Available Everywhere Now! The New Album From Grammy-Award Winning Artist Bobby Rush! Sitting On Top Of The Blues.


“Bobby’s brand of blues is for anything but sitting.”
– Blues 

After decades of tearing up the chitlin’ circuit on a nightly basis with his sweaty, no-holds-barred funkfests, Bobby has thoroughly broken through to the mainstream. Bobby’s brand-new album, Sitting on Top of the Blues, on his own Deep Rush imprint (distributed by Thirty Tigers) promises to further spread the news that this revered legend, well past 80 years of age, even if his stratospheric energy level belies the calendar, is bigger and badder and bolder than ever.


Rush won his first Grammy in 2017 for the Scott Billington produced LP, Porcupine Meat, which won the Best Traditional Blues Album category. Porcupine Meat also won for Album of the Year in the 2017 Blues Music Awards and for Best Blues Album at the 2017 Best of the Beat Music Awards. More recently, Rush has been nominated for the 2019 Blues Music Awards for the B.B. King Entertainer award, to make 48 career BMA nominations with 12 wins, and garnered 37 Living Blues Magazine Awards.

Following the release of Sitting On Top Of The Blues, Bobby Rush will support the album with a run of tour dates into the end of the year.

01. Hey Hey Bobby Rush
02. Good Stuff
03. Get Out Of Here (Dog Named Bo)
04. You Got The Goods On You
05. Sweet Lizzy
06. Bobby Rush Shuffle
07. Recipe For Love
08. Pooky Poo
09. Slow Motion
10. Shake Til’ You Get Enough
11. Bow Legged Woman


Garrett Carty
[email protected]

Thirty Tigers
615.664.1167 ext. 25
611 Merritt Avenue, Nashville, TN

Ben Davis Jr. – Suthernahia, a cracker of an album, Go get yourselves a copy.



Ben Davis Jr. : Suthernahia
Release Date : August 16th.


Hear “Just Let Me In” on Glide Magazine
Hear “I Think You Should” on Southern Sounding
Hear “Line Boat Blues” on Americana Highways

“Davis shows his impressive songwriting chops as he channels troubadours like Todd Snider, David Childers, and Steve Earle. ” – Glide Magazine

“Suthernahia is solid rootsy southern rock’n roll, the kind of album that you’ll want to listen to all the way through  and then you’ll put it on repeat.”
-Melissa Clarke, Americana Highways

 “A hard charging roots rocker with accent on the rock, Davis shows his sure fire pen on a dandy original set that fires up the blood taking looks as various topics that affect the contemporary psyche. Solid modern songwriting that stays on point throughout, here’s a smoking slice of life live from the heartland to you.”
Chris Spector, Midwest Record 

“a noteworthy, memorable release”
– Will Phoenix, HVY

“Ben Davis Jr’s Suthernahia will stay with you long after the record’s over.”
– HR Gertner, Americana Highways

 “one of Americana’s brightest young artists”
– Don Crow, Don and Sheryl’s Music Blog

Born of the hills, hollers, and river valleys of southern Ohio, veteran singer-songwriter Ben Davis Jr’s appropriately-named new album Suthernahia is a dazzling cornucopia of roots based musical styles and heartfelt emotions. Anchored by Davis impeccable song craft and compelling vocals, the collection speaks to the primacy of personal responsibility (“I Think You Should”), enduring relationships (“Just Let Me In”), and honest work (“Line Boat Blues”).

Produced by Eddie Ashworth at The Oxide Shed outside Athens, OH, Suthernahia boasts versatile and full bodied backing by The Revelry (Erik Miller on drums, Levi Westfall on bass, Ben Ervin on guitar, and Ashworth on mandolin and keyboards) and various guest artists, including legendary North Carolina singer-songwriter David Childers (one of Davis’ major musical influences) who contributes vocals and harmonica. Stylistically, one hears elements of alt-country, punk rock, psychedelia, folk, and even 60’s sunshine pop reverberating in the carefully crafted tracks. Suthernahia is an album that rewards repeated listens with layers of meaning and sound uncommon in today’s musical landscape.

