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Thursday, July 15, 2010

American Master's Series Presents....Mose Allison! (Part One)



In 1965, I was living in Detroit, Michigan. Not far from where I lived was an excellent jazz club called Baker's Keyboard Lounge. A friend had mentioned he was going there one week-end to see a gentleman named Mose Allison.

I had heard Mr. Allison many times on the radio and went along with my friend to hear Mose play live. I was completely amazed! Here was a man combining the best of blues, jazz and rhythm and blues. Of course, he was from the South. From Mississippi, as a matter of fact and one can't go much further south than Mississippi.

Born in Tippo, Mississippi on November 11, 1927, Mose Allison came from humble beginnings to become a musical sensation. His combination of all the styles mentioned above has catapulted Mr. Allison into a musical phenomenon appreciated by audiences around the world.

Tune in to Part One as John Rhys and BluePower present a most informative show highlighting Mose Allison as a true American Master.

John Rhys/BluePower.com

Here's the music:

1)...."I Love The Life I Live"....Mose Allison....Atlantic Records
2)...."Parchman Farm"....Mose Allison....Prestige Records
3)...."Fool's Paradise"....Mose Allison....Columbia Records
4)...."Baby Please Don't Go"....Mose Allison....Columbia Records
5)...."The Seventh Son"....Mose Allison....Prestige Records

Click to play....American Master's Series Presents....Mose Allison! (Part One)

Click here to go to Mose Allison's personal web site!

Friday, June 25, 2010

Hear At Last....Barry Cullison!

We had gone to the library to find something new to read. The library wouldn't open for another 45 minutes so we decided to stroll around the area in front of the Van Nuys library and police station. On Thursday mornings through the early afternoon there is a Farmer's Market there with all sorts of items on display. It was there I first heard this voice coming from somewhere.

I started looking for the source and saw a man sitting on a chair, playing a guitar. I didn't know his name and had never heard him before but he was good and I kept listening. When he finished his set I asked his name. It was Barry Cullison.

I was fascinated then and as I listened to his intricate guitar work and poetic lyrics, I decided to have him come to the BluePower establishment and do an interview. This is the result of that interview.

During our interview Barry played four excellent songs which I think you will find interesting. His style is unique and exciting. His vocal abilities are also on par with his playing. The combination of both are daunting and considering the fact he played the songs live during the interview, awe inspiring.


I do hope you will enjoy listening to Barry Cullison as I find his songs intellectual and poetic. Not to mention very "today."

John Rhys/BluePower.com

The music is:

1)...."Scene Of The Crime"....Barry Cullison
2)...."Burning Bush"....Barry Cullison
3)...."Mexican Key"....Barry Cullison
4)...."Our Star"....Barry Cullison

All songs written and performed by Barry Cullison.


Click to play....Hear At Last....Barry Cullison!

Go to.... Barry Cullison's web site!

Monday, June 14, 2010

More Art, Inc....The Place To Go For Performing Arts In The San Fernando Valley!

Recently, I was asked by my friend "Bluesman" Brian Chan, if I would like to join himself and several other artists at a place called More Art, Inc. Sounded to me like some sort of corporate place but we decided to accede to Brian's wishes and find out more.

Man! Were we surprised! When we arrived at the small building in Granada Hills, we were amazed to find a well-organized place of business. Not your usual "pay to play" situation at all which is so common in this area.

We also found a beautiful stage area with an perfectly tuned baby grand piano, good lighting and excellent sound equipment. Everything a performing artist could possibly need in order to do the job.

Good management is necessary in order for a business to operate and More Art has been blessed with two good folks who love helping all ages to realize their dreams. These people are Michael Lewis and Alison Robinson and they have their hands on the controls that make More Art click.

The purpose of More Art is to promote and showcase the arts and artists, including the performing arts and visual arts, stage and film, and reach into the community with educational programs promoting the arts.

If you are an artist of any kind and you wish a superlative house in which to work, go to the link below and check out More Art, Inc. You'll be glad you did.

You may also listen to a brief interview done with Mr. Michael Lewis and Ms. Alison Robinson by myself wherein they explain the origins and reasons for More Art's existence. Just click the "play" button.

I have performed at More Art twice and loved both experiences not to mention the DVD's which More Art took during the performances. Those DVD's certainly helped me see where I needed work in my live performance techniques. Thanks More Art!

John Rhys/BluePower.com

Listen to....More Art, Inc....The Artists Place To Go!

Go to....More Art, Inc.

