Targetspot Doubles Down on Podcasts

 

After the digital audio sales company Targetspot reported its podcast ad revenue tripled during the first half of the year, the company says it is “doubling down” on the medium. That includes adding new resources in the U.S. marketplace where Targetspot says its podcast marketplace has been “refined” to meet the demands of advertisers who are looking to buy space from multiple podcast publishers.

“As we have continued to expand our podcast supply, we have simultaneously been improving both show level transparency and category accuracy. This means buyers can have further confidence in buying what they are targeting, and having greater visibility in the actual shows where ads are running,” said Dominick Milano, SVP of Sales and Business Development in North America.

The Targetspot podcast marketplace has grown to now reach more than one billion monthly impressions in North America. That includes podcast from radio groups including Bonneville, Salem Media Group and Canadian broadcaster CBC, as well as publishers like Spreaker and Empire Magazine.

Targetspot said in July that its revenue during the first half of the year rose to $14.9 million, a 19.1% increase compared to a year ago. In North America, Targetspot says its first-half revenue rose by 13.1%. Growth was hampered by what it called a “moderation” in advertising investments in certain sectors including the automotive and job recruiting sites.

Alexandre Saboundjian, Chairman and founder of Targetspot, says revenue from podcasts made up 28% of the company’s revenue during the first half of this year. That compares to 19% for the whole of 2021.

Targetspot is also ramping up its podcast efforts in Europe. In the U.K., it has partnerships with two new publishers --Sport Social Podcast Network and WIZARD Radio Media – giving ad buyers the opportunity to reach a wide-ranging audience of sports fans and Gen Z listeners.

In France and Belgium, Targetspot is picking up the ad sales for three new podcasts produced by Paradiso Media and Brut. Targetspot has also partnered with the French platform Audiomeans, the leading independent podcast hosting and distribution company in terms of listening volume.

“The many partnerships forged in recent weeks will further accelerate our increasing influence in this high-potential channel,” said Saboundjian. “Podcasts bring together an audience that is both highly engaged and highly qualified, offering agencies and advertisers unprecedented targeting capabilities. With its turnkey Targetspot Podcast Marketplace solution, our group has become a key player in podcast monetization.”

• Facebook
• Twitter
• Linkedin
• SMS
• Email

http://mus.acrofan.com/article_sub3.php?number=727435&lang=

Monkey Junk

 

Since 2008, the name Monkey Junk has been synonymous with the emergence of a new kind of blues on the Canadian and international scenes.  Continually pushing boundaries and blurring genre lines, the Ottawa-based trio has added an edge to their music by incorporating swampy blues & rock with thoughtful and intelligent lyrics. MonkeyJunk is Tony D on lead guitar, Steve Marriner on lead vocals/baritone guitar/harmonica and Matt Sobb on drums. The band has released 5 full-length albums and are looking towards a sixth tentatively scheduled to be recorded and released in late 2021. As one of the hardest working bands on the scene today, these Canadian ambassadors of blues/rock are constantly working to up their game in terms of songwriting and musicianship, on record and especially live! 23 Maple Blues Awards, 2 Indy Awards, 1 USA Blues Music Award, 2 JUNO AWARDS!

 https://monkeyjunkband.com/

Aled Thomas Trio

 

2007 - Aled Thomas Trio debut album "We Should Be There By Now". released The album is recieved well - The Fly Global Music described it as having "some of the best lines in vocal jazz". Many concerts and radio follow the release. The song "City Life" is announced as a semi-finalist at the 2008 UK Songwriting Competition

2009 - Internet release of a new song "The Post Office Song" in February. This generated much interest and press attention. MP Lynne Featherstone also used the song as part of her campaign against long queues

2010 - Aled Thomas Trio second album called "Baggage Holiday" is released. It featuring "The Post Office Song" . Two songs from the album are announced as finalists at the 2010 Uk Songwriting Competition - "Every Street" and "I Wont Let Them" . American magazine JazzReview writes "Thomas revels in being every man - He is put upon weary and funny"

2013 - Release of single "The Singularity " Featuring Paul Rhodes - It is featured on a science show

2014 - Release of single "The Bitcoin Song" Featuring Ian Ritchie on sax and vocals (Currently on tour with Roger Waters)

2016 - Appearance with Unnati Dasgupta at The Alchemy Festival, Southbank Centre, London. Appearance with Tamas Teszary Quartet at Mardi Gras Festival, Brixton

2017 - Aled joins band with Bonzo Dog Doh-Dah member Vernon Bohay-Nowell. Aled appears with Suzy Ritz at Boisdale, Canary Wharf, London and Bull's Head, Barnes, London

2018 - Appearance with Paul Rhodes at Metropolitan Room, Birdland, and Triad Theatre, New York. Aled appears with Catherine Lima at 606 Club, London.

2019 - Appearance with Unnati Dasgupta at The Pheasantry, Pizza Express, London. Aled appears with guitarist Jim Mullen.

2021 - Appearance with Geoff Mason at the Herne Bay Jazz Festival

2022 - Upcoming release of U2's classic "I still Haven't Found What I;m Looking For" - Aled Thomas Trio feat. Graham Pike. First release of new music for 7 years.

 https://aledthomas.net/

Black Cat Bones

 

 

The right place at the wrong time. That could be the epitaph on the gravestone of Black Cat Bones. Having acted as unofficial house band for a number of visiting US artists during the British Blues Boom of the mid to late Sixties, and survived a potentially fatal line-up change into the bargain, they finally made it to vinyl rather late in the day. This, their first and only album, reached the racks in the last months of the Sixties, just as progressive rock was in the ascendancy.

Such imperfect timing may have adversely affected their chances of commercial success and consequently their number of column inches in the history of popular music, but in no way diminishes the excellence of this disc - now available again a full quarter-century after release.

That Black Cat Bones remains a known name is due to two musicians whose names remain stubbornly absent from the credits. Celebrated guitarist Paul Kossoff would go on to superstar status as a founder member of Free, but started his musical career in earnest in these ranks. And though neither he nor drummer Simon Kirke appear here, Koss's featured replacement is Rod Price, a player of no mean ability who would later take his axe-wielding skills to Stateside fame and fortune with Foghat.

But let's backtrack now to the events that led up to November 1969, when "Barbed Wire Sandwich", was released on Decca's 'progressive' Nova label. Though retaining semi-professional status for some time, Black Cat Bones had enough going for them to catch the eye of legendary blues producer Mike Vernon. His patronage brought them their first recording session, backing Champion Jack Dupree for a Blue Horizon album, 'When You Feel The Feeling You Was Feeling'; meanwhile, they made a reputation in their own right touring Germany and Scandinavia.