1. I Think You Should (4:12)
It starts like a runaway freight train of churning guitars and electric mandolin, with lyrics that call out to those who are going down in a suicide plane to right their course before it’s too late. Unexpectedly, it morphs into a spacey psychedelic jam complete with swirling theremin, mellotron, intertwining guitars, and phased background vocals. Then, at the last minute, the rock roars back for a final chorus to thrillingly close the song.
2. Can’t Get Enough (3:07)
 Davis celebrates his affinity for outlaw country and Bakersfield twang with this cautionary tale of obsessive love gone wrong, then somehow right. Incendiary guitar work and funky Wurlitzer lines complement Davis’ burly, effervescent vocals.
3. If You Ever Will (3:59)
A sweet folky bluegrass tune with high lonesome harmonies, clucking mandolin, and bouncy train beat. Captures that bittersweet tang of yearning for someone and wondering if that feeling is shared.
4. Porchlight (3:44)
Davis excels at capturing the sadness and sorrow of failed romance without becoming maudlin, and there is no better example of his skills than this song. By turns hushed, dramatic, and finally cathartic, the song’s lyrics perfectly capture the forlorn universality of unrequited love.
5. Just Let Me In (5:38)
Using the sound of a gentle rain (captured during one of the album recording sessions) as a segue, this song’s lyrics are traditional in the best possible sense. The line I’ve got a love/like they had way back when resonate over a bed of tape-echoed guitar, stately Wurlitzer, and interlocked bass and drums to create an instant classic ballad.
6. Sunday Morning (2:48)
Davis gets soulfully funky on this uptempo track that evokes the sounds of Motown and Stax records. Boasting a rip snorting baritone sax solo and galloping groove, the song celebrates absent friends and appropriate retribution.
7. Ramblin’ Bones (2:35)
Another folk infused track, with an old-timey feel complemented by fiddle and dobro. 
8. (I’m Doing) Fine Girl (3:03) 
Davis’ fearless songwriting range is on full display with this homage to the sunshine pop and soul of the 60’s. Combining a lighter than air verse melody with period instrumentation (Beatle-esque clavichord, bouncy finger plucked electric guitar, and once again theremin), this track provides a perfect balance to the more intense and introspective songs the album.
9. Line Boat Blues (featuring David Childers) (3:21)
 Davis has always lived on, or very near, the Ohio River, and his familiarity with its vagaries and the people who derive a living from it is evident on this track. Celebrating the folks who work long and hard to navigate the river’s line boats, the song features legendary North Carolina singer-songwriter David Childers on vocals and harmonica.
10. Carly (3:47)
The album closes on a melancholy note with this ode to a lost love whose life ended too soon. The track features Davis on acoustic guitar and voice (in contrast to the rest of the album’s finely wrought arrangements) and is all the more devastating because of it.

All Tracks FCC Clean
Focus Tracks: 1, 5, 9, 10

All songs written by Ben Davis Jr
Produced, recorded, and mixed by Eddie Ashworth
at the Oxide Shed, Coolville Ridge, Athens, OH

Additional recording by Chris Garges
at Old House Studio, Charlotte, NC

Mastered by Jeff Lipton and Maria Rice
at Peerless Mastering, Boston, MA

Photo Credit: Olen Queen



When thinking of historic hometowns of the blues, cities like St. Louis, Memphis and Chicago quickly come to mind, but Oakland California, historically a focal point of the West Coast blues and jazz scenes, is often overlooked. The city has a significant art scene and claims the highest concentration of artists per capita in the United States. Drummer, songwriter, producer and certified blues man, Twist Turner, spent several years living and working in the Oakland area where he began this album project in 2013 to “produce a recording of the unknown and under-appreciated blues men and women of the Bay Area.”

When Twist returned to Chicago, after his 6-year stint in California, he found several artists in need of the same boost. Thus, he created the album “Battle Of The Blues: Chicago Vs Oakland,” a collection of 11 original tracks and two covers that features over 30 of the best musicians each city has to offer including Mz. SuMac, Aldwin London, Freddie Roulette, Country Pete McGill and Nat Bolden from the San Francisco Bay area and the late Emery Williams Jr., former Magic Sam bass man, James Newman, from Chicago and “Mr. Excitement” himself Del Brown. The all-star cast delivers old school and new school blues, with the common denominator being Twist himself, who wrote all the originals and plays drums on the entire project, as well as mixing and producing for his own label, Delta Roots Records. Quite a Herculean task.

The saucy chanteuse of the Sacramento–San Joaquin River Delta area, Mz. SuMac, opens the album delivering a rebuke of a deadbeat ‘Broke Ass Man.’ Aldwin London then leads on bass and vocals through a gentle reading of the Willie Nelson composition ‘Funny How Time Slips Away’ that features sultry saxophone from John “Boom” Brumbach. The instrumentals, ‘Take It Easy’ and ‘Red Tide,’ are fine vehicles to showcase the soaring playing of lap steel player, Freddie Roulette, and Nat Bolden’s ‘Good Morning Mr. Blues,’ is recast over the Stormy Monday changes and augmented with a full horn section. Mississippi born blues man, James Newman, delivers the lead vocals on the smooth R&B groove ‘Hit And Run Lover,’ and the working man’s tribute to the six string ‘Me And My Guitar.’ Turner captures the vocal talents of the late great Emery Williams Jr. on two outstanding tracks, the scorching R&B ‘Hurtin’ On You,’ and the gospel blues ‘Mama Don’t Weep,’ as a final gift from the powerful and passionate Chicago artist taken too soon.

