Author: Don Wilcock

Now into his second half century as the warrior music journalist, Don Wilcock began his career writing “Sounds from The World” in Vietnam, a weekly reader’s digest of pop music news for grunts in the field for the then largest official Army newspaper in the world, The Army Reporter. He’s edited BluesWax, FolkWax, The King Biscuit Times, Elmore Magazine, and also BluesPrint as founder of the Northeast Blues Society. Internationally, he’s written for The Blues Foundation’s Blues Music Awards program, Blues Matters and Blues World. He wrote the definitive Buddy Guy biography 'Damn Right I’ve Got The Blues,' and is currently writing copy for a coffee table book of watercolor paintings of blues artists by Clint Herring.

The Blues Foundation sent out a message at the 35th annual Blues Music Awards in Memphis on Thursday, May 8th: The state of blues is strong. President and CEO Jay Sieleman announced at the awards ceremony that the Raise The Roof capital campaign to generate $2.6 million for The Blues Hall of Fame is a success and that construction of the building across the street from the Civil Right Museum will begin June 1st. The new facility will “pay tribute to the great blues men and women, giving them and their music the respect and validation they deserve.” His announcement was…

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“While I love Buddy (Guy) and B.B. (King), I can’t see them doing ‘I’m Not in Kansas Anymore,'” says Joe Louis Walker, “but I can do it and pull it off.” One of 12 songs on Hornet’s Nest, Walker’s second album for Alligator Records, “I’m Not in Kansas Anymore” sounds like The Who jamming with Cheap Trick. It’s sequenced right after “I’m Gonna Walk Outside,” a slide guitar tour de force that would fit right at home on Muddy Waters’ Real Folk Blues album from the early ’60s. And it’s followed by “Keep The Faith,” a gospel song in the…

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Is there a Memphis sound? Brad Webb thinks so. He’s been totally immersed in the Memphis scene for more than 40 years. “I picked up the guitar of this guy from Atlanta I was doing sessions with and hit one lick, and that guy goes, ‘Oh, man, did you hear that?’ I was like, ‘Hear what?’ And it was me hitting a note, either bending a note or whatever. It was like that guy from Atlanta who was a horn player/keyboard player immediately picked up on the idea, ‘This guy plays different than we do.’ I mean I know we…

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