News

Newly Recorded Songs From Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama, Sinéad O'Connor, Luther Dickinson, Maria McKee, Rickie Lee Jones

Pitchfork.com will host the worldwide full album premiere of God Don't Never Change: The Songs Of Blind Willie Johnson beginning on Monday, February 15. 

The album -- to be issued on CD on February 26 and soon after on vinyl -- features newly recorded versions of the iconic slide guitarist/vocalist's most seminal material. Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama (with Jason Isbell on guitar), Sinéad O'Connor, Luther Dickinson featuring The Rising Star Fife & Drum Band, Maria McKee, and Rickie Lee Jones all deliver deeply moving interpretations of Johnson's otherworldly "gospel blues" music.

Produced by Jeffrey Gaskill (producer of the twice Grammy-nominated compilation, Gotta Serve Somebody: The Gospel Songs of Bob Dylan), God Don't Never Change: The Songs Of Blind Willie Johnson highlights the music of one of the greatest and most influential slide guitarists and vocalists who ever walked the Earth. Johnson sang his sanctified gospel lyrics with overwhelming intensity, his deep, raspy voice accompanying his haunting, blues-drenched guitar playing. Rock fans will no doubt recognize many of his songs which have been recorded over the years by artists ranging from Led Zeppelin to Eric Clapton to Bob Dylan. Johnson's recording of John The Revelator was included in the Anthology Of American Folk Music, archivist Harry Smith's 6-LP collection released in 1952 that set the folk revival of the 1960s into motion. God Don't Never Change: The Songs Of Blind Willie Johnson is, according to Gaskill, "my life's work." The project was years in the making, and Gaskill is thrilled it's ready to be released. "You gotta serve somebody," he says, referencing his earlier compilation, "and I got the songs of Blind Willie Johnson."

Blind Willie Johnson recorded a total of 30 songs between 1927 and 1930 for Columbia, leaving behind a priceless legacy of the unforgettable music he created by marrying the raw, gospel fervor of his voice with the steely blues fire of his guitar. His songs were mostly traditional or came from hymnals, but when Johnson performed them, he transformed them with his soul-shaking voice and amazing slide guitar. Johnson was among the best-selling black gospel artists of the era, but the Great Depression ended his recording career.

Johnson’s life has been shrouded in mystery, but scholars, most notably the tribute album's liner notes author Michael Corcoran, have unearthed a few details. Born in Pendleton, Texas in 1897, Johnson grew up around Marlin, Texas. A legendary story has his stepmother, in a fit of rage, throwing lye in his face when he was seven, blinding him for life. He traveled the area as a street singer, moving between Dallas, Galveston, Houston, Corpus Christi, San Antonio and finally to Beaumont, where he thundered out his street corner evangelism, spreading his sacred message through his transfixing music. He died in 1945 in Beaumont, Texas at the age of 48.

Luther Dickinson calls Johnson's music "primitive modernism," his sound opening up "a whole other universe. He touches everybody. His music is so of the earth that it still sounds completely modern. It’s timeless and like nothing else ever recorded. If we could hip anybody to Blind Willie Johnson, their lives would be enriched for sure."

Derek Trucks wholeheartedly agrees, saying, "I never heard a slide player, even to this day, play with that much emotion. I've only heard a few things that have hit me quite that strongly. There's something so honest about his recordings. He's one of the few handful of musicians whose music really feels sacred to me. Johnson's songs, lyrics and the ability to pair the slide with the voice were amazing. It feels like it came out of a different world."

According to Rickie Lee Jones, recording Dark Was The Night--Cold Was The Ground -- Johnson's best-known performance -- was life-changing. She incorporated lyrics to the tune which dated back to the late 1700s. "The blues is everyman's cry," she says. "The song is part of me now."

Blind Willie Johnson's recording of Dark Was The Night--Cold Was The Ground is now also a part of the cosmos. It was included -- along with Beethoven and the sound of a human heartbeat (among other tracks) -- on a gold disc sent into outer space on the Voyager 1 space probe back in 1977, a timeless representation of Earth's humanity for other sentient beings to one day discover.

God Don't Never Change: The Songs Of Blind Willie Johnson

1) The Soul Of A Man (Tom Waits)

2) It's Nobody’s Fault But Mine (Lucinda Williams)

3) Keep Your Lamp Trimmed And Burning (Derek Trucks and Susan Tedeschi)

4) Jesus Is Coming Soon (Cowboy Junkies)

5) Mother’s Children Have A Hard Time (The Blind Boys of Alabama)

6) Trouble Will Soon Be Over (Sinéad O'Connor)

7) Bye And Bye I’m Going To See The King (Luther Dickinson featuring The Rising Star Fife & Drum Band)

8) God Don’t Never Change (Lucinda Williams)

9) John The Revelator (Tom Waits)

10) Let Your Light Shine On Me (Maria McKee)

11) Dark Was The Night--Cold Was The Ground (Rickie Lee Jones)

June 10–12 in Grant Park

The City of Chicago’s Department of Cultural Affairs and Special Events has announced the Petrillo Bandshell line-up for the 33rd Annual Chicago Blues Festival taking place June 10–12, 2016 in Grant Park. The free admission three-day festival opens on Friday, June 10 with a celebration of Alligator Records' 45th anniversary, and concludes on Sunday, June 12 with a special tribute to legendary bluesman Otis Rush featuring notable friends and other musicians he has influenced throughout his career. Other festival headliners include Fred Wesley & The New J.B.'s, Irma Thomas and Ronnie Earl & The Broadcasters. The full schedule will be announced later this spring.

