The Crown-Festival of BLUES 2013!
Enjoy the unique festival atmosphere of BRBF 2013 at lovely Peer in Belgium!
Make a Rush to Purchase Tickets by clicking on the pic above. It may be SOLD OUT soon!!!
|Vrijdag 19 juli
Friday July 19th
|THE EXCITEMENTS [ES]
SLICK NICK AND THE CASINO SPECIAL[B]
VIRGIL AND THE ACCELERATORS [UK] • HIDEAWAY [B]
|Zaterdag 20 juli
Saturday July 20th
|THE ROBERT CRAY BAND [USA]
THE FABULOUS THUNDERBIRDS[USA]
HERITAGE BLUES ORCHESTRA[USA] • THE DELTA SAINTS[USA]
RITA ENGEDALEN[NO] • SUGAR BOY AND THE SINNERS[NL]
|Zondag 21 juli
Sunday July 21th
|STATUS QUO [UK]
GOV’T MULE [USA]
ROYAL SOUTHERN BROTHERHOOD [USA]
BETTYE LAVETTE [USA] • ERIC BIBB [USA]
MIKE ZITO [USA] • DOGHOUSE SAM AND HIS MAGNATONES [B]
Status Quo, also known as The Quo or just Quo, is a rock band from England. They were called “The Status Quo” in late 1967, and settled on the name “Status Quo” in 1970. They have recorded over 60 chart hits in the UK, and have sold a total of 118 million records worldwide. They have also had a total of 33 hit albums in the UK charts – more than any other band other than the Rolling Stones. Their hayday was in the early to mid ’70′s with hits like Caroline, Whatever You Want, and Down Down. They formed in 1962, changed their name to The Status Quo in 1967 and to Status Quo in 1969.
Although sometimes criticized for a repetitive and apparently simple guitar riff sequence and harmonies on many of their numbers, their musical versatility can be heard in some of their earlier or less well-known numbers, such as Ice in the Sun, Pictures of Matchstick Men and Forty-Five Hundred Times. The latter probably highlights, more than any other, Rossi and Parfitt’s talent for close vocal and guitar harmonies, which owe much to the English folk and folk/rock genres. Whether intentional or not this has become their hallmark.
Status Quo famously opened the Live Aid concert in 1985 with ‘Rocking All Over the World’ – the then largest live television broadcast ever. The band are currently (2008) hoping for No.1 success with their current Christmas song ‘It’s Christmas Time’.
The five-time Grammy Award winner summarized 35 years of mastery on the debut Nozzle release Live From Across the Pond (2006), an electrifying two-CD concert set drawn from a series of shows (opening for Eric Clapton) at London’s Royal Albert Hall. When the time came to follow up that widely praised collection with a studio recording, Cray viewed it as an opportunity to move his sound in other directions.
He found exactly what he was looking for by turning to one of his oldest friends and colleagues: bassist Richard Cousins, whose tenure with the Robert Cray Band began with its barnstorming regional origins in Eugene, Oregon, in 1974 and extended through 1991, encompassing such early high-water marks as Strong Persuader (1986) and Don’t Be Afraid of the Dark (1988), both winners of the best contemporary blues performance Grammy.
I’ve known Richard for 40 years,” Cray says. “We go back to 1969, and we grew up in the same area together. We’ve always had a really good rapport together stage-wise. Richard and I have remained the best of friends ever since he departed way back in ’91. I’d still see Richard, whether it was in the States or in Europe – where he still lives. He’d always come to see us at the gigs. We always remained close. We talked on the telephone all the time.
“It just so happened that last year, I wanted to make personnel changes in the band. So I asked Richard to come back.”
Cousins’ return to the Cray fold bonds him once again with keyboardist Jim Pugh, a cornerstone of the guitarist’s group since 1989.
In the hunt for a new drummer, Cray – with encouragement from Cousins—struck on a musician whose style and experience perfectly complemented his own: the road-tested Tony Braunagel, whose résumé includes work with Bonnie Raitt (including her Grammy-winning Nick of Time and Luck of the Draw), Taj Mahal, Keb’ Mo’, and B.B. King.
