G-Note Entertainment November 2019

Southwest Michigan’s Source for Music, Entertainment and Culture Artist Spot Light: Lee Rocker G-Note’s Interviews Encore: ‘The Blues Preacher’: Creighton Wodarski L.A. Singer / Songwriter Alessa Ray Former MOTOWN Funk Brother Dennis Coffey New Music Alerts: *Coco Montoya *Billy Craig *Alessa Ray *Dirty Honey *Diana Rein *Donnie Vie *Rick Estrin & The Nightcats *AXE *Toronzo Cannon *Shaun Murphy *TURBOKILL *Bruce Katz *Mick Devine *Biscuit Miller and The Mix *Pat Smillie IssuIess2ue8:1N6 oNvoevmembbeerr22001198

G-NoteEntertainment.biz IN THIS ISSUE Facebook: @GNoteEntertainmentMagazine Featured Interview Blues and Alligator Records Artist: Joe Louis Walker..…….4-7 EDITOR’S SOAP BOX Interviews: ENCORE Inteview We are straight into The Thanksgiving Season and we ‘The Blues Preacher’ Creighton give thanks to all of you! This month’s features artist Wodarski ………………………10-12 and cover Blues Hall of Famer & Guitarist and Alligator Records recording artist, Joe Louis Walker. L.A. Singer & Songwriter Alessa Ray………………….....19-20 We also feature a couple of our favorite interviews Legendary guitarist and former from previous editions in our ENCORE interview series. MOTOWN Funk Brother: This month: The Blues Preacher: Creighton Wodarski Dennis Coffey………………….24-26 and L.A. Based Singer / Songwriter Alessa Ray and Guitar legend and former MOTOWN Funk Brother, Artist Spot Light Dennis Coffey. Lee Rocker…….……..…….….. 14-15 Keep on continuing to support live entertainment and New Music Alerts the venues that bring it to you! Billy Craig……………………………16 Cheers, Coco Montoya……….…………..…..17 Nick & Sam Donnie Vie……...…………...……….18 Alessa Ray….………………..………21 Publisher. Head Writer. Advertising. Dirty Honey………………………….22 Nick Hatzinikolis Tyler Bryant & The Shakedown……23 [email protected] Diana Rein…………………………….….30 Pat Smillie………………………………..31 Editor. Webmaster. Creative Director. Shaun Murphy………….……………….32 Sam McDaniel AXE………………………………….……..33 [email protected] TURBOKILL………….………..….…….34 Bruce Katz………….…………………….35 Contributing Writer – Adayja Raye Kelly Toronzo Cannon……………….……..…36 Rick Estrin & The NIghtcats….…….37 Mick Devine……………………..……….38 Biscuit Miller and The Mix…….……39 Public Service Announcement Paw Paw Playhouse ……….…… 28 Songs & Stories Promo..………….29 Disclaimer! Kalamazoo State Theatre Events G-Note provides a platform for artists and musicians to ……………………………………..…. 13 promote their work. Because they have a unique way of expressing themselves, it is important for people who read this G-Note Supporters stellar publication to understand you might not always like Samurai Phoenix Design Studio what you see. Articles may contain sarcasm and adult On-Purpose Branding content. This magazine is intended for mature audiences. Three Chord Bourbon 2| Page www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

Place YOUR Ad Here! Samurai Phoenix Design Studio Web Design. Graphic Design. Resume Design. Photo Editing. Video Editing. Custom Computer Builds. @GNoteEntertainmentMagazine 3 | Page Website Coming Soon! www.G-NoteEntertainment.biz The Man. The Legend (sort of). The CEO:

Featured Interview: Joe Louis Walker G-Note Feature Interview: Legendary Blues Guitarist: Joe Louis Walker Joe Louis Walker, also known as JLW (born December 25, 1949) in San Francisco and is best known as an electric blues guitarist, singer, songwriter and producer. What impressed me early on our conversation was his knowledge of music history and especially blues history. When talking to JLW, it obvious and quickly understood that he was born at the right place and at the right time in musical history. Growing up in San Francisco in the 60’s right as the “Hippie” music scene was happening literally right around the corner from where he lived. I asked Joe if he had ever considered writing a book about James Brown, Bobby Womack and Otis Redding). In his musical experiences, “Yeah, I have and it’s been brought these early years, Walker played with John Lee Hooker, up before and something I would like to do, but I’m pretty J.J. Malone, Buddy Miles, Otis Rush, Thelonious Monk, busy right now and when I slow down some and I’m not The Soul Stirrers, Willie Dixon, Charlie Musselwhite, (Thankfully) slowing down right now but it’s on the bucket Steve Miller, Nick Lowe, John Mayall, Earl Hooker, list.” Muddy Waters, and Jimi Hendrix. By 1968, he had become good friends with Mike Bloomfield of the Paul His resume of artists he has recorded with or shared the Butterfield Blues Band; they were roommates for many stage with is nothing short of impressive! Yet, JLW is still a years until Bloomfield's untimely death. very nice and humble person to talk to in person before or after a show where he is more than happy to sign a CD or After the passing of his friend Mike Bloomfield, Joe left take a picture with a fan. Always with a great story to share, the world of the blues and enrolled himself at San JLW is truly one of the good guys in the music business Francisco State University, achieving a degree in Music today. and English. Throughout this time, Walker was regularly performing with The Spiritual Corinthians Gospel JLW came from a musical family, and some of his early Quartet. After a 1985 performance at the New Orleans influences were of T-Bone Walker, B.B. King, Meade Lux Jazz & Heritage Festival, he was inspired to return to his Lewis, Amos Milburn, and Pete Johnson. JLW shared with blues roots where upon he formed the \"Bosstalkers\" me that he first picked up the guitar right when he was and signed to the HighTone label. His debut album Cold around the age of eight, and he quickly became a known Is The Night was released in 1986. He began a quality guitar player within the Bay Area music scene by the worldwide touring schedule, delivering four more age of 16. releases in succession for HighTone (The Gift (1988), Blue Soul (1989), Live at Slims Vol 1 (1991), and Live at 4| Page he soaked up Slims Vol@umGeN2o(t1e9E92n)t.ertainmentMagazine Wmahnilyewipnwuflwbule.icGnlyc-eNpseo(retfoseprEmecniintagellyrthtvraooicunaglmihstehsnisstut.ecbheinzass, Wilson