The mind blowing tenor of “Mr. Excitement” Del Brown is presented for the first time as the lead on the stirring soul blues ‘Now That I’ve Gone,’ and introspective R&B ‘Time Slippin’ Away,’ something that has been long overdue for the veteran, who began his career in the record business in 1959. The smoky vocals of Gerald McClendon, who is known as the “Soul Keeper” in Chicago, are perfectly suited for the slow burning ‘Cold In The Streets.’ A fixture of the Bay Area scene until his untimely death in 2018, Country Pete McGill leads the charge on the classic bump and grind ‘Hoochie Coochie Mama,’ with Aldwin London on bass, Roulette on steel joining in on the blues party.

As a sign of respect, Twist Turner did not include his name in the list of artists on the cover artpreferring to keep the focus on the talents and inspired contributions by his fellow believers and friends from Chicago and Oakland in a timeless collection of blues treasures.

Rick J Bowen

Interrogation of singer/songwriter Josie Bello about herself, her album and her mysterious behavior.


Thanks for agreeing to the Interogation Ms. Bello. Please take a seat—don’t worry, the surgical instruments are only used on Gothic Doom Metal Punks when we have to remove the tongue studs so we can understand their replies.

You have been asked here today to answer questions about your album “Can’t Go Home” and certain photos that have come into our possession. These questions must be asked and will require answers, do you understand?

(Ms. Bello nods in the affirmative)

Beginning with this photo of you at an “open mic”, could you please explain the secret signal you are giving while holding an old guitar?


Not sure, it’s capo 2 and looks like I’m playing a G chord. I think I’m playing Frank’s Taylor T5 in the photo — it does have the look of a vintage guitar. It sounds great, but it’s too heavy to use for a regular gig when I’m standing up. The photo was taken a few weeks ago at one of the open mics I run. The guitar is likely from a local music store where Frank buys a lot of his gear (and my Christmas presents). I sometimes grab one of his guitars just to play something different. My Taylor gs mini in koa wood is my favorite guitar, and although it’s the easiest one to play, and the lightest guitar I own, I don’t think it amplifies well. The sound distorts a bit when I’m plugged in. I was advised to change the acoustic pickup system on it.

So you are not giving signals to someone like the Masons, Illumunatti and Baseball Catchers do?

No, I am not that mysterious.



Tell us more about these open mic meetings please.


When I first developed an interest in playing out, Frank and I began by attending open mics together. Open mics provide an opportunity for newer players to obtain some stage time and build performance skills, and for more experienced players to try out new material. Open mics welcome players of all levels, and everyone is given the same courtesy and stage time when it’s their turn to perform. The open mics I run are held at Urban Coffee in Greenlawn, a town near where we live. Urban Coffee is a cool little place with a friendly vibe and patrons who love the music we make. The players who come to my open mics have all become friends, meeting up at mine and other open mics, forming bands with each other and gigging together.
Frank and I belong to the Long Island-based Organization of Open Mic Performing Artists—known by it’s acronym OOMPA. OOMPA is a large, diverse group of Long Island musicians who host and attend open mics all over Long Island, and raise money for charitable causes at a variety of venues using an open mic fomat to attract participation in food drives, toy drives and coat drives—you get the picture! On Long Island where we live, on any give day, there is an open mic adventure to be had!



Right we will move on Ms. Bello.
Why a CD and not just a Deezer digital release? Sales wise has it been worth it?



I would probably go digital for future releases, but for this first one I felt it was cool to have a physical CD, even though it’s getting less practical as we get deeper into the 21st Century. Sales of physical CDs have been mostly at gigs, face-to-face with fans, so it’s been gratifying. For the most part though it seems people access their music digitally, either by streaming or downloading. Thankfully, I have covered the manufacturing costs with CD sales.
10 excellent songs on the album did you have a lot more that were cut and stored away for another release?
It’s great to hear that you are enjoying all 10 songs. We used every song we worked on for the album, so no I don’t have any extra recordings stored away for another release. Originally, I thought I would record 4 or so songs for a small collection, but as I progressed through the recording process, and continued to write, I added some newer songs. At any given time, I always like my newest song best. Keep in mind that recording Can’t Go Home took over 14 months, because I was only working at it only a few hours each week, and kept adding to the collection. Before I knew it we were up to 10 songs! I think it’s worth noting that the first song I wrote (Track #1 Dignity) is on the album. Even though it’s my oldest song, it’s still one of my favorites.



Do you want to do shows in larger venues, not large but larger, you know with say 500 people paying to be entertained by your music?


Yes, I think that would be exciting. I am in the early stages of putting a band together which will likely open up more performance opportunities for us. The music on the CD was created with a few of us playing multiple instruments. In order to play the music live, we need multiple musicians playing one instrument at a time (i.e., we need a band!)

Appearing on the charts must have brought you a lot of attention as well as radio airtime. How did you feel about that?
Being on the charts has been the thrill of a lifetime for me. In my work life, my role has always been of a team player, not someone who got the direct credit for an achievement. The credit always went to the boss, and I was fine with that, but being out front like this is very new to me and very nice.