Cray recalls, “I’d seen Tony work in a lot of different situations before. My first real opportunity to play with him was three years ago, when we did a benefit up in Portland, Oregon, for our friend Curtis Salgado. Tony was playing drums there, and Richard was there, too – they were the rhythm section. Richard was working really well with Tony, and they were kind of fronting the whole jam. It was great. I was talking to Richard after he’d rejoined the group, and I said, ‘We need to find a drummer.’ He just went, ‘Tony!’”
The refreshed lineup of Cray, Cousins, Pugh, and Braunagel came together at Santa Barbara Sound Design in Santa Barbara, California, to record what became This Time. Cray produced (though he notes, “Every time I produce, it’s like a communal effort”), with Don Smith engineering.
In 1972, above left, she was once again signed to Atlantic, through it’s Atco subsidiary. After a few recordings in LA, they sent her down to Muscle Shoals Sound, where, under the guidance of producer Brad Shapiro and accompanied by the famed MSS studio band, cut what was going to be her first released full length LP. The Memphis Horns were dubbed on, as well as strings at Criteria Studios in Miami. The recordings were mastered and readied for release under the title Child of the Seventies. A publicity tour was booked, but at the last minute Bettye was called and told, “We have decided not to go forward with the project. Please return the plane tickets”. She was never given an explanation and the devastation stayed with her for years to come. However, a 45 from the sessions, “Your Turn To Cry”, was released and ranks high on the lists of most deep soul collectors.
1975 brought a brief stint with Epic, where “Thank You For Loving Me” went #94 R&B.
The follow up, a cover of Charlie Rich’s “Behind Closed Doors”, as good as it was, failed to chart.
In 1978 she cut a disco record, “Doin’ The Best That I Can” with a 19 year old producer, Cory Robbins, for the West End label. (Cory went on to fame as the creator/producer of Run DMC.) Bettye wanted a release from her contract, and they agreed to it if she signed away all of her rights to the song. She did, and weeks later the record became a huge dance floor hit, selling over 100,000 copies.
In 1979-1982 she was asked to appear in the touring company of the Toni Award winning Broadway musical, “Bubbling Brown Sugar” in the role of Sweet Georgia Brown. She learned to tap dance, and was hired. She worked with Charles “Honi” Coles, and Cab Callaway while with the show. It was here where she learned more about staging than she had ever known.
In 1982, Bettye got a call from Motown. Lee Young, Sr. was president of the label at the time, and he liked Betty. She was signed and sent to Nashville and recorded the Tell Me A Lie album. Produced by Steve Buckingham, the studio players were augmented by The Memphis Horns. Two 45s were released, the first of which, the Sam Dees penned, “Right in the Middle (Of Falling in Love),” went to #35 on the R&B charts. It also allowed for another television appearance, this time on Soul Train. However, a corporate shake-up removed Lee Young, Sr., and the LP itself was never promoted properly.
In 1989, Bettye recorded a CDs’ worth of songs for English DJ, Ian Levine’s Motor City label. Although most of the instrumentation is synthesized, her vocals were, as always, impeccable
1997 saw a wonderful, but unauthorized, release of Bettye’s version of Etta James’ “Damn Your Eyes”, on cassette only, by the Bar/None label.
All the while, Bettye was a cult favorite in soul circles, especially overseas.
In 2000, French collector/label owner Gilles Petard, while searching the Atlantic tape vaults, came up with the long-thought-lost tapes to the 1972 Child of the Seventies Atco LP . He licensed the tracks and released them in France on his own Art & Soul label as Souvenirs.
At the same time, Dutch fan Ben Mattijssen recorded Bettye at a live show in Utrecht, Holland and released Let Me Down Easy–In Concert, on the Munich label. These two CDs, released almost simultaneously, created a renewed interest in Bettye, and showed that she was still in excellent voice.