Link to artist and general festival photos: Chicago Blues Festival Photos

Friday, June 10 – Alligator Records 45^th Anniversary Celebration
The festival opens on June 10 with a salute to Chicago’s Alligator Records who, in 2016, celebrates 45 years of “Genuine Houserockin’ Music.” The Chicago Tribune says Alligator is "America’s most revered blues label." Rolling Stone says, "Alligator Records has reached dizzying heights in celebrating the blues."

6:00pm - Tommy Castro & The Painkillers will open the festivities. The San Francisco Chronicle says Castro plays "“funky Southern soul, big city blues and classic rock… silvery guitar licks that simultaneously sound familiar and fresh.” DownBeat calls the band's new album, Method To My Madness, "a high water mark in their career." Castro will be joined by special guest, Chicago bluesman Toronzo Cannon. He'll unleash songs from his Alligator Records debut, The Chicago Way.

7:00pm - Longtime favorites Lil’ Ed & The Blues Imperials will bring their raw and rowdy blues back to the main stage. The Chicago Sun-Times says, "A party band in the best sense of the word…the hottest purveyors of bottleneck boogie to come out of Chicago since Hound Dog Taylor." The band's most recent CD is 2012's Jump Start. Harmonica master Corky Siegel will join the band as a special guest for an unforgettable collaboration.

8:15pm - Shemekia Copeland, whose 2015 album Outskirts Of Love received a Grammy nomination, will headline the tribute. USA Today says, "Shemekia captures the timelessness of the blues while spinning it forward with remarkable maturity." She will be joined by guest Curtis Salgado, the award-winning vocalist and harmonicist whose new Alligator CD, The Beautiful Lowdown, will be released on April 8, 2016.

Saturday, June 11 – Soul/R&B Night
6:30pm - Grammy-winner Irma Thomas' career has spanned over five decades since her first hit in 1960, You Can Have My Husband But Don't Mess With My Man.

8:15pm - Fred Wesley & The New J.B.'s. Wesley is best known as the music director, arranger, trombonist and a primary composer for the legendary James Brown from 1968 to 1975.

The evening’s opening performance begins at 5:30 p.m. and will be announced at a later date.

Sunday, June 12 – Tribute to Otis Rush
Legendary blues guitarist Otis Rush arrived in Chicago from Mississippi in the 1950s after seeing Muddy Waters perform while visiting his sister. Rush worked tirelessly to establish himself as an innovative blues guitarist, bandleader, singer and songwriter by playing with the legendary bluesmen of the day. Rush set new standards and influenced countless blues and rock musicians, including Carlos Santana, Eric Clapton, Stevie Ray Vaughan, Led Zeppelin and many others. A fearless electric guitarist, Rush was a leader in creating the modern, R&B influenced Chicago blues we know today as the West Side Sound.

5:00pm - Ronnie Earl & The Broadcasters open the night. As an award-winning blues guitarist, Ronnie Earl learned from Rush and considers him to be the greatest musical influence on his career and life.

6:30pm - Eddy “The Chief” Clearwater brings his West Side blues to the main stage.The New York Times says, "Clearwater is equally adept at Chuck Berry-style guitar as he is at deeper blues style. He's a fine singer who puts on a wild, exciting show...the sort of exuberant entertainer who can turn a concert into a party." 

8:00pm - Friends, artists and surprise guests will come together to celebrate Otis Rush with a special tribute featuring the confirmed artists to date: Jimmy Johnson, Abb Locke, Brian Jones, Carl Weathersby, Bob Stroger, Sumito Ariyoshi, Big Ray, John Kattke, Mike Wheeler, Lurrie Bell, Shun Kikuta, Eddie Shaw, Sam Burton, among others. The entire lineup and additional guests will be announced at a later date.

A complete line-up and schedule for all stages, as well as preview events, will be released this spring.

For more information, please visit chicagobluesfestival.us. To plan your trip to Chicago for the Blues Festival, visit choosechicago.com. Join the conversation on Facebook (Chicago Blues Festival) and follow on Twitter and Instagram @ChicagoDCASE (#ChiBluesFest).

Chicago Department of Cultural Affairs and Special Event
The Department of Cultural Affairs and Special Events (DCASE) is dedicated to enriching Chicago’s artistic vitality and cultural vibrancy. This includes fostering the development of Chicago’s non-profit arts sector, independent working artists and for-profit arts businesses; providing a framework to guide the City’s future cultural and economic growth, via the 2012 Chicago Cultural Plan; marketing the City’s cultural assets to a worldwide audience; and presenting high-quality, free and affordable cultural programs for residents and visitors. For more information, visit cityofchicago.org/dcase.

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Award-winning soul, blues and R&B vocalist, songwriter (and world-class harmonica player) Curtis Salgado will release his new Alligator Records CD, The Beautiful Lowdown, on Friday, April 8, 2016. Salgado is a one-of-a-kind talent whose music is as compelling as his story. From co-fronting The Robert Cray Band to leading his own band (and recording nine solo albums) to helping transform John Belushi into “Joliet” Jake Blues to touring the country with Steve Miller and Santana, he is a true musical giant. NPR calls him “a blues icon” with a “huge voice.”

The Beautiful Lowdown is Salgado's most fearless and adventurous release to date. For the first time in his career, he wrote or co-wrote virtually the entire album himself. He co-produced it along with Marlon McClain and Tony Braunagel and contributed to the horn arrangements and background vocal parts. “My heart and soul are in this,” he says proudly. “I worked my tail off and let the songs lead the way.” As for the title, Salgado explains, “During a recent show, I turned to my guitarist and said, ‘Play something lowdown. But make it beautiful.’ Then I thought, ‘Keep that.'."

The Beautiful Lowdown is a major step forward for Salgado. “I wanted to write memorable songs with strong melodies that stick to you, and that’s what’s here.” He arrived at the studio with 17 originals and whittled the list down to 11, adding Johnny “Guitar” Watson’s Hook Me Up to close the set. Each track is delivered with the vocal power and passion of a musical master. Living Blues says, “Salgado navigates dynamic soul, swaying balladry and funky grooves with equal confidence. He is a formidable performer."