After the long partnership with HighTone, Walker was signed by Polygram to their Verve/Gitanes record label. His first of many Polygram releases ensued with Blues Survivor in 1993. This marked the beginning of an eclectic era that merged many of his gospel, jazz, soul, funk and rock influences with his trademark blues song stylings. 1993 also saw the release of B.B. King's Grammy Award-winning Blues Summit album, which featured a duet with Walker (a Walker original, \"Everybody's Had the Blues\"). This was followed up by a live DVD release, featuring another duet with Walker (a rendition of \"T-Bone Shuffle\"). The album, JLW was released in 1994, featuring guests such as James Cotton, Branford Marsalis, and the Tower of Power horn section. During this period, Walker's touring schedule saw many re-appearances at the world's music festivals (North Sea Jazz, Montreux, Glastonbury, San Francisco, Russian River Jazz, Monterey, New Orleans Jazz & Heritage, Byron Bay, Australia, Lucerne, and at the Beacon Theatre in New York City). Walker also spent years covering all the major western television networks (Conan O'Brien, Imus, Jools Holland UK, inauguration for George W. Bush, inducting B.B. King for President Bill Clinton and Hillary Clinton into the Kennedy Centre Honors, Germany, Rock and Roll Hall of Fame) as well as numerous worldwide TV networks. Blues of the Month Club was released in 1995, and was the first of three Walker albums that were co-produced with Steve Cropper. This was followed up by the release of Great Guitars in 1997. Walker's guest musicians on this release, included Bonnie Raitt, Buddy Guy, Taj Mahal, Clarence \"Gatemouth\" Brown, Otis Rush, Scotty Moore, Robert Lockwood, Jr., Matt \"Guitar\" Murphy, Steve Cropper, Tower of Power, and Ike Turner. Also in 1996, Walker played guitar on James Cotton's, Deep in the Blues, a Grammy Award winner for \"Best Traditional Blues Album\". In addition, Walker won his third Blues Music Award for Band of the Year (1996) which was preceded by two similar awards for \"Contemporary Male Artist of the Year\" (1988 and 1991). Walker also won the 1995 Bammy (Bay Area Music Award) for \"Blues Musician of the Year\". He then released Preacher and the President in 1998 and Silvertone Blues in 1999 (his sixth album for Polygram). This sequence continued with In The Morning (Telarc 2002), Pasa Tiempo (Evidence 2002), Guitar Brothers (JSP 2002), She's My Money Maker (JSP 2003), Ridin' High (Hightone 2003), New Direction (Provogue 2004) and Playin' Dirty (JSP 2006). In March 2008, Walker signed to Stony Plain Records, and recorded his first album for the label in April (produced by Duke Robillard). This album featured guest appearances by Robillard and Todd Sharpville, and was released in September 2008. His second album for the label was released in September 2009 entitled, Between A Rock and The Blues. This album featured Kevin Eubanks as a special guest, best known for his work as the musical director for The Tonight Show with Jay Leno. This album garnered five nominations in the 2010 Blues Music Awards. In 2012, Walker signed with Chicago-based Alligator Records and released Hellfire, produced by Tom Hambridge. Billboard Magazine called it \"One of the strongest albums in Walker's canon. Hellfire blows all over the map…gutbucket blues, joyous gospel, Rolling Stones-style rock crunch, and aching R&B. Walker's guitar playing is fine and fierce. Hellfire is a heavenly showcase for Walker's virtues.\"[6] In 2014, Alligator released Hornet's Nest, also produced by Hambridge. The Chicago Sun-Times said: \"Hard rock to gospel, Hornet's Nest is proudly modern, designed to rest comfortably alongside anything from the Black Keys or Jack White. Walker's voice demands attention: scorching, imploring, always commanding, it leads this dynamic album along with his heavy guitar fills that lay the groundwork for the horn-peppered soul, Memphis soul, gospel harmony, and a vortex of power chords and funk. He is living proof of the boundless potential of blues.\" In 2013, Walker was inducted to the Blues Hall of Fame. In addition, that year, Walker was nominated in four categories for a Blues Music Award. His latest album, ‘Journeys To The Heart Of The Blues’ on Alligator Records, also features keyboard wizard Bruce Katz and UK harp ace Giles Robson join forces for a spellbinding journey through a treasure trove of rare and classic blues brought to vibrant new life. Joe’s album Everybody Wants a Piece (2015) was nominated for a Grammy with former Johnny Winter side man Paul Nelson as the producer. JLW is also back by an outstanding group of musicians that round out the sound. They include Philip Young on Keyboards (Sometimes Eric Finland will substitute). “L.B.” Len5n|yPBraadgfeord on Bass, B@yGroNn oCtaegeEonnteDrrtuamins manednJLtWMaognagzuiintaer and vocals. *Somwe wconwte.nGt t-aNkenoftroemEWnitkieperdtiaa in men t .biz

G-Note Entertainment Magazine talked to JLW from his home in between European shows with the band, Super Sonic Blues Machine. G-Note: Hi Joe, I know you just came in from Europe and must go back in a day or so, are you getting any rest or is it always go, go, go? JLW- “Lately, it been pretty busy with all of the European travel as well as all of the festivals I am playing here in the states. But it's ok, I like staying busy promoting my latest CD called ‘Journeys To The Heart Of The Blues’ as well as ‘Everybody Wants A Piece'. That album is sort of a triumphant record, it like my album 'Hellfire' album from 2012 that did pretty good commercially as well as 'Hornets’ Nest' that came out in 2014 I worked with the producer Tom Hambridge and we had a real connection. “ “I wanted to do something that would appeal to a younger audience. Let's be honest, the blues has been diversified so much that young people all over the world are playing it their way – it's wide and open. Your music sensibilities are going to be different at 27 years old versus when you are 67 years old. It's not the usual 1-4-5 Blues. That's not people listen to, sometimes they go back to the Blues masters but with social media, there is a lot of stuff out there.” “Blues in particular has been diversified so much that you have old rock stars playing their Blues roots and of course, when they do that -they knock off the regular Blues musicians right out of the water. Take the rolling Stones for example, don't you think that their Blues album will get the Grammy for the Contemporary or Traditional, but they'll get 1 for sure, that's just the way it is- hey man, it's the Rolling Stones!” G-Note: You have always been a musician that likes to expand the net of the Blues, is that easier said than done? JLW- “I have always tried to throw a very, very wide net. Couple of my songs on the new album. 'Gospel Blues' and 'Wade In The water' are both very close to my and the guys in the band. I have a Gospel background, but I had to present it in a new way other than the Bruce Springsteen version and the Staples Singers version of ‘Water In The Water'. What is great is when we play it live, it could be the first time they have every heard the song it even though it's been around for generations.” “I have always been a little adventurous in my music and the way we do it. Here is what it is, I try to make albums that I would like to hear and that interest me. My mind is open to hearing something differently. I know the effort that goes into re-packing a classic song. I love collaborations. I loved when B.B. King collaborated with Pavarotti. Same with James Brown and Pavarotti. People reach out to what it in their soul. “ G-Note: Can we talk a bit about the early JLW days in the 60's in San Francisco and growing there? JLW-” I was there playing in my cousin’s band when I was 12 that would be 1962, before the 'Hippies' showed up. I went to Union High school, about a half a from the Fillmore auditorium. We used to have our battle of the bands there. There were no Hippies there it was like Harlem, it was African Americans along with some Japanese / Chinese district.” “Me and my cousin got to play the so called 'Chitlin' circuit clubs then the Hippies came in, man we played for everyone, we played the Elks club. We played for the Hells Angels, we played for the Mayor, we played for Chevrolet, we played for everybody. We were doing tv and radio commercials. Then we woke up one day and heard all of this music from the house from around the corner and here it was the “Grateful Dead” they got the house around the corner!” “So, you had this major, major music melting pot. I am so grateful to be born when I was born, where I was born. Think about it, FM radio was invented then, we played 4-5 bands play on the bill like Rap musicians do today. It was an incredible experience!” 6| Page G-Notew: Dwowy.oGu-tNhiontketEhanttienrmtauisnicmweenwti.lbl eizver see another Paul Butterfield@oGr NGroatteefEunl Dteeardtabiannmd eagnatiMn?agazine

JLW “Well, maybe, but only if the people want it. There really has to be a call for it. You must have artist that are really artist among themselves. What I mean is back then it was only about the music and the message of the music. Now days, it about Facebook and how many like you can get, they didn't go on Star Search or American Idol to become famous. How many original songs do those singers sing?” “They are doing everyone else material; how do you really get to hear what they must say? Are they really talking about the issues and struggles of the day like the Grateful Dead did, like Bob Marley did? They were antiestablishment not the other way around.” “Think about this, do you think the guys you grew up listening to guys like Jimi Hendrix, John Lennon, Bob Marley, David Bowie. Do you think the judges on those shows would accept them today? Can't you see them saying to Lennon, don’t you have another lyric other than Yeah, yeah, yeah? It will never sell! “ For all things Joe Louis Walker check out www.joelouiswalker.com.com and on Facebook at www.facebook.com/joelouiswalker @GNoteEntertainmentMagazine 7 | Page www.G-NoteEntertainment.biz

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The Blues Preacher: Creighton Wodarski G-Note’s Encore Interview: Blues Guitarist: Creighton Wodarski The original interview was in our June 2018 (Issue #11) “I didn't choose the Blues; the Blues chose me!” “I was never really any good at sports and I can't dance, but I can play the guitar to make other people dance.” Creighton Wodarski You know immediately that there’s something unique and engaging with Creighton Wodarski, also known as ‘Blues Preacher Creighton’, a gentleman specializing in 1920s and 1930s blues and who is already a well-rounded performer specializing in the styles of old Blues, Country, Rockabilly, Bluegrass, Folk, Ragtime, and Jazz. Musically mature decades beyond this 18-years, he has a deep love and appreciation of artists like Charley Patton, Son House, Robert Johnson, Lightnin’ Hopkins, Rev. Gary Davis, John Lee Hooker, Blind Blake, Buddy Moss, Blind Lemon Jefferson, and so on. He is not only being a good guitar player, but he has a voice that can make a crowd stop what it’s doin1g0a|ndPtaakgeenotice of what is going on in front of them not only playing the old-time Blues but his own works as wellw. ww.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

