Jus Blues Room Blog

Welcome to Jus Blues Room

Welcome to Jus Blues Room Thank you for visiting the Welcome to Jus Blues Room - the place where you will find the best Blues, Southern Soul and R&B artists. All of the artist here are members of the Jus Blues Music Foundation http://www.jusbluesmusicfoundation.org Test

Welcome

Welcome to the Jus Blues Room! This is a place where you can check out fellow musicians and vocalist, see what's happening in other parts of the worls and make new friends. You can add videos, songs, photos and shows. Tell the folks what you are about in you bio and keep people in the know on your very own blog.... Come on, whatcha waitin on?

Maxine Brown

Welcome to my Jus Blues Room web site

SOUL/BLUES VALENTINES CRUISE 2009

Make your valentine a celebration of love aboard the 2009 Valentine's Soul/Blues "Swing Out" Cruise Featuring Lil’ Fallay Carnival Ecstasy® Feb 12-16 Thur-Mon 4D Fr Galveston to Cozumel, Mx-Scheduled to leave at approx. 4pm and return approx.8am Limited cabins. Couples, singles, Line dancers welcome!! Rates are cruise only include port, taxes, fuel supplement and charges, based on availability, subject to change until booked. *Guarantee Cat. 4A/6A FREE Upgrades (within same cabin category) to highest deck based on availability, cabins assigned after final payment. Free upgrade not applicable to suites. Visit: www.lilfallayboy.com for video/music clips, order cd’s and more info about Lil’ Fallay Cabin Type 1 Person 2 People 3 People 4 People Oceanview 6A* $840 $490 ea $415 ea $380 ea Inside 4A* $720 $430 ea $370 ea $340 ea Suites and assigned cabins on other decks, call Denise for rates& deposit Non-refundable Cabin Deposit: $50 per person March 3, 2008 ½ balance less deposit due by July 1, 2008 Final Payment Sept. 1, 2008 Note: Passports required for cruise travel Visit www.travel.state.gov for forms, eff date, where to apply, processing time, etc. Apply early Limited cabins. Reserve yours NOW!! Call Cruise Coordinator, Denise Labrie at 281-436-0405, 713-560-3284 (cell) TODAY!! Or Visit: www.deniselabrie.com. Rates are US Dollars cruise only per person, double occupancy, includes: Port, taxes and charges, on board meals, entertainment, activities, fitness center, room service. Add’l charges apply for: Insurance ($69 per adult, $29 per child 16 & under), gratuity $10/day per person, land tours (approx. $29-$99 per person), spa/salon services, gift shop purchases, gambling, bar beverages (alcoholic, bottled water & sodas), etc. Note: Camp Carnival ages 2-14, Club 02 teens 15-17 Group booking requires min. 15 cabins. Labrie Group departure, schedule and rates as of Jan. 18, 2008 are subject to change without notice. Some restrictions (including stateroom category availability) apply. Limited 3/4 person cabin & suites available. Cancellation penalties and additional charges for name changes apply. Refunds may take 30 days+ to process. Rates are subject to change without notice, based on availability. Call Denise 281-436-0405 or 713-560-3284 (cell) to check current rates and availability. Complete and mail to: Denise Labrie, 13018 Woodforest Blvd., Suite N, Houston, TX 77015, E-mail: deniselabrie@sbcglobal.net Call 281-436-0405, 713-560-3284 (cell), fax to 281-436-0406 (Direct fax line) Deliver to: Passport Travelers 13018 Woodforest Blvd., Ste. N, Ho., TX *Name: __________________________________________ Birth date: ____________ (First/Last name as listed on passport) (DD/MM/YY) *please indicate w/name Mr/Mrs/Ms – must be 21 or over to sail without parent, grandparent or guardian Cabin type: _____ No. of Cabins ___No. of people in each cabin: ___ Prev. Guest No. _________ *Sharing cabin with: ________________________ Birth date: ____________ (please continue on reverse) *please indicate with name(s) listed above or on reverse Mr/Mrs/Ms/Master/Miss If sharing cabin with minor under 21 (note: parent, grandparent or guardian must be 25 yrs or older, infants must be at least 4 mos old to travel) indicate relationship to child __________________ Celebrating wedding, anniversary or birthday during cruise? __________ (pls. provide date of event) Address: _______________________________ City/State/Zip: ________________________ Phone No.: Day ( ) ___________ Evening ( ) ____________ E-Mail Addr.: ______________ Emerg. Contact Phone while on the cruise: ( ) ________ Citizenship: _____________ (country) Payment Amt.: $_______ Type: Cash__ Cashier’s Check/Money Ord/Cr. card check__(payable to: The Creole Poet or Denise Labrie No personal checks or cr. cards please) Receive 1 free cruise for every 15 paid in full group rate passengers referred to this group (cruise only credit based on group’s majority cabin type, port, taxes and charges still apply, Only 1st/2nd group rate passenger in cabin count toward 15, not applicable toward future cruises) Referred by: 1-18-08

