Blues CD Reviews 102
Anthony Geraci
Tears In My Eyes
Blue Heart Records
Publicity: Blind Raccoon
Sometimes you think you know a lot about something, or someone, then the Internet slaps you on the back of the head and says, "Take that, dummy". Case in point - Anthony Geraci. Wanting to verify something I read elsewhere, I took a long and deep look into his discography, and in addition to finding what I was looking for, I found a whole lot more. Sure, I knew of him back in his days with Sugar Ray Norcia and some of New England's many other maestros, but it is what I didn't know that blew me away. On top of all that, I'm repeatedly impressed with his 'throwback" posts on social media. Although he may not have recorded with them, seeing all the giants of various genres that he's performed with over five decades is staggering. It appears that Anthony's dues are paid in full and it's now his time to shine.
On his latest release, titled Tears In My Eyes, Anthony Geraci - on piano, Hammond organ, and vocals - is joined by: Sugar Ray Norcia on vocals; Barrett Anderson on guitar and vocals; Paul Loranger on bass; Marty Richards and Kurt Kalker on drums; Drew Davies and Mario Perrett on saxophone; and Anne Harris on violin. The project contains eleven Anthony Geraci originals.
With Sugar Ray on the vocals, the opening track - "Broken Mirror, Broken Mirror" - recreates some of that old Bluetones magic. I'm talking about the kind of stuff that would garner the band as many as ten Blues Music Award Nominations for one release. Speaking of which, with Sugar's soulful vocals, Anthony's bluesy piano highlights, killer lead and slide guitar work from Barrett, and the tight rhythm groove that Paul and Marty are laying down, this traditional blues number could very well get a 'song of the year' nod.
Having just seen the band last week, as I'm listening to the very up-tempo "Owl's Nest", a vision of Paul slappin' the hell out of his stand-up bass immediately came to mind. He and Marty are all over the monstrous rhythm on this one. Along with that, a smokin' sax lead by Drew, and several very jazzy piano highlights from the boss man, all make this instrumental one for the movers and shakers. Because I needed a lot more than its three minutes, this one got too many replays to count. Killer stuff!
Another of the disc's five instrumentals is titled "Blues For Willie J." It's a tribute to Anthony's bandmate in The Proven Ones, the late and great Willie J. Campbell. Putting on what could be a concerto type performance, you can just feel the emotion coming through Anthony's piano. With that thought in mind, not even knowing if he ever knew Willie, the same could be said for Barrett, who is at disc's best on some very serious blues guitar. Wow!
Another of my favorites is a melancholic number called "Judge Oh Judge". It features Sugar Ray emotionally, and quite sincerely, pleading his innocence to a murder charge. With Anthony keeping his hands to his right as much as he does, slow piano blues doesn't get too much better than this. On top of that, on the only track that he appears on, the ninety second sax lead by Mario could be referred to as 'blues saxophone 101'.
After seeing last week's show and complimenting Anthony on the vocal skills he's acquired, I'm surprised that "Ooeee" is the only track of the bunch that he sings on. That said, this is a fun filled, frolicking number you might expect to hear coming out of a joint somewhere in the French Quarter.
The disc closes with a very relaxing instrumental titled "Lonely Country Road Blues", and if you let that title paint you a picture you just might figure out what the song sounds like. BTW, the ensemble on this one is actually Anthony's current touring band of himself, Barrett Anderson on guitar and vocals, Paul Loranger on bass and Kurt Kalker on drums. Check them out where you can.
Other songs on this excellent project include: the rockin' title track "Tears In My Eyes"; two other instrumentals titled "Oh No" and "Memphis Mist"; "Witchy Ways"; and "Now What".
If you've not yet received a copy of Tears In My Eyes for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Anthony Geraci, just go to - www.anthonygeraciblue.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Have you ever listened to an album and been totally clueless as to why it was titled what it was? I know I sure have. Then there are some - like Lessons - that pretty much hit you right over the head with their logic. In the case of Seth James, little did he know it at first, but lessons are what he was experiencing just by listening to Delbert McClinton records as a kid. Now, all these years later, here he is showcasing some of what he learned from - and paying homage to his biggest influencer - the great Delbert McClinton.