A self-taught, multi-instrumental singer/songwriter, Creighton draws influences for his original material from the likes of Muddy Waters, Son House, Blind Blake, Hank Williams, Johnny Cash, Carl Perkins, Scott Joplin, Woody Guthrie, Leadbelly, Robert Johnson and many more. When asked how the learning and education of these Blues icon’s Creighton said, “I was first introduced to the blues when I was toddler through my grandfather Callahan and by my dad. I listened to artists like Howlin’ Wolf, and Muddy Waters. My education of the Blues began on YouTube by clicking on videos of the Pre-War Blues artists and studying what they did and how they dressed and the music structures. “ A true Blues Preacher, Creighton captures the sound of vintage music and carries the torch of the old American songsters of the early twentieth century, on a one-man mission to inspire a new generation to learn about the roots of American music and take his audience back to the days before the Second World War. His voice has been described as a two-ton hammer of soul, smashing down on a railroad track. His guitar playing has been likened is to the sound of noisy Juke Joints, Honky Tonks, Saturday night fish fries, and the fertile lands of the mighty Mississippi Delta. Keep in mind, Creighton did not start playing Blues until he was 12 years old and recently started playing publicly at 17 years old, and since then has met and played with artists like Rock N Roll Hall of Famer Billy Davis, Grammy Winner Peter “Madcat” Ruth, Michigan favorite, guitarist and the ‘Soldier Of The Blues ‘Chris Canas of the Chris Canas Band, and he has had the pleasure to meet Little Sonny. Here's what others are saying about Creighton Wodarski. “Listening to Creighton play is like having a time machine that takes you back to the 1920s and 1930s. If you close your eyes you would swear you were listening to a bluesman playing in a juke joint, house-rent party, or at a Saturday night fish fry. This much passion for the old music, in someone so young, can only lead to great things.” Richard Wall - Author of the #1 blues novel, Fat Man Blues. Others have also said, “I Love it... Thank you, my friend. You have an old soul/bless you. You do it better than some i have heard. ”- Larry “Mud” Morganfield and “Creighton Wodarski has got that old school 1920's soul. Glad he is keeping that side of the Blues alive! Keep on trucking young man!” - Chris Canas. G-Note Entertainment Magazine talked to ‘Blues Preacher Creighton’ in his 1st official interview about music, school and other topics relating to music and its history. G-Note- Nice to meet and talk with you today Creighton, you are 17 years old, still going to High School and playing music from the 20’s and dressing the part. What is the reaction from your classmates? CW- “I do dress in vintage clothing, I am a student of history and the original Blues musicians, I learned that B.B. King's cousin was also a Blues musician and told B.B at a show one time that you should always dressed in you ‘Sunday Best’ every time you perform. To me, it’s very comfortable and a part of who I am not only as a musician but as a person.” “I’m currently a Junior at school, my classmates and teachers are getting used to me waring my style of clothes. I have played my guitar a couple of times, and I always get ‘Where did you get that voice’ or where did you learn that?” G-Note- Where did you learn to sing like you do? CW' Since I'm self-taught and have never had someone 'teach me' how to sing, I studied the Blues scales. I practice them from a YouTube video, and I thought it would be a great t way to learn.” “My grandparents were Gospel singer which helped me a lot and I would like very much like to sing in church!” “Part of my job as a musician and a historian of the Blues is to educate people, it's been a process and in1s1om| Pe wa agyes. I kind of a r@eG-eNnaocttoerEanntdemrtaayibnemaebnittoMf aagrea-zinicnaernation of a soul from someonwewofwth.Gat-NgeonteeraEtinotne. rItt'as icnramzye!nt.biz

G-Note- So do you consider yourself a history buff? CW- “Yes I do, I really like history and I do pretty well in that subject. The first Blues musician I remember hearing as a young kid was Robert Johnson. That opened the door to the Blues, and as I listened to other WW2 era Blues artists like Charlie Patton who is considered by most as the ‘Father of The Delta Blues’ when I was around 5 years old.” “Even way back then, I wanted to be just like Charlie Patton, I researched his life story and it stuck me, it was like an ‘aura’ of his life and music that fascinated me from the time I was 5 until around 10 years old. I would listen to his songs on CD’s.” G-Note- That’s amazing, here you are a young man, and instead of playing baseball or something, here you are captivated by music that is 50-60-70 years old. CW- “Yes sir, I wanted to be like Charlie Patton, I saw a video ‘Banty Rooster Blues’ on YouTube, and that was the very first song I learned how to play on the guitar. From Charlie Patton, I discovered, Son House, another influential artist of mine as well as Blind Blake and Blind Lemon Jefferson that led me into the ‘Piedmont’ style which is a little harder to play because of the unique fingerpicking techniques on the guitar.” “What surprised me was how great these musicians were and how little recognition they had, I would listen to their recordings and I was amazed by them, the more I listened the more I was drawn in by them and their stories more than the contemporary artist like Howlin' Wolf or Muddy Waters, no disrespect to them but everyone knows them and their music and story. The more obscure the artist the more I want to dig into their story and their music. They were the originators, they deserve mine and all fans of the Blues respect, someone had to carry the torch forward.” “From that I began to pick up the guitar style of Blind Blake, Blind Boy Fuller and others. Now I play a lot of different styles of Blues including, Delta, Piedmont, Detroit, Chicago, Memphis, and Texas Blues with a varying style of Ragtime and Swing Blues.” G-Note- You mentioned a bit ago that your parents had a lot of musical styles playing in the house, what else was being played on the record player? CW-” Well, my Mom is into 'Glam-Rock' but I also got into Motown, Soul and Classic rock which I think was great because of the musical diversity but it was my Dad and Granddad that really exposed me to the Blues. My dad's family are all musicians and they play the Blues. My Grandad was friends with Lightnin’ Hopkins son. The story I was told was that he ran a pharmacy in San Antonio Texas and my Grandfather would get to see Lightnin’ Hopkins on the bench in front porch of the store.” “It's very important for people to know that all of the music they enjoy today like Motown, Rock and Roll, Rap, Hip- Hop and such all comes from the roots of the Blues.” G-Note- Creighton, you have shared with me your influences in playing music but what does the Blues say to you, what does it mean deep down? CW- It's emotion, it's the connection of my personal story with the struggles that the talk about in their songs. It's helped me in a therapeutic way to get through some rough patches I have gone through like the passing of my Grandmother, the bullying from kids at school and losing my Uncle and the Blues has helped me get through all of these tough times,” Please check out Creighton Wodarski's video and tour information at: 1w2 w| Pwa.cgreeightonwodarski.wixsite.com and on Facebook & SoundCloud - Creighton Wodarski www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

Kalamazoo State Theatre 404 S. Burdick Street Kalamazoo Mi 49007 (269) 345-6500 Behind the curtain - a living legacy Experience the historic State Theatre for your next show The State Theatre has been a fixture in downtown Kalamazoo since 1927. The original founder of the theatre was Colonel William Butterfield. John Eberson was the renowned architect who designed the theatre. The early roots of the theatre were found in the Vaudevillian tradition of performance. Many acts that frequented the State Theatre included opera, dramas, big bands, ballet, dance reviews, stage shows and movies. November 6th Cat & Nat #MOMTRUTHS Live November 8th Goo Goo Dolls November 15th TNT Tour: Tinsley Ellis & Tommy Castro November 16th Eaglemania Eagles Tribute Band November 17th An Evening With David Sedaris November 20th Nick Offermann 7:00pm / 9:30pm (2 Shows) Tickets are available through our website, through Ticketmaster online at ticketmaster.com, or by phone at 1-800-745-3000. Tickets are also available in-person-only at the Kalamazoo State Theatre Box Office. @GNoteEntertainmentMagazine 13 | P a g e www.G-NoteEntertainment.biz