jus blues in memphis

Here I am at the Historic Daisy theater on Beale Street. My time in Memphis for the Jus Blues technology conference and 2008 Awards has been very interesting. It was good meeting some of those experienced in this music biz as well as hearing some wise words of the elders like Joe Simon and Al Bell. And I heard some talented performers from the South and West. Nice to see my fellow Chicagoan Nellie Tiger Travis showing her stripes here. Hope more Chicago musicians can be represented in Jus Blues. Times are tough up there as they are down here. Clubs are paying real blues and soul musicians very little. Some fine indigenous Mississippi bluesmen playing out on Beale street making only $20 in tips for the night.

This Is A Test

Test Test

A Black Star In Early Country Music

The Grand Ole Opry's First Star was none other than the legendary "Harmonica Wizard," DeFord Bailey-- an African American born and raised 40 miles east of Nashville. Born in 1899 in rural Smith County, Tn., DeFord Bailey was the grandson of a freed slave who had fought for the Union Army during the Civil War. After his mother died when he was only a year old, his father's sister Barbara Lou and her husband effectively became his foster parents, caring for him throughout the rest of his childhood. Bailey learned the traditional tunes of what he would later call "Black Hillbilly Music" from his grandfather, aunt and other family members. He learned to play the harmonica while still a baby, and it remained his favorite instrument, but he was a multi-talented musician, able to play banjo, guitar, mandolin and even a bit of violin. In 1925 WSM Radio Nashville began the Saturday Night Show of Authentic Folk and Country Music that would become the Barn Dance. The harmonica master joined the Opry when it was still known as the WSM Barn Dance. It was renamed the Grand Ole Opry by popular Radio Announcer George D. Hay in 1927. Bailey carried the shows during the early years, offering a balance to other performers such as Uncle Dave Macon and the McGee Brothers. He had the soul of a Jazz Artist; often improvising on the spot-- each performance was different and equally special. After a typically great performance of his classic train song, "The Pan American Blues," Hay mouthed the phrase that would become music history. "For the past hour we have been listening to music largely from Grand Opera, but from now on we will present The Grand Ole Opry." The legendary Grand Ole Opry and DeFord Bailey, its first star, were born. DeFord Bailey’s popularity led the enthusiastic Hay to choose him as one of the Opry acts to be recorded by Columbia Records during a session in Atlanta, early in 1927. Bad business practices made DeFord Bailey cancel his deal and sign with Vocalion. Vocalion, Brunswick's sister label, created a series. These series sessions would yield eight songs, including "Pan American Blues," the only recordings by a black performer among the series. A year later, George D. Hay set up the first recording session to ever take place in Nashville, luring the Victor label to town to record his Opry Performers. DeFord. Bailey took part in this historic session, cutting eight new songs in four-and-a-half hours. Three of these cuts would later be released by Victor-- the last, "John Henry" in 1932. Reissues of the material were released as late as 1936. Even though there is evidence that the labels made a lot of money, Bailey saw little remuneration from these recordings, and never really tried to record again after 1928. DeFord Bailey toured constantly during the 1930’s with several bands, playing tent shows, county fairs and theaters across the country, always returning to the Opry Stage for Saturday Night's Performance. In 1938 he agreed to help publicize Roy Acuff's Smoky Mountain Boys by touring with them over the next couple of years, directly lending a hand to Acuff's future stardom. May of 1941, his sixteenth year with the Grand Ole Opry, DeFord Bailey the Grand Ole Opry's First Star was fired in a mystery often covered up or neglected by Country Music Historians. In his account of the Opry popular Radio Announcer George D. Hay wrote” "Like some members of his race, DeFord was lazy. He knew about a dozen numbers, which he put on the air and recorded for a major company, but he refused to learn any more." "It's a terrible thing for the company to say terrible things like that about me," Bailey said in an interview. "I can read between the lines. They saw the day coming when they'd have to pay me right, and they used the excuse about me playing the same old tunes. I told them years, I got tired of blowing that same thing, but I had to go along with them, you know. They held me down-- I wasn't free." Nashville Mayor Phil Bredesen declared December 14, DeFord Bailey Day, to honor the birthday of this musical legend, but at the Opry, he has been deleted from history.