Sunday, May 30, 2010

A Grim Fairy Tale

Once upon a time there was a man named Thomas Alva Edison. He was a brilliant man. He invented lots of amazing things. One of these inventions was the Cylinder Phonograph. It was special. Or was it?

Across the Atlantic Ocean, a man named Emile Berliner had also invented something similar. What a coincidence! It was called the Gramophone. Edison's invention was cylindrical and Berliner's was flat. They were both made of wax and they each put strange sounds on them and said to their friends, "We can save sound if it doesn't get too hot. Just think what we'll be able to do with these things."

They thought about education. They thought about teaching the blind. They thought about information storage of famous events. They thought about the myriad things they could record but what was the first thing supposedly recorded.... beside gibberish that is.... a silly song called "Mary Had A Little Lamb." The first musical reproduction had been made.

Without knowing it of course, these men had invented the Record Business.

How could they have known that down the pike, names like Al Jolson, Billie Holiday, Elvis Presley, Morris Levy, Milt Salstone, Clive Davis, The Beatles and God Lives Underwater would leap onto the front pages of magazines such as Cash Box, Billboard, Rolling Stone and Hits. These were called trade magazines.

These magazines used to play an important part in the promotion and sales of newly recorded sounds. They also made all the people who ran these companies (record companies as they were then called) feel proud and important. They would pay these magazines dearly for tiny little squares that told of the important new sounds they had put on wax ("waxes to watch") which they intended to sell. Of course the big companies bought big squares commensurate with their position and power.

And, for a while, times were good.

Now I forgot about this guy named Marconi. He invented something special too. It was called radio. With a radio transmitter, a station could send to millions of homes with receivers, all kinds of great music. A person could pick and choose from dozens of transmitters playing these various types of sounds. He could then select the type he would like to own and then purchase these discs for his own enjoyment. Oh happy day!

Everybody did well.

It was a great time for "Personality Radio" where insane men and women, with insane names got on the radio and did insane things. One DJ (disc jockey) was called "The Geeter With The Heater." Such merriment! That was until a very smart man from Dallas, Texas came along to put everything in order. His name was Gordon McLendon and he invented something really cool called "Format Programming." Welcome "Tiger Radio."

Now business really started to boom.

Things were so good in fact, that thousands of small record companies grew in every corner of the globe.There was all kinds of special music for every kind of person and culture. For decades things went swimmingly. Small companies became large companies. The large companies then bought up other small companies and became large corporations. Now called the Big Fish concept. (They actually bought up the competition.)

Since one could become very rich if they were successful at making sounds that many people enjoyed and it seemed like a relatively easy thing to do (better than digging ditches or cleaning windows) that soon, more and more people decided to create sounds to store on the (now plastic) discs.

Pretty soon there were more discs than the companies could sell and these discs started piling up all over the place. Soon, the corporations had to build giant storage ares called warehouses in which to keep the discs.

When the retailers and distributors (who were the middle men for the record companies) bought so many discs that they couldn't possibly sell them all, they sent them back to the companies that made them in the first place. Imagine that. The discs came back instead of monetary compensation, much to the companies chagrin, for they depended on that compensation to operate the huge companies they had built. They lost sight of the fact that less is actually more.

Too bad for the moguls, the A&R men, the Veeps, the CEOs, the promoters and all those lawyers.

They were strangling on their lack of foresight and greed and were blinded to the fact that the human spirit is finely woven through with the music of life and, that for some unknown reason, human beings can tell the difference between the real thing and a placebo.

Remember Edison, Berliner and Marconi? They're laughing their butts off and they all agree, that everyone up and down the line should have thought first of "Principles before Personalitie$."

From a 1996 issue of Cash Box Magazine
By: John Rhys

Monday, May 10, 2010

An Evening With WLAC Radio's, John Richbourg!



I was ten years old when I heard WLAC for the first time. My mother and I were on our way home to Tallahassee, Florida from somewhere in Georgia when I turned the radio on in the car. It was late in the evening as I searched for some music to help keep my mom awake. I turned the dial all the way to the end and was just about to turn it the other way when I heard, "Have Mercy Baby" and a spiel about baby chicks neither my mom or I could believe. We laughed and laughed not realizing the ad was for real and that many good folks actually bought the unbelievable deals broadcast from WLAC, Nashville, Tennessee.

That was the first of my long-lasting, nightly sojourns to the world of blues and R&B. John R. quickly became my favorite but I loved all the jocks at that illustrious broadcast station. Most of all I loved the music they played.

