The Blues Foundation has announced the nominations for its annual Blues Music Awards, which will be presented at the Cook Convention Center in downtown Memphis, Tennessee, on Thursday, May 7, 2015. The annual Blues Music Awards ceremony is the premier event for blues professionals, musicians, and fans from all over the world.
Tickets for the award ceremony are on sale at The Blues Store at www.blues.org. Blues Foundation members have the privilege of deciding which nominees will actually take home the Blues Music Award in May and will be receiving their ballots shortly. Are you a member? Join at blues.org.
The 36th Blues Music Award nominees are:
Acoustic Album Hard Luck Child: A Tribute to Skip James – Rory Block Jericho Road – Eric Bibb Jigsaw Heart – Eden Brent Son & Moon: A Tribute to Son House – John Mooney Timeless – John Hammond
Acoustic Artist Doug MacLeod Eric Bibb John Hammond John Mooney Rory Block
Album Can’t Even Do Wrong Right – Elvin Bishop Living Tear To Tear – Sugar Ray & the Bluetones Memphis Grease – John Németh Refuse to Lose – Jarekus Singleton Wrapped Up and Ready – The Mannish Boys
B.B. King Entertainer Bobby Rush Elvin Bishop John Németh Rick Estrin Sugaray Rayford
Band Elvin Bishop Band John Németh & the Bo-Keys Rick Estrin & the Nightcats Sugar Ray & the Bluetones The Mannish Boys
Best New Artist Album Chromaticism – Big Harp George Don’t Call No Ambulance – Selwyn Birchwood Heavy Water – Fo’ Reel Making My Mark – Annika Chambers & the Houston All-Stars One Heart Walkin‘ – Austin Walkin’ Cane
Contemporary Blues Album Can’t Even Do Wrong Right – Elvin Bishop Original – Janiva Magness Refuse to Lose -Jarekus Singleton Hornet’s Nest – Joe Louis Walker BluesAmericana – Keb’ Mo’
Contemporary Blues Female Artist Beth Hart Bettye LaVette Janiva Magness Marcia Ball Shemekia Copeland
Contemporary Blues Male Artist Elvin Bishop Gary Clark Jr. Jarekus Singleton Joe Bonamassa Joe Louis Walker
Historical From His Head to His Heart to His Hands – Michael Bloomfield (Columbia/Legacy) Live at the Avant Garde – Magic Sam (Delmark) Soul & Swagger: The Complete “5” Royales 1951-1967 – The “5” Royales (Rock Beat) The Modern Music Sessions 1948-1951 – Pee Wee Crayton (Ace) The Roots of it All-Acoustic Blues – Various Artists (Bear Family)
Instrumentalist-Bass Bob Stroger Lisa Mann Michael “Mudcat” Ward Patrick Rynn Willie J. Campbell
Instrumentalist-Drums Jimi Bott June Core Kenny Smith Tom Hambridge Tony Braunagel
Instrumentalist-Guitar Anson Funderburgh Joe Bonamassa Johnny Winter Kid Andersen Ronnie Earl
Instrumentalist-Harmonica Charlie Musselwhite Kim Wilson Mark Hummel Rick Estrin Sugar Ray Norcia
Instrumentalist-Horn Al Basile Deanna Bogart Jimmy Carpenter Sax Gordon Terry Hanck
Koko Taylor Award Alexis P Suter Diunna Greenleaf EG Kight Ruthie Foster Trudy Lynn
Pinetop Perkins Piano Player Barrelhouse Chuck Bruce Katz David Maxwell Eden Brent Marcia Ball
Rock Blues Album Step Back – Johnny Winter Goin’ Home – Kenny Wayne Shepherd Band Time Ain’t Free – Nick Moss Band heartsoulblood – Royal Southern Brotherhood The Blues Came Callin’ – Walter Trout
Song “Another Murder in New Orleans” written by Carl Gustafson & Donald Markowitz, performed by Bobby Rush and Dr. John with Blinddog Smokin’ “Bad Luck Is My Name” written and performed by John Németh “Can’t Even Do Wrong Right” written and performed by Elvin Bishop “Let Me Breathe” written by|Janiva Magness & Dave Darling, performed by Janiva Magness “Things Could Be Worse” written by Ray Norcia, performed by Sugar Ray & the Bluetones
Soul Blues Album Blues for My Father – Vaneese Thomas Decisions – Bobby Rush with Blinddog Smokin’ In My Soul – The Robert Cray Band Memphis Grease – John Németh Soul Brothers – Otis Clay & Johnny Rawls
Soul Blues Female Artist Candi Staton Missy Andersen Sharon Jones Sista Monica Vaneese Thomas
Soul Blues Male Artist Bobby Rush Curtis Salgado John Németh Johnny Rawls Otis Clay
Traditional Blues Album Common Ground: Dave Alvin and Phil Alvin Play and Sing the Songs of Big Bill Broonzy – Dave Alvin and Phil Alvin For Pops (A Tribute to Muddy Waters) – Mud Morganfield & Kim Wilson Livin’ it Up – Andy T-Nick Nixon Band Living Tear To Tear – Sugar Ray & the Bluetones The Hustle is Really On – Mark Hummel Wrapped Up and Ready – The Mannish Boys
Traditional Blues Male Artist Billy Boy Arnold John Primer Lurrie Bell Sugar Ray Norcia Sugaray Rayford
My initial idea for the Friday Fast Five CD Reviews was to do quick reviews of about 300 words each. I knew I wouldn’t be able to rein it in that low. I hope you’ll stick with me and the longer reviews. I like to have context and some artist background to help you get into the mindset of the music and my opinions. Thanks for reading so far and I hope you gain some insight and interest in some new music over the course of the next 2600 words. Damn, 2600…
Dave and Phil Alvin were at the vanguard of the early 80’s post-punk music scene in Southern California. They knew the value of simplicity and the Do-It-Yourself work ethic of punk but instead of cutting rock & roll down to a stump and burning it like the punks, the brothers were interested in cultivating the roots. With their band The Blasters, they dug deep in to Blues, Rockabilly, Country & Western and Rhythm & Blues. Armed with Dave Alvin’s timeless songs, and Phil Alvin’s distinct voice and incendiary delivery, The Blasters reminded everyone within earshot of the true nature of Rock & Roll. Unfortunately, brothers don’t always get along and by the mid-80’s Dave split and developed a rich legacy on his own and big brother Phil has kept The Blasters going lo these many years, including occasional reunions with Dave. In 2012, Phil Alvin almost died due to a complication from an abscess tooth that caused his throat to swell up during the last song of a show in Valencia, Spain. Phil was rushed to the hospital where he flatlined. Phil woke up two days later with a hole in his throat from a tracheotomy. In the meantime, Dave had been getting calls with bad and better news, from Phil being dead, to brain-dead, to alive and well. He described the experience as unnerving. Go figure.
