a few Heartfixers albums for the Landslide label, Ellis was ready to head out on his own.

Georgia Blue, Tinsley’s first Alligator release, hit the unprepared public by surprise in 1988. The Chicago Tribune said, “Tinsley Ellis torches with molten fretwork. Ellis takes classic, Southern blues-rock workouts and jolts them to new life with a torrid ax barrage.” His next four releases — 1989’s Fanning The Flames, 1992’s Trouble Time, 1994’s Storm Warning (his song A Quitter Never Wins, a highlight from Storm Warning, was recorded by Jonny Lang and sold almost two million copies), and 1997’s Fire It Up — further grew his legend as well as his audience.

After releasing a few albums on other labels, Ellis returned to Alligator in 2005 with Live–Highwayman, followed by 2007’s Moment Of Truth and 2009’s Speak No Evil. He self-released four successful albums on his own Heartfixer label before coming back home to Alligator in 2018, releasing the fan favorite Winning HandVintage Guitar said of the album, “He delivers blistering blues-rock, soul romps, minor-key blues, and shuffles – and it all sounds great.”

Now, with Ice Cream In Hell, Tinsley Ellis will again hit the highway, bringing his roof-raising, road-tested music to fans wherever they may be. “A musician never got famous staying home,” says Ellis, who continues to perform over 150 nights a year. “I’ve seen it all,” the Atlanta native says of his four decades on the road. “And a lot of my audience has been along for the entire time. It’s not always easy. But the payoff is the music. That’s the ice cream.”

It came as no surprise that Robbie Fulks, Chicago’s most prolific Renaissance man, created a veritable love fest at Chicago’s City Winery Friday night. Although the L.A. transplant has enjoyed a solid reputation as a solo singer-songwriter, he is known as much for his poker-faced wit as his sonorous and scrappy vocals.

He performed this time around with a stealthy line up, which included sax/clarinetist Eric Schneider (Count Basie, Earl Hines) and trio of animated backing vocalists and screaming keys. To that end, the sold-out crowd enjoyed poignant balladry and foot-stomping licks from the soon-to-be released 16 through Bloodshot Records on November 1st, plus a deeper dive that unveiled covers and confessionals from his 13-album legacy.

Highlights included the haunting “Parallel Bars” — a tune about a country singer who is aging and bitter from his collaborative Wild! Wild! Wild! — and the honky-tonk tale of “Whiskey River.”

Fulks and his ensemble will finish up the leg of this current tour in the American South and ring in the new year with a series of performances on the West Coast. Admits Fulks, “I was always anti-L.A., but it kind of sucked me in.” Just saying, Robbie, if you get a little homesick, we wouldn’t mind if you hurried on back.

 

http: www.robbiefulks.com

http://www.robbiefulks.com/tour-1

 

With an aptly titled EP, Black Stone Cherry once again attempts a modern revision of blues staples, searing through another six, widely covered classics. Having tackled Muddy Waters, Albert King and Willie Dixon on 2017’s Black To Blues, the outfit takes aim at new handful of legends, delivering a tight collection of technicolor interpretations of their styles and songs. With their comparatively austere arrangements, the source material is fertile ground for expansion and embellishment; two of the originals feature only guitar and voice.

“Big Legged Woman” immediately introduces two aspects of the album’s tracks that differ from their original versions: Yates McKendree’s omnipresent keys and the throbbing, low-end drive provided by Jon Lawhon (bass) and John Fred Young (drums). Chris Robertson’s indispensable vocal and guitar leads impress, but so do those of Freddie King’s rendition. Whether one prefers the warbly voice and screaming overdrive of Robertson, or the overdriven shout and clipped guitar bursts of King, is largely a matter of personal taste. The qualitative difference between the two versions is the sheer amount of sound filling up the entire soundscape and the prominent piano work and solo.