Kossoff and Kirke jumped ship, in 1968 after seeing singer Paul Rodgers fronting the similarly unrecorded Brown Sugar; hence by the time Black Cat Bones entered Tangerine and Decca Studios the following year with recording stardom in mind, the existing nucleus of brothers Derek and Stu Brooks on rhythm guitar and bass respectively and vocalist Brian Short had been augmented by Phil Lenoir (drums) and Rod Price (lead guitar).

The music kicks off with 'Chauffeur', - a dead ringer in both pace and chord sequence for Free's 'Walk In My Shadow', from their debut, released mere months before. And the well-worn blues metaphor of riding, (Free rode ponies, Black Cat Bones a car - such is progress) indicates the overtly sexual inclinations both shared. Elsewhere, there's a welcome touch of acousticity (on 'Four Women') to leaven the mixture - owners of well-worn originals will thank heavens for the non-clicky CD! - but overall, the album very much reflected the electric blues of the stage set, as you'd expect from a band that played live so often.

It was left to producer David Hitchcock, who later guided the careers of Caravan, Camel, Genesis (circa 'Foxtrot') and more, to supply the studio expertise they needed to give "Barbed Wire Sandwich", that touch of the unexpected. 'Please Tell Me Baby' stands out in this respect, the band fading in and out around the barrelhouse piano of Robin Sylvester. This would have been impossible live, since BKB's line-up didn't feature keyboards (Sylvester was the sound engineer at Tangerine), so was clearly an attempt to diversify and use the studio to greatest advantage. Steve Milliner lent further ivory-tickling skills to 'Feelin' Good'. And, don't forget, Free eventually added the keyboard talents of John 'Rabbit' Bundrick to give them a route to progress.

Talking of progression, the middle section of 'Save My Love For You', along with other dramatic mood and/or tempo changes throughout the album, suggests that the growth of progressive rock had not passed them by. Rod Price was quite different in approach to Kossoff, his fast, fluid style contrasting with the howling sustain of his predecessor - but he was clearly no slouch either, as he proved on the final track. The self-penned 'Good Lookin' Woman' is the one song on which Price tackled lead vocal. More importantly, it's a guitar tour-de-force, fading out prematurely and leaving the listener wondering exactly what would have happened next.

Leaving the audience wanting more was just one of the lessons learned on the boards, so it's hardly surprising that those who saw BKB live retain approving memories. One such spectator was Stuart Booth, now a publisher, who caught a show at London's Marquee Club as the album was readied for release. 'They were a good live band who missed the boat', he recalls. 'The album came out long after other British blues bands had sunk without a trace, so no one was interested. I was pleasantly surprised to see people still playing that sort of thing. I thought it would all come around again - and, of course, it did…!'

Many years after witnessing Black Cat Bones at the Marquee, Booth had the pleasure of publishing 'Blues - The British Connection', a definitive rundown of the scene by one Bob Brunning (to be reissued by Blandford as 'Blues In Britain: The History 1960s-1990s' in February 1995). Brunning, as blues scholars may recall, was the original bass player with Fleetwood Mac, the man who deputized for John McVie until he could secure his release from John Mayall's Bluesbreakers.

He enters the Black Cat Bones story, albeit tangentially, at this point - because when the album flopped and the band threatened to fall apart, it was a couple of renegades from the Brunning Sunflower Blues Band, Pete French and Mick Halls, who were drafted in to make up the numbers after Price, Short and Lenoir left the ranks. (Short, incidentally, cut a hard-to-find solo album, 'Anything For A Laugh', for Transatlantic in 1971). With a new drummer, Black Cat Bones metamorphosed into Leaf Hound, Zeppelin-esque heavy rockers who, like their predecessors, produced one excellent album before disbanding. This was 'Growers Of Mushroom' - and in 1994 it joined 'Barbed Wire Sandwich', in the See For Miles CD catalogue.

So there ended the story of Black Cat Bones, a band whose mere footnote in the annals of British rock seems a mite ungenerous, given their musical legacy. Even Bob Brunning only rated them a couple of sentences - but as 'Barbed Wire Sandwich', will prove, music often speaks louder than words.

David “Junior” Kimbrough

 

David “Junior” Kimbrough, quite possibly the most important blues guitarist of the second half of the 20th century, redefined blues. Junior’s approach to music is so hugely different from anything that came before him that he ranks among the three greatest bluesmen of all: Son House, Bukka White, and Fred McDowell. An originator, Junior did more than build on certain tradition or perfect a certain style. Junior re-imagined the blues; he made a sound for himself.

If Junior’s sister had been any kind of baby-sitter he might not have picked up the guitar. When Junior was too small to help his father work the fields his eldest sister stayed home with him. She was supposedly watching him the day he took his father’s guitar “off the high shelf,” where his father kept everything he didn’t want his children fooling with. It became routine: when his father left for the fields, Junior carefully took down the guitar. He learned fast and well, well enough to teach a local white boy, Charlie Feathers, how to play.

Junior was six years old, and his sister was doing her usual bang-up job of babysitting the day he took a gallon jug of corn off the high shelf. His mother found him in an alcohol-induced coma; she thought Junior was dead. Junior’s father recognized the problem and knew the solution: his daughter needed a whipping and Junior belonged in the field. After two years of high school Junior was lured into Holly Springs by a job at the John Deere dealership.

Junior couldn’t remember the exact date he deliberately set out to create music but knew the reasons. He was still a young man and had gone as far as he could go at John Deere. If Junior was gonna make his mark in the world, he’d have to do it with a guitar. Up until then he’d been playing the same country blues standards, as well as the contemporary hits of Little Milton and Albert King, in the same jukes and clubs that his long-time friend and rival R.L. Burnside played. And then Junior stopped playing covers and stopped taking requests. Determined not to become just another “entertainer” or “performer,” Junior realized playing covers only helped the composers or the artist who first recorded the song. He wasn’t going to help anybody, ever again. From then on, Junior would only play Junior.

He might’ve been the first person in his family to work off the farm, but Junior never gave up his rural habits like throwing parties every Sunday night with his furniture dragged out in the yard so more people could fit. Before long Junior had to rent a one-bedroom apartment to get a break from the chaos he’d started at home. Junior’s old house became more than a club. It was an entity: it was Junior’s Place–and without help from a sign or telephone locals gathered on Sunday nights to drink and dance. Junior understood music, and had a gift for songwriting, and began developing the music that was first recorded in the mid-’80s for a Memphis State single.