Born February 4, 1954 in Everett, Washington, Salgado grew up in Eugene, Oregon. His home was always filled with music. His parents’ record collection included everything from Count Basie to Fats Waller, and his older brother and sister turned him on to the soul and blues of Wilson Pickett and Muddy Waters. He attended a Count Basie performance when he was 13 and decided then and there that music was his calling. Curtis began devouring the blues of Little Walter and Paul Butterfield, fell in love with the harmonica and taught himself to play.

By his early 20s, Salgado was already making a name for himself in Eugene’s bar scene with his band The Nighthawks, and later as co-leader of The Robert Cray Band. Salgado quickly developed into a player and singer of remarkable depth, with vocal and musical influences including Otis Redding, O.V. Wright, Johnnie Taylor, Muddy Waters, Little Walter, Sonny Boy Williamson I and II, Lightnin’ Hopkins, Howlin’ Wolf, Otis Spann and Magic Sam.

In 1977, comedian/actor John Belushi was in Eugene filming Animal House. During downtime from production, Belushi caught a typically ferocious Salgado performance and introduced himself during a break. Once Salgado started sharing some of his blues knowledge, a fast friendship grew. Salgado spent hours playing old records for Belushi, teaching him about blues and R&B. Belushi soaked up the music like a sponge and used his new awareness to portray “Joliet” Jake Blues in The Blues Brothers, first as a skit on Saturday Night Live and then as a best-selling record album (which was dedicated to Curtis) and finally as a major motion picture (Cab Calloway’s character was named Curtis as an homage).

Once Salgado joined forces with his friend Robert Cray and began playing together as The Robert Cray Band, he found himself sharing stages with many of his heroes, including Muddy Waters, Bobby Bland, Albert Collins and Bonnie Raitt. After Salgado and Cray parted ways in 1982, Curtis went on to front Roomful Of Blues, singing and touring with them from 1984 through 1986. Back home in Oregon, he formed a new band, Curtis Salgado & The Stilettos, and was once again tearing it up on the club scene, where he honed his band to a razor’s edge before releasing his first solo album in 1991. His friend and fan Steve Miller invited Curtis and his band to open for him on a summer shed tour in 1992. Two years later, Salgado spent the summer on the road singing with Santana. Salgado signed with Shanachie Records in 1999, putting out four critically acclaimed albums. He successfully battled back from liver cancer in 2006 and lung cancer in 2008 and 2012, reemerging stronger and more determined to share his music with the world.

Salgado joined Alligator Records in 2012, releasing the award-winning, critically acclaimed Soul Shot. The Los Angeles Times said Salgado is “keeping the classic flame of soul music alive.” The strength of the record led to Salgado touring far and wide, with gigs in Manilla, Guam, Brazil, Saipan and Panama. He has performed at major festivals including Portland’s Waterfront Blues Festival, The San Francisco Blues Festival, The Chicago Blues Festival, Memphis’ Beale Street Music Festival, The Tampa Bay Blues Festival, Denver’s Mile High Blues Festival, Toronto’s Waterfront Blues Festival, Thailand’s Phuket International Blues Festival and Poland’s Blues Alive Festival.

On The Beautiful Lowdown, the deeply-rooted singer effortlessly blends classic soul sounds and funk grooves with up-to-the-minute lyrics. His full-force vocals – intense and uninhibited – bring an urgency and edge to his timeless original songs. Allmusic says his music is filled with “greasy grooves and rollicking burners boasting all the confidence and swagger the lyrics convey.  Upbeat, animated performances leave you wanting more.” Blues Revue, describing Salgado’s performance style, declares, “He starts at excellent before segueing into goose bumps, ecstasy, and finally nirvana.”

Internationally known Texas guitar legend Long John Hunter, 84, died in his sleep at his home in Phoenix, Arizona on Monday, January 4. His signature Texas blues were fueled by his single-note solos and melodic, drawling vocals. The Los Angeles Times called him "a top notch singer, guitarist and unbridled wildman performer...a raw, feral talent bursting with energy." During a 60-year career, he recorded seven solo albums and a number of 45s.

Long before Hunter became a world-renowned recording artist, he was already a major draw in the Beaumont/Port Arthur, Texas region, where he cut his first 45. In 1957 he headed to Juarez, Mexico where he led the house band at the rough and tumble Lobby Bar for the next 13 years. There he played for locals, cowboys, soldiers, tourists and touring musicians, including Buddy Holly, Clarence "Gatemouth" Brown, Lightnin' Hopkins, Etta James, Albert Collins and many others. He became a mentor to a young Bobby Fuller (I Fought The Law). Twice James Brown brought his band to witness Hunter in action. The second time Brown surprisingly took the stage during a set break. Unfazed, the audience screamed for Brown and company to move on and clear the way for the return of their hero, Long John Hunter.

Hunter became regionally famous not only for his musicianship, but for his showmanship. One of his favorite tricks was to hold his guitar by the neck in one hand while continuing to play. With his free hand, he'd reach up, grab a rafter above the stage and start to swing, never missing a beat. The Lobby Bar crowd delighted in Long John's antics, and they inspired the title of his 1997 album, Swingin' From The Rafters.

John T. Hunter, Jr. was born in Ringgold, Louisiana on July 13, 1931 and grew up in Arkansas and Texas. He had no interest in being a professional musician until, when he was 22, co-workers at the Beaumont, Texas box factory where he worked took him to see B.B. King perform at the Raven Club. Hunter later said he was amazed at the reception King got from the crowd, especially the frenzy of the women in the audience. The next day Hunter went out and bought a guitar. That very week he put a band together and before long developed his own style, mixing swinging blues and razor sharp guitar playing reminiscent of fellow Texans Albert Collins and Gatemouth Brown, with a definite nod towards B.B. King. Less than a year later, Hunter was headlining at the Raven Club, the very same place he first saw B.B.