Lessons features a good mix of eleven of Delbert's well-known, and maybe not so well-known (if that's a thing) songs. On them, Seth James on vocals, is not only joined by Delbert's right-hand man of twenty-five years - Kevin McKendree - but many other Delbert McClinton alumni, as well. They are: Lynn Williams on drums; Steve Mackey on bass; Rob McNelley on guitar; Alice Spencer and Nick Jay on backing vocals; Vinnie Ciesielski on trumpet; John Hinchey on trombone; Jim Hoke on saxophones; and of course, the album's producer and engineer, Grammy winner Kevin McKendree on guitar, keys and percussion.
Since the opening track - "Honky Tonkin' (I Guess I Done Me Some)" - is a song that was on what I believe was Delbert's first album back in 1975, it was most likely one of the very first of his songs that Seth heard. Nailing it on the vocals - with some nicely done backing from Alice and Nick - Seth pretty much sounds like he's done him some honky tonkin' of his own. Musically, this rendition features Lynn (drums), Steve (bass) and Kevin (organ) in a funky rhythm groove; sizzling horn highlights from Vinnie, John and Jim; and a smokin' blues guitar solo by Rob. Besides the timeline thing, this was a great one to kick things off with.
Because they feature some of the disc's best vocal harmony between Seth and Alice, "Real Good Itch" and "Who's Foolin' Who" are two of my favorite songs. 'Itch' is a dance floor filling shuffle with delightfully twangy guitar leads, lively piano leads; and a perfect rhythm to rock with; and 'Foolin', also a dance floor filler, features a fabulously funky organ lead rhythm.
With its criminally descriptive lyrics, their matter-of-fact presentation, and the eerie musical mood, "The Rub" could have very well been the soundtrack from a Homicide: Life On The Street episode. Seth and the guys nailed the vibe on this one.
"Victim Of Life's Circumstances" - the title of the album that the opening track appeared on - is obviously the song that those wanting to claim Delbert McClinton is a country artist would most likely use to validate that argument. C'mon, the song's about drinkin', getting knocked on your ass, waking up in jail, and cutting up some honky with a knife. Except for not mentioning a pickup truck - which was probably parked at the bar where he got arrested - this one reeks country.....and that's all before you hear the smokin', honky-tonk style this one's rolling along at. Dynamite stuff!
I'm of the opinion that Seth and the band could have subtitled their rendition of "B Movie Boxcar Blues" to "B Movie Boxcar On Fire Blues". Calling this one a smoker would be like calling a five-alarm fire a campfire, and its exhausting final forty-five seconds is the consummate definition of 'all out jam mode'.
Although it isn't the kind of song you'd close a live show with, "Take It Easy" was the ideal song to close out the disc with. I think it was the bands way of saying "okay, we just kicked your butts for the last thirty-five minutes and now we're gonna sit you down to catch your breath". The Gospel style ballad features Seth's most powerful, soulful, emotional and certainly his best vocal performance on the recording, and that can pretty much be said for Kevin's B3 playing as well. Wow!
More great songs on Lessons include: "Maybe Someday Baby"; "Morgan City Foul"; "Lessons In The Pain Of Love"; and "Ruby Louise".
If you've not yet received a copy of Lessons for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Seth James, just go to - www.sethjamesmusic.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
I have been a friend and fan of Jimi Fiano for as long as I can remember now. I believe the first time I ever saw him play was back in the early eighties. I had just moved to Florida, and while searching for local blues bands I discovered Kilmo And The Killers - with whom Jimi played guitar.....and man could he play the hell out of the blues. That said, I believe Jimi would be the first to agree with me when I say he's not a bluesman. Being someone who is masterful at pretty much any genre he chooses to play, the lids need to be left off the many boxes he fits in.
Sweat And Pray is Jimi's first release, and it contains three originals with two covers that I promise you've never heard done this way. For the project, Jimi - on guitar and lead vocals - is joined by: Steve Argy and John O'Brien on bass; Euvoski "Muff" Cunningham and Guido Marciano on drums; and Shaun Murphy - yeah, that Shaun Murphy - on background vocals.