BLAZIN & STEPPIN

http://community.tyrashow.com/profile/HONEYBLO

5 Recording Tips

Question to Studio D from St Louis Hello Studio D HOB, how can me and my band make sure that we get the most out of our time at Studio D. Here are five tips from Studio D HOB and Friends. Recording studio time is expensive, even if you're using the Studio D HOB 5 Hour Bundle. So make the most of the time you've got in the studio, its really important. Here's 5 tips to keep in mind as you get ready to enter the studio, especially if you're a first-timer. Keep in mind, these all come from experience -- I've been there, and as an engineer, everything I'm telling you comes from true experience! 1. Have Your Songs Prepared. This one goes without saying, but you'd be surprised. You and your band should be able to play through every song you plan on recording, and play through it well. Time spent working out arrangements in the studio is valuable time you can be using to add overdubs and other little things to make your songs shine! Also, keep this in mind: if you're using any sequenced parts or electronic instruments, make sure you've got those parts arranged and pre-recorded before you enter the studio. The last thing any one has time to do is wait for you to remember how your electronic arrangement goes. 2. Hangovers Are Bad. Sure, getting into the studio is a great time, and it's definitely cause for celebration, especially if it's your first album. But trust me on this one: lay off the alcohol, drugs, and late-night partying before getting into the studio. A lot of younger bands are more into the "scene" than they are making the actual record, and that's unfortunate. And remember, always respect studio house rules on booze. Come to the studio well-rested and ready to work. If you're a singer, rest your voice, drink plenty of water (including room-temperature water when you're in the studio -- ice is bad for vocal cords!). 3. Always Use New Strings & Heads. Guitarists & bassists, listen up. Bring new strings to the session, and don't cheap out, either -- go with good quality strings. Your recording quality will suffer with old strings, and no, I don't care if that's the sound you're going for. You'll thank me later. Drummers, bring new heads -- and make sure they're tuned right on your kit -- and new sticks. And for everybody? BRING SPARES! You don't want to be holding up the session because you needed to send your girlfriend out to Guitar Center for you. 4. Know Your Sound, And Be Realistic. Make sure your producer/engineer understands what sound you want, but keep in mind, they can't exactly reproduce another album's recording conditions for you. Just because your favorite band's drum tracks sound a certain way doesn't mean yours can -- that is, unless you use the same drummer, same kit, same room, same mics, same everything. Bring some examples of styles you'd like to see reflected in your work to your producer/engineer ahead of time, and let them explain to you how they can split the difference to help your project come out as close to what you want, and remember: individuality IS a good thing! 5. Know When To Quit. Adrenaline runs high in a situation like a recording studio, especially when you're racing to beat the clock to save money. But knowing when to quit can be really helpful, too. The longer you push your ears, and longer you physically continue to perform, you'll get tired and thus your performance will suffer. It's better to know when to walk away for the day, and come back the next day refreshed and ready to go. It's not failure, it's making the best of your time. Your producer and engineer are susceptible to fatigue, too; keep them in mind when trying to fit in a marathon recording session with your band.