Hunter's growing reputation spread to Houston, where Don Robey of Duke Records (home of Gatemouth Brown, Bobby Bland and Junior Parker) released Hunter's first single, Crazy Baby b/w She Used To Be My Woman, in 1954. The record didn't win Hunter a national audience, but it did generate enough interest to keep him working full time as a musician. Hunter headed for Houston in 1955 to try and capitalize on his Duke single. He played shows with Little Milton, Johnny Copeland and many others. Two years later, he moved west to El Paso. The very night Hunter arrived, he crossed the border into Juarez, Mexico and found work at the Lobby Bar where he stayed for the next 13 years. "If it didn't happen at the Lobby Bar," Long John often said, "it just didn't happen in life."

Releasing only a small number of 45s, Hunter didn't record a full album until 1993's Ride With Me(Spindletop, reissued by Alligator). He signed with Alligator in 1996. His label debut, Border Town Legend, brought his music and his story to the masses. With his 1997 follow-up Swingin' From The Rafters, Hunter went from being a locally revered Texas bluesman to being an internationally touring festival headliner. In 1999 he joined his old Beaumont friends Lonnie Brooks and Phillip Walker for the Texas rave-up CD, Lone Star Shootout. The Chicago Tribune said, "Hunter embodies Texas blues in all its varied, roustabout glory like no one on the scene today."

As his stature grew, so did his tour calendar. He played numerous high-profile concerts including The Chicago Blues Festival, South By Southwest, San Antonio Cultural Festival, Long Beach Blues Festival, as well as multiple tours of the U.S and Europe. Hunter continued to perform and record, releasing independent CDs in 2003 and 2009.

Hunter is survived by his wife Gayle and brother Tom.

Funeral information is pending.

On Tuesday, December 15, 2015, The Blues Foundation announced the nominees for the 2016 Blues Music Awards, the blues world's highest honors. Three Alligator recording artists received a total of six nominations.

Singing sensation Shemekia Copeland received three nominations, including Contemporary Blues Female Artist Of The Year, Contemporary Blues Album Of The Year (for her recently Grammy nominated Outskirts Of Love), and for the coveted B.B. King Entertainer Of The Year. Copeland has 31 previous nominations and has won a total of eight Blues Music Awards.

Harmonicist/vocalist/songwriter Rick Estrin, of Rick Estrin & The Nightcats, also received a nomination for B.B. King Entertainer Of The Year. Estrin and The Nightcats received a nomination for the prestigious Band Of The Year award. Estrin has been nominated 18 previous times and holds two Blues Music Awards. Rick Estrin & The Nightcats' most recent release is 2014's You Asked For It...Live!

Next generation blues star Jarekus Singleton received a nomination for Contemporary Blues Male Artist Of The Year, the second consecutive year he's been nominated in this category. He has three previous nominations. Singleton's Alligator debut, Refuse To Lose, was released in 2014.

"One of Chicago's new greats"  —The Chicago Sun-Times

"Progressive as he is rootsy...Slow, simmering riffs and smoldering licks" —Chicago Reader

Alligator Records has set a February 26 release date for The Chicago Way, the label debut for electrifying Windy City bluesman Toronzo Cannon. The album is comprised of all self-penned songs, inspired by his deep, homegrown Chicago roots and powered by his blistering guitar playing and soul-baring vocals.

The Chicago Way was produced by Cannon and Alligator president Bruce Iglauer. Cannon’s songs — from searing blues anthems to swinging shuffles to soulful ballads to roof-raising rockers — tell timeless stories of common experiences in uncommon ways. “I’ve never worked harder,” Cannon says. “I challenged myself at every step, writing each song to connect with someone in my audience. I try to write songs that will be both up-to-the-minute and timeless.”

With The Chicago Way, Cannon knows more and more people will be hearing his message: the future of Chicago blues is in good hands. According to Cannon, “To be from Chicago and be signed to Alligator is unreal. To be part of Alligator's history...I'm at a loss for words."

According to Iglauer, "I've watched Toronzo grow as a singer, player and songwriter over the last ten years. He's now become a major blues talent, using the Chicago blues tradition as a launching pad to create his own unique, contemporary vision. His music comes right from the heart of the city."

Throughout the history of Chicago blues, the intensely competitive local club scene has served as a proving ground, where only the best musicians rise to the top. Iconic blues artists from Muddy Waters to Howlin’ Wolf to Koko Taylor to Hound Dog Taylor to Luther Allison all paid their dues in the Chicago blues bars before making their mark on the world. The same holds true today, as newcomers look to living legends like Buddy Guy, Eddy Clearwater and Lil’ Ed Williams for inspiration in taking their music from Chicago to fans across the globe. Now, Chicago-born-and-raised blues guitarist /vocalist/ songwriter Toronzo Cannon is ready to write his own story as he claims his place as one of the city’s most popular and innovative blues musicians.

Cannon’s unofficial launch from local hero to national star took place on June 13, 2015 at the world-renowned Chicago Blues Festival, where he performed as a festival headliner for the massive crowd. After announcing that he had just signed with Alligator Records, he delivered a riveting set, instantly earning tens of thousands of new fans. Original songs filled with razor-sharp solos rained from the stage, as Cannon melded the deepest Chicago blues with contemporary lyrics and soulful vocals. The Chicago Tribune lauded his performance, saying, "Festival headliner Toronzo Cannon’s extroverted, compelling guitar style and forceful singing won over a new audience."