The disc's opening track, an original titled "Talkin' Blues", is a tongue-in-cheek (or at least I hope it is) comparison as to how some of today's real young blues players have paid their dues vs what some of the more seasoned veterans have been though. As Jimi tells it, if being sent to your room; not being given your allowance; stressing over how many likes your posts on Twitter or Instagram are getting; and being slapped a little too hard by your mama are the only blues you've had to deal with; that's just not cutting it, kid. On the other hand, when you've: had no place to stay at night; done things that in some states may cause you to swing from a rope, if caught; had to run from the cops; and getting your heart broken by a woman who now calls your best friend "Honey"; that's when you've suffered enough to sing the blues. Musically, with Steve and "Muff" fueling the fire with a thunderous rhythm, and Jimi - fiercely pickin' and strummin' a Dobro then raising all hell on electric slide - it's a totally relentless smoker.
The title track - Sweat And Pray - is typical Jimi Fiano fare, hard core blues lyrics with hard rockin' instrumentation. It seems with never having enough money to keep his landlord off his back; and struggling to have enough gas in his car to get to work, only to be told by his boss that he's a jerk; all Jimi ever does is sweat and pray his life away. Instrumentally, I don't think it's possible to get much more smokin' than this. "Muff" and Steve are pretty much defining the term 'frantic rhythm pace' on the drums and bass, while Jimi is validating my "he's not a bluesman" comment and totally rockin' out on the guitar. Vocally, with a fabulous falsetto performance on the chorus line, Shaun Murphy creates a perfect contrast to Jimi's gravely and growling baritone vocal runs.
Jimi very appropriately subtitled his interpretation of "Hey Joe" (Billy Roberts) "Hey Joe (Not Your Father's Hey Joe)". With it being a song made famous by perhaps one of the most idolized guitarists of all time - Jimi Hendrix - ya gotta know what you're in for here.... and trust me, you will not be disappointed. Besides putting on one of his best vocal performances on the disc, for eight-and-a-half minutes, Jimi Fiano is going to razzle and dazzle you with a mind blowing, masterful guitar performance; have you asking yourself "Why have I never heard of this monster before?"; and validating what I said when I first saw him back in the day..."Man, could he play the hell out of the blues".
"As The Years Go Passing By" (Peppermint Harris) - which was recorded live at Margaritaville in Hollywood, FL - is one of my all-time favorite blues songs, and from the number of artists who have covered it - I obviously have a lot of company on that thought. A few of my favorite versions were Fenton Robertson's - who the song was actually written for back in 1959, Albert King's, and of course, Gary Moore's.... BTW, I just got back from YouTube where I just re-listened to all three of those - wow, wow and wow!.... All that said, let me now tell you about Jimi Fiano's rendition - which also merits a wow! The track is eight-and-a-half minutes of him racing his fingers up and down his ax; bending the hell out of its strings; laying down long and scorching runs; and singing the hell out of the blues. Being the traditionalist that I am, this is hands down the disc's best track. Additional kudos need to be given to John (bass) and Guido (drums) who - on their only performance on the disc - laid down the perfectly smooth rhythm that these slow blues songs call for.
Also on the disc, is another of Jimi's originals titled "Strangled By The Hands of Time". To find out more about Jimi Fiano just go to his website - www.jimifiano.com - and if you haven't yet received your copy of Sweat And Pray for airplay, please contact Jimi at - fianojames@yahoo.com. Of course, when you do so, please make sure you tell them their friend the Blewzzman sent you.
While listening to Cadillac Man - Rick Vito's first release in five years - and reading about his accomplishments and credentials listed on the accompanying one sheet, I started thinking that not too far down the road, I just might be seeing his name - and the disc's title - printed on all kinds of awards ballots. Notice that I said might, because we all know that's not how it works - it's what you hear, not what you read that matters. However, now that I have had time to hear all of the disc's music, I honestly believe I can accurately say that I'm pretty sure I'll be seeing Rick Vito and Cadillac Man printed on many 2025 awards ballots.
For the project, Rick Vito - on guitars, vocals, acoustic & electric bass, and percussion - is joined by: Jim Hoke on saxophones; Lynn Williams, Rick Reed and Charles "Mojo" Johnson on drums; Kevin McKendree on Hammond B3; Steve Marriner on harmonica; and Charlie Harrison on bass. Cadillac Man contains eleven original tracks and a cover of Sam Cooke's "Just Another Day".