Zakiya Hooker - New CD!

When your daddy is blues icon, the late great, four-time Grammy winner John Lee Hooker, what's a blues sangin' sista to do? When posed with that dilemma, Zakiya Hooker has only one answer, and that is, "to keep it real". And on June 16th, 2009, she plans to do just that when she releases her new CD, "Keeping It Real" produced and recorded by her husband, Ollan Bell, on Boogie With The Hook Records. This is her fourth CD release. "Keeping It Real" will see her dueting with her dad, singing (or is that sangin'?) the blues in Spanish and just downright keeping it real! Zakiya has performed with such greats as Etta James, Charles Brown, John Hammond, Taj Mahal and many others. She has performed nationally and internationally in Paris, Amsterdam, London and Switzerland. She has graced the stage at the world famous Filmore Auditorium, The San Francisco Blues Festival and the Monterey Jazz & Blues Festival. The Blues transcend the family hierarchy and given the honor of the name, Zakiya Hooker holds the Blues torch lit with a duet with her father John Lee Hooker on "Rock These Blues Away". Zakiya is a strong versatile vocalist and performer. She has carved out a market for herself with her Contemporary Jazzy Blues sound that takes you in and out of songs like "What Am I Gonna Do", "Keeping It Real" and the topical, relevent "Love Foreclosure" a song about the sign of the times.

MS TAYLOR P COLLINS SIGNS WITH HEARON RECORDS!!

Ms. Taylor P. Collins has just signed with Hearon Records in Las Vegas!! Taylor is very excited to be working with CEO Don "Kattman" Hearon and Vice President BB Queen..watch out for some great things!!

CD's, Music Videos, and Television Shows

Southern Soul, Blues, and Jazz singers, if you have a professional Cd, Music Video, or any kind of talk show you want aired on internet radio or television e-mail me don@kattman.com. All product become property of Hearon Media Inc. Check our website at http://www.kattman.com Kattman

The Blues & Abstract Truths

Blue-jazz Acquisitions: 1/29/09 McCoy Tyner, Afro Blue (2007) Ike Quebec, Blue & Sentimental (1961), feat.,

Ike Quebec, Tenor sax & piano,
Grant Green, guitar
Sonny Clark, piano (Track 6)
Paul Chambers, Bass
Sam Jones, Bass (Track 6)
Philly Joe Jones, Drums
Louis Hayes, Drums (Track 6)

SAM-ONE' S " LETS MAKE LOVE TONIGHT " #1 FOUR WEEKS ON BLUES CRITIC RADIO SOUL BLUES CHART !

GET HOT SINGLE @ CD BABY.COM. THANK YOU FOR YOUR SUPPORT.

See y'all in Memphis

Looking forward to meeting a lot of my musical brothers & sisters at the Jus Blues convention in Memphis Aug. 6-8. Blues is the root of our African American music and a lot of American popular music. Without us this would be a very boring country! Blues has got to regrow from its roots in the black community. I look forward to new collaborations with many talented people. "Barrelhouse Bonni" McKeown will be coming to the conference with me. She is from W.Va. and has been working for more recognition and better pay for myself and black musicans in general. Check her website, she's a member of JusBlues too.

Who We Are

Jus` Blues Music Foundation, Inc. is a 501(c)(3) national non-profit organization with the Internal Revenue Service. Jus` Blues Music Foundation, Inc. strives to promote the Arts, education, business, and philanthropic events as we also strive to preserve America's traditional heritage of Blues & Soul music in our schools, nationwide and abroad.

