After more than thirty years, guitarist Jimmy Thackery has learned that the smartest career track is the one that tunes out all the distracting noises and follows the sound of his own muse. Although still a gritty hard-rocking blues guitarist when the occasion demands, he has spent recent years exploring some of the more nuanced corners of the American roots music spectrum.

Inside Tracks, the new release from Jimmy Thackery and the Drivers, is now available everywhere. The album is a continuation of the creative shift that began in 2007 with his previous Telarc recording, Solid Ice. Like its predecessor, Inside Tracks leads to a place where country, R&B and even a touch of surf music all fit seamlessly with Thackery’s trademark guitar blues.

While some of this may be uncharted water for both Thackery and his fans, Inside Tracks is another step in his realignment of artistic priorities. The focus now is a little more on substance and a little less on flash.

“It’s about the writing now,” Thackery explains. “It’s not just about the hot dawg guitar player. For a long time, that was the thing that everyone assumed would be the selling point. Everybody likes a revved-up blues guitar player, but how many records can you make like that? I’ve done forty or something. I lost count back in the ‘90s of the exact number. I think I’ve proved that I can do that, so I figured it was time to do some real writing, regardless of whether it was consistent with people’s expectations. Fortunately, Telarc has taken a very hands off approach and given me room to do just that.”

For Jimmy Thackery, there’s much more to the blues than the standard 12-bar shuffle punctuated by a flashy guitar solo. In the end, it’s much more about the heart and soul and less about formulas and preconceived notions.

“A lot of people who are making blues records are just trying to make another T-Bone Walker record or another George Thorogood record,” he says. “Those are a couple of fine guitar players and songwriters, but I’ve pretty much done that, many times over. I’m at a point where I’m going to record the kind of music that I want to play and I want to listen to. If you’re writing stuff to please yourself, it’s going to translate to the people you’re trying to reach.”

Inside Tracks is Thackery’s chosen mode of transportation on the journey of self-discovery. Hop on the rails and take the ride with him.

http://www.jimmythackery.com/

CEDRIC BURNSIDE, grandson of the legendary R.L. Burnside, son of drummer great Calvin Jackson, is widely regarded as one of the best drummers in the world. Growing up at his grandfather's side, he began touring at age 13, playing drums for "Big Daddy" on stages around the globe. Cedric was born in 1978 and raised around Holly Springs, Miss., and has been playing music all his life, developing a relentless, highly rhythmic charged style with strong hip-hop and funk influences.

In addition to "Big Daddy," Cedric has also played with, among countless others, Junior Kimbrough, Kenny Brown, North Mississippi Allstars, Burnside Exploration, Bobby Rush and Widespread Panic. In 2006 he was featured in the critically acclaimed feature film, Black Snake Moan, playing drums alongside Samuel L. Jackson. (The film is a tribute to R.L. Burnside, and gives many nods to the late bluesman.) Cedric has teamed up with guitarist Lightnin' Malcolm and is proving to be a powerful vocalist and great songwriter. Cedric is a special talent that has brought new life and energy to the blues, and is loved by fans around the world.

Bluesman LIGHTNIN' MALCOLM is one of the leading, younger generation artists on the scene today. Born in rural Missouri, Malcolm enjoyed the freedom of country life, quickly learning to entertain himself and others around him. Growing up in a little village called Burgess in a country house next to the KCS Railroad that ran from Kansas City to New Orleans, the train has always been a theme in Malcolm's music, as well as the inspiration for the steady, insistent bass rhythms of rural dance music.

Malcolm -- a reckless live performer -- has lived and breathed music his whole life, traveling and playing in a slashing, rhythmic style, with deep soulful vocals. Malcolm has played over the years with many of the best Mississippi blues artists, such as Cedell Davis, R.L. Burnside, Hubert Sumlin, Jessie Mae Hemphill, T Model Ford, Jr. Kimbrough, Robert Belfour, Big Jack Johnson, Sam Carr and Otha Turner. Skilled on guitar, bass, and drums, Malcolm is an in demand session player with a telepathic sense of how to follow the older archaic styles, and is especially noted for his old-fashioned, church "shout" style on drums.

