R. L. Boyce, Cam Kimbrough, Joyce Jones and the Rising Star Fife and Drum Band at the Memphis Music and Heritage Festival


New Orleans’beloved Jazz Fest celebrates the wide diversity of New Orleans music, but the Memphis equivalent, the Beale Street Music Festival generally does not feature Memphis’ musical culture or history, despite the occasional appearance of a big Memphis or Mid-South act, such as Yo Gotti or the North Mississippi All-Stars. So people who want to delve deeply into the musical culture of Memphis and the surrounding area must look elsewhere, and fortunately, there is a festival geared particularly to the indigenous music cultures of the Mid-South, the Memphis Music and Heritage Festival. Founded in 1982 by a non-profit called the Center for Southern Folklore, the festival is a free event across two days and six downtown Memphis stages (four of them outdoors) where the best in local soul, blues, jazz, gospel, bluegrass, indie rock, fife-and-drum music, majorettes and drumlines are presented. The line-up is always surprising and enjoyable, but this year’s Saturday schedule involved a number of artists from the Mississippi Hill Country, including veteran Como bluesman R. L. Boyce, who recently released his third album Roll & Tumble on the Waxploitation label out of California, who was joined by guitarist Luther Dickinson at the Center for Southern Folklore stage. The highlight was a song that Boyce improvised on the spot for the victims of the flooding in Houston, entitled “We Can’t Drink This Water.” Young up-and-comer Cameron Kimbrough, a grandson of the late Junior Kimbrough, performed on the same stage with drummer Timotheus Scruggs and some assistance on tambourines from his mother Joyce Jones and R. L. Boyce’s daughter Sherena. Jones, affectionately known as “She-Wolf”, was herself featured with her band on the Gayoso Stage later in the day, performing several of her original songs, including “Poor Black Man” and “Juke Joint Party”, and Sharde Thomas, granddaughter of the late Otha Turner, performed with her Rising Star Fife and Drum Band on the large Peabody Place stage to a decent-sized crowd. These were just a handful of the hundred or so artists that performed each day on the various stages, and while the donation cans were passed around frequently, there were no VIP areas, no fenced-in areas, and no stages requiring tickets or wristbands. A day spent at the Memphis Music and Heritage Festival will immerse you in the diverse cultures of the people of Memphis and the Mid-South.








The Hill Country Blues Continues: Cameron Kimbrough and Joyce Jones Live at The Dirty Crow Inn

I had seen that Cameron Kimbrough, the grandson of Hill Country blues legend Junior Kimbrough, would be playing at The Dirty Crow Inn on Saturday night, but I had a gig of my own on the University of Memphis campus, so our decision to go to Cam’s gig was something of a spur-of-the-moment thing after my gig was over. Little did we know that we were in for an amazing blues experience in the little funky dive bar in South Memphis.

Of course, Cameron Kimbrough has been getting attention for several years as a powerful new voice in the blues, and his mother, Joyce Jones, who is an excellent blues singer, has been working on her debut album. But I was surprised to see the venue so packed with blues fans, particularly as it is a venue that doesn’t usually book blues, and it is in a somewhat out-of-the-way location.Cam was performing on drums when we arrived, joined by some local guitarists including Moses Crouch, a really-young harmonica player from North Memphis, and his mother Joyce Jones. They were set up on the enclosed deck, and there was hardly a table available, the crowd a combination of blues fans and basketball fans in town for the sweet sixteen tournament at the Fed Ex Forum. Unlike a lot of blues shows, much of Cam’s set was jamming, with songs being improvised extemporaneously on the spot, Joyce Jones adding vocal riffs that occasionally became something like song titles, perhaps.

When Moses Crouch came back on stage for the second set, the style was a little more orthodox, with familiar Hill Country tunes like “See My Jumper Hanging Out On The Line” and “Coal Black Mattie”, which Cam played on the guitar. But he also followed the traditional blues song with an original called “I’m Still Standing”, which highlights Cam’s unique ability to craft new material that still belongs firmly to the Hill Country tradition. As midnight approached, the crowd began to dwindle, but the music remained as strong as ever, powerful, relentless. We left, feeling that something of real importance had just happened in a hole-in-the-wall in South Memphis. It just might be possible that Cameron Kimbrough is the future of the Hill Country blues. (You can buy Cam’s debut EP Head For The Hills here and can listen to Cam’s earlier recordings here).