Unfortunately, David “Junior” Kimbrough didn’t release his first album until 1992, when he was 62, but when he finally made his first album, All Night Long (produced by Robert Palmer for Fat Possum Records), the world took notice. Rolling Stone was the first to acknowledge Junior and awarded the album four stars. In addition to giving his music long overdue exposure, All Night Long gave the Fat Possum label hope. Junior, for the most part, was not physically able to tour, now that he finally had the support of a record company. There were notable exceptions: a string of dates with Iggy Pop, and several tours with the Fat Possum Circus (a package deal). But the news traveled– to hear Junior you had to go to Mississippi. Rock bands such as the Rolling Stones, Sonic Youth, and U2 made pilgrimages to Holly Springs to experience his club and hear Junior with his son Kinney Malone on drums and Garry Burnside on bass. Junior went on to record Sad Days, Lonely Nights, Most Things Haven’t Worked Out and the posthumously released God Knows I Tried (all on Fat Possum).

Junior was 67 when died of heart failure on January 17, 1998 at Mildred’s apartment in the Holly Springs public housing project, watching TV on her couch. Mildred Washington, his companion of 30 years, had been taking care of him. Junior Kimbrough still kept a one-room bachelor’s apartment at the time of his death: immaculately clean, with nothing whatsoever on the walls or tables, no pictures, no tour posters, nothing. Junior knew what he had accomplished, and didn’t need any souvenirs. In addition to the 36 children he claimed, Junior put his brand on music.

7-Time Blues Music Award-Winner RORY BLOCK Set to Release Her New Album, Ain't Nobody Worried, October 7 from Stony Plain Records

 

 

In a storied career of many accolades and firsts, celebrated seven-time Blues Music Award-winner Rory Block released perhaps her most-ambitious album yet, with Ain’t Nobody Worried, came October 7^th on Stony Plain Records.  

 

As the third volume of her “Power Women of the Blues Series,” Ain’t Nobody Worried follows the logical course of its predecessors. Produced by Rory Block and Rob Davis for Aurora Productions, Ain’t Nobody Worried was recorded and mixed by Rob Davis at Kentucky Studios, Sandy Hook, Kentucky; and mastered by Toby Mountain of Northeastern Digital. Rory Block sang all the vocals, played all the guitar parts, slide, bass and percussion.

“The inspiration for this recording was born during the dreaded shutdowns,” recalls Rory Block about the album’s genesis. “Being quarantined led us to the idea of Home Broadcasts, which soon blossomed into two concerts per week over two years with an incredible following of viewers from around the world. We were all hungry for togetherness and music and found ourselves clinging to the idea that some form of normalcy still existed, somewhere, almost certainly in music. After covering just about every blues, folk and Old Timey song I ever knew, the idea popped into my head to reach into the iconic songbook of the ‘60s, ‘70s and ‘80s. That meant music that was on the radio over 50 years ago. It could be called historic, early American music. Viewer requests for their own favorites strengthened and expanded this idea, turning the concerts into a major potpourri of material. It was challenging, satisfying, and inspiring. The consensus was that it was time to hear these incredible songs again. 

“While it was challenging, and I never had enough time to really learn the songs properly, no one minded or expected my acoustic versions to be replicas of the originals. We wanted to remember, celebrate, and cling to the emotions and memories these great songs embodied. We wanted to sing along. We wanted it to be a sentimental journey with an unexpected twist. That’s what this record is all about.

“I started referring to it as ‘The Campfire Sessions.’ That meant ‘Hey, pass me the guitar... lemme try that one!’ I was the person saying pass me the guitar- and that was just alright with everyone.

“In keeping with my latest ongoing project, ‘Power Women of the Blues,’ and inspired by the enthusiasm generated by the Home Concerts, I chose hit songs performed or written by female artists whose music changed the world. I could do multiple volumes easily as there are, as always, just too many great songs to choose from. 

“There will be those who will question why I would decide to do songs by legends such as Gladys Knight, Mavis Staples, Mary Wells and others. Why attempt to resurrect such untouchable greatness? I suppose the answer is the same reason I dare to do Robert Johnson, Bessie Smith and other early blues legends. I do not do these songs to create a better version than the original. Those versions are enshrined in the halls of Musical Heaven. I do these songs because I play the music I love the most. Creating new versions honors the original artists. And, as I learned during the Home Concerts, it’s time we thought about these amazing songs again.”

  https://stonyplainrecords.com/roryblock/

Revoltone

 

Revoltone is the lovechild of everything we are, feel, hear, see, digest and defecate.

This band is our honest way to deal with anger, disbelief, sickness, love, happiness and most of all hope for the better. With and for everyone who needs strength and energy from great punk rock-tones.

All of us have a colorful history with music and different bands. We have tons of experience with playing sweaty gigs, raw tours and recording songs for various albums. Revoltone is a four peace with current and ex-members from bands like Fumble, One Morning Left, Dashbone. All this has driven us to give birth to the message and the sound of Revoltone.

We Revol against everything messed up! Our Tone is loud, catchy and melodic. The sound and attitude we want to hear in this often too disharmonic world.

Revoltone - the band loud enough for the silent voices.

 

Facebook: www.facebook.com/revoltone

Instagram: https://www.instagram.com/revoltone/

Bandcamp: https://revoltone.bandcamp.com/

Evie Eve

 

Evie Eve is an indie folk singer-songwriter, originally from South Wales now based in Manchester. 

 

Channelling the likes of Laura Marling, Jeff Buckley and Radiohead, Evie eve’s anthemic songs are a rich blend of evocative vocals, dynamic instrumentation and dramatic arrangements. Her ethereal mix of poetic lyrics and memorable melodies creates songs centred around vulnerability, curiosity and wonder. 

 

After two years of writing and producing during lockdown, Evie eve is now joined by a six-piece band, performing and selling out shows around Manchester. Formed late last year, the band focuses on creating a powerful acoustic sound that compliments her soulful vocals and the vibrant melodies heard in both trumpet and violin. Her latest single ‘One for sorrow’ tells a story of loneliness in a unique style that is both melancholic and uplifting. 

 

 https://linkfly.to/304041jAxrQ

 

 

Casey Maunder

 

ªI’ve poured my heart and soul into this album and both musically and lyrically I feel it is a reflection not only of my eclectic influences but also my views on the world around me.  The tracks embody my energy, confidence and unwavering positivity in the face of a world gone mad. This a raw, melodic and fresh guitar album that is unique and stands out from the crowdª.

SWND Records is proud to release the debut album from Swansea rocker Casey Maunder, whose first single for SWDN, Click Me, Swipe Me, Follow Me, Like Me, has caused quite a stir on indie airwaves. 

