Gov’t Mule

Influenced by jazz, blues, and rock music, Gov’t Mule blends these styles into their own version of an improvisational power trio. Drummer Matt Abts, singer/guitarist Warren Haynes, and bassist Allen Woody formed the group in 1994, while the latter two were still in the Allman Brothers Band. After three years, the trio decided to dedicate all of their time to Gov’t Mule. After Woody died in August of 2000, Gov’t Mule continued to record and tour with guest bass players.

By the time they formed Gov’t Mule, each of the members brought years of rock ‘n’ roll experience to the recording studio, as well as to the stage. Haynes, a native of Asheville, North Carolina, previously played with David Allen Coe and the Dickey Betts Band. He joined the Allman Brothers Band in 1989 and recorded five albums with the group. He also released a solo album, called Tales of Ordinary Madness, in 1993. Woody was born and raised in the musical city of Nashville, Tennessee. In the mid-1980s, he performed with the Artimus Pyle Band and then joined the Allman Brothers Band, where he met Haynes. Born in Oklahoma, Abts grew used to traveling at a young age, when he and his family moved to various military bases around the world. At the age of 16, Abts settled down in Virginia. He played with groups like Montrose and with Mick Taylor, former guitarist for the Rolling Stones. He met Haynes when they played together in the Dickey Betts Band.

The birth of Gov’t Mule began with a conversation between Haynes and Woody while they were on tour with the Allman Brothers Band in 1994. They started talking about the extinction of the improvisational power trio in music and their interest in bringing it back. Woody decided that all they needed was a drummer to make it happen, and Haynes knew just the person. Haynes told Woody about Abts.

The duo decided to get together with Abts for a jam session in a Los Angeles club after an Allman Brothers show. The chemistry worked immediately. “It was pretty exciting,” Haynes recalled in the band’s biography on the Gov’t Mule official website. “As we played together more and more, we got to thinking that maybe we should put the time and effort into making it a real band.” The group’s name was found during a conversation between Woody and Allman Brothers Band drummer Jai Johanny Johanson. Johanson had used the phrase in the conversation, and Woody liked it so much that he suggested it to Abts and Haynes. “It can mean different things to different people,” Haynes explained in the Gov’t Mule official website biography. “Besides, the name kind of describes us: we’re a slow, hard-working, non-glorious animal.”

With their name in place, the trio headed into the recording studio to produce their debut, Gov’t Mule, which was released on Relativity Records in 1995. 

Site: http://mule.net

Vargas Blues Band

 

Javier Vargas is the creator of the Vargas Blues Band, he was born in Madrid in 1955, but his family moved to Argentina when he was barely six years old. At the age of ten, his father gave him his first guitar and he began guitar and music theory lessons, although he soon grew tired of those classes and continued to learn on his own. He is self-taught in music. His beginnings were influenced by blues, the fashionable rhythm at the time. In 1971 he went to Venezuela, although it would not be long before he left for the United States, where he really wanted to learn from the true blues masters and discover the new prevailing trends. 

His first contact in North America took him to Tennessee, where he drank from the sources of country and collaborated with the Loco Covers Band, doing covers of famous groups. His next step was to go to Los Angeles, where he rubbed shoulders with many established stars, such as Van Halen. In 1977 he returned to Spain. In his beginnings he collaborated with Miguel Ríos, Joaquín Sabina and Manolo Tena, with whom he made the album 'Sangre Española'. Parallel to these collaborations, he created the band called 'Vargas Blues Band', with a bass and a drummer, and dedicated himself to touring Spain to make himself known. In 1991 he published his first album, 'All Around Blues', with the collaboration of Elena Figueroa, among other prominent friends. In 1992 he published 'Madrid-Memphis', with which he achieved notable success in Spain and sold a considerable number of copies. In 1994 he released his third album, 'Blues Latino', with the collaboration of Chris Rea, Andrés Calamaro and Flaco Jiménez among others.