Cannon was born in Chicago on February 14, 1968, and grew up in the shadows of Theresa's Lounge, one of the city's most famous South Side blues clubs (and a place where Iglauer was a regular patron). As a child, Cannon would stand on the sidewalk outside the door, soaking up the live blues pouring out while trying to sneak a glance inside at larger-than-life bluesmen like Junior Wells or Buddy Guy. He also heard plenty of blues growing up in his grandfather's home, and listened to soul, R&B and contemporary rock on the radio.

Cannon bought his first guitar at age 22, and his natural talent enabled him to quickly master the instrument. Although his first focus was reggae, he found himself increasingly drawn to the blues. "It was dormant in me. But when I started playing the blues, I found my voice and the blues came pouring out." He absorbed sounds, styles and licks from Buddy Guy, Albert Collins, Hound Dog Taylor, B.B. King, Albert King, Freddie King, Al Green, Jimi Hendrix, J.B. Hutto, Lil' Ed and others. Although influenced by many, Cannon’s biting, singing guitar sound is all his own. As a songwriter, he writes about shared experiences with a keen eye for detail. "Blues is truth-telling music," he says, "and I want my audience to relate to my stories." As a singer, his impassioned vocals add muscle and personality to his already potent songs.

From 1996 through 2002, Cannon played as a sideman for Tommy McCracken, Wayne Baker Brooks, L.V. Banks and Joanna Connor. But he was determined to prove himself. In 2001, while continuing to work as a hired-gun guitarist, he formed his own band, The Cannonball Express. By 2003, he was working exclusively as a band leader. Cannon's first three albums — 2007’s My Woman (self-released), 2011’s Leaving Mood (Delmark) and 2013’s John The Conqueror Root (Delmark) — document his rise from promising up-and-comer to star-in-the-making.

Toronzo Cannon has become one of Chicago's most recognized and most popular bluesmen through the sheer force of his music, his songs, his live charisma, and maybe most impressively, his passion for what he is doing. He’s played the Chicago Blues Festival on nine separate occasions, either as a sideman, a special guest or, most recently, as a main stage headliner. When he’s home, Cannon drives a Chicago Transit Authority bus by day and performs by night. Using every vacation day and day off and working four ten-hour shifts a week, Cannon arranges his schedule to gig out of town as much as possible. He's performed in a number of U.S. and European cities and continues to build his audience one roof-raising show at a time. It isn't easy, but, like all of the Chicago greats who have come before him, blues is his calling. "I am proud to be part of a movement,” he says, anxious to hit the road and bring his music to new fans in new places. “I’m proud to be standing on the shoulders of every great Chicago blues musician who came before me."

Alligator Records is proud to announce the February 26, 2016 release of God Don't Never Change: The Songs Of Blind Willie Johnson. The album (to be issued on CD and vinyl) features newly recorded versions of the iconic slide guitarist/vocalist's most seminal material. Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama, Sinéad O'Connor, Luther Dickinson, Maria McKee, and Rickie Lee Jones all deliver deeply moving interpretations of Johnson's otherworldly "gospel blues" music.

Produced by Jeffrey Gaskill (producer of the twice Grammy-nominated compilation, Gotta Serve Somebody: The Gospel Songs of Bob Dylan), God Don't Never Change: The Songs Of Blind Willie Johnson highlights the music of one of the greatest and most influential slide guitarists and vocalists who ever walked the Earth. Johnson sang his sanctified gospel lyrics with overwhelming intensity, his deep, raspy voice accompanying his haunting, blues-drenched guitar playing. Rock fans will no doubt recognize many of his songs which have been recorded over the years by artists ranging from Led Zeppelin to Eric Clapton to Bob Dylan. Johnson's recording of John The Revelator was included in the Anthology Of American Folk Music, archivist Harry Smith's 6-LP collection released in 1952 that set the folk revival of the 1960s into motion. God Don't Never Change: The Songs Of Blind Willie Johnson is, according to Gaskill, "my life's work." The project was years in the making, and Gaskill is thrilled it's ready to be released. "You gotta serve somebody," he says, referencing his earlier compilation, "and I got the songs of Blind Willie Johnson."

Blind Willie Johnson recorded a total of 30 songs between 1927 and 1930 for Columbia, leaving behind a priceless legacy of the unforgettable music he created by marrying the raw, gospel fervor of his voice with the steely blues fire of his guitar. His songs were mostly traditional or came from hymnals, but when Johnson performed them, he transformed them with his soul-shaking voice and amazing slide guitar. Johnson was among the best-selling black gospel artists of the era, but the Great Depression ended his recording career.

Johnson’s life has been shrouded in mystery, but scholars, most notably the tribute album's liner notes author Michael Corcoran, have unearthed a few details. Born in Pendleton, Texas in 1897, Johnson grew up around Marlin, Texas. A legendary story has his stepmother, in a fit of rage, throwing lye in his face when he was seven, blinding him for life. He traveled the area as a street singer, moving between Dallas, Galveston, Houston, Corpus Christi, San Antonio and finally to Beaumont, where he thundered out his street corner evangelism, spreading his sacred message through his transfixing music. He died in 1945 in Beaumont, Texas at the age of 48.

Luther Dickinson calls Johnson's music "primitive modernism," his sound opening up "a whole other universe. He touches everybody. His music is so of the earth that it still sounds completely modern. It’s timeless and like nothing else ever recorded. If we could hip anybody to Blind Willie Johnson, their lives would be enriched for sure."

Derek Trucks wholeheartedly agrees, saying, "I never heard a slide player, even to this day, play with that much emotion. I've only heard a few things that have hit me quite that strongly. There's something so honest about his recordings. He's one of the few handful of musicians whose music really feels sacred to me. Johnson's songs, lyrics and the ability to pair the slide with the voice were amazing. It feels like it came out of a different world."