Cedric and Malcolm caught the ear of Delta Groove Music label chief, Randy Chortkoff, while playing on the outdoor jam stage at Chortkoff's 3rd Annual Delta Groove All-Star Blues Revue in Clarksdale, MS. After receiving a demo from the duo's manager, Chortkoff contacted legendary producer, David Z and sent the duo up to Nashville to record an album for the label. Chortkoff brought in some very special guests for the session, including the innovative harmonica genius, Jason Ricci.

The end result was such an authentic, swampy, backwoods sound that when you hear it, you'll have a hard time believing you're not sitting in a juke joint somewhere in the Delta.

http://www.myspace.com/jukejointduo

Approx 700 lots of Rock N Roll and Hollywood Memorabilia will be sold at auction.

Highlights include a Vintage Harmony guitar signed by Eric Clapton and Duane Allman during the Derek and the Dominoes era, an official 1989 Fender "Blackie" Stratocaster signed by Eric in 1994, concert handbills for Cream Farewell performance in Houston and a Derek & the Dominoes concert in Dallas from the William Easley collection. Also selling will be a one of a kind replica of Eric's psychedelic 1961 Gibson SG guitar done by a master craftsman, and a concert program from a 1967 Murray the K show featuring  Cream and The Who singed by Eric Clapton and Pete Townshend of The Who.

1960s Harmony Guitar, Redburst model, features beautiful mother of pearl inlay in the neck, Signed on the front in person by Duane Allman and Eric Clapton at a Derek and The Dominoes show in Florida, Both autographs in fine point black marker, Allman has personalized his signature "To Tom, " as it was signed for record producer Tom Dowd. The overall condition of the guitar is excellent with a couple of nicks and scratches on the front and back and some paint wear around the screws of the neck. This instrument comes with a mounting shadowbox frame measuring 41" x 31-1/2" x 6" with mounted photographs of both artists. Accompanying is a black guitar case, plus a ticket from the concert and documents. (The instrument and the frame will ship separately.) Please note: Due to the size and/or weight of this lot, the cost of shipping may be substantial. Guaranteed authentic signatures by Gary Sohmers.

Derek & Dominoes with Eric Clapton and Duane Allman, Concert Handbill, Nov. 6, 1970, Mc Farlin Auditorium, SMU, Dallas Texas, 8.5" x 11, " excellent condition except staple hole in top left corner, from the collection of Concerts West Promoter, William Easley

1989 Black Fender Stratocaster "Blackie" Guitar signed by Eric Clapton in person in 1994, serial-number SZ3040907, "Eric Clapton 94" in gold pen on the black upper face of the guitar, with an original Fender black case. Guaranteed authentic signature by Gary Sohmers.

to resemble Eric Clapton's Guitar he used in Cream by a Master Artist, Serial No. 91952396, Originally Cherry finish, with hard shell case, Painted by Ed Roman Guitars, Las Vegas, work performed by "Gary, " comes with 2005 reciept for painting ($3000.00 with insured value $6000.00), mint condition

Murray the K's 5th Dimension Concert Program w/ Mitch Ryder, Wilson Pickett, Smoky Robinson & The MIracles, Blues Project, Blues Magoos, Young Rascals, Simon & Garfunkel, Phil Ochs, The Cream and The Who signed Eric Clapton, Pete Townshend and Jim & Jean. The shows ran over 9 days from Saturday March 25th to Sunday April 2, nd 1967, at the RKO Theatre. Five shows a day starting at 10:15 a.m. and finishing after midnight, 20 pages incl. cover, includes letter from original owner who saw it signed in person;

Cream 1968 Houston Concert Handbill, "Concerts West Presents, " "Farewell World Tour, " Houston Coliseum, Oct. 24, 1968, 4.5" x 6.5, " near mint condition, from the collection of Concerts West Promoter, William Easley.

The auction will feature posters, memorabilia and clothing from many other rock n rollers of the 1950s-1970s including the Beatles, Rolling Stones, Grateful Dead, Pink Floyd, Alice Cooper, and many ohers.

From the world of Hollywood there will be the Three Stooges Original Costumes, Movie Props from "Back to the Future, " "Die Hard, " and a "Ghost Busters" Ecto 1 License Plate. Celebrity Personal items including Joan Crawford Jewelry, Jean Harlow Smoking Set, Costumes from the Movie Zulu. A fantastic Archive of Hollywood Photos to be sold in lots.