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Memphis Soul Legend Don Bryant Performs With The Bo-Keys at Loflin Yard


Once in a while, a local music show gets announced which I just cannot miss, and the announcement of a Don Bryant show with soul revivalists The Bo-Keys was just such a show. Better yet, it was being held at Loflin Yard, one of my favorite Memphis venues.
Don Bryant is one of Memphis’ forgotten soul geniuses. Originally a member of Willie Mitchell’s group The Four Kings, he recorded a number of soul sides for Joe Coughi’s Hi label during the 1960’s, but ended up becoming better known as a staff writer for the label, with “I Can’t Stand The Rain”, recorded by Ann Peebles in 1973 becoming his biggest hit. Bryant married Peebles in 1974, and soon disappeared from popular music. There were rumors that both Bryant and Peebles had transitioned to gospel music, and a few gospel releases appeared under Bryant’s name. Peebles would occasionally return to blues and soul music, but Bryant did not, at least until embarking on the recording of a new album “Don’t Give Up On Love” for the Fat Possum label out of Oxford.
Friday night’s show at Loflin Yard was primarily a showcase of the new songs, backed by Scott Bomar’s Bo-Keys, the highlight of which was a funky gospel tune called “How Do I Get There?” which is the single from the forth-coming album. Despite the drizzly weather, the venue was fairly crowded, and Bryant, at 74 years of age, was still in great form and voice, a consummate performer. And thanks to the Bo-Keys ,featuring such Memphis legends as drummer Howard Grimes and keyboardist Archie Turner, the backing sound was authentic, with live horns and real instruments, and no modern anachronisms. It was a once-in-a-lifetime opportunity to hear authentic Memphis soul music as it was intended to be heard.

A King Biscuit Daybook: Robert Finley Live on Cherry Street

New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos
New photo by John Shaw / Google Photos

63-year-old Robert Finley is from Bernice, Louisiana, near Ruston, and is well-known to the people in the Monroe, Louisiana area where he often performs. But he never made a record until his recent debut Age Don’t Mean A Thing on the Big Legal Mess subsidiary of Fat Possum Records out of Oxford. The Fat Possum imprint started with blues artists, and slowly seems to be heading back in that direction, having signed the 83-year-old Leo Bud Welch a couple of years ago for his debut album, and finding a similar artist in Finley.
This year’s King Biscuit Blues Festival found Robert Finley performing on Cherry Street in downtown Helena and signing copies of his new debut album, which I highly recommend.

Luther Dickinson Celebrates the Release of “Ballads and Blues” at Shangri-La Records

01 Beale Street Caravan002 Luther Dickinson003 Luther Dickinson004 Sharde Thomas005 Luther Dickinson006 Luther Dickinson007 Luther Dickinson008 Luther Dickinson010 Luther Dickinson Album Release Party011 Luther Dickinson Album Release Party012 Luther Dickinson013 Luther Dickinson014 Luther Dickinson015 Luther Dickinson017 Luther Dickinson019 Luther & Sharde020 Luther & Sharde021 Luther & Sharde022 Luther & Sharde1002 Sharde Thomas023 Luther Dickinson Fans024 Luther Dickinson Fans025 Luther & Sharde026 Luther Dickinson027 Sharde Thomas & Sherena Boyce028 Shangri-La Records029 Shangri-La Records1001 Luther Dickinson1003 Luther Dickinson1004 Luther Dickinson1008 Sherena Boyce & Luther Dickinson1006 Sharde Thomas & Sherena Boyce
When I heard that Luther Dickinson would be having a performance and album release party at Shangri-La Records on February 13, I naively had assumed it would be indoors, completely forgetting that there is no place indoors in the record shop where such a show could be held. As such, the event was held outside, and with it being February, the weather was extremely chilly indeed. But a decent crowd braved the elements to hear Luther perform songs from his new album “Blues and Ballads: A Folksinger’s Songbook, duly aided and abetted by the lovely Sharde Thomas on drums, while the good folks at Beale Street Caravan recorded the day’s proceedings. All in all, a chilly day for a worthwhile reason.