In 2002, thanks to Shanachie Records’ president Randall Grass, Bettye was introduced to Grammy Award winning producer, Dennis Walker. Dennis got her signed to fledgling label, Blues Express, and they made her comeback CD, A Woman Like Me.
In late 2002, John Goddard, owner of world famous Mill Valley Records decided to give himself a birthday party. Being a fan of Bettye’s recordings, he contacted Bettye and asked if she would come and perform at his party. He told her that he would make sure that everybody who was anybody in the area would be there. Amongst the many famous musical guests was Mike Kappus, president of The Rosebud Agency. Although she hadn’t had a record out in years, his belief in the power of her live show prompted him to sign her for bookings.
After signing with Rosebud, A Woman Like Me was finally released in 2003. Bettye won the coveted W.C. Handy Award in 2004 for “Comeback Blues Album of the Year” as well as the Living Blues critic pick as “Best Female Blues Artist of 2004.”
After her contract with Blues Express expired, Mike Kappus helped her look for a new label home. He invited ANTI- Records president Andy Kaulkin to see one of her shows. On the strength of her live show, Kaulkin asked Bettye to sign a three record contract.
The leaders of Gov’t Mule, Warren Haynes and Allen Woody, should be well known to Allman Brothers fans for their stint in Southern rock’s most famous native sons. In 1989, Haynes became the second replacement for Duane Allman, providing a good foil for Gregg Allman and Dickey Betts on guitar and vocals; Woody filled out the Allman sound on bass. Five years after their debut, the duo joined drummer Matt Abts in the side project Gov’t Mule, a band in which the Allman Brothers’ influence is apparent but complicated with the psychedelic, bluesy power trio feel of Cream.
Gov’t Mule debuted in 1995 with a self-titled album on Capricorn Records, followed by the stellar concert date Live at Roseland Ballroom. The studio follow-up, Dose, appeared in early 1998; another concert set, Live…With a Little Help from Our Friends, followed a year later, with the complete show later appearing as a four-disc limited-edition set. A new studio effort, Life Before Insanity, appeared in early 2000. A vital member of the band was lost, however, on August 26, 2000, when Woody was found dead in a hotel room in New York City. The band had been preparing to record their next album, and after a time, Gov’t Mule finally decided to carry on with the project, this time with guest bassists ranging from Flea to Bootsy Collins. The two-volume Deep End series for ATO Records resulted. Phish bassist Mike Gordon also got involved in the project, filming the recording of the albums for a planned documentary. In mid-September 2001, the group hit the road for a six-week tour in support of Deep End, Vol. 1; Oteil Burbridge filled in as bassist for most of the dates.
The second volume of Live…With a Little Help from Our Friends appeared in 2002 and the Deepest End: Live in Concert CD and DVD in 2003. One year later saw the release of Déjà Voodoo, Gov’t Mule’s first studio effort since Woody’s death. It featured his official replacement, bassist Andy Hess, as well as new keyboardist Danny Louis. The same lineup released High & Mighty in 2006. The two-volume Benefit Concert series followed in 2007. In 2009, Gov’t Mule issued By a Thread, its first studio album in three years. Hess was replaced by bassist Jorgen Carlsson, and the album featured a guest appearance by ZZ Top guitarist Billy Gibbons. In 2010, the Evil Teen imprint issued Mulennium, a three-disc package that commemorated Gov’t Mule’s complete 1999 New Year’s Eve concert at Atlanta’s historic Roxy Theatre with the band’s original lineup. The concert also included guest appearances by the Black Crowes, Little Milton, and Audley Freed. John Bush, Rovi.
From the age of six, Laurie took piano lessons with a Mrs. Hare. He plays the piano, guitar, drums, harmonica and saxophone. He has displayed his musical talents in episodes of several television series, most notably A Bit of Fry & Laurie, Jeeves and Wooster, House and when he hosted Saturday Night Live in October 2006. He is a vocalist and keyboard player for the Los Angeles charity rock group Band From TV. Additionally, following Meat Loaf‘s appearance in the House episode “Simple Explanation“, Laurie played piano as a special guest on the song “If I Can’t Have You” from Meat Loaf‘s 2010 album Hang Cool Teddy Bear.