Casey  Maunder  was  born  and  raised  in  Swansea  and  as  the  son  of  a  local musician was immersed in music from an early age. By twelve years old he was performing  with  his  father’s  band  and  at  14  was  writing  and  performing  with local  rock  bands.    At  19  Casey  joined  The  Cherry  Thieves  and  inspired  by  the Los  Angeles  glam  rock  scene  they  toured  the  UK  extensively  and  featured regularly in music publications such as Kerrang and Melody Maker.

After the demise of The Cherry Thieves Casey linked up with a childhood friend and formed Four Stories High. The band kept the energy of Casey’s earlier rock projects  but  fused  it  with  a  more  imaginative  and  creative  approach  to  song writing.  The  band  gigged  extensively  across  the  UK  and  their  single  “Another Day” gained radio play, Welsh TV slots and was released on a compilation of thebest emerging UK talent.

2021 saw Casey decide to go it alone and take sole control of his song writing and  releases.  His  sound  is  defined  by  overdriven  guitars  and  a  dedication  to melody  that  means  every  track  has  a  huge  chorus  that  will  not  quit!    His  first three solo singles have had extensive radio play, including the track “Rolling at The Rathouse” being played on esteemed station Planet Rock. 

The  upcoming  album  “Until  Your  Heart  Stops  Beating”  showcases  Casey’s vocal, lyrical and song writing range and delivers an eclectic collection of songs that range from hard edged rock to harmony laden power pop. 

 https://www.instagram.com/caseymaundermusic/

https://www.facebook.com/people/Casey-Maunder/100082859078696/

Studebaker John Grimaldi

 

Studebaker John Grimaldi was born in an Italian-American section of Chicago and started playing harmonica at age 7. Under the spell of music he heard on Maxwell Street, Chicago’s famed blues melting pot, Grimaldi began performing as Studebaker John and the Hawks in the ‘70s. The band name referenced the Studebaker Hawk, a car Grimaldi still owns today, and was also intended as a tribute to his friend, J.B. Hutto and the Hawks. John began playing guitar after a life-changing experience of seeing Hound Dog Taylor and the Houserockers perform. “…Hound Dog started playing, hitting notes that sent chills up and down my spine. He was versatile and powerful and would play rhythm as well as leads. I left there knowing what I wanted to do. I had to play slide guitar.” 

 http://www.studebakerjohn.com/

Black Joe Lewis & the Honeybears

 

Austin, Texas-based Black Joe Lewis is a contemporary singer and guitarist with a bent toward vintage blues, soul, and R&B. Backed by his band the Honeybears, Lewis draws inspiration from such legendary "shouters" as Howlin' Wolf, Wilson Pickett, and James Brown, as well as smoother crooners like Sam Cooke. Black Joe Lewis released his debut album on Weary in 2007. 

Around the same time, his appearance at Austin's South by Southwest festival garnered increased fan and press support. In 2009, Black Joe Lewis & the Honeybears released Tell 'Em What Your Name Is! on Lost Highway, produced by Spoon drummer Jim Eno. The band toured relentlessly over the next year before reconvening at Austin's Public Hi-Fi studio with Eno to record the even grittier follow-up, Scandalous. The set contained an appearance by gospel group the Relatives on "You Been Lyin'." Scandalous was released on Lost Highway in March of 2011. In 2013, Vagrant Records released Electric Slave, which was simply credited to Black Joe Lewis. While Lewis was still working with his band, he'd grown tired of the Honeybears tag. 

But Lewis soon discovered that both fans and promoters imagined that its absence meant he was working as a solo act. After taking some downtime, Lewis brought back the Honeybears billing for 2017's Backlash (his first album for INgrooves Music Group), which also found him exploring harder grooves and a stronger rock & roll influence.  

https://www.blackjoelewis.com/

Todd Barrow

 

A chance encounter at Cook Children’s Medical Center is all it took to set Todd Barrow on his mission to revamp classic country with his signature modern twist. One day, an American Idol contestant was slated to perform for the patients at Todd's place of employment, but the audio tech was nowhere to be found. When he heard the call, “Can anybody here run sound?” Todd answered. In walked Texas Music Hall of Fame Honoree Sonny Burgess just as Todd was setting up the live rig, and the two musicians struck up a conversation. Sonny told Todd about his work with Charlie Pride and Randy Travis, and asked Todd if he might lend his technical skills to help build the recording studio sponsored by Garth Brooks and Troy Aikman he that had in the works. This serendipitous encounter yielded a coffee meeting to review the blueprints for the project, and before long, Sonny was meeting Todd for coffee weekly to discuss music. Eventually, he became Todd’s mentor, forever changing the course of Todd’s career.

Now, Todd Barrow is making a name for himself as a country artist to watch. The Texas singer-songwriter has racked up more than a few accolades, from a PRSA Award of Excellence, to an Akademia Award for Best Country Album, and an artist spotlight in Alternative Roots Magazine, American Pride Magazine and AVA Radio. Recently,featured in Red Silk Carpet magazine as chart topping country artist. Performed along side Allison Balson the TV star from Little House On The Prairie! He has appeared on television shows including Good Morning Texas with Jerry Matheny and Texas Music Café on PBS. He’s even shared the stage and studio with some of country music’s heaviest hitters, from CMA musicians in Miranda Lambert’s band to Fort Worth Producer of the Year Bart Rose. But it’s more than just Todd’s success to date that makes him such a compelling country artist. What’s most readily apparent in Todd Barrow’s music is his heart. 

Todd’s music is no country for old men. While he undoubtedly draws his sonic influence from titans like Hank Williams and Johnny Cash, his melodies skew modern. He plays almost every instrument, from piano to guitar, mandolin, harmonica, and drums, and the multi-instrumentalist doubles as a songwriter for himself as well as for other artists. “"If I can put a smile on someone’s face through song, well that just means the world to me,” he says. “I try to get to the real heart and soul of a song. To me, it's not just words but a story, and I do my best to portray that with every line. That’s my main draw to country music; the stories, the people, and the sincerity that comes from the heart." 

It’s precisely that heart that has won over audiences around the world. Todd Barrow’s recent single, “The House That Love Built”, co-written with Sonny Burgess, was featured on RightNow TV and was honored by PRSA Fort Worth for its fundraising efforts on behalf of the Ronald McDonald house. He is a big giver to charities and a elite actor with Backstage Casting. Todd was featured in the lineup for Bo’s Extravaganza festival at John Schneider’s Studio, alongside such artists as Kid Rock and Tom Wopat from Dukes of Hazzard. He has received radio airplay from Italy Radio 6.75 for his single “Hot Southern Night”. 