Kicking Off A New Year With Lightning Malcolm at Red’s

001 Lightning Malcolm002 Red's003 Red's004 Lightning Malcolm005 Lightning Malcolm & Sherena Boyce006 Lightning Malcolm007 Lightning Malcolm008 Sherena Boyce009 Red's010 Red's011 Lightning Malcolm012 Lightning Malcolm014 Sherena Boyce015 Lightning Malcolm016 Lightning Malcolm & Sherena Boyce017 Lightning Malcolm & Sherena Boyce018 Sherena BoyceJPG019 Sherena Boyce020 Lightning Malcolm021 Lightning Malcolm022 Red's023 Red's024 Red's025 Red's026 Lightning Malcolm027 Lightning Malcolm028 Red's029 Red's031 Lightning Malcolm032 Lightning Malcolm033 Red's034 Sherena Boyce035 Lightning Malcolm036 Lightning Malcolm & Sherena Boyce037 Sherena Boyce038 Lightning Malcolm039 Lightning Malcolm040 Red's041 Red's042 Red's043 Red's044 Red's2060 Red's2062 Lightning Malcolm2063 Lightning Malcolm & Sherena Boyce2064 Lightning Malcolm & Sherena Boyce
It may have been cold outside, but the new year got off to a hot start at Red’s Lounge in Clarksdale, Mississippi, with a live performance by Lightning Malcolm, one of the youngest generation of bluesmen who were mentored by R. L. Burnside and Junior Kimbrough and who help to preserve the unique Hill Country style of Mississippi blues. As for Red’s, it is really one of the last juke joints still functioning on a more-or-less regular basis, and one of the few places in the Delta where the state’s best blues artists appear frequently. The little lounge is routinely filled to the brim, as it was on this particular night as Malcolm treated the crowd to a mix of blues standards and material from his latest album Rough Out There. Not only was the club filled, but the dance floor as well.

A Rainy Day In Shreveport

001 The Kitchen, Monroe002 Day Old Blues Records003 Day Old Blues Records004 Rick's Records005 Artspace006 Artspace007 Artspace1928 Stan Lewis Exhibit1930 Stan Lewis Exhibit1932 Stan Lewis Exhibit1934 Stan Lewis Exhibit008 Texas Street011 Big D's Bar-B-Que012 Big D's Bar-B-Que1936 Port-au-Prince1940 Cross Lake1942 Port-au-Prince1944 Port-au-Prince1938 Cross Lake1945 Lakeshore Clothing & Music1946 Cedar Grove Wall of Hoods1947 Rhino Coffee
I usually spend the Friday before Grambling Homecoming shopping, searching for Grambling memorabilia and ephemera, as well as records and books. But this year, rather than spending the day in antique malls in West Monroe, where in recent years the pickings have been slim, I decided to head over to Shreveport and Bossier City instead, which somewhat proved to be a mistake. I had eaten breakfast at a downtown Monroe restaurant called The Kitchen, and had assumed because it wasn’t raining in Monroe that it wouldn’t be raining in Shreveport. Instead, the rain started in rather heavy at Ruston, and got worse the further west I went. As it turned out, I was dealing with heavy downpours almost the entire day in Shreveport. I spent the day visiting several antique malls, book shops, the new Day Old Records store (which hadn’t existed the last time I was in Shreveport) and flea markets. But the rain made things difficult, and I failed to find anything really of interest. Worse, a lot of familiar landmarks that I knew and loved in Shreveport were long gone, including Murrell’s, Joe’s Diner, Garland’s Super Sounds and Lakeshore All Around Sounds. Don’s Steak and Seafood was abandoned and about to be torn down. However, when I learned that there was an exhibit at Artspace downtown that was honoring Stan Lewis, the owner of Stan’s Record Shops and the Jewel/Paula/Ronn family of record labels, I headed over there to check it out. Actually, a museum was a decent place to be on such a wet and rainy day, and I ended up purchasing a Jewel/Paula/Ronn T-shirt from the museum’s gift shop. As I headed down Texas Street, I came past the Louisiana State Fairgrounds, where the State Fair of Louisiana was going on despite the rain, and across the street at Fair Park High School, the marching band was marching around the school building performing, and traffic was temporarily stopped in all directions. I wasn’t sure if it was a special event due to the fair, or whether it was something that happens every Friday at the school. Unfortunately, the nearby Dunn’s Flea Market, where I often used to find Grambling memorabilia, was closed, presumably due to the rain.
One bright spot in an otherwise dull and depressing day was that the former Smith’s Cross Lake Inn had been reopened by new owners under a different name, Port-au-Prince. This had been my favorite restaurant in Shreveport for many years, before it closed abruptly and was boarded up. The new restaurant has a beautiful setting and decor, but the menu is a little more low-end than its predecessors. The emphasis is on catfish, and while a filet mignon remains on the menu, most of the small crowd that was there ordered the catfish, as I did. For the most part, I was pleased with the food. The catfish was excellent, and the strangely sweet french fries, while unusual, grew on me with time. What I didn’t particularly like was the restaurant’s policy of giving everyone hush puppies, bean soup, cole slaw and pickles, whether they want any of those things or not. Still, the overall experience was positive, and the view of the lake cannot be beat. My dinner there cheered me greatly.
Afterwards, I headed by a new place called Lakeshore Clothing and Music, which indeed had a decent selection of rap and blues compact discs as well as clothing, and then I made one last stop at Rhino Coffee, a cheerful coffee bar on Southfield Road that also did not exist the last time I was in Shreveport. The breve latte they made for me was delicious as I headed back east on I-20.
When I got to Grambling, the rain had stopped, at least temporarily, and I stopped at an outdoor stand and bought a couple of Grambling T-shirts and a Grambling jacket. I made a drive around the campus, where there was actually something of a crowd out and about, taking advantage of the lull in the rain. But there didn’t seem to be a whole lot going on, and I could not get in touch with my friend, Dr. Reginald Owens, so I headed on back to Monroe. The rain had started again, and I ended up going to the hotel room and to bed.