 The title track of the album was also performed by Carlos Santana on his album 'Santana Brothers'. A year later, the Vargas Blues Band published 'Texas Tango', recorded in the United States, and in 1996 Carlos Santana invited him to participate in a concert in Paris, in which they played as a duo. In 1997 'Gipsy Boogie' came out and a year later 'Feedback' and 'Bluestrology', which includes his songs with more blues feeling. In 2000 he released 'Madrid-Chicago Live', a live compilation of his best songs.

www.vargasblues.com 

EllieMae

 

The heart and the heritage of country music and farming are intertwined in EllieMae. Born and raised in Southern Idaho, EllieMae is familiar with the dirt roads that led to both harvest and song lyrics. As a songwriter, EllieMae writes what she knows: country life, family, love and loss, and Coors Light. She’s the best parts of country – good music and incredible storytelling.

EllieMae’s gumption is evident from the first note she sings. Listeners know she is exactly what she sings: hard working, kind, persistent and won’t take shit from anyone. Her lyrics are thoughtful and relatable with a touch of sass. Her stage presence is like watching a friend play you a song and then realizing that friend is on the cusp of country music greatness.

She was a member of Team Blake on NBC’s the Voice, and she’s recorded with Grammy winning engineer, Eric Delegard. EllieMae has opened for John Micheal Montgomery, Ian Munsick, Sam Riggs, Lainey Wilson, Morgan Wade, Koe Wetzel, Read Southall Bank, Chris Janson, Sundance Head and Jessie G.  From county fairs to the Idaho Inauguration Ball, HWY 30 Music Fest to Iowa State University homecoming, EllieMae has a sound that’s raw and real. She’s been compared to Kasey Musgraves and Miranda Lambert and yet, she holds her own on every stage she sets foot on.

https://elliemaemusic.com/

JAM RADIO - NEW BULLETIN. FEBRUARY 11, 2022

 

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John Lee Hooker

 

John Lee Hooker, bynames John Lee Booker, John Lee Cooker, Texas Slim, and Birmingham Sam and His Magic Guitar, (born August 22, 1917, Clarksdale, Mississippi, U.S.—died June 21, 2001, Los Altos, California), American blues singer-guitarist, one of the most distinctive artists in the electric blues idiom.

Born into a Mississippi sharecropping family, Hooker learned to play the guitar from his stepfather and developed an interest in gospel music as a child. In 1943 he moved to Detroit, Michigan, where he made his mark as a blues musician. On such early records as “Boogie Chillen,” “Crawling King Snake,” and “Weeping Willow (Boogie)” (1948–49), Hooker, accompanied only by an electric guitar, revealed his best qualities: aggressive energy in fast boogies and no less intensity in stark, slow blues. A primitive guitarist, he played simple harmonies, pentatonic scales, and one-chord, modal harmonic structures. Later hits included “Dimples” (1956) and “Boom Boom” (1962). He toured widely from the 1950s and appeared in the motion pictures The Blues Brothers (1980) and The Color Purple (1985). Hooker, whose music influenced such bands as the Rolling Stones and the Animals, was inducted into the Rock and Roll Hall of Fame in 1991. Among the more than 100 albums he recorded are The Healer (1989), which features appearances by Bonnie Raitt and Carlos Santana; the Grammy Award-winning Don’t Look Back (1997); and The Best of Friends (1998).

Olya

Versatile artist Olya K is known for the Pop gem 'Hollywood". She traveled around the world to achieve sucess as a singer and a songwriter. From Bulgaria to Chicago, and from Nashville to Los Angeles...

She's a global artist with a sense of humor that shines through her lyrics.

Recently she recorded a new version of her song "Waking up in Nashville" -  this time in the style of Rock and Roll.

www.olyafans.com

Lance Lopez

 

There's no doubt about it, the state of Texas is well known world wide for its fiery blues guitar players.

Even just a cursory look will reveal the state's rich tradition, which easily rivals Chicago and Mississippi for producing players who have been both originators and contributors to the legacy of the guitar's significant role in the genre's history. Dating back to the 1920's with "Blind" Lemon Jefferson, continuing through the 1950's with such legends as Freddie King, T-Bone Walker and "Lightning" Hopkins, with the advent of the rock era of the 1960's the pressure cooker exploded.

Albino blues giant Johnny Winter, from Beaumont, in 1968 was signed to what was then the largest advance in the history of the recording industry---$600,000. Houston's ZZ Top, with the Reverend Willie G, i.e. Billy F. Gibbons - armed with a '59 Les Paul- during the 70's went from being "That little ol' band from Texas" to being world wide ambassadors with their unique brand of deep blues infused boogie rock.