According to Rickie Lee Jones, recording Dark Was The Night--Cold Was The Ground -- Johnson's best-known performance -- was life-changing. She incorporated lyrics to the tune which dated back to the late 1700s. "The blues is everyman's cry," she says. "The song is part of me now."

Blind Wille Johnson's recording of Dark Was The Night--Cold Was The Ground is now also a part of the cosmos. It was included -- along with Beethoven and the sound of a human heartbeat (among other tracks) -- on a gold disc sent into outer space on the Voyager 1 space probe back in 1977, a timeless representation of Earth's humanity for other sentient beings to one day discover.

God Don't Never Change: The Songs Of Blind Willie Johnson

1) The Soul Of A Man (Tom Waits)

2) It's Nobody’s Fault But Mine (Lucinda Williams)

3) Keep Your Lamp Trimmed And Burning (Derek Trucks and Susan Tedeschi)

4) Jesus Is Coming Soon (Cowboy Junkies)

5) Mother’s Children Have A Hard Time (The Blind Boys of Alabama)

6) Trouble Will Soon Be Over (Sinéad O'Connor)

7) Bye And Bye I’m Going To See The King (Luther Dickinson featuring The Rising Star Fife & Drum Band)

8) God Don’t Never Change (Lucinda Williams)

9) John The Revelator (Tom Waits)

10) Let Your Light Shine On Me (Maria McKee)

11) Dark Was The Night--Cold Was The Ground (Rickie Lee Jones)

Blues/soul/roots singing sensation Shemekia Copeland's new CD, Outskirts Of Love,received a Grammy Award nomination in the Best Blues Album category from the Recording Academy on Monday, December 7. Winners will be announced in Los Angeles on February 15, 2016. This is Copeland's third Grammy nomination. Copeland, the reigning "Queen Of The Blues," also appears on Muddy Waters 100, a various artists tribute album also nominated for Best Blues Album.

The outstanding Shemekia Copeland news does not end with the Grammy Award nomination. The prestigious United Kingdom publication The Blues named Outskirts Of Love its 2015 Album Of The Year. In the magazine's review of the record, writer Rev. Keith Gordon says, "Shemekia Copeland is one of the best singers performing today. A rich blend of blues, soul and roots-rock that will astound the casual listener while rewarding Copeland's longtime fans. Pure joy." Editor Ed Mitchell calls it "a mature masterpiece of modern blues."

Copeland’s return to Alligator Records with Outskirts Of Love (she recorded four albums for the label from 1998 through 2006) finds her at her most charismatic. She mixes freshly written material with thrilling reinventions of songs originally recorded by Solomon Burke, ZZ Top, Jesse Winchester, Sonny Terry and Brownie McGhee, Creedence Clearwater Revival, Jesse Mae Hemphill and her father, the late Johnny Clyde Copeland. MOJO magazine says, "It is Copeland’s thrilling voice, part Koko Taylor, part Mavis Staples and capable of incredible expression, that makes Outskirts Of Love so super-special. Spectacular, stirring, sanctified and sassy…at the crossroads where funk meets blues rock. Her band, led by producer Oliver Wood, and featuring guests Billy F Gibbons, Robert Randolph, Alvin Youngblood Hart and Will Kimbrough, is faultless throughout."

Grammy-nominated blues/roots/R&B vocalist Shemekia Copeland performed live and was the subject of a feature interview on PBS's nationally televised program, The Tavis Smiley Show, on Wednesday, November 4. Host Tavis Smiley talked to Copeland about her new CD, Outskirts Of Love, and her life as, according to the Wall Street Journal, "a fresh, gripping roots music performer." For broadcast times and stations, please click here.

MOJO magazine says, "It is Copeland’s thrilling voice, part Koko Taylor, part Mavis Staples and capable of incredible expression, that makes Outskirts Of Love so super-special. Spectacular, stirring, sanctified and sassy…at the crossroads where funk meets blues rock. Her band, led by producer Oliver Wood, and featuring guests Billy F Gibbons, Robert Randolph, Alvin Youngblood Hart and Will Kimbrough, is faultless throughout."

Copeland’s return to Alligator Records with Outskirts Of Love (she recorded four albums for the label from 1998 through 2006) finds her at her most charismatic. She mixes freshly written material with thrilling reinventions of songs originally recorded by Solomon Burke, ZZ Top, Jesse Winchester, Sonny Terry and Brownie McGhee, Creedence Clearwater Revival, Jesse Mae Hemphill and her father, the late Johnny Clyde Copeland. The result is Copeland’s most musically adventurous album of her still-evolving career.

With a voice that is alternately sultry, assertive and roaring, Copeland’s wide-open vision of contemporary blues, Americana, roots and soul music showcases the evolution of a passionate artist with a modern musical and lyrical approach. Whether she’s belting out a raucous blues-rocker, firing up a blistering soul-shouter, bringing the spirit to a gospel-fueled R&B rave-up or digging deep down into a subtle, country-tinged ballad, Shemekia Copeland sounds like no one else.

She has performed thousands of gigs at clubs, festivals and concert halls all over the world and has appeared on national television, NPR, and in newspapers, films and magazines. She is a mainstay on countless commercial and non-commercial radio stations. She's sung with Eric Clapton, Bonnie Raitt, B.B. King, Buddy Guy, Mick Jagger, Keith Richards, Carlos Santana, James Cotton and many others. She opened for The Rolling Stones and entertained U.S. troops in Iraq and Kuwait. Jeff Beck calls her “f*cking amazing.” Santana says, “She’s incandescent…a diamond.” In 2012, she performed at the White House for President and Mrs. Obama. Afterward, Jagger (with whom she sang) sent her a bottle of champagne. 