G-Note’s Spotlight Artist: Lee Rocker Singer, Bassist and Stray Lee put his Americana twist on classic 1970's radio hits such as the Lennon/Mc Cartney song \"Come Cat: Lee Rocker together\", Elton John's, \"Honkey Cat\" and the Allman Brothers song \"Ramblin Man\". The Early Years 2012 kicks into high gear with the release of \"Night Lee Rocker made his mark singing, playing, Train to Memphis\" a disc of classic rockabilly done standing on, spinning and rocking his giant upright like only Lee Rocker can. Here's Lee's thoughts about bass in the legendary music group The Stray Cats. his newest recording in his own words Grammy-nominated, The Stray Cats have sold nearly 10 million albums and garnered an \"Night Train to Memphis\" is a record that I've astounding 23 gold and platinum certified records wanted to make for a very long time, and like an worldwide. Founded by Rocker, Brian Setzer, and album spinning on a turntable at 33 and a 3rd Slim Jim Phantom, The Stray Cats remain a radio rpm's, this is my 33rd year of playing music. \"Night staple, were music video pioneers at the infancy of Train to Memphis\" is the soundtrack of my life. MTV, and repeatedly brought rockabilly music to These songs are tattoo'd on my soul. Rockabilly the top of the charts. music grabbed this kid from New York, and shook me, spun me round and rattled my brains. I was 2011 kicked off with Lee joining the cast of the never the same again. Broadway's hit musical \"Million Dollar Quartet.\" Rocker stepped into guest star for 12 performances So at 16 years old I got myself an upright bass fiddle in January. \"Million Dollar Quartet\" is inspired by and I started a band. We would practise in my Dad's the legendary recording session that took place garage nex@t GtoNtohteeOElndsteDretlatain8m8.entMagazine Tuesday, December 4, 1956, in the Sun Record Studios in Memphis, Tennessee. The session was an impromptu jam session among Elvis Presley, Jerry Lee Lewis, Carl Perkins, Johnny Cash and additional musicians. Rocker played the role of Carl Perkins' brother and bass player Jay Perkins. \"The story is especially close to my heart,\" says Rocker, who was a close friend and musical collaborator of Carl Perkins up until his passing. 2011 also saw the release of \"The Cover Sessions\" EP. The Cover Sessions is a side project that Rocker has been worked on for 18 months, this record includes banjo's, harmonica's, dobro, mandolin, wash1b4o|aPrdas ganed all types of folk American instrwumwewn.tGs.- N o t e E n t e r t a i n m e n t . b i z

We would play until my fingers bled. I didn't mind one bit. The music hasn't released me yet and I know it never will. In the summer of 1980, the band moved to London and we called ourselves the \"Stray Cats\". I got to say its been one a hell of a trip. Over the years I devored everything I could about Rockabilly, and I've played or recorded with the musical architects and pioneers, including Carl Perkins, Scotty Moore, Wanda Jackson, Levon Helm, as well as George Harison, Ringo Starr and others. The Mount Rushmore of Rock and Roll. Hey dreams do come true. The songs on \"Night Train to Memphis\" are classics from the early days of rock with the \"Stray Cat, Lee Rocker\" stamp on them. I recorded this disc in a similar way as they did back at Sun Studio, the birthplace of rockabilly, relying on spirit, energy and passion, not on studio tricks and gimmicks. \"Night Train to Memphis\" takes me right where I want to be, and where I've always been happiest. Get on board! Check out the latest album from Lee Rocker, ‘The Low Road’: Now available! @GNoteEntertainmentMagazine 15 | P a g e www.G-NoteEntertainment.biz

New Music Alert: Billy Craig Working extremely hard in the studio, Billy Craig can now check off another item on his bucket list. It has been his motivation and mission and he found it to be incredibly invigorating and rewarding. “It’s a fully loaded guitar-laden instrumental album that allowed me to cut loose in many directions,” says Billy. It’s quite a departure and show’s that Billy is not just a music artist but also an extremely talented and accomplished instrumentalist. Billy’s influences come from a lifetime of great players from Roy Clark, Eddie Van Halen, Peter Frampton, and Jeff Beck to name a few. It's a serious musical challenge and adventure for the listener. Fro1m6 | pPoawg eer to finesse, it’s deeply personal and deeply emotional as you’ll soownwwfi.nGd-NooutetE. ntertainment.biz @GNoteEntertainmentMagazine

New Music Alert: Coco Montoya White-hot blues guitarist and soulful vocalist Coco Montoya released his new Alligator Records CD, COMING IN HOT, on Friday, August 23. In a career that spans almost four decades, Montoya has gone from drumming for blues icon Albert Collins to holding the lead guitar spot in John Mayall’s Bluesbreakers to leading his own band and touring worldwide. \"In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.\" –Billboard \"Coco Montoya sings and plays with passionate abandon.\" –The Boston Globe Whether riding herd on a roadhouse romp, laying down a sweet, slow blues or blasting with blues-rock fury, Coco Montoya delivers the goods, with passionate, fire-breathing vocals matching his incendiary guitar pyrotechnics step for step. It’s hard-hitting blues-rock that stays with a listener long after the notes die off. Now, with COMING IN HOT, Coco Montoya again turns the burners to high and cooks from start to finish. COMING IN HOT features 11 songs by writers including Montoya and Dave Steen, Tom Hambridge and Richard Fleming, Warren Haynes, Frankie Miller, Jeff Paris, and Albert Collins. The tracks range from blistering, hard-rocking blues to potent shuffles to fervent, moving ballads. Montoya delivers each song with uncompromising, dynamic energy. His unpredictable guitar playing and smoking, soulful vocals are inspired by a backing band featuring renowned musicians including bassists Bob Glaub (Bob Dylan, Bruce Springsteen, Jerry Lee Lewis) and Mike Mennell (Jimmy Buffett, John Fogerty), keyboardist Mike Finnigan (Jimi Hendrix, Etta James, Taj Mahal), rhythm guitarists Billy Watts (Eric Burdon) and Johnn1y7L|ePe aScgheell @GNoteEn(BtoenrtnaieinRmaiettn),tManadgTaozninyeBraunagel (who produced twhewawlb.Gum-N) oontedErunmtesr.tainment.biz

New Music Alert: Donnie Vie DONNIE VIE RETURNS WITH NEW SOLO SET, ‘BEAUTIFUL THINGS’ Original songwriter/lead vocalist of Enuff Z’Nuff, Donnie Vie, is back with his latest solo album, ‘Beautiful Things,’ which will be released on June 7th via Deko Music on CD/LP/Digital, with the first single \"I Could Save The World\" out on May 24th. The album also features special guests Paul Gilbert (Mr. Big), Roger Joseph Manning Jr. (Jellyfish) and Mike LePond (Symphony X) and will be issued as limited-edition LP bundles (while supplies last). \"This is my first record in 4 years. I had to make sure it was great. The songs started coming, starting with ‘I Could Save the World,’ which opened the door for the rest. I got great artists to play on it like Paul Gilbert (Mr. Big), Roger Manning (Jellyfish), Matt Walker (Garbage/Morrissey) and many other killers. The record exceeded my hopes and expectations. It’s like an ice cream sundae made of sounds & colors, with more hooks than a tackle box. And of course, my pipes, stronger than ever! The song ‘Beautiful Things’ felt like a great album title, so I expanded on that. It hits hard from start to finish. I’m proud to be a big part of it, it’s my best work yet, and that’s saying something after nearly 25 great records with Enuff Z’ Nuff and my solo stuff combined. If you like cool aggressive pop, you will love this. I sure1d8o|. PShaagree the love, stop the hate, and let’s save the world.” www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