Celebrating Jim Dickinson’s Beale Street Saturday Night With Sons Of Mudboy at Shangri-La Records

001 Son of Mudboy002 Son of Mudboy003 Son of Mudboy004 Son of Mudboy005 Son of Mudboy006 Son of Mudboy007 Son of Mudboy008 Shangri-La Records009 Son of Mudboy010 Son of Mudboy011 Sharde Thomas012 Cody Dickinson and Sharde Thomas013 Son of Mudboy fans014 Son of Mudboy015 Son of Mudboy016 Son of Mudboy017 Son of Mudboy018 Son of Mudboy019 Son of Mudboy fans020 Son of Mudboy021 Son of Mudboy and Sharde Thomas022 Sharde Thomas
The late Jim Dickinson was passionate about Memphis’ Beale Street. He carried on a running feud in song with the Memphis Housing Authority and Memphis’ city government over its rough treatment of Beale Street during so-called “urban renewal”, and it was almost certainly at Dickinson’s suggestion that Alex Chilton’s early working title for Big Star’s third album was “Beale Street Green”, a reference to the green fields that surrounded the entertainment district once the surrounding neighborhoods had been destroyed (the poetic title would later resurface as a movement of instrumental music on one of Dickinson’s Delta Experimental Projects). So when the Orpheum Theatre commissioned Dickinson to put together an album as a fund-raiser, he responded with a recorded paean to his beloved street, now endangered by civic ineptitude, an album called Beale Street Saturday Night. The album was somewhat bizarre, consisting of two unbanded sides that played continuously. Songs and interview clips faded seamlessly into one another, more like a radio documentary than an album. For years, the album was a highly-sought collector’s item, but it has now been lovingly reissued by the Omnivore label, and to celebrate that fact, Shangri-La Records in Midtown sponsored a performance of Sons of Mudboy, that most elusive group of Memphis musicians and folklorists, centered around Cody and Luther Dickinson and Steve Selvidge, along with Jimmy Crosthwaite of Mudboy and the Neutrons, the supergroup that started it all. Hearing a Sons of Mudboy concert is like taking a crash musicology course in Memphis music. First, there are no genre barriers, as the group works seamlessly from blues, to rock, to bluegrass, folk or gospel. Some of the songs are originals, or at least songs that were original to Jim Dickinson, Sid Selvedge or Lee Baker of Mudboy and the Neutrons, while many others are covers, which range from Furry Lewis to Sleepy John Estes to Mississippi Fred McDowell. This performance was somewhat unusual in that it opened with Jim Dickinson’s “Power To The People” which is usually a closer, and so it closed with the Hill Country blues standard “When I Lay My Burden Down”, where they were joined by the great Sharde Thomas on the cane fife. A crowd of about 100 people enjoyed the unexpected sunny weather (storms had been predicted) and pleasant temperatures, the perfect setting for a great afternoon of Memphis music.