On the disc's opening track - "Love Crazy Baby" - it doesn't take a whole lot more than the nearly one-minute-long guitar intro to realize why so many legends summon Rick to complement some of their own work. Along with more impressive guitar runs throughout, this shuffle features a strong rhythm coming from "Mojo" on the drums, Rick himself on bass, and Jim on various saxophones.
While award nominations are still on my mind, this is a good time to mention a smoker that has already won one - "It's Two AM". Back in 2001, this song was covered by Shemekia Copeland on her Wicked album, and it took home the "Song of the Year" trophy at what was then called The W.C. Handy Awards (now known as The Blues Music Awards). Off the top of my head, I can't quite remember how her version went but hearing how good this one is, I now need to give Shemekia's another listen. What some people may not realize is that by volume, the song of the year category contains more competition than any other category.
It might not be the same route but "Cadillac Man", the disc's title track, certainly has the vibe of rolling down a highway and getting your kicks. With a tank full of traveling bass lines and thunderous drumming, Rick and Lynn have the rhythm pedal to the metal; and with the Caddy smoothly tooling along at a smokin' pace, Rick's laying down some serious traveling music on guitar.
Probably because we're such easy and willing prey, many songs have been written, and many tales have been told, of devilish and deceiving women tempting men with their evil and mysterious ways. Rick Vito's version is about someone called "Little Sheba". The track's exotic and eerie musical arrangement - highlighted by Steve's fabulous harmonica work - is the perfect accompaniment for its dark and dreary lyrics, making it one of the disc's best produced tracks.
Having nothing to do with the title track, this one is also about a man - the one who stole Rick's chick - and a Cadillac - the car that man was driving. As Rick tells it, while out in his Ford just cruising around, this guy in a Cadillac comes by and with just the wink of an eye, she was gone..."Gone Like A Cool Breeze". There you have it, sometimes you're the Cadillac Man and sometimes you're not. Like the driver of that car, this swingin' dance floor filler is slick; and like the car itself, it's firing on all cylinders.
"You Can't Stop A Guitar (From Playing The Blues)" is one of the best song titles I've ever heard... if only it were true. As a matter of fact, to plant a seed in every player's head, those words should be written on every box that guitars are sold in. Being packed by a strong rhythm led by Kevin McKendree - the guy who's B3 organ can't stop playing the blues either - this is another of many great guitar and vocal performances from Rick.
The disc closes with an instrumental titled "Sliding Into Blue". With Rick Reed (drums) and Charlie (bass) in a subtle rhythm groove behind him, Rick pretty much puts on a soothing, nearly four-minute-long slide guitar lesson. Taking into consideration that the words smoking, scorching and sizzling are more often used than soothing when describing a slide guitar solo, this performance was absolutely masterful.
Other tracks on Cadillac Man include: "Bo In Paradise"; "Crying At Midnight"; "Barbeque'n Queen"; "Just Another Day" (Sam Cooke); and "Rivers Calling". If you've not yet received a copy of Cadillac Man for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Rick Vito, just go to - www.rickvito.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Something I read on the notes inside the CD jacket told a story that I thought might be inspirational to other artists, therefore, I felt compelled to share it.... "The album "Homesick Blues" has been a long time coming. The Cobras Duo have been together for nine years and have played hundreds of shows from the local Brewery to the festival stage. As a working band, we had not set aside the time or the funds to get into a professional studio to make a recording. Last year Tom (Spielbauer - one half of the duo) won the solo competition 2022 Central Iowa Blues Challenge and went on to Memphis to play at the 2023 International Blues Challenge on Beale Street. It was an awesome experience, and he was awarded a recording session with Jon Locker, the owner of Sonic Factory Studios in Des Moines. This gave us the opportunity (and the kick in the butt) to go ahead and start on the much-anticipated Cedar County Cobras album....." Good for the Cobras! What I believe will be a successful future for this duo may have all started by participating in a local blues society IBC competition.