Any auction weekend at Phil Weiss Auctions would not be complete without offering Two Original Charles Schulz Dailies.

The auction will be at the auction gallery at 1 Neil Court in Oceanside, Long Island, New York Bidding is accepted in person in the audience, on the phone, on ebaylive and http://www.liveauctioneers.com/

After more than four decades of standing out with a larger format than other magazines, it will step back and look like everyone else starting with the Oct. 30 issue, due out this week.

The adoption of a standard format could boost single-copy sales and reduce production costs for advertising inserts such as scent strips and tear-out postcards. The magazine says any cost savings, though, will be offset by the inclusion of more pages and the shift to thicker, glossier paper.

Like other devoted readers, Eddie Ward, 35, said he will miss the old format, which was an inch taller and two inches wider. But he looks forward to the change and might even buy a "more fashionable" bag to carry his belongings.

"For years since I graduated from college, I have refused to buy a small messenger bag ... since it couldn't fit my Rolling Stone," said Ward, a publicist who lives in New York. "I never wanted to crease the pages or put cracks in the cover."

Rolling Stone chose Barack Obama, who is campaigning for president on a theme of change, for the cover of the Oct. 30 issue. By contrast, the last issue in the oversize format featured a cartoon of Obama's opponent, John McCain.

"Like the man we are featuring on the cover for the third time in seven months ... we embrace the idea of change," editor Jann S. Wenner wrote in the new issue. "Not change for the sake of change, but change as evolution and growth and renewal, change as the kind of cultural renaissance that gave birth to Rolling Stone more than four decades ago."

Magazines constantly undergo redesigns -- The Atlantic, for instance, debuts new sections with its November issue out Tuesday. A few also have changed dimensions over the years, including TV Guide, which grew into a full-size format in 2005.

In fact, Rolling Stone has changed formats twice before. It first published in 1967 as a tabloid-size newspaper because that was all its budget covered. It began printing on a four-color press in 1973 and magazine-quality paper in 1981, when it also shrank to its just-abandoned 10-by-12-inch size and adopted the feel of a magazine-newspaper hybrid.

The switch to a standard format completes the magazine's transformation into, well, a magazine and comes as readers depend less on the printed pages for breaking news common in newspapers, said Anthony DeCurtis, a longtime writer for the magazine.

And size may not matter in the Internet era, though Rolling Stone says the Web site will remain supplemental to print, which has seen circulation stable since 2006 at about 1.45 million.

The decision to change officially came down to this: Why not?

"The size is a nostalgic element but not the iconic part of the magazine," publisher Will Schenck said in an interview. "Evolution and change is part of our DNA."

Will Dana, the magazine's managing editor, said the size change forced Rolling Stone to "think a little differently ... (and) open our minds out a little more." He said editors can now squeeze in more content and better sprinkle longer stories with photos, though he insists the length and types of stories won't change.

Rolling Stone said it will add enough pages to each issue to offset the loss of space from switching to the smaller size. The 148 pages in the next issue, for instance, accommodate about as much material as 100 pages in the old size.

The smaller format lets the magazine run more full-page photos, however, because each now takes up less surface area. Comic strips and other elements also take less space, even though they are in the same proportion to the rest of the page. That opens the added pages to new content.

Likewise, full-page ads will take less space -- though ad rates won't drop.

"It's like, should somebody pay more for a commercial on TV if it's a 50-inch screen or a 20-inch screen?" Schenck said. "We're really selling the relationship with readers, and the size of the ad is really irrelevant."

This summer, Rolling Stone produced one issue in both formats and sent 3,000 copies of the smaller version to selected subscribers. The feedback was mostly positive -- to the surprise of even many at Rolling Stone.

The new paper should make photographs shine more, and the smaller size will make it easier to carry and read. A glued rather than stapled binding should make ad inserts easier to produce.

The new size also will fit better on magazine racks and could help boost single-copy sales, which now account for only 8 percent of the magazine's circulation.

"We're expecting to get better placement," Schenck said. "Right now because of the size, it tends to be placed on the floor."