I have recently come to appreciate internet radio, which can be more enjoyable to listen to than local broadcast radio. There are few, if any commercial interruptions, and there are stations that focus on particular types of music, so you can find stations that play the music you want to listen to. By the way, your station provides a great listening experience, blending classic and contemporary roots blues and rock from well-known and yet-to-be-discovered artists.



What are your favorite tracks from the album?


Crush (Track #10) is my favorite track– both to play live and to listen to on the recording. It’s fun to sing, easy to play, it’s up-tempo, and has a bit of a dance vibe. Audiences respond well to it, and that’s always gratifying.



What are your future goals in music?


At some point I would like to transition to writing and playing music full-time, although currently , I will be sticking with my day job. Music is a passion and a creative outlet, and that works for now.
I wanted to let you know that I enjoyed reading your very complimentary review of my album, and of course thank you for being a fan.


Thank you Ms.Bello but we are not here to be praised, we are here to interrogate you.

Who are your songwriter influences?


Bruce Springsteen is one of my songwriting idols, probably the top of my list, so I’m a little torn about being on a chart or a radio playlist with him, which has happened several times that I’m aware of. I’d love to meet him one day. And of course there are a million questions I’d like to ask him, but I’d probably get tounge-tied and so I might just end up staring at him, and it would be awkward, so maybe it’s best if I don’t actually meet him. As far as other influences, there are many, but four others who stand out are Mary Chapin Carpenter, Brandi Carlile, Toby Tobias, and of course, Mike Nugent.



You’ve mentioned that you want to sell your music? How will you do that?


That is the big question, isn’t it? How does a yet-to-be-discovered artist like me get their songs heard by the stars who could be performing them? I’m on radio stations across the U.S. and worldwide, so maybe someone in the music business will hear my songs and be interested in licensing one of them. There are songwriters who love performing, and others who love the process of writing. Although I love playing out, I have a bit of geek in me, and love to get engrossed in the process of writing — what could be called the art of song. Getting the idea for the song, developing the language to tell the story, identifying the hook, editing, refining, tweaking, writing the melody. I love every part of that processs!



Can you please explain what you were doing when the photo on the cover of the cd was taken, it looks very suspicious almost like a “dead drop”


Can you hold on a minute while I google what a “dead drop” is?
Um, no I was not doing anything sinister in the photo. I was simply checking out a door to an abandoned building where I used to live. You know, the title track “Can’t Go Home” – that’s what the photo represents. “You can’t go home ‘cause it ain’t home no more, and it don’t exist the way it did before”


Right Josie summing up, you have a few minutes to say anything in your defense.


I would love to have famous vocalists/musicians record my songs. I always thought most of my CD would be perfect in the hands/voices of Little Big Town. In my opinion, Marrin Morris, Carrie Underwood and Miranda Lambert would all do my song Dignity justice! (when I tuned into your station late last night I heard Dignity for a little bit, and I was thrilled, but then I lost the connection, due to my own lack of computer skills because I touched something on the keyboard that I shouldn’t have)

I had intended to use my CD as a demo to pitch to artists, but I have never figured out how to do that, or made the right connections to do that, or maybe there is no platform for that, so I get out there and play the songs myself. I wanted to develop a band so that I could re-create some of what the CD sounds like. Obviously I can’t play accordion, keys, organ, rhythm guitar and sing lead and background all at one time, and I love the way all those sound together. If you recall the instrumental solo on Good People Bad Love, it’s accordion and keys, which I think sounds so cool and is one of my favorite pieces of music on the CD– I just can’t do it alone!

My band is just 4 of us right now. Me and Frank, Vicky, our drummer whom we play with on “Duo” gigs and my guitar teacher, Mike Nugent (also my producer and musical collaborator). Mike is a life-long professional musician who recorded and produced the CD at his home studio, in the neighborhood where I live. Mike plays the electric guitars, bass and banjo on the CD, and collaborated with me on working through all the vocal and instrumental arrangements. My husband Frank plays electric guitar on 2 of the album’s tracks: #4 Kit House and #10 Crush.
The CD was mixed with Kevin Kelly, (another lifelong musician & sound engineer) who owns a studio in my neighborhood. A few years back, in 2015, when I decided to start taking guitar lessons, I walked in to a local music store and they assigned me to Mike. That was a lucky day for sure. I had already started fiddling around with one of my husband’s guitars, and knew how to play three chords from looking them up on the internet. Once I started strumming the guitar, I started singing and making up songs. By the time I met Mike, I had already written Dignity.

I was always fascinated with the guitar. When I was little, somewhere around 5 or 6 years old, I asked my mom if I could take guitar lessons, and she said, no, if you want to play music, you have to take accordion lessons. I was like, ok, what have I got to lose. Music is music, right? Well maybe. My parents rented a student accordion, and set me up with lessons and a big book of Italian songs, which I had to work my way through with the accordion teacher. My grandmother was one of 10 children, and her siblings visited our house routinely, and they always asked me to play accordion. By the time I was around 10 years old I could play most of the book, not necessarily well, but well enough that they all sang along and seemed to enjoy themselves.