Eerie kalimba and unsettling wails introduce Robert Johnson’s “Me & The Devil Blues,” the most divergent cover of the set. More than simply filling in the sonic space afforded by the spartan original, Black Stone Cherry reworks the mood by adding clavichord funkiness and a bright, fluid, guitar solo that momentarily leaves the traditional blues pallette for more chromatic phrasing. Repurposing Otis Rush’s solo as an introduction, “All Your Love (I Miss Loving)” keeps the haunting reverb soaked feel and shuffling rhythm, but does away with the horns on a louder and fuller retread. A double-time, call and response solo section mimics the original before McKendree reappears with a cool Rhodes piano outro—the highlight of the song.

“Down In The Bottom” faithfully recreates the iconic Howlin’ Wolf rhythm, adding colorful organ accompaniment and a couple of notable instrumental breaks. Concluding with both organ and harmonica solos, the shortest and most direct number of the album packs a lot of sounds into a small space. “Early One Morning” pays homage to the Elmore James slide riff, but quickly splits off into a funky, southern-rock groove dominated by jumpy guitar and rollicking piano. Black Stone Cherry allows some of its signature sound to slip into the mix as the rhythm intensifies and the distortion kicks in. The track is an interesting imagining of what James may have sounded like in a modern blues-rock setting.

The band saves the best for last, emphatically closing with Son House’s “Death Letter Blues.” Drenched in chunky rhythm and great guitar fills, the massively overdriven blues harp differentiates this version from a myriad of other covers. Admittedly, this song—and really Black To Blues Volume 2 as a whole—benefits from excellent choice in source material, and some listeners may hold that against the set. However, that would overlook the instrumental discretion and imaginative structural choices that separate this album from uninspired or heavy-handed attempts at the same. Black Stone Cherry avoids the pitfall of turning sparse originals into ten-minute vanity pieces, while still imbuing enough creativity to produce versions that can stand on their own—for this, they should be commended.

The Review: 8/10

Can’t Miss Tracks

– Me & The Devil Blues
– Early One Morning 
– Death Letter Blues

The Big Hit

– Death Letter Blues

Review by Willie Witten

Buy the album: Amazon | Amazon UK

Album Review for Ruf Records25 Years Anniversary, released through Ruf Records.

I’m not a great fan of label samplers these days. Back in the day labels like Island, Atlantic and CBS produced some real classics. Anyone remember Nice Enough To Eat? But of late they seem to have become rather one-paced and bland as labels specialise is limited forms of music. This one, however, is very different.

Ruf has been one of the prime movers behind the resurgence in blues music in Europe in the last quarter-century. If it wasn’t for Thomas Ruf artists like Laurence Jones, Dani Wilde, Oli Brown and Ian Parker may never have gotten their international careers off the ground and similarly, we may never have heard the likes of Samantha Fish, Mike Zito, Luther Allison in Europe at all.

This collection includes a CD and a DVD with completely different artists on each. The CD has a fair few names I’ve heard plenty of, including Samantha Fish, Bernard Allison, Savoy Brown and covers an incredible range of styles and forms of Blues.

My favourite track, Low Down is a gorgeous piece of New Orleans boogie by the B.B. King Blues Band which features the most amazing tuba bass riff. Add to that some righteous slide from Mike Zito and some outrageous boogie-woogie from Victor Wainright and you’ll find yourself exhausted after 53 minutes of serious dancing.

The DVD features many of the Live From The Road releases including an awesome version of Royal Southern Brotherhood’s Moonlight Over The Mississippi. Dana Fuchs Bliss Avenue is superb and a personal favourite, as is Joanne Shaw Taylor’s Diamonds In The Dirt.

It is remarkable just how much music has come out of Thomas Ruf’s label and on this collection, I really cannot see a duffer. Unless you actually have all the albums and DVD’s, this is essential.

Album Review by Andy Snipper

For More Info – Ruf Records

The post 25 YEARS ANNIVERSARY Ruf Records Various Artists appeared first on Blues Matters Magazine.