Todd Barrow just released his latest single, “Girl Like You,” he is  hard at work on new music in the studio. Todd is a proud member of the Harry Fox Agency, the Country Music Association, the International Singer-Songwriters Association, the Texas Music Office, BMI, the Fort Worth Songwriters Association, American Music Podcasting, the NSAIDFW Songwriters Association, the Dallas Songwriters Association, the British Country Music Association and the Bayou Country Music Association.

 https://www.toddbarrowmusic.com

Lance Wing

 

Hello, I'm Lance Wing, a songwriter, singer, and entertainer based in the Nashville area. I've been performing music for over 30 years (whoops, I'm telling my age) and writing songs nearly as long. For about 12 of those years I played 5 nights a week in clubs with many one nighters, corporate, and jazz gigs thrown in also. I worked with many of the best players along the coast in Northwest Florida. In Nashville, now I get to work with some of the best players in the world.

I've had songs on five grammy winning albums by Jimmy Sturr and His Orchestra, the "King of Polka". On two of those I had the title cut, 'Let's Polka 'Round' and 'Polka In Paradise'. My songs have been sang by many independent artists as well as Bobby Vinton, T. Graham Brown, Whispering Bill Anderson.

As a recording artist I've put out a number of my songs in the soulful Carolina Beach Music scene, some of which have charted there, including 'Heat', 'To A T', 'Be My Lady', 'Shag Time', 'Haul Off And Love Someone', 'All Done With Me'.

I moved to Nashville in 1992 to further pursue songwriting which I'm still very busy with and I also have a corporate/casino style show that I perform. I grew up listening to the great songs of the 50's, 60's and 70's. Rock, Pop, Country, Rhythm and Blues, Jazzy, Vegas, Easy Listening, whatever. I just love great songs of all styles, so that's what I do. My variety show has songs of all those styles or I have a show called - 'It Happened In Vegas - The Songs, The Singers, The Era, The Place' - featuring songs from back in the heyday of Las Vegas entertainment by many of the great singers like Dean Martin, Sinatra, Bobby Darin, Tom Jones and Elvis.

 https://www.lancewing.com/

Black Merda

 

Black Merda were a funky rock combo with a significant debt to Jimi Hendrix, mixing fuzz-toned, psychedelic blues-rock with folky acoustic passages and contemporary late-'60s soul. Featuring guitarists Anthony and Charles Hawkins, bassist VC Veasey (aka Veesee L. Veasey), and drummer Tyrone Hite, the group got its start in the late '60s after Veasey, Hite, and Anthony Hawkins had spent time in a band called the Soul Agents, backing Edwin Starr and Gene Chandler. Inspired by Jimi Hendrix's Are You Experienced?, they added Anthony's younger brother Charles on second guitar and christened themselves Black Merda. Despite some interest around their Detroit base -- including Norman Whitfield and Eddie Kendricks -- Black Merda signed to Chess, thanks in part to the psychedelic soul eccentric Fugi (aka Ellington Jordan), who they also backed on his Mary, Don't Take Me on No Bad Trip LP for Chess.

Black Merda's self-titled album sounded revolutionary enough, although the bandmembers were disappointed that it didn't reflect their heavy live shows. They then moved to the West Coast to continue playing with Fugi, but returned to Chicago to record a second album. Shortening their name to Mer-Da, the group returned in 1971 with Long Burn the Fire, a funkier outing that bore a likeness to early Funkadelic. The band quickly fizzled out, but over the next three decades, continued record-collector interest in the group eventually resulted in a reunion with Veasey, both Hawkins brothers, and Fugi, although Hite had died in 2004. 

 http://www.blackmerda.net/

MECHANICAL ROOSTER

 

Founded in 2016 by Mustafa Kaçar and Onur Çağlar in Izmir, Turkey; MECHANICAL ROOSTER is proud to present their debut album; “Episode One”. Supervised by Turkish blues veteran / producer Sarp Keskiner, the album suggests an innovative formula by blending urban blues with old school hip hop while preaching their idiosyncratic view on global issues in a cut-up tradition, reminding pioneers of the Beat Generation. 

• Mustafa Kaçar: vocals, lyrics, harmonicas, synthesizer
• Onur Çağlar: vocals, lyrics, sampling, turntable, fx
• Guest) Sarp Keskiner: guitars, bass, percussion, slide ukulele

The EP is released digital and available on all the download and streaming platforms.

The band suggests an innovative formula by blending urban blues and electronic with old school hip hop while preaching their idiosyncratic view on daily issues in a cut-up tradition, reminding pioneers of the Beat Generation.

https://open.spotify.com/artist/1nQL40VBcItNiTFCUO6ylB?utm_source=newsletter&utm_medium=email&utm_campaign=submission_mechanical_rooster_harmonicats&utm_term=2022-07-22

https://www.facebook.com/MechanicalRooster

News from JAM 66 RADIO: New releases

 From today, RAMA SECA, SONNY MORGAN, CHRIS ANTONIK and others on JAM 66 Radio. ONLY THE NEWEST.

Many new groups and artists every day on the radio. Every day, the newest in rock, country, folk, blues and jazz music.

The Blog of JAM 66 Radio, is the blog of the radio that plays rock, country, blues, blues rock, music of route 66 and the newest.

Every day new stories on radio, new posts, new bands, blues, blues-rock , country, folk and rock music are posted on this blog. Also, updated news on the blog in real time.

Tune in and hear on this blog or through the links on the right column. https://jam-radio.blogspot.com/

Dani Wilde

 

Over the past 10 years Blues and Country singer-songwriter Dani Wilde has performed at thousands of venues and festivals across Europe, America, Canada and Africa; from the main stage at London’s Royal Albert Hall, to the slum communities of Kenya, to Times Square – New York City.

Wilde has secured three number one’s in the Official I-tunes Blues Music Charts (Two self penned songs and a cover of The Rolling Stones “Bitch’ as part of the girl group “Girls With Guitars”). She has also crossed over to the I-Tunes Country Charts Top 40 placing her alongside Tim McGraw and Taylor Swift in Luxembourg and Switzerland. In September 2017, Wilde was the only British artist in the Roots Music Report's Blues Top 50 - She peaked at Number 28, just beneath the Tedeschi Trucks Band. On October 11th 2017, following BBC Radio 2 airplay and the support of many independent radio stations, Wilde hit the Number 5 spot in the UK I-Tunes Blues Charts, placing her alongside her contemporaries Van Morrison, Beth Hart, Joe Bonamassa and Jonny Lang. ​

In September 2015, Wilde was awarded 'Best Female Vocalist" at the British Blues Awards. 