Interview: Alessa Ray G-Note Entertainment With an unwavering work ethic and passion for music, fans can expect to hear much more from Alessa Ray, including her Magazine Interview: debut EP that will be announced shortly. Alessa Ray Alessa’s music has been featured by Music Connection magazine, Muzik Beat, Tuned Loud, Hunnypot Unlimited and Paraguayan songwriter, producer and performer The JW Vibe. Alessa’s latest single for “Mamacita” is available Alessa Ray has unveiled details on her latest single on most digital service providers and the just released music “Gypsy Woman” on Friday, 8/9 release. The song is video for the track is now on YouTube. her first new piece of material for 2019 and will be included on her upcoming album currently in G-Note Entertainment Magazine recently talked to Alessa production. from her California home. Alessa Ray, an emerging Southern California based G-Note- Hello Alessa! Thank you for your time today and songwriter, artist and producer was released introducing yourself to the G-Note audience. “Gypsy Woman” 8/9 via most online streaming platforms including Spotify, Apple Music, Youtube AR- “Awe, thank you, it’s a pleasure to speak with you Music and Amazon Music. With her prior singles today!” “Game Over” and “Mamacita” garnering superb media coverage, she is thrilled to be releasing her G-Note- Let’s get right into it. You are originally from latest track and the first of new material slated for 2019 releases. Alessa Ray self-produced and mixed Paraguay and moved to California to pursue your dream of “Gypsy Woman and listeners can expect the single to include more of her distinct Latin Pop flavor with making and recording music. What are or have been some of an infectious energy that is sure to get dance floors and feet moving. the challenges of that? 19 | P a g e Already known throughout her home country of www.G-NoteEntertainment.biz Paraguay, Alessa Ray has now been building buzz in Los Angeles by performing live and consistently releasing music since relocating to this music capital. This rising songwriter and producer knows a thing or two about traditional South American music and blends her proud ethnic heritage with a larger-than-life pop sensibility and incredible style that gives Alessa Ray her unique flavor. Ray is bilingual, singing in both English and Spanish on some of her songs including her late 2018 Salsa tinged p@opGtNraockte“EMnamtearctitaai”n.mentMagazine

AR- “I’m basically a starving artist that doesn’t have a lot of background that have songs out on Soundcloud that I sang when I was in Paraguay, but not so much on Spotify or some similar platform.” “I came here to the United States to learn and further my knowledge of music and song writing at the Musicians Institute in Los Angeles California, I graduated from there and have been working very hard since and recently did my video for my song called ‘Mamacita’ that is now on YouTube, so, everything is very exciting and working very well.” G-Note- How did you get into the music business? AR- “Back in 2014 I went to a concert which was a contest for songwriters. I never really wrote songs, but I wanted to participate and the ones I did weren’t very good, but I did participate and got in and performed. The thing is, If I didn’t try it I don’t know what would have happened. You have to follow your dreams!” G-Note- When asked, how do you describe your music? AR- “It is up-tempo and It’s fun music, I want people to enjoy the music and if they dance to it, that’s great, because if I have fun with it, most of the time everyone else will as well.” G-Note- When you were growing up as a young girl in Paraguay, did you always want to be a singer or performer? AR- “I never really had any sort of training growing up and no one from my family are musicians. I studied architecture for 6 years and have a degree in architecture. Music has always been my dream and passion and is in my ‘zone’, I just didn’t have a background in it.” “We have a very traditional way of growing up back home in Paraguay, you just don’t say to your parents ’I want to be a musician or an actress’ and you go for it, you tend to do more traditional jobs that are reliable and you can have a career at, unlike here in the states. I meet so many people in music and they tell me that they had encouragement or some classes to work at their skill or craft, not so much back home.” “I remember when I was in high school and I said something to my parents about wanting to be a musician, they both stopped and looked at me and with a firm ‘No way” you need to do something that you can support yourself, something safe and stable but now, my family are my biggest fans!” “Here in Los Angeles, I have met a lot of people what are very supportive of my dreams, I came here by myself which took a lot of courage but the people I met have been very supportive and have helped me a lot.” G-Note – Do you see a similarity in music and architecture? AR- “Maybe not at first or on the surface, but when you write a song it is like building a structure, you design, and construct and it needs to stand up for a long time. Your song is your house, it’s your project and your baby.” “When I write a song, I start with the lyrics, then the melody and pattern then the arrangement and I have to take it to a producer that has much more experience that me and take it to the next level.” “I’m learning how to produce music and that really is like building a house. So much thought and time and work go into that, where it becomes part of you, something that you can share and hopefully people can enjoy!” Check out Alessa Ray including the music and videos at: www.alessaray.bandcamp.com or on Facebook at https://m.facebook.com/alessaraymusic 20 | P a g e www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

New Music Alert: Alessa Ray Alessa Ray, an emerging Southern California based songwriter, artist and producer will release “Gypsy Woman” 8/9 via most online streaming platforms including Spotify, Apple Music, Youtube Music and Amazon Music. With her prior singles “Game Over” and “Mamacita” garnering superb media coverage, she is thrilled to be releasing her latest track and the first of new material slated for 2019 releases. Alessa Ray self-produced and mixed “Gypsy Woman and listeners can expect the single to include more of her distinct Latin Pop flavor with an infectious energy that is sure to get dance floors and feet moving. Already known throughout her home country of Paraguay, Alessa Ray has now been building buzz in Los Angeles by performing live and consistently releasing music since relocating to this music capital. This rising songwriter and producer knows a thing or two about traditional South American music and blends her proud ethnic heritage with a larger-than-life pop sensibility and incredible style that gives Alessa Ray her unique flavor. Ray is bilingual, singing in both English and Spanish on some of her songs including her late 2018 Salsa tinged pop track “Mamacita”. With an unwavering work ethic and passion for music, fans can expect to hear much more from Alessa Ray, including he2r1de| PbuatgEeP that wil@l GbeNaontenEounntecretdasinhmoretlnyt.Magazine www.G-NoteEntertainment.biz

New Music Alert: Dirty Honey L-R: Corey Coverstone/drums, Marc LaBelle/vocals, Justin Smolian/bass, John Notto/guitars Los Angeles’ rock band Dirty Honey is geared up for an ambitious 2019. Led by frontman Marc Labelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone, the band recently released their debut EP. Produced by Nick DiDia (Pearl Jam, Rage Against the Machine), the self-titled release is available now, accompanied by a non-stop touring schedule. This summer sees Dirty Honey performing at more than a dozen major festivals including Sonic Temple, Welcome To Rockville, Rocklahoma, Louder Than Life, Exit 111 Festival, Heavy MTL, and Epicenter among others. Additionally, the band is supporting on dates with The Who, Guns N Roses and a return invitation to join Slash. As NPR Music said about the band, “Don’t believe anyone if they tell you ‘rock is dead.’ Dirty Honey rocks in the best possible way.\" • Debut single “When I’m Gone” - jumped from #9 to #8 at Active Rock (w/e August 18) • iHeart Radio’s “On The Verge Artist” • On the road this summer/fall with Slash, Guns N’ Roses, Alter Bridge/Skillet • “When I’m Gone” - chosen as the theme song for the WWE “Extreme Rules” event that aired 7/14/19 • “When I’m Gone” music video in rotation on MTV “Sounding like the perfect soundtrack for a windowsdown, cross-country road trip, ‘When I’m Gone’ is no doubt a track that will have you reminiscing about better days.” Live Nation/The Noise \"Dirty Honey’s eponymous release is filled with big hooks, arena worthy choruses and a polished approach that many can only dream of.” — Rush On Rock “We d22on| ’Pt wa agnet to bring anything back; we just want to make music that’s sexy and hard and rocking all at thewsawmwe.Gti-mNeo.t”eEDnirtteyrHtaoinnemye’snMt.bairzc Labell @GNoteEntertainmentMagazine