BLACK MUSIC HISTORY

Has it ever occurred to you to teach a youngster WHY they make music? It is historically known that we as a people have used music as a tool for various reasons. Upon our forced migration to this country the 2 main sources of communication among our people were removed, our tribal language and the DRUM. Our combined creativeness coupled with the need to subversively communicate among one another started the musical work song tradition. Songs that were sung to the swing of the hoe, pick or axe and helped set a pace for combined work efforts, but also allowed subversive communication between families, and plantations. Between 1660 – 1860 one of the greatest influences upon Black music was the religion that the slave masters forced on our ancestors. As slaves our ancestors were not able to meet in any groups outside of the workforce unless it was church. The first series of hymns that slaves were legally able to sing were songs created by Dr Issac Watts of England. The poetry of Dr. Watts took the religious world of dissent by storm. It gave an utterance, till then unheard in England, to the spiritual emotions, in their contemplation of God's glory in nature and his revelation in Christ, and made hymn-singing a fervid devotional force, something that fit right in with our people. With the onset of Dr Watts hymns came the camp meetings where our music developed tambourines, banjoes and the occasional drum. From these poor beginnings came the Spirituals, music that was made to describe the feelings of a group of individuals. This music also morphed into a version of music that describes a large portion of our culture the foundation of the Blues. After slavery two main influences helped shape the global convergence of American Black music. The first was the opening of Fisk University and the Fisk Jubilee Singers. These singers were the first internationally acclaimed group of African-American musicians who attained first recognition, then fame, and along the way, financed their school. The talented vocal artists introduced "slave songs" to the world and, in many opinions, preserved this music from extinction. The second was the creation of blues by post-slavery Blacks in Texas, Alabama, Tennessee, Mississippi, everywhere, which led to the first written blues, "The Memphis Blues," published in 1912, and great blues singers like MA RAINEY and BESSIE SMITH. February 14, 1920. MAMIE SMITH recorded the first major "race record," "That Thing Called Love" and "A Good Man is Hard to Find," for Okeh Records. BESSIE SMITH and other artists sold a phenomenal number of records and ensured the survival of Columbia and other recording companies. Gospel and Blues developed along very similar lines and in fact several major contributors to Black music were known to play both styles. One of the most prolific writers and performers was Thomas Dorsey. Reverend Dorsey as he was known in his later years was a composer and pianist for Bessie Smith and Ma Rainey, plus he wrote some of the most performed Gospel songs in history. In the late 1890’s a new sound was created by Blacks in Louisiana, Texas, Missouri and other places, followed by creative syntheses by great individual performers like BUDDY BOLDEN, JELLY ROLL MORTON, LOUIS ARMSTRONG and others. This was the collective creation of Jazz music. On November 11, 1925, Louis Armstrong recorded the first of the Hot Five and Hot Seven recordings that defined the rhythmic and improvisational foundation of jazz. Once again music had been created that attempted to describe the emotional and spirit filled anxiety of our race. The first all Black owned record company based in Harlem and founded in May of 1921 Black Swan Records was created by Harry Pace. Fletcher Henderson was the recording manager and played piano accompaniment, while William Grant Still was arranger and later musical director. Artists on this label included • C. Carroll Clark, baritone, made the label's first record. • Four Harmony Kings, vocal quartet • Henry Creamer and J. Turner Layton, vaudeville duo • Katie Crippen, vaudeville singer • Kemper Harreld, violinist • Revella Hughes, soprano • Alberta Hunter, blues singer • Trixie Smith, blues singer, was second only to Ethel Waters in Black Swan sales. • Florence Cole Talbert soprano • Ethel Waters, blues and pop song singer. She had the label's first commercially successful records, and remained their best seller. This company produced several firsts that can be seen manifested today. 1. Publishing house that became a record label 2. Created multiple genres of music, classical, instrumental, gospel and blues 3. "Mamie Jones" was actually a pseudonym on Black Swan for singer Aileen Stanley, perhaps the only Caucasian artist to record for the label (she was "passing for colored" on these records). 