On episodes of House he has played several classic rock ‘n roll instruments including Gibson Flying V and Les Paul guitars. His character has a Hammond B-3 organ in his home and on one episode performed the introduction to Procol Harum‘s classic “Whiter Shade of Pale“. Laurie appears as a scientist/doctor in the pop video to accompany Kate Bush‘s song Experiment IV. On 1 May 2011, Laurie and a jazz quintet closed the 2011 Cheltenham Jazz Festival to great acclaim.
On 26 July 2010, it was announced that Laurie would be releasing a blues album after signing a contract with Warner Bros. Records. The album, called Let Them Talk, was released in France on 18 April 2011 and in Germany on 29 April. The album features collaborations from well-known artists such as Tom Jones, Irma Thomas and Dr. John.
On 15 May 2011 Laurie was the subject of the ITV series Perspectives, explaining his love for the music of New Orleans and playing music, from his album Let Them Talk, at studios and live venues in the city itself. He was the subject of PBS Great Performances Let them Talk, also about New Orleans jazz, first broadcast on 30 September 2011.
In the beginning of 2010, and in such an uncommon place for their soulful passion as Barcelona (Spain), The Excitements have come crashing out the gate delivering a Rhythm and Blues breed of music with a Soul and Rock edge, completely unseen in stages nowadays.
Influenced by the finest black music of the preceeding century, its rhythm section delivers tight backbone, and is complemented by a horn section in the late 50′s and early 60′s tradition, all of it fronted by the powerful howl of Koko Jean Davis. And so, the Mozambique-born Soul Sister adds her ferocious whirlwind of power and energy, pushing the band towards a territory in which having a good time, dancing and shouting is all that matters.
Etta James, Ike and Tina, early James Brown or Sugar Pie de Santo are only a few names you should expect as the basis to the Excitements’ stay-true-to-the-roots sound, which, at this time, you can find on a string of scorching 45s preceeding their inminent LP debut, all of it released on Barcelona’s Penniman Records, one of the most important R&B and old school Soul labels around the globe.
So put on your dancin’ shoes and join to the groove and energy show of The Excitements, very soon hittin’ YOUR town!
For over 30 years, The Fabulous Thunderbirds have been the quintessential American band. The group’s distinctive and powerful sound, influenced by a diversity of musical styles, manifested itself into a unique musical hybrid via such barnburners as “Tuff Enuff” and “Wrap It Up”. Co-founder Kim Wilson, the sole original member, still spearheads the group as it evolves into its newest incarnation.
“We started as a straight blues band”, vocalist and harmonica player Wilson says. “We now incorporate a mixture of a lot of different styles. We’re an American music band and we’re much higher energy than we were before.”
In addition to Wilson, the current Thunderbirds line-up features Jay Moeller on drums, Johnny Moeller and Mike Keller on guitar, and Randy Bermudes on bass.
“To be in the T-Birds, you need to understand the different styles of music and different ways of playing,” Wilson comments. “You have to be willing to adopt a more contemporary style. The guys we have now are able to do that.”
The band continues to tour extensively, in both the U.S. and Europe. Wilson is currently writing songs on his own, with band members and other writers.
“I’ve primarily been a solo songwriter, but I’m looking forward to experimenting with the guys in the band,” Wilson says.
The thread throughout the T-Birds career has been the respect the group commanded for its peerless musicianship and devotion to the sounds of blues, R & B and rock ‘n roll. In fact, Muddy Waters called Wilson his favorite harmonica player and vocalist. “Muddy Waters was very good to me,” Wilson says. “He almost adopted me. I’ll never forget him.”