Any thoughts I may have had about playing music in adulthood were buried by the acquisition of adult responsibilities and the necessity to develop a productive (i.e. paying) work life. I credit my husband Frank for bringing music back into my life. We met in 2005 and married in 2007. Frank was always playing guitar, amusing himself in the back room, and I really enjoyed his playing and singing. He encouraged me to play with him by purchasing a keyboard for me, and we started doing open mics together. Open mics have introduced us to an entire community of wonderful local musicians– some professional, and some hobbyists — and all of them now dear friends whom we couldn’t imagine our lives without.


Thank you Josie, that wasn’t to painful was it.

We all wish you the very best in the future and we will be watching you!


Ms. Bello leaves the interrogation room.

Remember 6th September Altered Five Blues Band release their new album TEN THOUSAND WATTS on the BLIND PIG RECORDS Label


The bad boys from Milwaukee, Altered Five Blues Band, are back, bringing all the blues power they could generate in their fifth album “Ten Thousand Watts.” The supercharged blues party is sure to satisfy the needs of all dedicated fans worldwide. The stalwart quintet, led by steamroller vocalist Jeff Taylor and live wire guitarist Jeff Schroedl, reunited with Grammy winning producer Tom Hambridge in Nashville at Ocean Way Studios in the spring of 2019. Hambridge, producer extraordinaire with the Midas touch, brings out the absolute best performances from the band. The rhythm section of Mark Solveson on bass, Ray Tevich on keys and drummer Alan Arber are transformed into a wrecking crew of blues might, delivering the goods on 12 original tunes full of contagious hooks and infectious grooves that will tantalize your ears and supercharge your soul.

The band invited Steve Cohen to join them on the opening track ‘Right On, Right On,’ adding some high voltage blues harp to the full tilt boogie call to arms. The fellas then get down to business with Schroedl dropping a gritty riff leading into a tale of tough love on ‘To Mad To Make Up.’ The muscular title track ‘Ten Thousand Watts’ has Taylor detailing his abundant powers of seduction and satisfaction, followed by playing the humble fool on the rollicking ‘Mischief Man.’ The spunky Chicago shuffle ‘Great Minds Drink Alike’ celebrates good times with a good woman at your favorite dance hall on a Friday night.

JT and the crew then slow the tempo to pontificate on their love for the music that inspires them on the sentimental ‘Don’t Rock My Blues’ that features guitar work reminiscent of B.B. King. Arber fuses together a rhumba with the second line on the New Orleans flavored ‘Sweet Marie,’ with Tevich tossing in some convincing Professor Longhair piano. Taylor digs deep on the emotional blues torch song ‘Dollars & Demons,’ then plays the role of a man done wrong on ‘I Hate To Leave You (With A 6-Pack In The Fridge).’

The swampy ‘Let Me Do The Wrong Thing’ is a satirical turn of phrase about wanting to bust out of the mold and taste some forbidden fruit. Another swinging boogaloo beat from Arber sets the table for Taylor to preach and Schroedl to do some clever finger picking on the electrifying tune ‘Half Of Nothing,’ before Cohen and his blues harp rejoins the band to bid us farewell on the dynamic closer ‘Let Me Be Gone.’

A 10,000-watt generator can give you enough power to run large appliances during a power outage. The Altered Five Blues Band live up to that pronouncement by coming to our rescue and lighting up the night with this electrostatic collection of high voltage blues, rock and soul.

Rick J Bowen


For 17 years, Altered Five Blues Band has been winning audiences with a swaggering stomp of bruising, barrelhouse grit. According to DownBeat, frontman Jeff Taylor “sings powerfully” and “Jeff Schroedl’s live-wire guitar reaches the high bar of mixed invention and fluidity.” Blues Bytes declares the group features “the funkiest rhythm section outside of Memphis.”

From day one, Altered Five dared to be different. The quintet formed in 2002 and earned a reputation for its inventive arrangements and distinctive sound. Isthmus magazine called the band “a rising blues unit” and OnMilwaukee.com declared, “The group delivers the element of surprise.” Within a few years, A5 caught the ear of Cold Wind Records and, in 2008, signed a recording contract with the Minneapolis blues label. The debut album featured the band’s penchant for putting an earthy spin on numbers; the aptly titled “Bluesified” included roadhouse versions of ten popular songs. The group performed live on three television morning shows and honed its sound playing regular club, festival, and concert dates.