Ana Barbu, a student at Adelphi University near New York who regularly reads the magazine, said she hopes the change will expose the magazine to readers previously intimidated by seeing so much text on the larger pages.

"Switching the format to attract more readers is a logical decision that will continue Rolling Stone's tradition of revolutionizing society's way of thinking," Barbu said.

On the eve of Motown Records' 50th anniversary comes a spectacular collection: a 10-CD box set containing every Motown No. 1 hit, from every U.S. and International chart and from every genre, adding up to a staggering 191 tracks that hit the top, plus 10 bonus tracks whose cover versions were No. 1. In an amazing coincidence, the number of Motown artists whose recordings have either hit No. 1 or inspired a No. 1 cover: 50.

MOTOWN: THE COMPLETE NO. 1'S (Motown/UMe), is released around the world December 8, 2008 and in the U.S., December 9, 2008.

"This is why Motown is what it is, " writes Motown legend Smokey Robinson in his introductory liner notes. "Look at this list: Number 1's back to back to back to back. We bombarded the world with hit records."

Motown's No. 1 hits started flowing from Berry Gordy's neighborhood home on Detroit's West Grand Boulevard, and this box set - with tracks from 16 countries including the U.S., the U.K., Australia, Canada, Ireland, Norway, France, Germany and elsewhere - are housed in a jaw-dropping package: a replica of the original Motown headquarters, "Hitsville U.S.A., " where it all began. Inside the "house" are five digipaks, each containing two CDs, as well as a mini-photo book including rare and classic images, track annotations and the essay by Motown's first No. 1 hitmaker, Smokey Robinson.

The original Gordy "Hitsville U.S.A." house remains at its original location and is the home of the internationally renowned Motown Museum, 2648 West Brand Boulevard, Detroit, MI.

Arranged chronologically, MOTOWN: THE COMPLETE NO. 1'S spans generations of musical memories, beginning with 1961's R&B No. 1 "Shop Around" from The Miracles, and the label's first Pop No. 1, "Please Mr. Postman" from The Marvelettes. From The Supremes' unprecedented string of five consecutive No. 1's, starting with "Where Did Our Love Go, " to The Temptations' immortal classic "My Girl, " and its Nineties counterpart "Stay, " MOTOWN: THE COMPLETE NO. 1'S provides the soundtrack to the Sixties, Seventies and beyond, concluding with 2000's "Bag Lady" from Erykah Badu.

Heard too with their No. 1 recordings are Motown stars Stevie Wonder, Marvin Gaye, Tammi Terrell, Four Tops, Martha & the Vandellas, Mary Wells, the Contours, Jr. Walker & the All-Stars, Gladys Knight & the Pips, the Jackson 5, Diana Ross, Michael Jackson, David Ruffin, The Originals, Rare Earth, The Undisputed Truth, Edwin Starr, Eddie Kendricks, the Commodores, T.G. Sheppard (yes, Motown had two No. 1 Country hits), Thelma Houston, Rick James, High Inergy, Jermaine Jackson, Dazz Band, Charlene, Lionel Richie, DeBarge, El DeBarge, Rockwell, Mary Jane Girls, Val Young, Georgio, The Boys, Today, Johnny Gill, Stacey Lattisaw, Boyz II Men, Shanice, and Profyle. In addition, the collection features five artists - the Isley Brothers, Brenda Holloway, Jimmy Ruffin, Dennis Edwards, and the Guinn Family - with their Motown recordings that inspired No. 1 cover versions for other labels.

An irresistible force of social and cultural change, Berry Gordy's legendary Motown Records made its mark not just on the music industry, but society at large, with a sound that became one of the most significant musical accomplishments and stunning success stories of the 20th century. No other record company in history has exerted such an enormous influence on both the style and substance of popular music and culture. Motown, of course, stands for more than just the historic music. The label and its remarkable legacy is a reflection of the hard work of dedicated individuals overcoming incredible obstacles to achieve great success. Nearly a half-century ago, on January 12, 1959, to be exact, a young African-American songwriter named Berry Gordy founded Tamla Records with a loan of $800 from his family, marking the birth of the "Motown Records Corporation." A man of vision, drive, talent and determination, Berry Gordy was also a producer, innovative entrepreneur, and teacher. The phenomenal success of Motown Records is a tribute to all that he embodies and all the talent that he brought out in others. Under his leadership, and through determination and support of the Motown family of artists, Gordy forged new grounds for minorities and made the "Motown Sound" a worldwide phenomenon beloved by millions.