Buy Jim Dickinson’s Beale Street Saturday Night here if your local store doesn’t stock it:
http://omnivorerecordings.com/music/beale-street-saturday-night/

Keep Up With Sons of Mudboy here:
https://www.facebook.com/SonsOfMudboy

Record Store Day in Memphis

001 Goner Records Record Store Day002 Goner Records003 Record Store Day, Goner Records004 Goner Records005 Goner Records006 The BlackBerries007 The BlackBerries009 The BlackBerries010 The BlackBerries011 Shangri-La Records012 Shangri-La Records013 Shangri-La Records014 Beale Street015 Beale Street016 Beale Street017 Memphis Music019 Beale Street020 Memphis Music021 Artistik Approach022 Artistik Approach023 Beale Street024 Beale Street025 Beale Street026 Beale Street027 Beale Street028 Beale Street029 Beale Street
Record Store Day is a worldwide holiday held in April to call attention to an endangered species, the neighborhood record store. Record companies release all kinds of cool limited-edition vinyl LP’s and singles, and local stores often sponsor live performances on the day, and with vinyl sales picking up all the time, the future of independent stores doesn’t seem quite as bleak as it did a few years ago. In Memphis, three stores were official Record Store Day participants, and the first one I visited was Goner Records in the hip Cooper-Young neighborhood. Goner is a record label as well as a store, and not surprisingly they made a big deal of the day, with live bands such as the Blackberries out under the gazebo at Cooper and Young, and a store literally full of customers.
Things seemed more subdued at Shangri-La Records on Madison Avenue, although they had opened an hour earlier than Goner. They had decided to have their live music the next day on Sunday, when they were having Son of Mudboy play for an album release party for the reissue of Jim Dickinson’s legendary Beale Street Saturday Night compilation, but there were still a number of crate diggers enjoying their Saturday afternoon by browsing.
The third and final store participating in Record Store Day was Memphis Music, the blues-oriented record store on Beale Street, where the Memphis Music Commission had decided to sponsor live performances. Unfortunately, things were quite hectic on Beale, with a Corvette competition, and the annual Africa In April festival at Church Park, but small crowds gathered to enjoy Memphis singer-songwriter Michael Joyner and the a cappella vocal group Artistik Approach. It needs to also be pointed out that Memphis Music has greatly increased its vinyl selection over the last year or so, and is not just a store for tourists, but is worth a visit from local music lovers as well. It’s selection of import CD”s, particularly those with a Memphis connection, is also worth browsing.

Goner Records
2152 Young Av
Memphis, TN 38104
(901) 722-0095
https://www.goner-records.com
https://www.facebook.com/pages/Goner-Records/73295355242


http://goner-records.tumblr.com
https://www.youtube.com/user/GonerRecords

Shangri-La Records
1916 Madison Av
Memphis, TN 38104
(901) 274-1916
http://shangri.com
https://www.facebook.com/ShangriLaRecords
http://www.shangrilaprojects.com

Memphis Music
149 Beale St
Memphis, TN 38103
(901) 526-5047
http://memphismusicstore.com