Although disco and subsequently new wave lessened blues rock's influence in the late 70's, by 1983 it was another native Texan, Dallas born Stevie Ray Vaughan, whose combination of raw blues mixed with Hendrix styled pyrotechnics spearheaded yet another resurrection as the genre rose its evil head once again. A breath of much needed fresh air amongst the synth heavy offerings on MTV and radio airwaves of the time, the guitarist's massive influence has extended long beyond his untimely, tragic death twenty years ago.

One such player whom Vaughan touched the soul of was young, gifted blues/rock axeslinger Lance Lopez. Although born in Shreveport, Louisiana, at the age of 12, his family moved to Dallas, where with the exception of a spell back in New Orleans and Southwest Florida, the guitarist has called his home ever since.

A professional musician since the age of 14 when he began playing local bars in and around the New Orleans, Louisiana area, at 17 he was hired by soul great Johnnie Taylor, with whom he toured for six months. By 18 he was hired as the band leader of blues legend Lucky Peterson's band, spending three years touring throughout the world.

It was while with Peterson in Europe that he struck up a close friendship with the larger than life drummer Buddy Miles, subsequently becoming the guitarist for The Buddy Miles Express for a brief time. The former Band Of Gypsys legend would go on to mentor Lopez, leading to him co producing his debut album 'First Things First', along with Grammy winning producer Jay Newland (Norah Jones) which was released independently in 1998.

From 2003 to 2007 Lopez recorded, and released three studio and one live CD for a small independent label, Grooveyard Records - all of which were heavily influenced by another of the guitarist's main influences - Jimi Hendrix. Despite the hindrance of being released on such a label, the albums are all prime examples of post Hendrix heavy blues, filled to the brim with awe inspiring fretwork, which led to him garnering a cult following amongst guitar fanatics world wide.
After a three year break, Lopez came back with a brand new studio album 'Salvation From Sundown', his first release on MIG Music/String Commander Records, based in Hannover, Germany. 'Salvation From Sundown was produced by legendary Producer/Engineer, Jim Gaines (Stevie Ray Vaughan, Santana) 

Intentionally conceived as a more traditional Texas blues styled offering, which has elicited none other than guitar god Jeff Beck to call him "A very exciting and intense blues guitarist".   In 2012, MIG Music released 'Handmade Music', Lopez's 6th studio album. Again, he worked with legendary producer Jim Gaines and recorded at the legendary Ardent Studios in Memphis, Tennessee. It's one of  the guitarist's most mature recordings to date, showcasing strong songwriting while still retaining the red-hot fretwork. 'Handmade Music' shows him poised to take his rightful place as one of the finest blues players on the planet. In 2013 Lance began work on his 7th album with Producer Fabrizio Grossi (Joe Bonamassa, Leslie West, Steve Vai) in Los Angeles. They are currently writing and recording material for this new album. 

Lance Lopez continues to tour internationally playing, clubs, Blues, Jazz and Rock Festivals, biker rallys, charity events and concerts. He  also works as a producer and songwriter for other artist, as well as teaching guitar lessons to hand picked students when his schedule allows. If you are just now discovering what many die-hard fans of obscure Blues-Rock and guitar music have known about for many years, take the time to delve into Lance's catalog spanning 6 albums and you will soon find, that he is one of the greatest guitarist that the State Of Texas has ever produced...

https://ll4581.wixsite.com/lance-lopez

Steve Winwood

Steve Winwood was making music professionally at an age when most young men are still attending high school proms. As a member of the Spencer Davis Group, Traffic, and Blind Faith--and now as a successful solo artist--Winwood has produced highly eclectic songs based on a grafting of blues, folk, experimental rock, and rhythm and blues. His best-known pop hits have all been released since 1981, and his self-produced albums, Arc of a Diver (1981), Talking Back to the Night (1982), and Back in the High Life (1986) have all gone platinum. "That Winwood ... has come through [the 1960s] glory grind with minimal scars is evident in the supple, good-natured funk and romantic electronic-keyboard glaze of his recent work," writes David Fricke in Rolling Stone magazine. "Arc of a Diver and ... Talking Back to the Night are logical high-tech extensions of Winwood's original fusion of American rhythm and blues and European classical and folk traditions with Traffic." 