4. The company declared bankruptcy in December 1923. As a result, in March 1924 Paramount Records bought the Black Swan label. White owned record companies began to recognize the demand for black artists to the point that major companies began publishing music by these performers. In addition, the Chicago Defender credited Mr. Pace with bringing major companies to begin targeting the black audience and advertising in black newspapers. Paramount discontinued the Black Swan label a short time later, but kept the artists recording under their label. Several other advents helped Black music‘s popularity, on May 23, 1921. Shuffle Along, the first of a series of popular musicals featuring Black talent, opened at the 63rd Street Musical Hall in New York and Blacks began to invent Broadway or, at a minimum, Broadway musical culture. Two years later, on October 29, 1923, Runnin' Wild opened at Colonial Theatre on Broadway, introducing America's first dance hit, the Charleston, to the world. In 1925. PAUL ROBESON made his debut as a bass-baritone in the Greenwich Village Theatre singing the first concert consisting solely of Negro spirituals. On December 4, 1927. DUKE ELLINGTON opened at the Cotton Club, Harlem's Jim Crow musical magnet, marking the formal beginning of the Swing Age and the Age of the Big Bands of COUNT BASIE, ERKSKINE HAWKINS, JIMMY LUNCEFORD and, later, BILLY ECKSTINE. Ellington, who was arguably America's greatest composer, extended the harmonic and structural dimensions of jazz, which has been called America's classical music. The 1930’s gave rise to an entire new era of Black Music. New Black urban migrants from the south to the north redefined church music, giving it a rhythm and passion that THOMAS DORSEY, the "Father of Gospel Music," put down on paper and SALLIE MARTIN and, later, MAHALIA JACKSON sang. In addition to inventing a name for the new sacred music of black Americans, organizing its first chorus, its first annual convention, and founding its first publishing house, Dorsey is credited with establishing the tradition of the gospel music concert. In the 1940’s Jazz took another divergence when CHARLIE PARKER and DIZZY GILLESPIE brought their musical groups to New York's 52nd Street, inaugurating the Be-Bop age and changing the structure and harmonic foundations of modern jazz. Still Black music in all of its forms attempted to describe the feelings and spirituality of not only its creators but of its listeners as well. The 1950’s saw an explosion of Black music, RICHARD (LITTLE RICHARD) PENNIMAN recorded "Tutti Frutti," and CHUCK BERRY recorded "Maybelline," followed by other recordings by Black artists (BIG MAYBELLE, WILSON PICKETT and others) who influenced the Beatles and Elvis Presley and played major roles in the development of rock `n' roll. SAM COOKE, a well-known gospel singer, crossed over into what some then called "rhythm and blues," recording "You Send Me," which marked the beginning of soul music. MILES DAVIS recorded “Kind of Blue”, "a milestone in jazz history," which changed the directions of modern American music. Motown Records was founded by BERRY GORDY JR., who gave the world the JACKSON 5, the SUPREMES, STEVIE WONDER and MARVIN GAYE, and who helped change the understanding, marketing and promotion of American music. And the biggest phenomenon of the 1950’s was FREEDOM MUSIC based on the whoops, hollers and affirmations of the Black Spiritual-gospel-blues-jazz tradition, annealed and transformed African-Americans and their allies in the UNCOUNTABLE mass meetings, marches, vigils and protests of the Freedom Movement, which was the biggest U.S. social movement of the 20th century and which influenced singers in Soweto, Eastern Europe and Tiananmen Square. Major Black singers sang in the chorus or the choir of the Movement, notably MAHALIA JACKSON ("I Been 'Buked and I Been Scorned"), HARRY BELAFONTE ("Matilda"), Aretha Franklin ("R-E-S-P-E-C-T"), SAMMY DAVIS JR. ("Mr. Bojangles"), JAMES BROWN ("I'm Black and I'm Proud"), CURTIS MAYFIELD ("Keep on Pushin'"), SAM COOKE ("A Change Is Gonna Come"), NINA SIMONE ("What are we going to do now, now that the King of Love is Dead?"), BERNICE REAGAN ("Before I'd be a slave, I'd be buried in my grave and go home to my Lord and be free"). Music created for a purpose that touched the spirit and spoke about the injustices of the world. The 1960’s brought us ERNEST (CHUBBY CHECKER) EVANS recording "The Twist," setting off the biggest dance craze since the Charleston craze of the 1920s. The craze changed the patterns of American dance and changed, perhaps forever, the dominant patterns of men and women dancing together. Plus a new gospel music with a more worldly sound and a catchy, pop-flavored beat flowed out of urban Black churches and was given form and passion by JAMES CLEVELAND and SHIRLEY CAESAR, leading to ANDRAE CROUCH and the EDWIN HAWKINS SINGERS and contemporaries like KIRK FRANKLIN, the many WINANS and a new growth industry, White gospel singers. The 1970’s brought us synthesizers and over-dubbing and detailed preparation of albums all epitomized by STEVIE WONDER. The end of the 70’s introduced THE SUGAR HILL GANG who produced the first rap hit, "Rapper's Delight," introducing the world of rap and hip-hop with implications that are still reverberating in the music world. In 1984 MICHAEL JACKSON'S Thriller video premiered on TV, and revolutionized the making and marketing of pop music, leading to MTV and the new pop technology. The 90’s popular crossover success of singers like WHITNEY HOUSTON and JANET JACKSON started new merchandising, marketing trends and led to numerous White imitators like Britney Spears. Success stories abound but the biggest change in Black music has come about in the 2000’s. Hip Hop originated as an expression of individuality, a description of anger and distrust against the unjust governmental systems we now live under. Just as Slave work songs, Gospel, Blues, Jazz, Be Bop and the majority of our cultural music had done. Now this new music is made only to make certain individuals wealthy and unfortunately the wealthy are not the artists making the music. This new breed of music is designed to make both Black & White consumers / listeners controllable and ignorant. It is now promoting unbridled loveless sex, drug usage, murder and mayhem. Isn’t it time to let your child know WHY they make music?