Copeland recently appeard on NPR's Weekend Edition and has been touring virtually non-stop. As always, she has her eyes fixed firmly on the future. "I want to keep growing, to be innovative," she says. “I’m a lifer, singing about things that are important to me, using my music to help people. My dad always said ‘we’re all connected.’ I’m an old soul marching to the beat of my own drum,” she continues, “and right now I’m making the most exciting music of my career.”

New Album Due In Spring 2016

Since first joining forces in Wichita, Kansas in 2001, Moreland & Arbuckle have created an impressive body of work, releasing six critically acclaimed albums. With a broad musical vision and a deep sense of history, the band plays smartly written contemporary songs delivered with musical muscle and fifth-gear urgency. Relentlessly merging raw Delta and Mississippi Hill Country blues, folk, and traditional country with energetic rock and soul, Moreland & Arbuckle continually take their music in new, unexpected directions. No Depression says, "These guys have kegs full of talent. Their songs will keep you driving fast and long."

From the 2005 self-release of their first album, Caney Valley Blues to 2013's 7 Cities (also produced by Bayles) on Telarc, Moreland & Arbuckle have grown from a fiery, crowd-pleasing duo to a genre-smashing three-piece band impossible to categorize but rooted deep in the blues. Together, Moreland's rhythmic and propulsive guitar work and Arbuckle's emotionally-charged harmonica and edgy vocals -- supported by Newby's tough drumming -- create a sound that is forceful enough to grab a listener's attention and nuanced enough to hold it. American Songwriter says the group's music is "swampy, sweaty and muggy....mixing a bluesy foundation with bits of country, folk and squawking American rock and roll.” WNYC's Soundcheck says the band plays "gritty blues with a thoroughly contemporary bite.”

Moreland says signing with Alligator is a perfect fit. "We are very happy to work with the Alligator team. To the best of my knowledge, there isn't a single independent label on the planet who has been as successful for 45 years. That speaks volumes. One of our biggest influences ever, Hound Dog Taylor, was the very first Alligator artist. One of the reasons we have the non-traditional lineup of no bass player was inspired by listening to Hound Dog's music as we were coming up."

According to Alligator president Bruce Iglauer, signing Moreland & Arbuckle to the label known for its Genuine Houserockin' Music was an easy choice. “I’ve watched this band grow from talented interpreters of raw, traditional blues into creators of fresh, original roots-based songs. Live, the energy just pours out of them.”

Upon first meeting at an open-mic jam in Wichita, Moreland and Arbuckle made an immediate blues connection, and soon after began making music together. They formed The Kingsnakes, a four piece unit, but couldn't keep a steady bass player. They soon found they made a better sound without one, as Moreland kept the rhythm thumping on his guitar while Arbuckle took the music into overdrive with his harmonica and vocals. The band quickly became local heroes, filling clubs beyond capacity. It wasn't long before they started touring larger cities around the country, earning new fans with every performance.

After three self-released albums and countless roof-raising tour dates, Moreland & Arbuckle signed with Telarc in 2010, releasing three more critically acclaimed CDs. They have logged hundreds of thousands of road miles (they recently replaced their van after driving it over 400,000 miles), performing in the United States, Canada and across Europe. In 2008 they spent 10 days in Iraq, playing for the troops. They've shared stages with ZZ Top, George Thorogood, Buddy Guy, Robert Cray and Los Lonely Boys. They'll return to the road in support of the new album in 2016, with dates in the United States and Europe already set.

Newly Recorded Songs From Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama, Sinéad O'Connor, Luther Dickinson, Maria McKee, Rickie Lee Jones

Alligator Records is proud to announce the first quarter 2016 release of God Don't Never Change: The Songs Of Blind Willie Johnson. The album (to be issued on CD and vinyl) features newly recorded versions of the iconic slide guitarist/vocalist's most seminal material. Tom Waits, Lucinda Williams, Derek Trucks and Susan Tedeschi, Cowboy Junkies, The Blind Boys Of Alabama, Sinéad O'Connor, Luther Dickinson, Maria McKee, and Rickie Lee Jones all deliver deeply moving interpretations of Johnson's otherworldly "gospel blues" music.

Produced by Jeffrey Gaskill (producer of the twice Grammy-nominated compilation, Gotta Serve Somebody: The Gospel Songs of Bob Dylan), God Don't Never Change: The Songs Of Blind Willie Johnson highlights the music of one of the greatest and most influential slide guitarists and vocalists who ever walked the Earth. Johnson sang his sanctified gospel lyrics with overwhelming intensity, his deep, raspy voice accompanying his haunting, moaning, blues-drenched guitar playing. Rock fans will no doubt recognize many of his songs which have been recorded over the years by artists ranging from Led Zeppelin to Eric Clapton to Bob Dylan. Johnson's recording of John The Revelator was included in the Anthology Of American Folk Music, archivist Harry Smith's 6-LP collection released in 1952 that set the folk revival of the 1960s into motion. God Don't Never Change: The Songs Of Blind Willie Johnson is, according to Gaskill, "my life's work." The project was years in the making, and Gaskill is thrilled it's ready to be released. "You gotta serve somebody," he says, referencing his earlier compilation, "and I got the songs of Blind Willie Johnson."

Blind Willie Johnson recorded a total of 30 songs between 1927 and 1930 for Columbia, leaving behind a priceless legacy of the unforgettable music he created by marrying the raw, gospel fervor of his voice with the steely blues fire of his guitar. His songs were mostly traditional or came from hymnals, but when Johnson performed them, he transformed them with his soul-shaking voice and amazing slide guitar. Johnson was among the best-selling black gospel artists of the era, but the Great Depression ended his recording career.