In the ensuing years, A5 turned its attention to recording and performing its own material, and the 2012 release of “Gotta Earn It” drew rave reviews. The band’s third album, entitled “Cryin’ Mercy,” delivered the next chapter in A5’s musical odyssey. The album earned the band two Blues Blast Award nominations and five WAMI Award nominations, including Artist of the Year, Album of the Year, and Song of the Year for ‘Find My Wings’, which also made it to the finals of the International Songwriting Competition. “Cryin’ Mercy” reached #3 in the iTunes blues store, made #1 on the Roots Music Report blues album chart, and won “Best Self-Produced CD” at the 2015 International Blues Challenge. The band was also named “Blues Artist of the Year” at the 2014 WAMI Award Show.

The band’s fourth album, “Charmed & Dangerous,” scored a 2018 Blues Music Award nomination for Best Emerging Artist Album and Song of the Year at both the Independent Music Awards and Wisconsin Music Awards in 2018. It reached the Top 5 in the iTunes blues store and hit #1 on the Roots Music Report Blues Album Chart. Guitar World magazine called the song ‘Charmed & Dangerous’ a “menacing, swampy blues,” and the track has been in regular rotation on SiriusXM’s Bluesville along with many other programs and playlists.



Alex Lopez releases “Yours Truly, Me”, MAREMIL RECORDS on 16th August.


Tampa based singer/songwriter Alex Lopez explains the meaning behind the title of his fourth album, “Yours Truly, Me,” as “a simple collection of songs, no theme or concept, except to create the best music possible.” The guitarist grew up in the rock ‘n’ roll heartland of Cleveland Ohio and settled in Florida after college, where he has honed his skills as an entertainer, soaking up all the influences that meld together in the sunshine state from Latin to Southern Rock, smooth jazz and R&B. Backed by his touring band, The Xpress, featuring Kenny Hoye on keyboards, Steve Roberts on bass and drummer David Nunez, Lopez moves easily from British blues to soul and jazzy pop, on eleven original tracks and an inspired cover of a Texas blues rock classic.

The opening track, ‘Woe Is Me,’ introduces us to the gritty tenor vocals and expressive guitar work from Lopez on a tale of tough love that starts out with a shifting current but ends on smooth sailing guitar outro. Next up the band reinvents a ZZ Top standard ‘Tush,’ as a sophisticated urban blues, swapping the shuffle for a modern funk rock groove peppered with hot Hammond B3. Lopez then picks up an acoustic to bring in the first of what he tags as redux tracks that have been reworked from a previous recording, delivering ‘Take Me Back Home’ as an easy-going blues. The tempo jumps up for the pumping rocker ‘I’m A Working Man,’ and a hot go-go beat opens the Motown inspired ‘I’m A Losing It’ that is nicely spiced up by hot horn hits from Carlos Ortiz and Jule Boyer. Lopez gets passionate for the emotional ballad ‘I Love You Blues,’ featuring fine piano work from Hoye. Lopez channels Richie Valens on the Chicano rock ‘n’ roll boogie ‘I Can’t Stop,’ then his guitar channels Eric Clapton on the sentimental ‘I Will Miss You.’

The lovely acoustic sonnet, ‘Chase My Blues Away,’ is slipped into the set for a quick palette cleanser before Lopez and crew play out the Latin pop fused ‘All I Really Want Is You.’ Special guest Elle Carr joins Lopez for the duet ‘Sinful,’ bringing her sultry alto from Somerset to the project, perfectly playing the foil to Lopez on the sizzling tango that should prove to be the highlight of the album. The horn section joins in again on ‘Cheating Blues,’ adding spice and fire to the Chicano rock party finale.

Alex Lopez and The Xpress have much to be proud of on this strong fourth release, “Yours Truly, Me,” taking another bold step forward on their mission to make a positive impact on people’s lives through their music.

Rick J Bowen



Alex Lopez is an acclaimed songwriter/guitarist and musical artist quickly taking the blues/rock scene by storm. Alex was born in the heartland of rock ‘n’ roll Cleveland Ohio and started playing keyboards before becoming inspired by British blues/rock bands to master the guitar. Influenced by greats like Eric Clapton, Jimmy Page and Jimi Hendrix, Alex spent his young adulthood performing in clubs and recording/producing his original songs in studios while polishing his songwriting skills. After his move to Florida to attend college and then taking some time to raise a family, Alex spent years as the vocalist and lead guitarist of the wildly popular rock band Reminiscion before striking out on his own.

In September of 2013 Alex released the album “Back Bedroom Blues” a collection of all original blues and blues/rock songs displaying his formidable skills as a blues guitarist and singer/songwriter. And in 2015 Alex Lopez released his second CD “Is It A Lie” to excellent reviews.

With his third album “Slowdown”, Alex achieved a new level of success, international recognition and critical acclaim. The album appeared on blues, jam and Americana charts received worldwide airplay and earned Alex fans across the globe.

Alex continues to perform throughout Florida with his talented band, The Xpress, and at concerts and festivals throughout the Southeast and is preparing to tour the US. With the release of his upcoming fourth album “Yours Truly, Me,” Alex is sure to continue his ascent in the blues rock world.