Many musicians such as Joe Bennett of The Sparkletones remembers how important WLAC was to road musicians who were always traveling from one town to the next.

WLAC also helped spawn hundreds of independent record labels and break even more young artists into a career of performance and songwriting.

Listen now as BluePower takes you back through time to an era when there were hundreds of indie labels and the record business was not controlled by a handful of "major" labels.

John Rhys/BluePower.com

Listen to....An Evening With WLAC Radio's, John Richbourg (Part 1)!

Listen to....An Evening With WLAC Radio's, John Richbourg (Part 2)!

Thursday, April 29, 2010

Thelonius James Rides Again!


Here at BluePower, we are always on the lookout for what we feel is inspired product. We receive so many CDs that just don't go that extra step to make the music different and unique. This CD is the best of both of those worlds.

Thelonius James Presents The Sunland Chronicles is a piece of work which contains all the elements necessary to make it an outstanding contribution to the world of American music. It has great playing and a sense of humor which can only be attributed to the artist involved.

There is something exciting going on with this record. A spontaneity which transcends most releases today. Trying to explain this is difficult. It's something one has to hear. All we know is that when we listened to the material....we enjoyed it thoroughly.

The Sunland Chronicles runs the gamut musically, stretching from the blues to near jazz. Fine playing and vocals with nothing too heavy or intense. Just a real good feel. Overall....this CD is a lot of fun and a guaranteed party pleaser.

It made me smile.

John Rhys/BluePower.com

Here's the music:

1)...."Popcorn Paws"....Thelonius James....Pick Strum Records
2)...."Step On The Gas"....Thelonius James....Pick Strum Records
3)...."The Blues Is Like A Baseball Game"....Thelonius James....Pick Strum Records
4)...."More Than A Fool"....Thelonius James....Pick Strum Records

5)...."With You"....Thelonius James....Pick Strum Records

6)...."You Give Me Hope"....Thelonius James....Pick Strum Records

7)...."Chicken Pie"....Thelonius James....Pick Strum Records

Produced by....Phil Bloch and Andrew Bush

Click to play....BP CD Review....Thelonius James Presents The Sunland Chronicles!

Click here to go to Thelonius James' new web site!


Click to purchase....Thelonius James....The Sunland Chronicles!

Friday, April 09, 2010

BluePower Presents....Southern Guitar Masters!


Southern Guitar Masters

Mississippi Fred McDowell
Charley Patton

Robert Johnson

Skip James
Bukka White

Rose Hemphill
Sunnyland Slim


From southern England:
Cream

The blues is about many things. About how your woman done you wrong. The Boss Man being mean to you. Things humorous. Things sad. Death. Dying and all manner of worldly matters concern the blues.

The blues was created long before the turn of the 19th century. The blues was built on slavery and the fact that a man was taken from his family and homeland against his will. Slavery happened for centuries. However; it wasn't until those slaves were brought to the shores of the United States that the blues, as we know the art form today, was born.

The blues reside in almost every country in the world. Even countries that don't call English it's first language.

Everyone in the world can relate to the blues. And today, with all the problems in the world, more and more people have an absolute right to sing the blues.

Today's show presents the blues from the early part of the 20th century. These are but a handful of the original blues men who traveled the dusty roads of the south; did time in many of the prisons and rode the rods, as the trains were called back then, into the annals of musical history. Just imagine that time.

This is one show I really enjoyed putting together. I hope you enjoy listening to Southern Guitar Masters.

John Rhys/BluePower.com

Here's the music:

1)...."I'm Goin' Home"....Ervin Webb & Prisoners....Alan Lomax Collection
2)...."61 Highway Blues"....Fred McDowell....Alan Lomax Collection
3)...."Fred McDowell's Blues"....Fred McDowell....Alan Lomax Collection
4)...."Stone Pony Blues....Charley Patton....VMK
5)...."Crossroads"....Robert Johnson....Columbia

6)...."Fixin' To Die Blues"....Bukka White....Columbia Legacy Series

7)...."Hard Time Killin' Floor Blues"....Skip James....VMK

8)...."Rolled And Tumbled"....Rose Hemphill....Alan Lomax Collection

9)...."Roll And Tumble Blues"....Sunnyland Slim, Johnny Shines and Big Joe Williams....Blue Sun

10)..."Rollin' And Tumblin' "....Cream....Reaction


Some dialog taken from the All Music Guide to the Blues.

Click here to listen to....Southern Guitar Masters!

Thursday, April 08, 2010

Why the NAB Is Losing Radio’s Royalty Exemption!