Joe Bonamassa’s upcoming album Live at the Sydney Opera House is a compilation of highlights from the Grammy-nominated blues-rock superstar’s 2016 performance at the legendary venue, set for release today. The esteemed guitars and his band of acclaimed studio and touring musicians rumble through vocal and ensemble and solo instrumental sections, highlighting each instrument individually and their ability to play as one.

With a warm welcome from the audience, the band saunters onstage, quickly warms up, and breaks into “This Train.” The first number, a powerful blues classic, sets the tone for the album with minimalist vocals and full force instrumentation. Renowned keyboardist Reese Wynans’ organ rings and hangs in the air throughout the album, interchanging solos with Bonamassa. Mostly, though, the guitar grinds above the others in a haze of rockabilly and blues. Throughout Live at the Sydney Opera House, session all-stars Anton Fig, on drums, and Michael Rhodes, on bass, kick and pop. Bonamassa shows his ability to change the tone of the entire show with his playing, on “Mountain Climbing.” Picking notes off-pitch in his roaring solo, the entire song takes an eerie turn, and the rhythmic riffs around the chorus turn sinister. This tone continues into “Drive,” with its ominous whammy bar, deep pounding drums, and whispered vocals. Bonamassa, again, pairs his crooning guitar solo with that of another renowned musician, Lee Thornburg, on trumpet. The raw sense of emotion and powerful, throbbing bass that continues along the whole song creates a powerful storyline even through changing lead instruments. Often on Live at the Sydney Opera House, after long-winded instrumental sections, the band synchronously reforms the chorus and structure of each song. This happens on “Drive” and after the interplay between Bonamassa and Wynans on “Mainline Florida,” an ode to the wildness that is Florida. Bonamassa ends this lighthearted tune with a two-minute discussion about how much of an honor it is to play at the Opera House.

The rest of the album offers much of the same: searing guitar and pipe-organ keyboard solos, eerie slide-guitar references to old-western music, and sharp, lofty background vocals.  “The Valley Runs Low” moans and groans. Soulful singing and soft, tender vocals create a gentle atmosphere, through which the piercing guitar shrieks. Bonamassa’s blues roots — his inspirations are British and Irish interpreters — comes through on ”Blues of Desperation,” which incorporates classic blue notes, and “No Place for the Lonely,” which features exceptional playing from every member of his band underneath the zips of Bonamassa’s riffs. Live at the Sydney Opera House ends with the well-written “Livin’ Easy” about expensive women. The versatile saxophone of Paulie Cerra drips with class and screams at the top of its lungs. The bass, gospel background vocals, and light, soft guitar build into a vocal outro. They quiet abruptly and the album and show end with a standing ovation.

Bonamassa and his band play a roaring show for the Australian crowd on Live at the Sydney Opera House, which comes on the heels of his 21st #1 album, Redemption. Catch him on his Fall tour of the United States.

The Review: 8.5/10

Can’t Miss Tracks

– This Train
– Mountain Climbing
– Drive
– The Valley Runs Low
– No Place for the Lonely
– Livin’ Easy

The Big Hit

– Livin Easy

Review by Spencer Rubin

Buy the album: Amazon | Amazon UK

The Oh Sees kicked off their Face Stabber tour with three sold-out nights at San Francisco’s Chapel with special guest Prettiest Eyes and LFZ. This is the fitting location as San Francisco was their former
home base prior to L.A.

Founder John Dwyer and sole original member of Oh Sees is the band’s
visionary and the focus on stage. He thrashes his guitar and slams about the stage uncontrollably while musically keeping it together. He is intense, prolific, and like a hurricane. Coupled with duel drummers Dan Rincon and Paul Quattrone, bassist Tim Hellman, and Tomas Dolas on
Keys, this quintet delivers a wall of sound that grabbed everyone’s attention. Somewhere between punk, garage, and psychedelic rock, they are one of a kind.