For a Month “Can’t Go Home by JOSIE BELLO will be our Spotlight Album.

How could we almost forget to make this great album our SPOTLIGHT for a Month, easy, go on holiday.

The lyrics to the songs are beautiful, Mother’s Love should be covered by everyone famous, a song that has everything, problem is a cover would not have Josie’s voice which makes the song almost perfect. I love Five and a half minute songs that leave you thinking ” it can’t be finished yet”

With songs like Crush the album deifies placing it in any genres, which is great in my opinion I dislike genres but have to use them for the charts. Crush could be #1 in the Blues chart or Roots Rock or even New York State, yes RMR have State charts too.

So Much More for me is the weakest song on the album, remember an album without a weak song, I don’t know the voice sounds “tired”, maybe it is supposed to be.

Kit House starts out great, then the voice enters and it gets better. 10 out of ten for lyrics.

Two Trains would be my favorite if I had one, it’s fun and the vocals are so ……. vocal, love the guitar riff too, do people still use that term? Show case song for showing the class of the artist. A singer/songwriters song.

The Title track is a song that grows on you, every listen you notice something new, you want to put it on repeat if only to hear the lovely fade out.

The other songs? I need more listens, not many more but more to be certain.

The album is VERY professionally produced, the balance between voice and music excellent, no musician trying to say “hey Mum i’m Here” with the instrument.

Browngrass Band “Sour Bridges” getting lot of praise for their album “Neon Headed Fool” .

Yesterday I started our affiliate web site “Song of the Day” with the song “Do Ya” from the Austin fella’s album “Neon Headed Fools”. After listening to the rest of the album and not having replaced our ex-expensive reviewer it’s down to me to cobble one together.


First impression left me with the Austin Chronicle headline “Texas Trampled by Turtles” and I will probably regret writing that. The band describe their foot-tapping,finger-clicking and head-bobbing music “browngrass, dirtier than Bluegrass”, 10 out of ten for the catchphrase fellas.


With Swiss yodeling, East European influences, Tejano accordion and fiddles fiddling it sure is different Bluegrass but in an inventive, wanting more way. It’s fun and funny, light heartening funny, Fred Eaglesmith funny, you know what I mean and if you don’t go get a copy and dance round kitchen while making breakfast, guaranteed good day to follow.

No filler songs gets Sour Bridge another 10 out of ten. Left-handed banjo’s another 10, Pucci, punchy lyrics yet another 10. In fact 10 out of 10’s all round so I have to knock the artwork as not being up to the standards of the rest of the production.

What amazes me is  that the band has passed me by for the last 9 years, must get their back catalog, maybe if they read this they will send me .WAV files of them, doubt it, the reading not the sending.

It is difficult to give an album 10 out of ten, in fact there are very few out there and they have reached 10  after years of listening, so thanks to the cover work Neon Headed Fool gets a NINE out of Ten, (95%), one in a million rating here at TMEfm radio.



Thanks boys for the snap shot from your web site which is used as a clicky thing to take you there.

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Changes at TME.fm Radio as from ….NOW!

YEP CHANGES here at TMEfm. New widgets on the web site courtesy of Online Radio Box

A new player which gives you a much larger list of songs played. A top ten songs chart exclusive to TMEfm (OK it will take time to show a true chart, be patient)

Still don’t know what I was waitin’ for
And my time was runnin’ wild
A million dead end streets and
Every time I thought I’d got it made
It seemed the taste was not so sweet
So I turned myself to face me
But I’ve never caught a glimpse
How the others must see the faker
I’m much too fast to take that test


If you use the link to Online Radio Box you get the radio’s page where there are lots of interesting clicky things to click, get going and explore.

Turn and face the strange
Don’t want to be a richer man
Turn and face the strange
There’s gonna have to be a different man
Time may change me
But I can’t trace time


Mmm, yeah
I watch the ripples change their size
But never leave the stream
Of warm impermanence
And so the days float through my eyes
But still the days seem the same
And these children that you spit on
As they try to change their worlds
Are immune to your consultations
They’re quite aware of what they’re goin’ through

As for the Schedule, it’s changed, finally we are officially under the genre of BLUES at ShoutCast so that means we have said bye bye to Country music show, not to Harry just Country music. If you go to Online Radio Box via the link above you will not find schedule but you will find program, click it and see what happens.


Turn and face the strange
Don’t tell them to grow up and out of it
Turn and face the strange
Where’s your shame?
You’ve left us up to our necks in it
Time may change me
But you can’t trace time
Strange fascinations fascinate me
Ah, changes are takin’
The pace I’m goin’ through


What is Harry going to do then?

He has a new show called “Harry Spins the Singles”. Yes you guessed, songs that are, have and will be on the RMR SINGLE charts. He has a good choice, there are over 200 charts on RMR and Shane and his Dad started RMR in 1998, that’s a lot of singles.