By Jerry Del Colliano
Inside Music Media

The radio lobby (National Association of Broadcasters) and the record industry lobby (MusicFIRST Coalition) are being childish.

The record label interests try to make it appear that the radio industry is trying to hurt starving artists by opposing the proposed repeal of the performance royalty exemption.

It’s not like the radio industry doesn’t already pay ASCAP, BMI and SESAC licensing fees.

You’ve got a polarization developing (does this surprise you in today’s political climate?) that you’re either for artists or against them.

The radio lobby is just as bad.

As NAB Spokesperson Dennis Wharton puts it “We’re disappointed the Commerce Department would embrace legislation that would kill jobs in the U.S. and send hundreds of millions of dollars to foreign record labels that have historically exploited artists whose
careers were nurtured by American radio stations.”

Of course, a Commerce Department attorney in a letter to Senator Patrick Leahy (D-VT) says there is “strong support” for eliminating the performance exemption -- like in President Obama.

If you’re a radio owner, you have to be worried when the commerce department says, it’s “a matter of fundamental fairness to performers” that would “provide a level playing field for all broadcasters” -- meaning whether they’re on-air, online or satellite.

You can see what’s slipping away here -- the higher ground.

The NAB insists it still has the edge in Congressional support to defeat the labels' initiative to repeal but it’s close and will get closer sooner than expected.

This isn’t exactly health care.

This is radio station care where the public option has become throwing radio into the same pool with satellite and online competitors who have already held their noses and settled.

How’s that "playing to the fear that foreign labels will takeover U.S. markets and jobs will be lost" thing working out?

Not well, apparently, because when you live in a glass house you shouldn’t throw stones.

The radio industry doesn’t need foreign labels to take it over -- Wall Street hedge funds and investment banks have already done that.

And the NAB’s argument about killing off U.S. jobs is simply not credible.

No one kills more radio jobs off than U.S. “patriots” like Lew “Tricky” Dickey, "Fagreed" Suleman" and John “Slogan” Hogan of Cumulus, Citadel and Clear Channel respectively (if not respectfully).

I mean, what kind of defense is that?

So with head placed firmly up their legal briefs, the NAB is getting closer to handing its constituents a loss on performance royalties that it need not take.

I say this because they are offering the wrong arguments.

Making it seem like radio stations do not want to help starving artists when in fact it is the radio stations that have always helped starving artists -- always have and probably always will.

Without compensation.

You make ‘em, we play ‘em and you keep all the profits -- so, the labels are the ones hurting their own artists (as if we in the industry didn’t already know that).

The NAB can spearhead their own bill and put something patriotic in the title -- like “Freedom of Local Radio Act" and they are still going to lose.

Local radio is dying by the minute -- we never run out of examples. Locals even know this in many smaller markets after a snow storm or weather emergency when their so-called local stations have failed to adequately serve their communities.

So, what is the problem?

Radio should be exempt from the performance royalty exemption because it is a tax.

I know, I know -- the labels say no. But it really is a burden. A percentage levied on stations (above and beyond their present royalty commitments) to squeeze more dollars out of the very people who help the labels sell music.

Therefore, the counter argument should not be about losing jobs -- that’s simply not true.

It should not be about foreigners coming here to one up us -- that’s ridiculous as well.

It won’t help to cry poor mouth either because about half of Congress supports taxing radio and the other half remains steadfastly in radio’s corner. Not enough of a margin.

The real argument is this.

If you repeal the performance royalty exemption from radio, you will be hurting artists and musicians because radio stations will not be able to afford to pay what will amount to an ever increasing additional fee.

And the argument to our lawmakers should be:

"Hey Congress, if you don’t believe us (the NAB), just look what’s happening right now as radio stations are beginning to augment their music playlists with 10% local artists who offer their music to them royalty-free. And if you repeal the performance exemption, it will force some stations to run even more -- or maybe all --- unlicensed music. That wouldn’t be good for the existing record labels at all".

The NAB can’t argue this because they are spending more time playing beltway politics with the livelihood of local radio stations instead of encouraging station owners to give the music industry, their lobby and lawmakers a glimpse of what will happen if they repeal radio's royalty exemption.

The NAB should be encouraging members to add unlicensed artists to their playlists and that means you, Clear Channel -- in big markets. Unlicensed music is not garbage. There’s a lot of good unlicensed music and plenty of starving artists to help if that's what the labels really want.

Record labels aren’t the tastemakers anymore if you’ve been watching the file sharing revolution.