 Winwood can hardly remember a time when he wasn't singing in front of an audience. The son of a foundry worker, he grew up in blue-collar Birmingham, one of a family of amateur musicians. By the time he was six, Winwood was playing the piano; he joined an Anglican church choir the following year for his first "professional" work. "I used to get a shilling for every wedding," he told People magazine. "That was when I first realized that one can make money out of singing." Schoolwork held no fascination for Winwood. He was consumed by the popular music of the day, especially American blues and the burgeoning rock and roll sound. At eleven he joined a skiffle band, and at fifteen he dropped out of school permanently to join his older brother in a rock band, the Spencer Davis Group. The teenage Winwood provided lead vocals and organ riffs for the Spencer Davis Group, guiding it to a pair of hit singles, "Gimme Some Lovin'" and "I'm a Man." According to Lillian Roxon in her Lillian Roxon's Rock Encyclopedia, it was Winwood's "voice, his songs, his organ and piano work that made Spencer Davis' band soar. I'm a Man and Gimme Some Loving, done under the Davis umbrella, were so black and strong it took a lot of adjusting to get used to the fact that they were coming from a seventeen-year-old English kid from Birmingham." In 1967 Winwood left the Spencer Davis Group to start his own band. With Chris Wood, Dave Mason, and Jim Capaldi he formed Traffic, an experimental psychedelic pop ensemble that drew its musical inspiration from jazz, soul, blues, and folk. Traffic's debut album, Mr. Fantasy, included two British hits, "Paper Sun" and "Hole in My Shoe," and by virtue of Winwood's already-established fame, the group quickly became a favorite. "At its best, Traffic was a band to be reckoned with," writes a Rolling Stone Record Guide contributor. "The first two Traffic albums are late-sixties classics, an eclectic combination ... that was polyglot without ever becoming overextended." Unfortunately, the members of Traffic had disparate musical tastes, and the band changed personnel frequently during its seven-year run. 

Winwood himself quit Traffic briefly in 1970 to play with Blind Faith (a "supergroup" consisting of Winwood, Eric Clapton, Ginger Baker, and Rick Gretch), but he returned to cut several session albums, including the 1974 When the Eagle Flies. Winwood went solo in 1974, building himself his own personal recording studio on his fifty-acre farm in Gloucestershire. He seemed almost in retirement as the years passed, but instead he was working hard on new material, laying down every track himself at his studio and accepting help only with an occasional lyric. 

In 1977 he released Steve Winwood to unenthusiastic sales. Winwood told People that his first solo effort "got buried," and when time came to cut the next album "it was a make-or-break situation. If it hadn't been for Arc of a Diver, I might be a taxi driver." Indeed, the 1980 Arc of a Diver, with its hit single "While You See a Chance," was a great success both in England and America--even though Winwood refused to tour. A reputation for reclusiveness (and drug abuse) hounds Winwood, although he denies both charges at every turn. He spends so much time at his farm, he says, because he is a perfectionist who makes albums very, very slowly. As for the drug abuse, he told Rolling Stone that he had no interest in drugs during the 1960s or in subsequent years. "I saw what drugs were doing to people," he said of the psychedelic era, "and in most cases I had to suffer the consequences of their substandard work.... I just don't fit into the predominant image of rock and roll. I never quite understood or had the attitude that certain other bands had. We were never really involved with the smashing-up of hotel rooms, the rowdy parties, like the other bands of the period." The 1980s have been a period of resurgence for Winwood. To quote Lisa Robinson in Vogue, the artist "sits comfortably at the top of the rock pantheon, a graceful survivor of an extraordinary number of years in the music business." Winwood has followed Arc of a Diver with two more platinum albums, Talking Back to the Night and Back in the High Life, and he has even undertaken a concert tour after thirteen years off the road. "More and more," he told Rolling Stone, "I see that rock and roll doesn't just need a youthful energy and spirit to it. It also needs a craft, an experience to get it across." 

 Today, Winwood said, his aim is to make music that he likes, hoping that an audience will like it as well. "The point for me is to reach people through what I'm doing," he said. "... If I make music that people might dance to, that's fine with me." He elaborated in High Fidelity: "I try not to aim at an audience. That can be dangerous--you might just miss, and then you haven't got anything. I basically make albums because I like to make them. I like to make successful albums, too, but I make them for my own ear in the hope that other people will like the same things as me." Rock and roll is entertainment", Winwood concluded.

https://www.stevewinwood.com