Today, Motown is part of the Universal Music Group, with its classic recorded music catalog managed by Universal Music Enterprises (UMe). With Motown's influence still being felt, the greatest pop music hit factory ever heard celebrates its 50th anniversary with MOTOWN: THE COMPLETE NO. 1'S.

 FROM: Manabu Sakurai / Yomiuri Shimbun Staff Writer


Blues is at the heart of pop music; its unrefined grungy sound has found deep roots throughout the world, including Japan. This autumn, fans here had a chance to experience the music live at a festival, while new CDs offer a chance to hear it at home.

The blues can be traced back to late 19th century work songs sung by African-American workers in the United States. It later influenced the development of both jazz and rock, all the while itself continuing to evolve.

Blues in Japan experienced its heyday in the 1970s, particularly in the Kansai region, where bands such as the West Road Blues Band and Yukadan were popular.

Its popularity lives on today, and the music can often be found at live venues around the nation.

Jirokichi, near Koenji Station in Tokyo, has been featuring live blues since 1974. Last month, 1,000 fans packed the venue to see a performance by Shinji Shiotsugu and Junshi Yamagishi from the West Road Blues Band. Among the crowd were foreigners and peope from a wide age range.

Their guitars cried as they intermingled with drums and keyboard riffs. Their set list included songs by T-Bone Walker and Muddy Waters, as well as a number of original tracks.

"I think it's rare to find a genre that has been so popular for such a long time with both listeners and performers," Shiotsugu said. "Blues is responsible for a number of music styles around the world. Japanese musicians convey the depth of this genre while feeling what it means to be at one with the audience."

On Oct. 22, duo Junji Ariyama and Masaki Ueda will release Bochi Bochi Ikoka '08, their first album in 33 years. In 1974, the two formed a band called Ueda Masaki South To South. The following year, the band released "Bochi Bochi Ikoka" (Shall we get going?)--a blues number sung in the Osaka dialect. The unusual approach helped find a place for the song in the hearts of Japan's music fans.

On the new album, the musicians recorded new tracks and re-recorded old favorites, such as "Ore no Shakkin Zenbu de Nanboya" (How much are all of my debts?).

Meanwhile, Atsuki Kimura from Yukadan and veteran musician Fusanosuke Kondo have released the single "Crazy-bushi: Showa Sampo," while guitarist Jun Nagami has released a new album, Madam Guitar.

Last weekend, P-vine Blues Festival welcomed a number of much-loved musicians to the Kudan Kaikan in Chiyoda Ward, Tokyo.

Organizer Manabu Watarai from Blues Interactions Inc. said the festival was designed to showcase the origin of the style, and to help young people who are unfamiliar with blues understand its power. The festival featured Willie Walker and The Butanes, Pistol Pete and Junji Ariyama with Masaki Ueda

Tahoe City, CA - Alpine Meadows Ski Resort will host the Friends for Fro Benefit Sunday, October 19, from 4:30pm to 9:30pm at the base lodge.  100% of the proceeds will be donated to Robert “Fro Frolich to provide financial assistance during his battle against cancer. 

Through his writing, award-winning author Robert “Fro” Frohlich has touched countless of people who love the Tahoe and Truckee area and the Sierra Nevada.  Now in return, the local community is reaching out to support him during this great time of need.  Frohlich recently underwent major cancer surgery; and readying himself for chemotherapy treatment. In order to assist him with his medical expenses and care, the Friends For Fro Benefit is planned to garner as much financial assistance for him as possible. 

“Who doesn’t know Fro,” says Bill Jensen, publisher of the Squaw Valley Times and one of the benefit organizers. “Fro is a literary icon that has spent his life devoted to the mountains, writing about them and those who have lived, worked, and played here. He’s recognized and respected at every level-- from ski bums to ski resort CEOs; but most importantly, Fro is our friend.  He has given so much to the community and individuals; and his benefit is a way to help him in his time of need,” he added. 