In the late fifties, Danny & The Juniors told us "Rock And Roll Is Here To Stay"; about twenty years later, Neil Young reiterated that with "My My, Hey Hey, Rock And Roll Is Here To Stay"; and they, as well as the many others uttering similar sentiments, were right. The amazing thing about this is that many great bands from the era right between when Danny and Neil made those claims are still doin' the rockin' and rollin'. One of those great bands is Foghat, and as Roger Earl - co-founder of the band tells us on the disc's liner notes - he's been at it for almost sixty years. Time really does fly when you're having a good time, doesn't it Roger?
The Cedar County Cobras are: songwriter Tom Spielbauer on vocals, guitars, mandolin and drum; and April Dirks on vocals, upright bass, mandolin and tambourine. Homesick Blues contains ten tracks, with six penned by Tom, and it features the most - and some of the best - music I've ever heard from an acoustic duo.
The opening original track tells a somewhat humorous tale about the state of "Utah". It has nothing to do with the state's history, its astounding beauty, or even its dozens of byways that offer unparalleled vistas. As a matter of fact, the song is actually about avoiding the state altogether. Apparently, getting pulled over in Utah could very well get April arrested. Although she won't disclose why, it seems she owes them money she never sent in. That actually sits well with Tom because there's other places he'd rather be. Vocally and instrumentally, Tom and April are a match made in musical heaven.
Who would have thought that the paradox of melancholy lyrics and feel good, foot tappin' music with a country vibe could work? The Cedar County Cobras, that's who. Lyrically, it's a saddening break-up song, but musically - with Tom's twangy guitar leads, April's masterful mandolin playin', along with the excellent rhythm from Tom's foot drum and April's upright - the original "Country Records" offers a pleasant lyrical/musical contrast.
Staying in break up mode, another original titled "Long Time Gone" features Tom and April trading barbs in the vein of one of those "I hate you!" "No, I hate you!" type sparring sessions. As Tom adamantly says, "I'm leaving here girl; I'm gonna try to forget your name"; I'll be a long time gone". April sassily responds with "Know I won't follow you to the station; Won't chase that train you're on; Not begging you to stay, I'll just keep traveling on; You'll be a long time gone". Other great sparring taking place between them is with Tom fiercely pickin' the guitar and April fiercely strummin' the mandolin. Great stuff!
There's a lot to be said for creativity and interpretation when you're listening to a cover of a Muddy Waters song and you're thinking "This is a Muddy Waters song?". Vocally, musically and production wise, Tom and April totally made "Trouble No More" their own.
On the Cobras cover of Son House's "Walkin' Blues", Tom picks the hell out of a slow, scorching, ninety second slide guitar intro that should be mandatory listening for all "Guitar 101" students; then, he proceeds to vocally belt the hell out of some killer blues that should be mandatory listening for "Vocals 101 - The Blues Session". One listen to this and you'll understand exactly how and why he deserved his trip to the IBC.
Not having heard a lot of Jessie Mae Hemphill's work, the fabulous job the Cobras are doing on her "Shake It Right" will indeed have me checking out her original version. Between Tom's expertise on several different guitars and April's proficient handling of the big bass, this one showcases their masterful musician skills.
On the title and closing track - "Homesick Blues" - another of Tom's fabulous slide guitar intros had me thinking I was listening to the disc's first instrumental. That all changed when his gritty, gravely vocals started telling a tale of being in a place where he was not wanted. As Tom so poignantly pointed out, while talking of moving along, "I don't belong here, so I won't be long".
Other tracks on Homesick Blues, a release which could very well put Tom and April into another Blues Foundation competition - The Blues Music Awards, include: "Gimmie Lightnin'"; "Poor Boy" (Gus Cannon); and "Voodoo Doll";
If you've not yet received a copy of Homesick Blues for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about the Cedar County Cobras, just go to - www.cedarcountycobras.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
In the late fifties, Danny & The Juniors told us "Rock And Roll Is Here To Stay"; about twenty years later, Neil Young reiterated that with "My My, Hey Hey, Rock And Roll Is Here To Stay"; and they, as well as the many others uttering similar sentiments, were right. The amazing thing about this is that many great bands from the era right between when Danny and Neil made those claims are still doin' the rockin' and rollin'. One of those great bands is Foghat, and as Roger Earl - co-founder of the band tells us on the disc's liner notes - he's been at it for almost sixty years. Time really does fly when you're having a good time, doesn't it Roger?