@GNoteEntertainmentMagazine 23 | P a g e www.G-NoteEntertainment.biz

Interview: Dennis Coffey G-Note Interviews Legendary Dennis Coffey is recognized as the guitarist who introduced the wah- wah pedal and sound to Motown, MOTOWN guitarist and former Dennis Coffey played on hundreds of tracks as a member of the Funk Brothers, the studio band that recorded ‘Funk Brother’ Dennis Coffey countless hits in the Detroit recording studio known as the Snake Pit. G-Note Entertainment Magazine had the honor and rare opportunity to talk to Motown’s Funk Brother legend On his own, Coffey charted with the million-selling and the original guitar hero Dennis Coffey. instrumental “Scorpio” and the soundtrack to Black Belt Jones, as well as session and production work for other Dennis Coffey was featured in the 2002 award-winning artists. documentary Standing in the Shadows of Motown and published his memoir, Guitars, Bars and Motown G-Note- Dennis, thanks for your time, I’ve been a fan of Superstars, in 2004. He was the subject of a 2010 yours for decades! Can you please share with me how podcast series called Premium Blend, in which he was you got your start in music? interviewed about his years as one of the Funk Brothers and his life as a guitarist. DC- “Thank you very much! I really appreciate your kind words, When I was two or three-years-old my mom told In addition to regular gigs in Detroit with his band, me I could name every song on the radio. I had cousins recent projects include guitar work on the Cambodian that lived in Northern Michigan and had played great Space Project CD Whisky Cambodia (2014), which he country and western guitar and I loved the way it produced, and several U.K. sold-out dates in March 2014 sounded. My cousins showed me some Hank Williams, and opening for singer/songwriter Sixto Rodriquez. Coffey then I got heavily into the Sun Records rockabilly stuff. I also2w4a|s Pfeaatgureed in Searching for Sugar Man, the 2013 remember listening to Chuck Berry play “Johnny B. Acadwewmwy A.Gw-aNrdo-wteinEnnintgedrotacuinmmenetnarty.bthizat chronicled Goode” and thinking, what is this sound, how does he do Rodriquez’s life and career. that? So, I went to a guitar teacher in the area and asked if he could show me, but he said he didn’t have a clue or an idea what Berry was doing. So, I learned how to play R&B and soul off the radio, because the music was so new that none of the guitar teachers in the area didn’t know what it was yet, let alone teaching it.” G-Note- “Over your incredible musical career, are you still evolving as an artist? DC- “I’ve been able to reinvent what I do by getting out there and playing live in front of the people. You need to play in front of people so that they can judge whether your practice is paying off or not. If you’re just playing alone in the living room all the time, you’ll never know if you suck. But if you suck while you’re playing live, people will just get up and leave. I’m still a student of the instrument@aGnNd IoptreaEctnicteeervteariyndmaye.nItnMfaactg,athzaint’es what I was doing before you called me.

Right now most of the guys I play with are younger than me; the only time I wasn’t the oldest guy in the band was when I played with the great Les Paul a while ago, and sadly, he’s gone. G-Note- How did your move to Motown and becoming part of their Funk Brothers studio band come about in 1968? DC- “By the time I got to Motown they had already bought out Detroit recording studio Golden World records. And what happened was, one day I got a call from James Jamerson, The Funk Brothers bass-player. He introduced me on the phone to Hank Cosby. Who, in addition to being Stevie Wonder’s producer, was also the contractor who called all the musicians to come and play on the sessions. So, Hank says We are going to put together a band with Jamerson as leader, and we are going to set-up upstairs at Golden World studios. We’re going to be available four nights a week from 7:00 to 9:30 for all the Motown producers to come over and experiment, come up with new ideas, and try to craft some hits before they incur the actual studio costs. So, I agreed to be part of that, and I / we worked with various producers and then, about three or four weeks later, Norman Whitfield - who I knew as The Temptations producer came in.” Dennis continued on “So anyway, Norman got this arrangement of a song called “Cloud Nine”. So, we put it on the stand in the studio, I looked at it and studied it for a bit. As it turned out, I happened to have this wah-wah pedal in my kit that makes the wah-wah sound on the guitar; I played the introduction to “Cloud Nine” on the pedal. And almost immediately, Norman was like “That’s’ IT’! That’s exactly what I’m Looking for! So, within two weeks I’m walking into the Motown studios as a member of The Funk Brothers and from that day on, Norman had me in the studio every day! I think of it as my most favorite memory at Motown.” G-Note- You get the credit (and deserving of it) for changing the Motown sound, was that intentional? DC- “I suppose you can say I had something to do with it, if you will, that Norman Whitfield utilized to change or update the Temptations' sound. Norman liked what I was doing in the clubs and he wanted to get the Temps away from the love songs and into the social commentary that was happening in Detroit and other cities around the country. I hardly knew anybody there, but I pulled out and plugged in my wah- wah and distortion pedals, and my Gibson Firebird (Kalamazoo made). I think it’s a 1963 Firebird, and I still use it because that guitar’s been on so many hits.” G-Note- Is it fair to say that you and Norman Whitfield were jointly the two men primarily responsible for Motown Records move into the psychedelic soul era in the Late-Sixties/Early-Seventies - via classic singles like The Temptations “Cloud Nine” and “Ball Of Confusion.” DC- “Well, you have to keep in mind that back in 67 and 68, while Motown was still writing and recording the love songs, again, the musical landscape was changing and changing very fast because of musicians like Hendrix, Edwin Starr and Sly Stone and others. You started to have the protest songs, the social commentary songs, the psychedelic music and so on.” “Norman was a very savvy and understood what the musical environment was, Norman had already figured that the music was going to change and knew how he wanted it to sound, he just didn’t know how to get there until he heard me play.” Dennis continued on to say, “You know, because I was doing very experimental stuff on the guitar while at the same time playing in the black clubs, Norman knew I was the one who could help him get to his vision. Because, while I could do the special effects, I could also do straight-ahead funk. Which was exactly what he was on the look for... So yeah, in that way Norman did become my favorite producer to work with at Motown. Norman was the one who gave me a chance to also express my own style and be creative in my own right. You know, while he was achieving his vision and growing as a producer and writer, I was growing as a guitar player. So, it was definitely a situation that worked out very well for both of us.” 25 | P a g e @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

G-Note- Over the years I’ve heard stories about this, Is it correct that you were the first “White Guy” to perform on Soul Train? DC- “Yes, that is correct, I’m happy being the first white guy to appear on Soul Train. Most acts would pantomime to the record, but I brought my whole band and we kicked it outlive to a packed audience. They brought in an additional 25% more people into the studio. It was packed!” “For the most part, if you could deliver in the studio or in the club’s people didn’t care what color you were. I mean, I was playing the Frolic Room with black musicians just a few miles away from where the Detroit riots were happened. I do recall this one DJ, when we went out to L.A. in 1971 to promote “Scorpio,” who looked at me and said, “Oh no, sorry, we absolutely cannot play any white records,” I asked to look at his playlist and then I nicely pointed out that I’m on the top three songs, so he was playing me whether he knew it or not. And that’s when he played “Scorpio!” G-Note- What is the biggest or best lesson you learned at Motown or in your career? DC- “You always come prepared. Make sure you’ve got extra strings, picks, and always leave ahead of time so you can show up early or on time. Also, you can forget about drinking alcohol, smoking weed, or any of that stuff. I will not have one drink until I’m done playing. You can’t be on top of your game and play the kind of music I do if your brain doesn’t have instant access to your fingertips, because then your fingers won’t go where your brain wants to take them. “ “You have to know that at Motown, we were cutting one song an hour, so you did and played things a way that kept things fresh, but if a producer wanted to beat a song to death we called it rigor mortis. The repetition sets in and your mind starts to wander and that’s when you take your charts for granted and start to make mistakes.” Dennis Coffey continues to mesmerize and thoroughly entertain with his trademark guitar licks and familiar song stylings in and the around the Detroit area including a standing gig at the Northern Lights Lounge located at 660 W Baltimore St in Detroit. For all things Dennis Coffey including info on his new album, ‘Down By The River’, check Dennis and his web site at: www.denniscoffeysite.com 26 | P a g e @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

Sound & Innovation. Inspired by music, Three Chord Bourbon embodies the spirit of creativity and innovation. We begin with carefully sourced barrels from select American cooperages. Using the latest barrel-toasting techniques, we char new American Oak from the Missouri Ozarks to a precise temperature, which allows us to extract the unique flavors of maple syrup, vanilla, and caramel from the wood. Then, with our unique process of tonal vibrations, we blend carefully selected bourbons from across the country to create our desired character profile. This is exactly what we mean when we say, “Perfectly Tuned Taste.” Three Chord’s Mash Bill Our bourbon is a blend of up to 12-year-old bourbons expertly crafted to create a smooth taste profile of caramel, vanilla, and maple-soaked notes in each and every sip. Our mash bill is 75% corn aged in first char American Oak, 21% rye, and 4% barley malt. Tasting Notes Appearance: Clean, warm, brilliant caramel and amber color blends. Nose: Warm, rich caramel, vanilla, and maple on the nose. Taste: Created to reach all areas of your palette with different flavor senses. It begins with a smooth start, developing spicier complexity at mid-palette, finishing off long as it moves to the back of your 27 | P a g e @GNoteEntertainmenttMoanggauzeinreevealing bold, smooth flavwowrsw. .G-NoteEntertainment.biz Finish: Silky smooth vanilla and caramel tones that linger warm and satisfying.