In July 2016, Dani Wilde's self-penned pop song 'R U Sweet On Me' was featured in NBC's Award Winning Drama Series 'Aquarius'. The hit 'sex, drugs and rock' n'roll' TV series stars David Duchovny as a fictional LAPD detective investigating the case of a missing teenage girl who is found to be with serial killer Charles Manson and his family. The series is known for it's superb 60's soundtrack including The Who's "I Can See For Miles" and "The Seeker", Nina Simone's "Don't Let Me Be Misunderstood" as well as Brighton Blues Belle Dani Wilde's cross-over pop/soul track "R U Sweet On Me".​

Dani's International Radio Play has included live special feature sessions for The Paul Jones Show on BBC Radio 2 and Bill Wax’s XFM Bluesville show in the USA. On her travels, Wilde has performed as the opening act for Jools Holland (with the Chris Holland Band), Nazareth, Johnny Winter, Journey, Foreigner, Maddie Prior (Steeleye Span) and Robben Ford, to name but a few.

Wilde has performed on The Legendary Rhythm and Blues Cruise alongside her hero’s Bobby Blue Bland, Bobby Womack and Taj Mahal. Live collaborations have included sharing the stage with Pee Wee Ellis at Womad Festival, Christopher Holland, Samantha Fish (Girls With Guitars) and Sue Foley as well as recording with top producers Mike Zito and the legendary Mike Vernon (Clapton/Fleetwood Mac)

Wilde has released three solo studio albums plus a ‘Girls With Guitars’ album for Ruf Records (Luther Alison/Jimmy Vaughan/Louisiana Red). She also manages her own independent record label “Bri-Tone Records”.​

In 2017 Wilde signed to VizzTone Label Group in the USA. Her new album “Live at Brighton Road” will be released in June 2017. Dani recalled:

“I’ve always wanted to be a VizzTone Artist. I was brought up on Muddy Waters and I’m a huge Susan Tedeschi and Sean Costello fan. I saw Susan play when I was a teenager and it’s what made me want to be a blues artist. So when Richard Rosenblatt sold ToneCool and set up VizzTone with Steady Rollin’ Bob Margolin, I longed to have the opportunity to work with them both. I’ve had a great career with Ruf Records but I’m so excited to be moving forward with VizzTone! I feel my new record “Live at Brighton Road” is by far my best work. It’s true to the blues, and inspired by the American music that I love; but it’s also true to me and tells my story as a British Blues Woman”.

“Live at Brighton Road” was recorded live at Brighton Road Studios in England. Produced by Wilde, It’s a collection of heartfelt Acoustic and Electric live performances that will tug on your heartstrings and get your feet stomping. The CD release features a bonus DVD of the ‘live in the studio performance’. The album will also be available on 180g-heavyweight vinyl.​

In 2020, Wilde resigned with Vizztone, extending her contract for a collection of three singles. The first 'Howling at the moon' was released in March 2020, the second 'Brave' was released in May 2020 and the third 'Masters of War' released July 2020. ​

A further trilogy of singles is to be released on Vizztone in Summer 2021, Pluto (May 21), Wild Women (June 21) and Don't Fish In My Sea (July 21). 

A passionate advocate for the charity ‘Moving Mountains’ and Toto Love Children's Home, Kenya, Dani Wilde is also recognised for her humanitarian work, raising funds and awareness for children in Embu, Kenya. 

https://www.daniwilde.com/

Blues Caravan

 

Seventeen years since Ruf Records first had the brainwave of a showcase tour, the Blues Caravan concept remains unchanged and unbeaten. Three rising stars from the roster of Europe’s most respected boutique record label. Three live sets that run the gamut of emotion and genre. And as the finale each night, the mother of all live jams, with all three performers cutting loose together – and inviting the audience to do the same.

 Nobody sounds like Katie Henry. The singer–songwriter darting between  microphone, piano and Gibson SG, alighting on genres that include rock, roots, R&B, soul, funk and pop. You might catch flashes of a young Bonnie  Raitt in Katie’s Blues Caravan performance, but with her raw charisma, heart– on–sleeve songcraft and jam chops hard–won on the NYC circuit, this is one artist earning a reputation on her own terms.“ Music has always been about freedom and expression for me, and when audiences leave my show feeling expressed and more connected to themselves and each other, I know I’ve done my job.”

Will Jacobs is a modern blues/R&B/soul artist from Chicago, Illinois, USA. At 28 years old, he is best known for his powerful live performances.

Whether he’s playing clubs/festivals, performing with other world-class musicians, doing sessions or composing, Will always looks forward to sharing his passion for music with his audience.

In 2022, the Blues Caravan audience can look forward to another Blues music talent who’s guitar will rock the stages.

Through her many years of living and touring in the United States, Brussels native Ghalia Volt has been able to soak up the grooves and vibes of the blues like few Europeans before her. The singer and guitarist made her first big splash fronting the New Orleans–based outfit Mama’s Boys; she solidified her reputation as an exceptional talent with her 2019 Billboard Charting release Mississippi Blend working with legends like grammy–nominated Cedric Burnside. Early 2021, she released her One Woman Band album, recorded at the prestigious Royal Studios in Memphis, another Billboard Charting record showing her multi–instrumentalist skills playing drums, slide guitars and singing simultaneously.  

On the Blues Caravan 2022, she’ll be feeding us a gumbo made out of hits part of her 3 Ruf Records releases.

 http://wordpress.bluescaravan.de

News from JAM 66 RADIO

From today, LIZ CLARKE, TIM HEMME, THE SHRUBS, EXCORDE, ROYZY ROTHSCHILD FT EMILY CALLACHER and many others on JAM 66 Radio. ONLY THE NEWEST.

Many new groups and artists every day on the radio. Every day, the newest in rock, country, folk, blues and jazz music.

Tune in and hear on this blog or through the links on the right column. https://jam-radio.blogspot.com/

Also you can hear us on https://bit.ly/3xAefB1

The Blog of JAM 66 Radio, is the blog of the radio that plays rock, country, blues, blues rock, music of route 66 and the newest.

Every day new stories on radio, new posts, new bands, blues, blues-rock , country, folk and rock music are posted on this blog. Also, updated news on the blog in real time.

Stevie Redstone

 

 

Stevie Redstone’s never been one to slow things down, but taking a break from the road proved to be just what the hard-touring L.A. songwriter needed. The change of pace offered a chance to recharge and reflect, to experiment and explore, and it resulted in the creative windfall that led him to his spectacular debut, ‘Shot In The Dark.’ Recorded at Los Angeles’ Valentine Studios with producer Nic Jodoin (BlackRebel Motorcycle Club, Allah-Las), the album is an infectious slice of vintage gold, a retro-tinged collection that feels both classic and modern at once as it draws on everything from Motown and Stax to Britpop and Laurel Canyon. Redstone’s songs burst with larger-than-life horns, cinematic strings, and wall-of-sound production, tipping their cap to George Martin and Phil Spector in their outsized ambition while still managing to remain profoundly dynamic and intimate.