BLAZIN & STEPPIN

MySpace URL: http://www.myspace.com/wwwmyspacecomhoneyblo http://community.tyrashow.com/profile/HONEYBLO CHECK OUT THE NEW FUNKY HONEY BLO SOUNDS. ON BAGPIPE ,FLUTE ON VIDEO,MUSIC TRACK.AND MY NEW HOT SINGLE LOVE PEACE & FUNKY SOUL A LITTLE TASTE OF JAMES BROWN FUNK. TRACK-3 FLUTE MIX THAT FUNKY,TRACK -4 SUNSHINE BAGPIPE FUNK.ALL MUSIC ON CDBABY FOR ORDER,DOWNLOAD.VIDEO ON YOUTUBE

MS. TAYLOR P. COLLINS NEW LIVE CD RELEASE "LIVE AT THE LITTLE FOX" IS NOW AVAILABLE ON iTUNES!!

Hey Everyone... My new live CD "Live at The Little Fox" is now available on iTUNES!! Will also be available on Amazon.com, Napster, Lala, Rhapsody, eMusic, IMVU, Shockhound, Amie Street, and LimeWire VERY SOON!! I am really excited about it and hope all of you will be too!! It's an hour of toe tappin' fun I want to share with all of you..check it out and download your copy of the full CD or your favorite MP3 and share it with your friends..thanks everyone!! Taylor