For Kim Wilson, the musical journey started in Goleta, California. At 17 he began playing the harmonica. His influences included Little Walter, George “Harmonica” Smith, Lazy Lester and James Cotton. At the same time, Wilson began singing and was deeply impacted by Bobby “Blue” Bland, B.B. King, Otis Rush, Jimmy Rodgers and Muddy Waters. In search of other musicians who shared his love of the blues, Wilson headed to Minneapolis. He stayed there for a year and a half, playing locally, before moving to the burgeoning music scene of Austin, Texas. It was there that he met Jimmie Vaughan and they founded the T-Birds in 1974. The band developed a reputation as a compelling live act and subsequently signed a record deal with CBS/Epic Records.
In 1979, The Fabulous Thunderbirds released their first self-titled album. Primarily blues influenced, it became a cult classic. “Things were wide open back then,” Wilson recalls. “There were hundreds of stages where bands could show what they had.”
In subsequent releases, the band started to incorporate more Cajun, rock ‘n roll and soul influences. The album “T-Bird Rhythm” marked a creative turning point for the group as it collaborated with noted producer Nick Lowe. In 1986, The Fabulous Thunderbirds reached a commercial peak with the album, “Tuff Enuff”. The single of the same title as well as the singles “Wrap It Up” and “Look At That”, all went top 40. The song, “Tuff Enuff” was featured in the film “Gung Ho” starring Michael Keaton.
For the remainder of the ’80s, the band continued to record and tour, and released the album, “Powerful Stuff”. Jimmie Vaughn left in 1989 but Wilson kept the group going, incorporating keyboards into the guitar-driven sound. Kim moved back to California in 1996, continuing to cultivate the T-Birds music.
“The thing about the T-Birds is that we can play both blues festival and rock venues,” Wilson comments. “We’re a diversified band now and everybody’s on the same page.”
As a side project Wilson formed Kim Wilson’s Blues Revue, a traditional blues band. He also owns a blues label, Blue Collar Music, that has released three albums – one by Kim, one by “Big Al” Blake and one by Fred Kaplan. Wilson has also recorded and written with noted session guitarist Danny Kortchmar and drummer Steve Jordan and may tour with them at some point. However his current focus remains The Fabulous Thunderbirds. “This is a great time for this band,” he says. “We’re looking forward to the future.”
Mike Zito, Devon Allman, Cyril Neville ~ The soul of the south. Amplified soul for the new generation
Before they even hit a chord, The Royal Southern Brotherhood have your attention. In the US South, where music is religion, two rock ‘n’ roll bloodlines tower above all others. In the saloon bars from Mississippi to Maryland, mere mention of the Allman and Neville Brothers casts a magic spell. Conversation falls silent. Pool balls stop rolling. Ten-gallon hats are tipped in respect and beer-bottles raised in salute. These aren’t just bands, they’re gods, and with a lineup comprising both the iconic Cyril Neville and Devon Allman, The Royal Southern Brotherhood come pre-loaded with expectations. Don’t worry: they can match them. The family tree might be auspicious, but this new band trades on talent, not genealogy. It’s not about rock history: it’s about the here-and-now.
This lineup has talent to burn. You’ll already know Cyril Neville: poet, philosopher, percussion master and perhaps the South’ last great soul singer. Devon Allman. As the son of Gregg Allman, the 39-year-old has rock ‘n’ roll in his DNA, but he’s always walked his own path. Mike Zito: the blues ace whose ear for melody provides the counterpoint to his wingman’s rocking tendencies. Nominated in 2011 for the Blues Music Foundation’s ‘Best Blues Rock’ award, and winner of 2010′s Blues Music Award. Bassist Charlie Wooten and drummer Yonrico Scott: both heavyweight names in their own right, with Charlie’s bass chops celebrated on the Southern jam scene for his sets with the Woods Brothers, and Yonrico hitting the skins for luminaries including the Derek Trucks Band, Gregg Allman and the Allman Brothers themselves.
They said that rock ‘n’ roll was dead, but they were wrong. Right now, in 2012, there’s something in the air, as The Royal Southern Brotherhood drag their thrilling new brand of blues-rock and white-hot musicianship from the Southern States onto the world stage. The South is rising again. Come along for the ride.