An All-Star Gala of Hill Country Blues at Leo Bud Welch’s Album Release Party

001 Jason Carter002 Jason Carter003 Jason Carter004 Jason Carter005 Jason Carter006 Jason Carter007 Leo Bud Welch & Duwayne Burnside008 Leo Bud Welch, Duwayne Burnside & Jimbo Mathus009 Leo Bud Welch, Duwayne Burnside & Jimbo Mathus010 Leo Bud Welch, Duwayne Burnside, Duwayne Jr & Jimbo Mathus011 Jason Carter012 Jason Carter013 Jason Carter014 Jason Carter015 Robert Bilbo Walker Limo016 Robert Bilbo Walker Limo017 Robert Bilbo Walker Limo018 Robert Bilbo Walker Limo019 Hill Country Blues Pavilion020 Hill Country Blues Pavilion021 Welcome to Foxfire Ranch022 Duwayne & Gary Burnside023 Duwayne & Gary Burnside024 Duwayne & Gary Burnside025 Hill Country Blues Pavilion026 Foxfire027 Cedric Burnside028 Cedric Burnside029 Cedric Burnside030 Duwayne Jr031 Passing The Tradition On032 Cedric Burnside Project033 Trenton Ayers034 Cedric Burnside035 Cedric Burnside Project036 Cedric Burnside037 Duwayne Jr038 Trenton Ayers039 Cedric Burnside040 Cedric Burnside Project041 Cedric Burnside Project042 Cedric Burnside Project043 Trenton Ayers044 Cedric Burnside Project045 Hill Country Blues Pavilion046 Duwayne Burnside & Son047 Leo Bud Welch On The Road048 Cedric Burnside Project049 Foxfire Ranch050 Hill Country Pavilion051 Dancing052 Cedric Burnside Project053 Dancing054 Dancing055 Jimbo Mathus056 Jimbo Mathus057 Jimbo Mathus058 Jimbo Mathus059 Jimbo Mathus060 Jimbo Mathus061 Jimbo Mathus062 Jimbo Mathus063 Jimbo Mathus064 Jimbo Mathus065 Jimbo Mathus066 Jimbo Mathus067 Jimbo Mathus068 Jimbo Mathus069 Robert Bilbo Walker070 Robert Bilbo Walker071 Robert Bilbo Walker072 Robert Bilbo Walker073 Robert Bilbo Walker074 Robert Bilbo Walker075 Robert Bilbo Walker076 Robert Bilbo Walker077 Robert Bilbo Walker078 Robert Bilbo Walker079 Dancing080 Sherena081 Robert Bilbo Walker082 Leo Bud Welch083 Leo Bud Welch084 Leo Bud Welch085 Leo Bud Welch086 Leo Bud Welch087 Leo Bud Welch088 Leo Bud Welch089 Leo Bud Welch090 Leo Bud Welch091 Leo Bud Welch092 Sherena093 Dancing094 Leo Bud Welch
Perhaps Easter doesn’t bring thoughts of blues to many people, but this Easter evening was the occasion for an amazing event at Foxfire Ranch celebrating the release of a new album by 84-year-old bluesman Leo “Bud” Welch. Welch’s story is amazing, for he is an authentic traditional bluesman who remained undiscovered until 2013 at the age of 82, when he began recording his first record. He signed with Fat Possum’s Big Legal Mess subsidiary the same year, and released his debut album Sabougla Voices, which was a gospel record. (“Sabougla” is a hamlet in Calhoun County, Mississippi where Welch is from). Gospel is Leo’s preferred music, but his young audiences love to hear him play blues, and he does so on his sophomore album, which is aptly entitled I Don’t Prefer No Blues. But to celebrate its release, rather than a typical release party, a full evening of live Hill Country blues was scheduled at the Hill Country Pavilion at Foxfire near Waterford, Mississippi. Although the sun was out, the day was chilly, but a decent crowd showed up at 5 PM for the opening act, Jason Carter, who performed acoustically with another guitar player. Right behind him came Cedric Burnside and Trenton Ayres, collectively known as the Cedric Burnside Project, who got things crunk with the heavy, rock-inflected brand of blues they play, including one of Cedric’s trademark extended drum solos. Several members of the legendary Burnside family were in the audience, including Duwayne and Garry Burnside. The next act up was something a little different. Jimbo Mathus and the Tri-State Coalition are also on the Fat Possum label, and are more of a strange but winsome amalgam of indie rock, traditional country, blues and funk, which Jimbo whimsically calls “catfish music”. Although he maintains a different sound than Hill Country blues, the influence of blues can be heard through much of his work. Robert “Bilbo” Walker is 76 years old nowadays, and is a former Mississippi bluesman who currently lives in California. Although he is originally from Mississippi, his music has considerable Louisiana and swamp influences, which came to the forefront in his reading of the classic blues/soul song “Staggerlee”. Finally, at the end of the night, Leo “Bud” Welch came up with his three-piece band and performed a collection of songs from the new album, which he had available for sale there at the pavilion. When things finally came to an end around 10 PM, there was still a decent crowd.













Keep Up With Jason Carter & The Healers:
https://www.facebook.com/jasoncarterandthehealers/info?tab=page_info

Keep Up With Cedric Burnside:
http://cedricburnside.com
https://www.facebook.com/cedric.burnside.5

Keep up with Jimbo Mathus:
http://jimbomathus.com
https://www.facebook.com/jimbomathus
https://www.youtube.com/user/jimbomathusvideo

https://myspace.com/jimbomathus

Keep up with Robert “Bilbo” Walker:
https://www.facebook.com/pages/Robert-Bilbo-Walker/144881378903373

Keep up with Leo “Bud” Welch:
http://www.leobudwelch.com
https://www.facebook.com/leobud.welch

Keep up with Foxfire Ranch:
http://www.foxfireranch.com
https://www.facebook.com/foxfireranch2008

Keep up with Fat Possum Records & Big Legal Mess Music:

Home


https://www.facebook.com/FatPossumRecords



https://fatpossumrecords.bandcamp.com
http://biglegalmessrecords.com
https://www.facebook.com/pages/Big-Legal-Mess-Records/134672929932373