“I’ve always been a sucker for the big swooning harmonies and orchestral instrumentation of stuff from the 60’s and 70’s,” explains Redstone. “I think I just intuitively preferred music from that era because it was made by human beings and not computers. It was all about the raw performance.” Redstone’s passion for raw performance has guided him from the start. His earliest childhood memories involve singing for family and friends, and by the time he was in middle school, he was writing and performing his own original material. In college, he launched his first band, Redstone Hall, which recorded an EP with producer Dave Cobb (now a household name for his GRAMMY-winning studio work with Chris Stapleton and Jason Isbell) and played together for nearly a decade before splitting up.

“It was scary to leave that group because when you’re in a band for a long time, you become like a group of soldiers together,” says Redstone. “You get used to the camaraderie and the support system. But at the same time, I needed to move at my own pace and keep pushing myself, and I believed in my music enough to take the leap to become a solo artist.”

Following his departure from the band, Redstone teamed back up with Cobb to record an album under the name Steven Roth. The collection (one of Cobb’s first sessions in Nashville) earned rave reviews and helped Redstone land some seriously high profile gigs, including dates with The Who at the Staples Center in L.A. and the Theater at Madison Square Garden in New York, where Elvis Costello also joined the bill.

“To be asked to open up for [The Who] was quite a thrill,” Redstone said in an interview at the time. “You work your whole life for something, and then it happens, and it’s sort of tough to describe…It’s like how do you describe jumping out of a plane and falling towards the Earth? Pure adrenaline and joy.”

As exciting as it was to strike out on his own and perform with rock royalty, Redstone was still hunting for something deeper, something more personal and powerful, so, for the first time in years, he cleared his calendar and forced himself to confront the big questions in his life: Who was he? Where was he headed? What did he truly want?

“Taking a break from touring to focus on writing really changed everything for me,” Redstone explains. “It was like this creative rebirth.”

With rebirth came a rechristening to his current moniker (Stevie Redstone is a play on the translation of his legal name) and a new, more collaborative approach to his music. Redstone began teaming up with writers he met in Nashville and LA for more than half a year of intensive sessions, pursuing a sound inspired by those raw recordings from the 60’s and 70’s that piqued his imagination and inspired his artistic spirit since childhood. While the resulting songs certainly owe a deep debt to those decades, they’re ultimately timeless, the work of an artist unafraid to follow his muse wherever it may lead.

“I’ve never been very tuned into current trends, and I’m not particularly interested in what’s popular at any given moment,” Redstone explains. “All I care about is finding a way to express myself and create something that I’m proud of.”

The record opens with the epic sweep of “Shot In The Dark,” a densely orchestrated earworm all about taking chances and going after the things you want in life. Hints of The Ronettes and The Beach Boys permeate the tune, with Redstone’s velvety voice carving straight through solid walls of strings and horns. The driving “Dance In The Rain” finds the silver lining in hard times, while “The Real Me” celebrates the deep bonds of lifelong friendship with tender piano and a soaring orchestra, and the joyful “Surrender” channels old-school Detroit soul as it gives in to the inevitability of love.

“I got married last year, and during the time I was writing this album, we were in that last stretch of being boyfriend/girlfriend,” explains Redstone. “I was working up the courage to take the next step and falling deeper in love with her the whole time.”

Though much of the record is drawn from personal experience, Redstone also looks outward here, tackling both cultural and political issues with subtlety and nuance. The George Harrison-esque “Now” combats the modern world’s constant barrage of negativity with a relentless optimism, while “Shots Fired” recalls ‘Let It Bleed’ era Stones as it castigates America’s epidemic of gun violence, and the unforgettable album closer “Rivers In The Sky” was born from the southern California drought. No matter the topic, Redstone ties it all together with passionate, explosive performances tracked live in the studio and straight to tape.

“As proud as I am of the record, I’m even more proud of the way these songs will be performed onstage,” Redstone says. “The shows I play are very high energy, totally rocking and rolling and danceable, but they’re also really improvisational. I like to open the songs up and let the band jam in a way that makes each concert totally different and unique.”

Redstone may have needed to leave the touring life behind in order to make this album, but the road is now clearly calling to him once more, and with ‘Shot in the Dark,’ he’s ready to answer.

 https://www.stevieredstone.com/

The Western Country Band

 

 „It is an awesome journey through my life with my music, my friends, my kids, my wife...“ (“The Journey” by TWCB)

It all started with a van. No, not a fan. Andy M. Veit didn't have a fan back in those days. Except his mother. - God bless all the cheering mothers out there! - He just had a van. It was old, a little bit rusty and slow.

„I'm on the road, have nowhere to go, no hurry, I take it slow...“ (“I'm On The Road” by TWCB)

Andy took all his money from his bank account to buy a guitar, a little PA and this old van. He quit his studies at university. Andy wanted to be a musician. Surely his parents felt really enthusiastic about this well thought out idea of their youngest son.

“At nights I play my guitar in a bar...” (“Family Man” by TWCB)

The following years were filled with little money but with lots of fun. To make your living as a musician is hard work but filled with passion, friendship to impressive people and sound, sound, sound.

In 2017 Andy M. Veit took the chance to found TWCB with his great guitar playing friend Marco Birkner. The very talented bass player Mike Oberhauser and the fabulous drummer Erny Moucka joined them.

“So many people are there, yes they seem to care! With a big wide grin I start to sing...” (“A Good Night's Song” by TWCB)

The first concert was arranged quickly. The band worked hard and had a lot of fun to create their own sound. But the joy in the matter was even greater: The first concert already packed! Incredible.

“Successful on my way, no time for a stay. Too far and further on, too fast on and on...” (“Home” by TWCB)

And how did it continue? Logically with the second concert. And?
The hall was full again. Madness. More and more guests came to the following concerts. The setlist was constantly expanded. Guest musicians invited. Fireworks of fun shared with the audience.

Own songs have been written. The first album "The Journey" was recorded in 2018. The single „Christmas In The Country“ was released in 2019 and in 2020 Corona couldn't stop them. „Little Love Song“ was produced. In 2021 it was released worldwide and reached a great amount of airplay (nearly) all over the world!

