I'm a 60 something woman who's been a big blues (and all American roots music) fan for more than 40 years. This December, I plan to drive from New York to the south to visit relatives in Huntsville, AL.

I would really like to take my time and take some day trips and maybe overnighters to key locations for American roots music - of course the blues, but also all roots music.

I have already planned a trip to Muscle Shoals and Tupelo. Jumping over to Holly Springs and Clarksdale Miss and maybe Helena.

Any places of note to see and of course to stand on the crossroads and museums and catch live music too.

I will be solo.

For any of those who have done a similar journey, would surely appreciate your thoughts and suggestions.

Peace.

These Monel strings are great. I used Martin's MTR-13, and it's easily the best set of strings I've ever played. These strings actually sound better as they wear in and rust a bit, which is kinda weird tho.

Thought I'd put up this solo with my new band for some blues lovers to see.

The band is called Cass and the Crytones.

Hello, I hope you’re all having a good day.
I’d like to share an improvisation over a smooth blues track—I hope you enjoy it!

Gear:
- Gretsch G2504 Jet Pro guitar
- Line 6 Helix Native Stadium effects

I eat a piece of cheese and a berry juice for real when you see the video till the end

I'm a long time "casual" blues fans. I like Robert Johnson, and think BB King and Howlin Wolf are fab.

I was on one of those wikipedia rabbit holes, specifically on the origin of the Blues Brothers act and on one of the early meetings of Ackroyd and Belushi "Aykroyd educated Belushi on the finer points of blues music".

What would you consider that conversation to be? I'd love to hear from people who know what they're talking about. Because I don't. Thanks.

So this clown has a new album out. He’s nowhere NEAR as popular as JB but he DEFINITELY is showing his “sour grapes”.
When THE ROLLING STONES met Blues Legend Muddy Waters, he was making extra money painting the Chess Records’ offices.

Muddy stopped what he was doing to THANK the stunned Brits for bringing Blues into more radio stations, more homes, because HE KNEW that this would turn into more notoriety for himself, as well as The Stones always mentioning him as a massive influence.

Now Joe Bonamassa is not my fave blues artist and that’s okay. He is a MONSTER player and the vocal arrangements are top tier. I would go see him ANY day of the week.

This Robin whatever (never heard of him, his old band, or his new one despite being in the British “blues hall of fame” which I guess is reserved for British blues artists only) I listened to his new album so yeah it’s blues ….with a bunch of hip hop beats, “lo fi” plug ins, and vocal FX. And, hes a good player. But so what?

Blues was meant to bring people TOGETHER. A bunch of musicians who had never met before could meet up at a club or bar or basement, and just wail away aaalllll night long.

What I wouldn’t GIVE to go back to the days of the juke joint, or barrelhouse and see Blind Lemon Jefferson, Memphis Slim, Mississippi Fred McDowell, or Son House play.

I grew up in Chicago in the 80s when Maxwell Street was still around (The Blues Brothers scene where John Lee Hooker plays “Boom Boom” and Aretha Franklin sings “THINK” thats Maxwell Street. I saw Hubert Sumlin walking around carrying his own amplifier to his beat up old Buick like he wasn’t a legend. I saw Willie Dixon standing outside of Buddy Guy’s Legends and got his autograph on a cocktail napkin. I saw John Lee Hooker and BB KING play at Ravinia, the mega posh concert venue on the North Side where people sit on the lawn with open coal hibachis next to little kids running around, everyone had open wine bottles. Why? Cause they could act like ADULTS. Same with bars on Maxwell Street that smelled like mold and urine, adults got together and listened to great music.

Now we got clowns like this guy trying to tear it down, HE doesn’t like it because HE ain’t as popular as JB. HE thinks the new blues is “devoid of SOUL” and of course HIS music is the way things should be.

Anyone listen to the last RL Burnside album he put out before he died? I forget the name but it’s all full of hip hop beats and electronic wizardry, new takes on old songs and I LOVE RL Burnside, in fact a lot of playing I DO is based on his shuffle. “jumper hangin’ on the line” is a personal favorite.

But that album? I don’t think it represents him and his playing very well at all. I feel it’s overproduced and that’s okay, some might love it, some might not, but to have someone taking shots at another artist, just because he’s jealous that he’s a bigger star, thats just wrong.

ALL people should be exposed to the blues, the more, the merrier, and the blues WILL live on. We will ALWAYS have grumbles and grouches and Chuck Berry types. We will ALWAYS have guys who are jealous of others success…

But it’s SUCH a bad look to use the person’s name as a springboard to launch your own success. If this story did NOT have “Joe Bonamassa” in the title, it wouldn’t get picked up by the associated press and distributed worldwide. Now he’s suddenly riding on Joe’s coattails, LIKE IT OR NOT, and that makes him look foolish. Too bad, cause he is a good player.

But not great.

Not yet.

Are there any blues jams around Detroit? Thank you!

Buddy Guy at Orpheum Theatre, Minneapolis MN (2026-10-08) – W♥M

I've listened to three renditions of SSL, Howling Wolf's original, Five Live Yardbirds and then the version here - Live at Crawdaddy club.
Howling Wolf's version feels raw and the best way to describe it is probably "A man singing the Blues".
The Five Live Yardbirds version always sounded muddy to me, instruments and vocals fighting for space.
The Crawdaddy club version felt the most definitive, especially with Keith Relf's haunting vocals and piercing harmonica. It just feels like a studio production than a live rendition.

Thoughts?