Supporting Our Community About the Paw Paw Village Players In 1969, a group of 16 people with a love of theater and a desire to entertain got together to form a theater company that has endured and prospered for over 45 years. The original group including such locals as Charley and Mary Burkett, Bob Bennett, Patsy Sunstrand, Felix Racette, Judy and Ron Schincariol and Dave and Jan Wilder received permission from the Community Schools Program to produce plays at the old Michigan Ave School which is now the Freshwater Community Church. Receiving the money to pay for the play’s royalties, this small group performed “The Silver Whistle” as their first endeavor. With a positive response from the community for local theater and good, clean fun, the group was off and running. Although over 45 years have passed, this non-profit community theater group continues to evolve and grow with new talent and some old-time wisdom provided by founding members. Plans for fresh and exciting plays are foremost on the agenda for the current Board of Directors. As every new season presents a new schedule of plays, the group effort involved in each production is a work of art. PAW PAW VILLAGE PLAYERS 600 E. MICHIGAN AVENUE Mail: P.O. Box 22 PAW PAW, MI 49079 1.269.657.7529 On the Freshwater Mainstage Providing the finest in Family Entertainment since 1969 While you are there, check out ‘All Stirred Up!’ And pick up some tasty treats! 28 | P a g e @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

Supporting Our Community @GNoteEntertainmentMagazine 29 | P a g e www.G-NoteEntertainment.biz

New Music Alert: Diana Rein Rein - a Temecula resident for several years now - performs in front of an audience of family and friends. The Blues-Rock guitarist/vocalist recently returned from a performance in front of thousands of music lovers at the Open-Air Blues Festival in Romania, where Rein was born. Queen Of My Castle, the follow-up to her critically-acclaimed 2016 album Long Road, was released on Mike Zito's fledgling Gulf Coast Records this past June. The fifteen-song disc is co-produced by Michael Leasure (drummer for the Walter Trout Band) and is mixed by Lincoln Clapp, who previously mixed Texas Flood by the late, great Stevie Ray Vaughan, one of Diana's biggest influences. There's nothing traditional about Blues artist Diana Rein. Diana’s parents escaped communist Romania in 1981 when she was three years old. They arrived in Chicago with only Fifty dollars in their pocket and a dream for a better life. Diana brought her family's strong Romanian work ethic to performing arts school, where her talents flourished, eventually leading her to a role in the classic American 90’s comedy \"Home Alone”. Diana's love of the Blues started at age eight, when her parents brought her to a Chicago Blues Club, arranging to have her perform some songs with the band. This was a defining moment. A blues artist was born. Over the years, Diana's music heroes and influences emerged: SRV, Prince, and Phillip Sayce to name a few. But it all started back in Chicago, the home of amazing Blues legen30ds| PlikaegBeuddy Guy. www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

New Music Alert: Pat Smillie Motor City Rock & Roll is Back! Pat Smillie comes out the gate smokin’ with his latest release ‘Lonesome For A Long Time’. Born in Detroit, musically schooled in Chicago and now back in the Motor City to wow crowds and fans all over the Midwest. It’s obvious Pat Smillie’s musical influences and how he approaches his music- Head on! Playing with the likes of legendary guitarists Dennis Coffey (Motown) and Jim McCarty (Mitch Ryder & The Detroit Wheels) it’s a great cruising CD whether you are on the mean streets of Detroit or on the I- 75 highway, make sure you have ‘Lonesome For A Long Time’ locked & loaded and loud! @GNoteEntertainmentMagazine 31 | P a g e www.G-NoteEntertainment.biz

New Music Alert: Shaun Murphy 32 | P a g e @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

New Music Alert: AXE Axe was formed in 1977 out of the ashes of \"Babyface\", a Hard Rock band burdened with a top 20 hit... but on the Adult Contemporary Charts. The band was brought together by leader Bobby Barth. Pulling members from all over America to Gainesville Florida, where they lived in one house, wrote music, and practiced. Bobby Barth, Michael Osborne, Michael Turpin, Teddy Mueller And Edgar J. Riley Jr Axe was different in that the makeup of the band were all veterans of many years playing clubs and cover music, 4 lead singers, and all writers. Signing a deal before they ever played a gig. The band signed to MCA for 2 records, later on to Atco for 2 records, where they had success with the anthemic song \"Rock and Roll Party in the Streets\", touring with almost every major act on the road Judas Priest, Ozzy, Deep Purple, Kiss, Motley Crue, Cheap Trick, ZZ Top, and quickly became a touring staple in the arena rock world. The upward momentum ended tragically in the summer of 1984 when Micheal Osborne and Bobby Barth were involved in an automobile accident where Osborne was killed, and Barth received a broken neck but was able to recover. Not having the heart to continue without his best friend Osborne, Axe ended that day and rested until the 1990's, Axe once again rose from the ashes to record \"Five\" their fifth record and then onto the Crown, 20 Years From Home Volume 1 and 2, an Axe Anthology \"Axeology\" a DVD live from Sweden Rock in 2012, and now finishing their final record \"Axe33th| ePFaingael Offering\"@ G N o t e E n t e r t a i n m e n t M a g a z i n e www.G-NoteEntertainment.biz

New Music Alert: TURBOKILL In an enlightened world, it must be allowed to ask how the musical succession to Metal legends like Judas Priest or Iron Maiden is to be realized. Or is the change of guards already under way? Following in the footsteps of the Metal giants of our era will by no means be an easy feat. Still, it must be done, and we need suitable candidates with a vision who align themselves with the long history of this music genre while taking their compositions and playing style into the future. TURBOKILL, the new formation of former Alpha Tiger vocalist Stephan Dietrich, could be such a candidate in the making. The German band comes with an exceptionally set of skills to drive forward a Heavy Metal style that is traditional yet modern. Is it too bold a thesis then, to name them as a contender? Hardly, especially since the 12 songs making up the group’s first album \"Vice World\" beg to differ. The message comes across loud and clear: The future of the classic Heavy Metal has already begun! \"Vice World\" more than meets the expectations that TURBOKILL set with their EP back in 2018. Last year, the self-titled work was awarded impressive 9 out of 10 possible points by the trade journal Deaf Forever. In addition, TURBOKILL was one of the top 5 candidates for the support act to the 2018 ‘Metal Hammer Awards’. There must be something to the rumors going around about the new band being one of the most talented and most promising in this music genre. 34 | P a g e The debut album \"Vice World\" was released October 25th, 2019 www.G-NoteEntertainment.biz @GNoteEntertainmentMagazine