Check out their new release Face Stabber.
(https://ohsees.bandcamp.com/album/face-stabber)

The tour continues through early November so catch them while you can.
(http://www.theeohsees.com)

Links:
=====================
web site and tour dates:
http://www.theeohsees.com

http://www.philamonjaro.com/

Rock & Roll legends Dave Mason and Steve Cropper’s “Rock & Soul Review” hit Portland, Oregon on Saturday, September 28, 2019 when they played at “Revolution Hall.” Steve Cropper was the lead guitarist of Stax Records house band “Booker T & the MG’s one of the first racially integrated rock band that backed legends like Otis Redding, Wilson Pickett, the Blues Brothers and many others. Steve is a bona fide musical genius that coauthored some of the biggest hits of the 1960s. You can read our interview with him from last March here.

Dave Mason was a founding member of the legendary British rock band “Traffic” and then had a successful solo career through the 1970s and beyond. Both Mason and Cropper have been inducted into the “Rock & Roll” Hall of Fame. They played and recorded with some of rock’s greatest stars including the Beatles, Rolling Stones, Jimi Hendrix and dozens of others. Along the way Mason had top forty hits, three gold, and one platinum album and wrote over one-hundred songs, some of which were hits for other artists.

The show began promptly at 8:00 PM when a trio comprised of Johnne Sambataro on guitar and vocals, Tony Patler on keys and vocals along with Alvino Bennett on drums took the stage and opened with Robert Johnson’s 1936 recording of his blues classic “Crossroads” popularized by Eric Clapton and “Cream” in 1968. During Sambataro’s guitar shredding solo I realized that the band didn’t have a bass player, but instead relied on keyboards for the bass line, like the “Doors.” Sambataro explained that he first met and then toured with Dave Mason in 1978 when he was recording on Andy Gibbs Shadow Dancing album. Johnne is a multi-instrumentalist and was lead guitarist and singer for “Firefall” as well as the “Byrds,” Eric Clapton, Peter Frampton and Jimmy Page to name some.

Drummer Alvino Bennett also comes from an illustrious career dating back to the early 1970s when he was on the “Motown” label playing for Stevie Wonder and was a member of L.T.D., as well as touring with Robin Trower, Koko Taylor and Dave Mason along with dozens of others. Keyboardist Tony Patler was Chaka Khan’s music director, where Alvino was drummer at the time and they ended up touring together with Dave Mason in 2009. Patler demonstrated his keyboard skills with Billy Preston’s “Will it Go Round in Circles.” Next came “Strange Way To Say That You Love Me” by “Firefall” with Sambataro singing Ricky Roberts part. Gretchen Rhodes took the stage last and completed what would be the backup band for Dave Mason and Steve Cropper to “kick out their jams.” She sang three songs including Aretha Franklin’s “Chain of Fools” with a stellar voice reminiscent of Bonnie Raitt.

Dave Mason

After a short break the band came back on stage with Dave Mason this time who told the crowd that it was nice to be in Portland and then began his 1977 radio hit “We Just Disagree” from his Mystic Traveler album. “Rock & Roll Stew” was a “Traffic” tune that Patler sang lead on while Dave throttled his guitar. Mason introduced Steve Cropper as he began singing “Midnight Hour,” which Cropper co-wrote with Wilson Pickett in 1965, “I’m gonna wait till the midnight hour, that’s when my love comes tumblin’ down.” until Cropper took over and demonstrated his guitar prowess. Another Picket hit that Cropper co-wrote was “Knock On Wood” which he explained was simply “Midnight Hour” played backwards, note for note with different lyrics which Gretchen Rhodes beautifully sang. Rhodes then broke into Sam & Daves “Something is Wrong With My Baby” in an enticing voice.

“Black Magic Woman” written by “Fleetwood Mac” founder Peter Green was an underground radio hit in 1968 and later became a top 40 hit for Santana. It was one of the early blues rock creations to come out of the then young English blues scene and gave ample opportunity to both Cropper and Mason to shred their guitars with stratospheric intensity in between Rhodes belting out the song “don’t turn your back on me baby!” “Mr. Fantasy was another killer “Traffic” song that had a stellar dual guitar solo with Mason singing lead. His voice held up well, considering he had to cancel the last two scheduled appearances in Portland due to illness.