Turn and face the strange
Ooh, look out you rock ‘n’ rollers
Turn and face the strange
Pretty soon now you’re gonna get older
Time may change me
But I can’t trace time
I said that time may change me
But I can’t trace time


Any more CHANGES?

Well I trimmed my beard this morning, as for more browse the site and see if you can find any.




Any offence to Country Music lovers was unintentional and there will still be some Country songs played on TMEfm, guess you will have to stay tuned in.
Any bias toward Blues musicians and their PR companies is intentional as they send most of the music we receive, thank you!

Thanks to Helen Green for the best GIF ever and will be so forever and ever and to the late, great David Bowie for being David Bowie and never CHANGING.


JULY ALBUM OF THE MONTH. Simon Kinny-Lewis – A Day In San Jose.

Here at TME.FM Radio we always try to avoid favoritism when choosing an Album of the Month, be it a Country, record label, PR company, sex of artist or genre. All we do is choose a favorite album of ours over the last few months.



This month we have another Australian taking the place of Liza Ohlback June’s Album of the Month, Simon Kinny-Lewis and his album of covers A Day In San Jose.


Seeing as we still have not replaced our review writer and this is not a Blind Raccoon record I will copy/paste from Simon’s Bandcamp Page

the excellent review by Ethan Burke of The Blues Source.


Simon Kinny-Lewis (SKL) is the full package. If you get the pleasure of seeing him live (either solo with his acoustic guitar, or with his full band) he beams with energy, soul and passion for the music. His vocals have been compared to Joe Bonamassa’s, but his overall style and delivery is unique and peppered with character. Also, Simon’s guitar playing is up there with the best guitarists of today, conveying all of the right elements that make an enthusiast satisfied, including tastefulness, technique and great tone.

Although one of SKL’s strengths is song-writing too (be sure to check out his albums ‘Street Blues’ and last year’s ‘Bad Whiskey’), we were ecstatic to hear that the next album would be Blues standards, classics and covers. And where would an Australian Blues-man go to record such an album? The Home of the Blues – the U.S.A., of course.

The successful and well received 2018 tour of the states saw Simon and his also Aussie drummer Tony Boyd team up with Californian musos Nate Ginsberg (keyboards), Dewayne Pate (bass), Andy Just (harmonica), and Walter Jebe (slide guitar), for a one day session at premiere studio Reeds Recordings. The resulting new album – ‘A Day in San Jose’ – is magnificent and a golden highlight in Simon’s discography.

It could have been a risky affair executing an entire album of covers of Blues classics. Blues purists might throw a phrase like: “Muddy got it right the first time,” but these are the closed-minded ones, scared of the new. What Simon is doing is paying tribute to some of his heroes, with the help of an experienced and respectful group of musicians. Nothing sounds old or tired either. Freshness circulates through each track as Simon offers every slice of his individual talent and energy to the performance, while keeping true to the soul of the originals.

We get a hard-driving ‘Crossroads’, before the laid-back cool of Robben Ford’s modern classic ‘Chevrolet’, followed by Blues favourites such as ‘Further On Up The Road’, ‘Hoochie Coochie Man’, ‘Rollin’ and Tumblin’’, and ‘Walking Blues’, the latter two of which are perfectly complimented and supported by the slide guitar skills of Walter Jebe.
Freddie King’s ‘Have You Ever Loved a Woman’ is carried along by Just’s raucous honking mouth-harp as the band swings and struts, before the album closes with a cover of Blind Willie Johnson’s gospel Blues masterpiece ‘Nobody’s Fault But Mine’. Led Zeppelin already had a turn with this song on their 1976 album ‘Presence’, but Simon’s arrangement of the song makes it the most impressive track on the album, sounding like no other cover we’ve heard of this song before.
Nate Ginsberg’s keyboards flow like a zephyr in the background, while Simon’s sustaining guitar pierces through in spires of tone. And leading towards the climax, we get an impressive and funky bass solo from Dewayne Pate.

Along with others such as Ray Beadle and Matty T. Wall, Simon Kinny-Lewis is a shining beacon of musicianship and talent on the Australian Blues scene, now making a crossover to pleased U.S. audiences. Awesome releases like ‘A Day In San Jose’ simply support that the Blues is still a genre of strength to keep your eyes and ears on.

Simon Kinny-Lewis – Vocals/Guitar
Tony Boyd – Drums
Nate Ginsberg – Keys
Dewayne Pate – Bass
Andy Just – Harmonica
Walter Jebe – Slide Guitar

Produced by Simon Kinny-Lewis

Engineered by Adam Reed at Reeds Recordings San Jose, CA, USA

Mixed and Mastered by Simon Cotsworth

All songs arranged by Simon Kinny-Lewis except #3 Walking Blues and #7 Rollin’ And Tumblin’ by Walter Jebe

Photography by Kevin Case, Paul Rutigliano, John Mcdonald, Rachel Kumar, Brian Phillips

Artwork by Simon Kinny-Lewis