And now?
“It's Time To Smile” by TWCB ;-)

 https://www.thewesterncountryband.com/

Scott McKeon

 

Scott McKeon has given a lifetime of dedication to his craft as a guitarist. Initially inspired by his dad’s love of blues, soul and rock music, he took up the guitar at the age of four and has developed a reputation as one of the UK’s most in-demand guitarists, both in the studio and performing live.

Scott was raised in southern England on a diet of Buddy Holly, Eddie Cochran, Chuck Berry, Gene Vincent, Hank Marvin, and other 50s rock n roll music, as well as Stevie Wonder, Steely Dan, Motown, RnB, and soul, through his parent’s record collection. Scott’s dad, Geoff, was a successful guitarist in his own right, with his band The Diplomats opening for The Beatles and Gerry and the Pacemakers in the early 60s, with offers to go to Germany to perform.

By the time he was eight, Scott was playing a full-size Strat and was the face of a Fender ad campaign to inspire a new young generation of guitarists. Around the age of ten, a friend of Geoff’s showed Scott and his Dad a video tape of Stevie Ray Vaughan performing at Austin City Limits. This ignited Scott’s love of the blues and set him on a path to discover more about Texas musicians such as Freddie King, Lightnin’ Hopkins, Doyle Bramhall Sr and Jr, and The Fabulous Thunderbirds. This led Scott to listen to artists including Jimi Hendrix, Albert King, Eric Clapton and BB King, all of which were influences on his playing in these formative years.

In 1998, Scott was the winner of Guitarist Magazine’s Young Guitarist of the Year, writing and performing his own song at Wembley Arena. Scott’s father sadly passed away shortly after this time, when Scott was 13 years old and already fronting his own blues band, playing most weekends in pubs and clubs around the south coast of England.

At 18, a demo CD was passed onto Jakko Jaksyk of Level 42/King Crimson, who then passed it on to Paul Crockford, Mark Knopfler’s manager, who started representing Scott. This culminated in the release of his debut album ‘Can’t Take No More’ - an energetic and raw take on modern electric blues rock, produced by Jesse Davey of UK blues band The Hoax. To promote the album, Scott toured extensively in the UK, Europe and US, sharing stages with Eric Clapton, Derek Trucks, Arc Angels, John Mayer and Sheryl Crow at Hard Rock Calling, Buddy Guy, Johnny Winter, The North Mississippi Allstars, BB King and Joe Bonamassa, as well as playing at The Montreal Jazz Festival, Mont Tremblant Festival, Glastonbury, and making TV appearances in the US.

In 2010, Scott released his second album, ‘Trouble’, on Mascot Provogue Records and again toured extensively to promote the record. This self-produced album crossed over to the rock/pop genre, with emphasis on song writing coming to the fore, after spending time in Nashville writing and hanging out with fellow guitarist Tyler Bryant earlier that year. The album featured guest performances from David Ryan Harris from John Mayer’s band, and legendary UK guitarist Robbie McIntosh. The release of the album led to Scott touring and opening shows for Derek Trucks, Gary Clark Jr and the Arc Angels, and to making his first performance at the Royal Albert Hall supporting Joe Bonamassa. Scott also wrote and produced music for Robert Knight’s ‘Rock Prophecies’ Documentary, which won him a RIIFF award for Best Soundtrack. The makers of Guitar Hero Five also sought him out in order to have a track from ‘Trouble’ on their game, as did the makers of the TV show LA Task Force.

After moving to London in 2010, Scott found himself in demand as a session musician, playing both live and in the studio, with many artists including Zigaboo Modeliste, James Arthur, Emeli Sande, Lana Del Ray, Van Morrison, Andreya Triana, Ed Sheeran and Rebecca Ferguson. Working outside of the blues genre widened Scott’s musical palette.

In 2014, Scott got a call to play in Sir Tom Jones’ band, alongside Robbie McIntosh and Pink Floyd drummer, Gary Wallis. The blues, rock n roll and gospel orientated set allows Scott to call on his early influences and travel the globe, recently completing the fifth year of working with Sir Tom. Performances so far have included five European tours, three tours of the US and South America, and tours of Australia and the Far East, as well as TV appearances including Later… with Jools Holland and TFI Friday, and playing New Orleans Jazz Festival in 2019.

Scott founded his own band, Rufus Black, in 2017, with UK blues/soul singer Gavin Conder, guitarist Ben Jones, and drummer Russ Parker. Their debut album, ‘Rise Up’, influenced by British Blues bands like Cream, Free and The Faces, was released the same year and was met with critical acclaim. The band have since seen their following grow and have been packing out venues and festivals across the UK and Europe.

In 2016, Scott travelled to the Fender factory in Corona, California, to meet with Master Builder, Dale Wilson. Dale designed and built a replica of Scott’s distinctive 1962 Fender Strat - a process which took around a year to complete, when the finished guitar was shipped across the pond to Scott.

Early 2018 saw Scott playing with one of his musical heroes, Eric Clapton, as part of the house band for an annual charity event (also featuring pianist Paddy Milner and guitarist and singer Marcus Bonfanti of Jawbone), Paul Jones and Friends, which also saw performances from Van Morrison and Sir Tom Jones.

In 2019, Scott joined Schiller, one of Germany’s biggest electronic artists, for his ‘Morgenstund’ tour, playing 15 arena shows all over Germany. Later that year, Scott joined guitarist and singer Doyle Bramhall II’s band for part of his European tour for shows in Sweden and Denmark. Scott has also been part of John Illsley from Dire Strait’s live band for the past 3 years, and features on John’s latest album, ‘Coming Up for Air’.

Scott’s third album, 'New Morning' out April 23 2021,is an earthy, raw, guitar-lead record, showcasing Scott's range and ability as a guitarist. The album was recorded live in the studio at RAK in London, capturing the energy and spontaneity of the sessions, and was produced by Paul Stacey (Black Crowes/Oasis), and features Jeremy Stacey (Sheryl Crow/Tal Wilkenfield) on drums, Rocco Palladino (Tom Misch/ D'Angelo) on bass, and Gavin Conder (Rufus Black/The Kondoors) as vocalist on several tracks.

The first single 'Third Eye Witness' released in February 2021, has already made it onto Spotify’s 'Modern Blues Rock' playlist alongside international artists including The Black Keys, Alabama Shakes, Kurt Vile and Gary Clark Jr.

More recently, Scott has been working in a producing role with other artists, with albums due for release later in 2021. You can also catch Scott performing live with his own 'Superjam' group comprised of some of the UK’s top musicians.

Scott has also a signature fuzz pedal and signature pickups, modelled on his ’62 Strat.

 https://www.scottmckeon.co.uk/