SAVE THE DATE:
The Friends for Fro Benefit is scheduled for Sunday, October 19 from 4:30pm to 9:30pm at the Alpine Meadows Base Lodge.  Entry fee to the event will be $60 per person or $100 per couple.  100% of entry fees, silent auction sums, and donations will benefit Fro.  The event will be “Fro-Style”, which means casual mountain fun for all.  Guests will be treated to exquisite cuisine presented by Tahoe’s finest restaurants, including Christy Hill, Wolfdales, Grahams, River Ranch, River Grill, Treats by Melanie Jackson, Tahoe House, Moody’s Bistro, Mamasake, Jakes on the Lake, and Sunnyside.  The Friends for Fro Benefit includes the resurrection of “In the Mood,” a winter slide show created by Fro and photographers Keoki Flagg and Hank de’Vre – a legendary feast for outdoor adventurers’ eyes and souls.  Renegade Productions has pulled out all the stops for this event, scheduling performances by Tahoe/Truckee’s musical all-stars; and a silent auction and raffle not-to-be-missed will present the best prizes and gifts including vacations, California Gold Pass, and fantastic items provided by local favorites.  Well-known local athletes and Olympians will play host as celebrity bartenders.

Help can be given many ways.  The Friends for Fro Benefit is an easy way to help; however, there are other avenues to provide assistance as well:

1. Donate a silent auction item to be included at the Friends For Fro Benefit.  Call the event contacts for mailing/delivery information.
2. Donate a monetary gift.  Located in Tahoe City, the El Dorado Savings Bank is host to The Fro Benefit Account.  Checks can be made payable to The Fro Benefit Account; or donations can route money directly from a donor’s bank.  The Routing number is: 321170978 for Account Number 163031263.

Please join us to celebrate Fro’s progress toward good health. For more information about the Friends for Fro Benefit, please contact Bill Jensen, Keoki Flagg, or Rachael Woods.  Support and donations continue to pour in daily, so be sure to visit www.caringbridge.org/visit/fro for daily updates about the Friends For Fro Benefit. Thank you for your support; and we hope to see you Sunday, October 19. 

LOS ANGELES, Ca: Southern California based concert production companies Bill Silva Presents and Rum & Humble have announced a multi-year pact with radio station KJAZZ to produce the annual Long Beach Blues Festival. Labor Day weekend 2009 will mark the 30th anniversary of the West Coasts largest and longest-running blues event.
The 2008 edition of the festival the first produced by Bill Silva Presents and Rum & Humble featured Chuck Berry, Taj Mahal, John Mayall and many others at a new location: Rainbow Lagoon Park on the Long Beach waterfront.

Rum & Humble principal Martin Fleischmann states, Its a great pleasure to work with music and musicians that are so genuine and rooted in such a soulful place. The challenge is to expand upon the talent that has traditionally participated while remaining true to the genre.

KJAZZ station manager Stephanie Levine adds, We are delighted about our multi-year deal with Bill Silva Presents and Rum & Humble. This past years festival was incredible. We look forward to continuing the wonderful tradition of the festival as we celebrate 30 years.

In its three decades of existence, the Long Beach Blues Festival has become one of the countrys pre-eminent blues music events, presenting a virtual whos who of the genre. As a major fundraiser for publicly-supported radio station KJAZZ, the Festival serves not only as an annual weekend devoted to a classic American music form, but also to enhance and sustain both jazz and the blues on the air all year long.

KJAZZ and the Cal State Long Beach Foundation are the executive producers of the Long Beach Blues Festival.

Beyond the Blues was a local joint fundraising event last year that the Kansas City Blues Society and the Mental Health Association of the Heartland put together. It turned out so well that the national organizations of both thought they should do the same. This year, eight cities are holding similar fundraisers, with hundreds of organizations pitching in to help spread the news.

“These events raise awareness and funds for both organizations,” said Susan Crain Lewis, president and CEO of the Mental Health Association of the Heartland.

This year’s Kansas City event is at 6 p.m. Saturday at the Armacost Auto Museum in Grandview. Because some of those autos are true classics, you’ll have to get a ticket before they tell you how to get there. The featured bands are Mark Montgomery & the Mo City Jumpers and the Doghouse Daddies.

Tickets cost $20 each. For more information, go to www.beyondtheblueskc.org.