Steve Cropper

“Can’t Find My Way Home” was also connected to “Traffic” since Steve Winwood wrote it when he joined the short-lived world’s first “Supergroup,” “Blind Faith.” It was another guitar raging jam until Cropper changed direction with Otis Redding’s amped up remake of a 1930’s hit “Try a Little Tenderness” with Gretchen spitting out the words “you gotta try a little tenderness, you got to , got, got, got.” “Sitting on the Dock of the Bay” is one of the most famous Otis Redding songs that he and Steve Cropper wrote together one night in a motel room along with Donald Duck Dunn thumping out the baseline. “6345789” was one more Wilson Picket hit co-written by Cropper.

“Only You Know and I Know” was a Dave Mason song from 1970’s Alone Together and became his first single as a solo artist to chart on the radio. The set ended with “Traffic’s” “Feeling Alright” which is also the name of Dave’s solo tour and ended the set in a jam with dueling guitars and a bring down the house conclusion. There was a short interlude of clapping and shouting before the band came back and dove into a Hendrix version of Dylan’s John Wesley Harding song “All Along the Watchtower.” Needless to say both Cropper and Mason played to the max as they faced each other and let it rip as Rhodes intermittently alternated on vocals with Mason, “there must be some way out of here said the joker to the thief.” The final song of the night was Isaac Haye’s 1967 composition that Sam & Dave with Steve Cropper recorded and made a chart topping hit out of. Keyboardist Tony Patler sang it while Cropper played the familiar lead guitar riffs that concluded in an explosive drum solo.

Review by Bob Gersztyn

Announcing the Intrepid Artists 25th Anniversary Party: “A Rock n’ Roll, Soul, & Blues Revival…The Sequel”

Intrepid Artists Int’l will be celebrating their 25th Anniversary at The new Amos’ Southend on November 8th and the Neighborhood Theatre on November 9th in Charlotte, North Carolina.

Confirmed artists appearing include Kenny Neal, Eric Gales, Davy Knowles, John Nemeth, Toronzo Cannon, Gary Hoey, Albert Castiglia, Vanessa Collier, Mr. Sipp, The Steepwater Band, Empire Strikes Brass, plus a little thing they call “Intrepid Does The Stones.”

Intrepid Artists International was founded in Dec of 1994 by current owner and President of the company, Rick Booth. Their office is located in beautiful midtown Charlotte, NC across from The Greenway and overlooking the uptown skyline. Intrepid has always chosen to remain a boutique agency with emphasis on “Quality” NOT “Quantity.” For more than two decades, they have represented some of the very finest musicians in the world and have become known throughout the industry as an agency that can be counted on for not only delivering great music but also for their honesty, integrity, service and reliability. With a full staff of knowledgeable agents, Intrepid and its agents have been recognized by The Blues Foundation on a record three separate occasions for being the Best Agency in the business. Blues Wax Magazine has recognized Intrepid as The Best in the Business as well and the city of Charlotte’s Mayor’s office has also recognized Intrepid for representing the city well in the music industry. American Blues Scene writes, “ Intrepid Artists may have more class than any other agency and in the meantime provides some of the best music being made to a worldwide audience.”

Intrepid’s staff has a combined 76 plus years experience at Intrepid alone and a total of 80 years of professional experience in the music industry They pride themselves on having a very diverse roster, representing a wide range of music that includes, Blues, Blues/Rock, Funk, Soul, Jam, Roots Rock, and Zydeco music. As many of you know, since Intrepid was in its early stages they have always had the finest stable of “Blues Rockin’ Guitar Slingers” in the business that now includes Eric Gales, Ana Popovic, Davy Knowles, Popa Chubby, Mike Zito, Albert Castiglia, Gary Hoey, Jimmy Thackery and Anthony Gomes just to name a few.