Johnson’s life has been shrouded in mystery, but scholars have unearthed a few details. Born in Independence, Texas on January 22, 1897, Johnson grew up around Marlin, Texas. His stepmother, in a fit of rage, threw lye in his face when he was seven, blinding him for life. He traveled the area as a street singer, moving between Dallas, Galveston, Houston, Corpus Christi, San Antonio and finally to Beaumont, where he thundered out his street corner evangelism, spreading his sacred message through his transfixing music. He died in 1945 in Beaumont, Texas at the age of 48.

Luther Dickinson calls Johnson's music "primitive modernism," his sound opening up "a whole other universe. He touches everybody. His music is so of the earth that it still sounds completely modern. It’s timeless and like nothing else ever recorded. If we could hip anybody to Blind Willie Johnson, their lives would be enriched for sure."

Derek Trucks wholeheartedly agrees, saying, "I never heard a slide player, even to this day, play with that much emotion. I've only heard a few things that have hit me quite that strongly. There's something so honest about his recordings. He's one of the few handful of musicians whose music really feels sacred to me. Johnson's songs, lyrics and the ability to pair the slide with the voice were amazing. It feels like it came out of a different world.

According to Rickie Lee Jones, recording Dark Was The Night, Cold Was The Ground -- Johnson's best-known performance -- was life-changing. She incorporated lyrics to the tune which dated back to the late 1700s. "The blues is everyman's cry," she says. "The song is part of me now."

Blind Wille Johnson's recording of Dark Was The Night, Cold Was The Ground is now also a part of the cosmos. It was included -- along with Beethoven and the sound of a human heartbeat (among other tracks) -- on a gold disc sent into outer space on the Voyager space probe back in 1977, a timeless representation of Earth's humanity for other sentient beings to one day discover.

God Don't Never Change: The Songs Of Blind Willie Johnson

1) Soul Of A Man (Tom Waits)

2) It's Nobody’s Fault But Mine (Lucinda Williams)

3) Keep Your Lamp Trimmed And Burning (Derek Trucks and Susan Tedeschi)

4) Jesus Is Coming Soon (Cowboy Junkies)

5) Mother’s Children Have A Hard Time (The Blind Boys of Alabama)

6) Trouble Will Soon Be Over (Sinéad O'Connor)

7) Bye And Bye I’m Going To See The King (Luther Dickinson featuring The Rising Star Fife & Drum Band)

8) God Don’t Never Change (Lucinda Williams)

9) John The Revelator (Tom Waits)

10) Let Your Light Shine On Me (Maria McKee)

11) Dark Was The Night, Cold Was The Ground (Rickie Lee Jones)

Master Texas blues guitarist Smokin' Joe Kubek died from a heart attack on Sunday, October 11, 2015. He was 58. Kubek, who performed for nearly three decades with his longtime musical partner Bnois King, died shortly before he was to appear on stage at the Pleasure Island Seafood & Blues Festival in North Carolina. Billboard says, "Kubek is one of the fiercest Texas blues guitarists [who] plays blues-rock aimed at the gut level." Living Blues describes his music as "heavy, powerful and tough roadhouse blues, punchy Texas shuffles, and mighty fine roots rock."

Joe Kubek was born in Pennsylvania on November 30, 1956 but grew up just outside of Dallas. He was leading his own bands and gigging in clubs all around Dallas when he was only 14. He first heard blues by listening to Eric Clapton and Jeff Beck, Kubek soon discovered the music of Muddy Waters, Howlin’ Wolf and other early masters including Freddie King, Johnny Copeland and Lightnin’ Hopkins. By the time he was 19, he was backing many famous blues players in the area, including Freddie King. In 1976, Kubek was about to head out on tour with King when King died suddenly of a heart attack.

Kubek next worked with R&B singer Al “TNT” Braggs and made a host of new friends, including Albert King, Stevie Ray Vaughan (with whom Kubek became close), B.B. King and many other blues icons. He often found himself jamming with these larger-than-life blues stars, while playing constantly around the Dallas area. He not only learned tips and techniques, but also soaked up stories and lessons of being a professional touring musician. One night, he even had the chance to play B.B.’s guitar, Lucille. “B.B. admired my enthusiasm and he encouraged me, which really meant a lot. When times got hard, I always remembered how B.B. King had given me some encouragement.”

In 1989, Kubek met guitarist/vocalist Bnois King at a Monday night Dallas jam session. The two became fast friends, and melded their seemingly divergent styles -- Kubek a rocking and fierce picker and slider, King a subtle, fat-chord rhythm player whose solos are spontaneous and unpredictable -- into one of the most potent guitar combinations the Southwest had ever produced. Kubek explains the relationship succinctly: “I pull the blues out of him, and he pulls the jazz out of me. Bnois knows so much about jazz it’s amazing. Bnois fires me up. We are constantly pushing each other higher, complimenting each other’s solos. But it’s not planned. We never know what we’re going to do until it’s done.”

Kubek and King signed to Bullseye Blues and released their debut CD, Stepping Out Texas Style, in 1991. After conquering the Dallas scene, the band began touring clubs, concert halls and festivals nationally and internationally. Following a successful series of eight Bullseye releases, they signed to Blind Pig Records in 2003. As their popularity continued to build on the strength of their recordings and the energy of their live shows, the band’s touring schedule grew to over 150 dates per year all across the United States, Canada and Europe (where they have toured more than a dozen times), solidifying their place in the blues world with one jaw-dropping show after another.

Kubek and King signed with Alligator in 2008 and released Blood Brothers and followed up with Have Blues, Will Travel in 2010. They released four more albums after leaving Alligator and continued to tour non-stop. Their latest CD, Fat Man's Shine Parlor (Blind Pig), came out in February, 2015.

Kubek is survived by his wife, Phyllis.

Arrangements have not yet been announced.