Consumers are.

So I encourage you -- add one or two unlicensed songs each week and send a message to Congress and the labels that they had better be careful what they wish for.

Oh, and you’ll be sending a message to weary radio listeners who are tired of the same “corporate” playlists. You'll be giving them a taste of music discovery -- something they had to turn radio off to find elsewhere.

In the end, you’re going to lose the royalty exemption.

But be smart and win the war -- ensure that if the labels win, they lose. The way it's going right now, if the labels win -- they and radio stations are both the losers -- not to mention listeners.

If the radio industry lets the labels get away with this, they can come back and search my website someday for all the better alternatives they could have taken.

Send Congress a message.

Replace two licensed songs on your radio station playlist with two unlicensed songs each week and if you don’t know what to add -- call in a young person or two and they’ll give you a long list of better alternatives.

Re-printed from Mr. Del Colliano's blog by permission.

Monday, April 05, 2010

In The Beginning....Skip James!



After several months of deliberation, BluePower has come to the conclusion that it would be beneficial to develop a series which exposed the many fine artists who added so much to the rich heritage of the American folk tradition called The Blues.

In order to accomplish our goals in this regard, we needed the product necessary to assemble these pieces of business. Coming to our aid in the form of early Blues product was Mr. Alec Palao and his great company, Ace Records of London, England whom we gratefully thank for their generosity and kindness.

Our first show highlights one of the strangest and most unique Blues artists of all time....Nehemiah Curtis James who came to be known as Skip James.

Born in 1902 in Bentonia, Mississippi in 1902, Mr. James struggled all his life to find a place in the world of the Blues. It took him til nearly the end of his life before he was discovered by three, up and coming, young musicians who talked him into taking a giant step to become known.

Listen as BluePower tells a brief history of Mr. Skip James and plays some of his amazing music.

Stay Tuned....
John Rhys

Here's the music:

1)...."Hand Clappin' "....Red Prysock....Mercury Records
2)...."Hard Time Killing Floor Blues....Skip James....Blues From The Delta....Ace Records
3)...."Careless Love"....Skip James....Blues From The Delta....Ace Records
4)...."Devil Got My Woman"....Skip James....Blues From The Delta....Ace Records
5)...."Crow Jane"....Skip James....Blues From The Delta....Ace Records
6)...."I'm So Glad"....Skip James....Blues From The Delta....Ace Records
7)...."I'm So Glad"....Cream....Fresh Cream....Atlantic Records
8)...."Hand Clappin' "....Red Prysock....Mercury Records

Click here to listen to....In The Beginning....The Birth Of The Blues....Skip James!

Click here to go to Ace Records!

Friday, March 19, 2010

A Master Hitmaker And Pure Gentleman....Eddie Schwartz (Pt.2)!

We pick up Part Two with Eddie saying how thrilled he was at having three songs recorded by Joe Cocker for his Unchain My Heart recording.

Also in Part Two, Eddie speaks of his difficulties producing the Doobie Brothers; his venture into the country music realm producing Brenn Hill and his regard for Paul Carrack, who sang Eddie's song "Don't Shed A Tear" to the number one spot on the charts.

The last few songs on the show are performed by Eddie himself from his CD, Tour de Schwartz and....as I mentioned, is my wife's favorite record. I think you'll enjoy these particularly insightful songs.

Eddie also tells the story of his mother who always wanted Eddie to be a lawyer and gave him a briefcase every time she had the opportunity. Eddie wound up with a closet "full" of briefcases.

Eddie Schwartz is now a highly regarded musician, writer and businessman. A man who likes to "give back" a little of what he was given to musical newcomers; Eddie is now a member of SOCANN, the Canadian organization which deals with music copyrights pertaining to Canadian writers and publishers. SOCANN came about as the merger of BMI and ASCAP and is now the only performing rights society in Canada.

Eddie has walked one long, hard road to get to this point in life. He deserves all credits due.

This is one very interesting interview and the music is superb. Here's the list:

1)...."Hit Me With Your Best Shot"....Pat Benatar
2)...."Don't Shed A Tear"....Paul Carrack
3)...."Dance Like The Fire"....Brenn Hill
4)...."The Doctor"....The Doobie Brothers
5)...."Special Girl"....Eddie Schwartz
6)...."A Young Man's Eyes"....Eddie Schwartz
7)...."Bourbon Street"....Eddie Schwartz

Listen to....Master Hitmaker And Pure Gentleman....Eddie Schwartz (Pt.2)!