They also represent some of the finest contemporary blues artists in the business including Kenny Neal, The Proven Ones, Sugaray Rayford, Lil’ Ed & The Blues Imperials, Mr Sipp, Mike Zito’s BIG Blues Band, Curtis Salgado, John Nemeth, Selwyn Birchwood, Toronzo Cannon, Blues Beatles, John Mooney, and The Phantom Blues Band.

If you like “real” old school soul, look no further than Curtis Salgado and John Nemeth & The Blue Dreamers.

Carolyn Wonderland, Ana Popovic, Vanessa Collier, Nikki Hill and Heather Gillis are the cream of the crop when it comes to females in the roots rock & blues music world! THE TOP OF THE HEAP!

If you are looking for more roots rock, Brass, pop and funk, then look no further than Honey Island Swamp Band, Polyrhythmics, The Empire Strikes Brass, The Steepwater Band, The Mantras, Mother’s Finest, and Simplified.

Booth was born and raised in Charlotte, where his love for music started at a very young age, when his Godmother gave him a copy of Elton John’s Greatest Hits for his 10th birthday. From that point on, he could not get enough. In high school, it was not unusual at all to find Rick out sneaking in to bars and music venues to try to get his live music fix. Classic Rock and Blues Based Southern Guitar Rock were his thing!

He continued his love for live music in college. Rick graduated from Wofford College with a degree in Sociology in 1987. While attending Wofford, he served as Social Chairman of his fraternity, Sigma Alpha Epsilon for 2 plus years and began his personal work with bands and booking bands for different social events and his fraternity. His friends always joked with him and told him one day he would be a music agent, but that was not really in the cards. At least not yet.

After graduating from Wofford, Rick went home to Charlotte and worked as a manager in the family hardware business for almost 3 years. Rick credits many of his managerial skills to his Dad who ran the family business for 35 plus years. Rick says, “He taught me the right way and wrong way to treat people. Having a degree in Sociology didn’t hurt either.” Recognizing how to deal with people sure does help out when dealing with all the personalities in the music business. “I am a people person. I believe in treating people the way I would like to be treated, You know, ‘Do unto others as you would have them do unto you.’ Karma’s a bitch and what comes around goes around. Believe me, I see it all the time in this line of work.”

By 1990, it was time for a career change and time to move on from the family hardware business. Rick took a job working for a regional music agency, Hit Attractions, booking mainly cover bands and college bands. But weary of its business practices, he decided to leave after only about 4 months on the job. Shortly after that Rick accepted a job working for Piedmont Talent, an upstart blues agency at the time that booked all original blues bands and some Louisiana Cajun and Zydeco Bands as well. After 4 plus years at Piedmont, Rick felt it was a great time to go out on his own and bring his own spin to the music industry.

Intrepid Artists Int’l was officially open for business Dec 19, 1994. Since that time, Intrepid has far exceeded his original highest expectations. Intrepid or one of its agents has been the recipient of the prestigious Keeping The Blues Alive Award a record 3 times, in 1997, 2002, and most recently in 2011. Since 2008, Intrepid’s artists have received well over 100 Blues Music Award nominations and numerous WINS as well as 4 Grammy nominations and ONE Grammy WIN!. Today, things have never been better at Intrepid! With the largest, strongest staff to date, Intrepid is prepared to step up and be recognized as The Premiere Blues & Roots Rock Music Agency of its kind.

Intrepid Artists International

Tickets

Mike Zito has released a music video for “Johnny B Goode” featuring Walter Trout. The track is featured on Zito’s upcoming album, Rock ‘N’ Roll: A Tribute To Chuck Berry, available November 1.

“The video’s a throwback to early MTV kind of vibe. Getting to make this video with my hero, Walter Trout, is pretty much the coolest thing ever,” said Zito.

Blues Rock Review recently sat down for an interview with Zito to discuss the new album.