Foghat's latest release, Sonic Mojo, features: Roger Earl on drums, percussion and background vocals; Bryan Bassett on lead, slide & bass guitar, and background vocals; Scott Holt on lead vocals and lead guitar; Rodney Quinn on bass; and special guest Eddie LeFebvre on percussion. The disc contains a dozen tracks with a fifty-percent mix of band originals and covers. Notably, a few of the tracks were co-written by Roger's long time friend and band mate in the early years of Savoy Brown, the late and great Kim Simmonds. Since Kim had been invited to play on it, Foghat is dedicating Sonic Mojo to his memory.
Like a lot of bands with British roots that were formed in the seventies, Foghat has always had one foot in the blues - and now, with the addition of blues rocker extraordinaire Scott Holt, that will be even more prevalent. His dynamics are immediately evident on the disc's opening track, a blues infused rocker titled "She's A Little Bit Of Everything", one of the three tracks that Kim collaborated with the band on. Right out of the gate, between Scott's stellar vocals; his back and forth smokin' guitar leads with Bryan; and the thunderous rhythm Roger and Rodney are battering out; all have me thinking I may have just heard the disc's best track.
Unlike the woman being sung about above, "Mean Woman Blues" (Claude DeMetrius) is about a woman who's as mean as she can be. Oddly enough, Scott seems to like her that way. With the guitars getting in their licks, this one features Roger, Rodney and Eddie locked into a smooth dance floor filling groove on the rhythm and percussion.
With a title like "Drivin' On", another Simmonds/Foghat collaboration, I feel absolutely no need to tell you that this one's a flat out smoker. Think "Hooker 'n' Heat" on steroids and there you have it. Musically, it's Bryan - with his monstrous slide guitar runs, and Roger - who, while having that one foot in the blues is still one of the best rock drummers in the business, who are burning through the gears on this one.
"How Many More Years" (Chester Burnett) is one of the more relaxed tracks of the lot. Inasmuch as Foghat can rock the blues, they can also slow it down as good as any traditional blues band can. As the position of lead singer became open when Charlie Huhn retired, Roger and the guys - who had already had a working relationship with him - could not have made a better choice as his replacement than Scott Holt. Hearing Scott sing makes me think he'd have had gotten the job even if he wasn't a guitar god - of which Foghat now have two.
So while reading Billboard, do you think you might fall off your chair seeing Foghat having a song listed on the country charts? Before you say yes, you need to listen to "Wish I'd Been There" - a collaboration with Roger's brother Colin Earl (Mungo Jerry). The full line, which is actually the songs chorus line is: "I wish I had been there when Hank Williams came to town", and it is indeed a catchy sing-a-long. It's not that far fetched to imagine a bunch of country cuties with their cut-offs, cowboy hats and boots, mouthing every word to this song like they do at Blake or Luke shows. While explaining this one in the liner notes, Roger wrote "Foghat does country??" and If I may take the liberty of answering that I'll go with "Yes, they do.....and not just vocally!".
Be it B. B. King singing about her in the early fifties, with Johnny Ace laying down some serious boogie woogie piano runs, or Foghat singing about her some seventy years later with Roger - and this time Bryan on bass - leading the way with profound rhythm, you just can't take it away from her....."She's Dynamite". As you'd expect with any cover of the king's, this smoker features dynamite blues guitar licks from Scott.
The search for the "Promised Land" does require a good amount of traveling, and this rendition of a Chuck Berry song is traveling music at it's best. Be careful though, it's one of those I can't drive fifty-five, pedal to the metal kind of tracks. Additionally, It's country vibe totally suits the cities along the route.
Other tracks on this outstanding and quite diverse release include: three more originals titled "I Don't Appreciate You"; "Time Slips Away"; and "Black Days & Blue Nights"; "Let Me Love You Baby" (Willie Dixon); and "Song For the Life" ((Rodney J. Cowell);
If you've not yet received a copy of Sonic Mojo for airplay, please contact Linda Arcell-Earl at foghatbiz@foghat.com - and should like to find out more about what's going on with Foghat, just go to - www.foghat.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