BB Queen New Album

BB Queen ... Back to Top BB Queen I Can Play Da Blues Hearon Records Blues Reviewed 11-25-09 BB Queen I Can Play Da Blues BB Queen lives up to her name with the release of "I Can Play Da Blues." She is a great singer, and one of the finer guitar players I've heard in a while. The blues can sometimes be hit or miss, but the latest album from BB Queen swings for the fences and circles the bases as a home run. With tracks cut in Las Vegas and Louisville, the album has a sound to it like no other. With a voice similiar to early Tina Turner, BB Queen is a star on the rise and will probably stay for a while once she hits the top. My pick for the top cut on the album would be "There You Go Again." It tells the story of a lonely soul just wanting a little more time with the one they love. Sometimes it's pretty hard being apart from your sweetheart, and this song paints a picture most folks can surely relate to. The blues is as much a part of Americana as apple pie and Yankees World Series games. BB Queen is an All -American blues performer with the skills to challenge the chart toppers for years to come. Christopher Llewellyn Adams

SAM-ONE #1 ON BLUES CRITIC SOUL BLUES CHART!!!!!!!!!!!!

" Lets Make Love Tonight " is now #1 on Blues Critic Radio Blues Chart. Download single @ CD Baby.com & Muzic Talk.com. Thank you for your support.

How To Get Paid

www.asha.com Let’s talk about the most important factor within the music business MONEY. There are several ways to make a decent living within this industry and I want to bring you up to speed with only a few. RECORDS: The majority of my readers figure that if you sell millions of records you will become extremely wealthy. Well if you don’t OWN the company that manufactures, markets, sells and collects monies from records you will only receive a small portion or percentage of the sales. Major label recording artists normally make between 10% and 18% of the retail sale price on every CD of theirs that is sold. From this percentage any recoupments most be deducted. So if you sell $1,000,000 worth of product your share is $100,000. From your share has to be deducted that $50,000 advance you took, the $60,000 paid to the promotion company to promote your CD, the $65,000 spent on your 30 city promotional tour, the $30,000 owed your producer, the $10,000 owed to your manager plus packaging deductions, attorney’s fees and anything else the label has “slipped” into your contract. REALITY ONE – From the first Million dollars made you owe $115,000 after your $100,000 has been recouped. Doesn’t seem like a very profitable business at this point does it? Especially when you take into consideration that most new artist like to buy the accoutrements having a HIT record requires. Things like jewelry, clothes, cars and occasionally houses. Yesterday I was on a video shoot for a new artist and his management team “borrowed” $500,000 worth of Cartier jewelry. I remarked that the ice and gold on his body could probably buy 40 acres and a tractor with enough money left over to build a $300,000 house. It’s REAL EASY to be a broke new artist in the record industry. But let’s discuss a few ways to make money. TOURING: This is the quickest way to put cash into your account when your record is HOT and when it is not. Developing a strong stage show and keeping your act small and tight, not only will allow you to tour continuously but also allow you the freedom to build your fan base, promote your product and sell MERCHANDISE. Developing a strong fan base will keep you touring even after your video has been dropped, your single is not getting airplay and your record label has moved on to the next hottest act. REALITY TWO – A small team will always make more money than the act that has an entourage. Besides the act on stage one road manager is sufficient to not only handle the financial particulars, act’s itinerary and sound requirements, but to also sell the acts merchandise. MERCHANDISE: Here is where a little investment can go a long way. There are several different types of goods that always sell at large and small venues alike. Color photos autographed by the act are the leading sellers. If you can have someone available to take photos on the spot with your fans you will make a lasting impression and more money. T-shirts are good however unless you have a unique logo or T-shirt design you may windup giving your shirts away to record store sales people. When working large venues almost anything that glows in the dark and makes noise will sell. Whistles, blowers, horns, clappers, etc just keep it inexpensive and cute. REALITY THREE – There will be times when your merchandise sales will be larger than your show payment. Be prepared to budget your money wisely. On the next writing I will talk about: Endorsements Publishing Revenues Video / DVD sales

HONEY BLO

BB Queen New Album

BB Queen new album in stores world wide October 1 2009

SAM-ONE'S HOT SINGLE IS NOW #2 ON BLUES CRITIC SOUL BLUES CHART !!

"Lets Make Love Tonight" is climbing the charts.Single is available @ Muzic Talk.com & CD Baby.com.Get yours now !!!