New Music Alert: Bruce Katz Bruce Katz is one of the best. “This man is as good as it gets. One of the greatest keyboard artists I’ve ever heard.” - John Hammond “Katz cooks up a brilliant marriage of blues, jazz, gospel and soul.” – Jazz Times Solo Ride is the newest CD on American Showplace Music from legendary keyboardist Bruce Katz and for the first time in his career, he has recorded a solo piano album and the results are stunning and unmistakably original. Bruce’s virtuosic and original playing draws the listener into his musical world where many of the artificial boundaries created in the ‘music business’ fall away and leave the listener with a new appreciation for what Bruce calls “improvisational American Roots and Blues music”. “He can play jazz, blues, Bach, anything. Man, he’s a heavy!” Gregg Allman Don and Sheryl Crow - Nashville Blues and Roots Alliance: “On Solo Ride, Bruce Katz becomes the Picasso of the Piano\" Known throughout the world as the keyboardist with Gregg Allman, Delbert McClinton, John Hammond, Ronnie Earl & many others, Solo Ride puts Bruce Katz and a grand piano in a world class studio and sounds as rich and dynamic as any of the recordings he has done w3i5th| fPulal g e bands. @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

New Music Alert: Toronzo Cannon Chicago's own ambassador of the blues, Toronzo Cannon, released The Chicago Way, the first single (digital only) from his second Alligator CD, The Preacher, The Politician Or The Pimp. The full album was released on Friday, September 20, 2019. With this release, the songwriter, guitarist, vocalist and Chicago Transit Authority bus driver continues to blaze his own visionary blues trail, fusing his original, keenly detailed tales of everyday life with his fiery guitar playing. Blues Music Magazine says, \"Cannon has all the fire and spontaneity of the Chicago legends. His songwriting is a timely and original look at the world he sees by day on a bus and in blues clubs by night, and his assertive voice is the perfect vehicle to deliver the message.\" The Preacher, The Politician Or The Pimp features twelve Cannon originals, ranging from wryly sung, slice-of-life songs flavored with humor to burning social commentary. His broad-shouldered blues guitar work echoes the sounds of the city. His fervent vocals are filled with personality. His original songs are inspired by his deep Chicago roots, the wisdom of his grandparents and his years of observing the public while driving a bus. “It’s not about the solos,” Cannon says, “It’s about the songs. People get used to everyday life, so it’s easy to miss the things around them. I write about those things. I know the problems of Chicago, the hardship. But I love and respect the city. I'm proud to be carrying the Chicago blues tradition forward and honoring those blues giants who came here from the south and created the city's blues sound.” With The Preacher, The Politician Or The Pimp, Toronzo Cannon continues to deliver his messages loud and clear. With his distinctive original songs, soulful vocals and guitar mastery, Cannon has grown from being a local attraction to become a world-renowned ambassador for Chicago blues. PBS Television’s Chicago Tonight says, \"Cannon is just your typical CTA bus driver who moonlights as a sought-after Chicago blue3s6m| uPsaicgiaen. As a guitarist, singer and songwriter, he drives the sound of Chicago blues from the city to bluewswclwub.Gs -aNndotfeeEstnivtaelsrtaarionumndenthte.bwizorld.” @GNoteEntertainmentMagazine

New Music Alert: RICK ESTRIN & THE NIGHTCATS Award-winning San Francisco Bay-area blues band Rick Estrin & The Nightcats will release their fifth Alligator Records album, Contemporary, on Friday, September 20, 2019. With Estrin's harmonica virtuosity and sly soulful vocals, Christoffer \"Kid\" Andersen's wildly inventive guitar, Lorenzo Farrell's masterful keyboards and Derrick “D’Mar” Martin's funky, creative drumming, the band takes Estrin’s ingenious, original songs to new and unexpected places. With these musically fearless players kicking everything up a notch, Contemporary explores some different sounds, instrumentation and grooves from their previous releases, as they continue to reinvent traditional blues styles. Produced by multi-instrumentalist Kid Andersen and Estrin and recorded at Andersen’s Greaseland Studio in San Jose, California, Contemporary delivers twelve surprising, wise-cracking, foot-stomping songs, including nine by Estrin (one co-written with Andersen), one each by Andersen and Farrell, and one obscure cover. According to Estrin, “Contemporary is the most fully realized expression of who Rick Estrin & The Nightcats really are and what we’re capable of as a band. Recording at Greaseland, we all had so much fun and were so relaxed, the ideas just started pouring in from all sides. I really expect this record to blow some minds.” The UK’s Blues & Rhythm says, “Rick Estrin & The Nightcats have crafted an instantly identifiable sound. They serve up insightful, original blues combined with tough rock’n’ roll. This band is superb.” Rick Estrin & The Nightcats have performed at festivals and concert stages from San Francisco to Chicago to New York, and everywhere in between, plus tours of the United Kingdom, Norway, Belgium, France, Switzerland, Poland, Australia, Israel and recently Estonia and Russia. Their worldwide popularity helped Estrin win five Blues Music Awards, including two nods for Song Of The Year (1994 and 2018), Best Instrumentalist—Harmonica (2013) and Traditional Blues Male Artist Of The Year (2018). The full band, Rick Estrin & The Nightcats, won the highly coveted 2018 Blues Music Award for Band Of The Year. On stage, the band’s ability to deliver an unpredictable, no-holds-barred show is unmatched. The Chicago Sun-Times says, “These are serious musicians out to have a hotter than hot good time. It’s tough to stay in your seat when Estrin and his musical cohorts get cooking.\" Says Estrin, “People don’t go out to see people who look like themselves. They want to see something special. I was schooled in this business to37be| aP a g e showma@n,GaNndottheaEt’ns twehrattayionumgeent twMheangyaozuinceome to see us perform. We knwowwhwo.wG-toNpoutteoEnnateshrotawi.nI mfeeelnsto.rbriyzfor anyone who has to follow us.”

New Music Alert: Mick Devine Back in the year that President Kennedy was assassinated and the Beatles first song entered the UK charts, Mick Devine was born in Bulawayo, Southern Rhodesia. Music was always an important part of the Devine family life with his Dad a semiprofessional drummer and frequent late night band rehearsals in the home, proved a source of inspiration to the impressionable Mick. He always had a good singing voice and from a young age was singled out to perform, with impromptu solo school performances through a number of choirs and school bands, the desire to be a professional musician was growing. Roll on through the teenage years and Mick has moved from the now Zimbabwe to start a new life in Johannesburg South Africa. He was playing in a local band UC27 as a drummer / singer when he met Keith McFarlane from the award winning South African pop group Face to Face who at the time were planning a move to the UK to further their music careers. Mick was invited to join the band as a drummer and Seven was born. In the UK as the band developed, it was agreed that Mick was a much better singer than drummer and he needed to come out from behind the drums to be the lead singer. Mick’s first performance as a front man was at a showcase for CBS Records in London in front o the A&R guru Muff Winwood. Unfortunately, no record deal followed. Shortly afterwards the band secured a support slot on their first nationwide tour with 90’s pop group Brother Beyond where valuable live experience, and a sizeable fan base were earned. It attracted the attention of Phillip Schofield who at the time was a Radio 1 DJ and started to play their demos on his show. Whilst on this tour, the wife of the head of Polydor Records came to one of the shows and the story goes that she went home and told her husband that he needed to sign the band. Whether true or not a record deal was offered and signed. This would prove to be the undoing of Seven, as for many years they had been crafting their sound very much in an AOR rock vein and had several credible recordings and tracks. This was around the time when Soul to Soul burst on the scene amnadnta3hg8ee|mAPOenRatsgaoneudndrewcoarsdbleacboeml pinugshaelditttlheeomutinofthfaasthdiiornecitniothnewUitKh. The band had a real ‘Boy Band’ image and their markwetw. w.G-NoteEntertainment.biz the hope that it would break them into a larger @GNoteEntertainmentMagazine

New Music Alert: Biscuit Miller And The Mix Biscuit Miller & The Mix are proud to announce their brand- new album release \"Chicken Grease”. Dirty greasy blues with a funk that will make you want to jump up. Biscuit Miller born in Chicago and Winner of two prestigious BMA awards for Bass Player of the Year in 2012 and again in 2017 is back with a set of 10 original songs with his soulful blues style that is sure to put a smile on your face. Keep it Funky and have yourself too much F39u|nP !a g e @GNoteEntertainmentMagazine www.G-NoteEntertainment.biz

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