The Brotherly love resurfaced and the two found Common Ground for fresh musical collaboration in the songs of Big Bill Broonzy. They went back to the blues, the heart of American Music, and came up with a stunning album. These tracks could be Blasters tunes. Big Bill’s influence is obvious when you hear this record. Maybe it’s Phil’s voice; he makes every song his own. His timbre, his inflection, his enunciation; it’s all distinctly Phil Alvin no matter who wrote the song. However one of the true highlights of the album is hearing Phil and Dave sing together. They trade verses in several tunes and Phil provides powerful background accents in “Stuff They Call Money.” The disc opens with “All By Myself” which finds Phil and Dave sharing vocals on this acoustic guitar driven track. The title and theme clearly doesn’t apply to the Brothers Alvin anymore, who are thankfully back to making music together.
There are too many highlights on Common Ground. “How You Want It Done” combines Rockabilly, Blues, and Country & Western into a fast pickin’ two-step boogie that proves Blues is the Mother of all those styles. Phil blows a mean harp behind Dave’s lead vocal on “Southern Flood Blues” which also features some incendiary lead guitar from Dave Alvin. “Truckin’ Little Woman” will have you checking all the truck stops to find her. “Key To The Highway” is epically jaunty, and the world weariness of both Phil and Dave’s vocal delivery give authenticity to the rambling itch. You can see them tossing guitars in the back of a long black Cadillac and hightailing out of town with the women waving goodbye in the distance.
As a long time Blasters fan, I had high hopes for Common Ground and it exceeded all my expectations. I would place it high on any best of 2014 list. The arrangements compliment the songs, which are performed with love and respect for Big Bill Broonzy evident in every note. More importantly, you can hear the love and respect Phil and Dave have for each other. There’s a strange comfort that comes from knowing Phil Alvin is singing along with his brother Dave’s guitar playing again. With Common Ground on the stereo, for 43 minutes everything is right with the world again.
Jarekus Singleton is at the vanguard of young blues musicians. The Mississippi native is a former college basketball star and played three years as the starting point guard at the University of Southern Mississippi. Unfortunately, an ankle injury ended his basketball career. Jarekus then turned his attention full time to his music career. Jarekus got his musical start singing in church and his uncle had him playing bass in the church band at age nine. He performed as rapper for a while but eventually turned his attention the indigenous music of Mississippi: Blues. Jarekus’ wordplay and hip-hop background have helped him develop a fresh approach to lyrics that skips the tried and true couplets, and opens things up for more developed story telling. At 29, Jarekus has a surprising amount of stories to tell and he does so in a way that draws you in. Refuse To Lose is his debut on Alligator Records and it is a testament to Jarekus’ fortitude and positive attitude.
The disc opens with “I Refuse To Lose.” The band includes James Salone on organ, Ben Sterling on bass, and John “Junior” Blackmon on drums. They are spandex-tight and the guitars are searing as Jarekus sings his “soul is a weapon and I won’t conceal it.” “Keep Pushin’” is another autobiographical song which tells of his travails and trials as an upcoming basketball titan and his path to the blues. His singing and playing are powerful and impassioned as you’d expect but he crafted an excellent song. Jarekus Singleton’s guitar playing and singing are terrific but his strength as a songwriter will keep him relevant. The songs on Refuse To Lose are several steps forward from his independent debut album. Heartfelt was a promising start but Refuse To Lose shows immense growth in writing, performance, and arrangements. Bruce Iglauer, President of Alligator Records heard Jarekus at the 2013 International Blues Challenge, signed him to Alligator and took him under his wing. To his credit, Jarekus seems to have absorbed as much as possible so far from Mr. Iglauer, and applied it to his music.
“Hell” is a smoldering blues that recalls all the Kings of the blues and even invokes the name of Stevie Ray Vaughan in a creative lyrical twist. Jarekus plays custom instruments from Clevenger Guitars and he gets rich tones from guitars that have almost no bodies. “High Minded” and “Hero” seem linked by the allure of bling and flash either for you, or admiring it on others. In “Hero” Jarekus was impressed by someone who seemed to have it all, except an admirable moral center. In “High Minded” he sings about a woman with her mind on herself, superficial things, and little else. Obviously, Jarekus values a strong spirit and personal fortitude but also self-awareness and awareness of others. It comes through in his lyrics and his passionate guitar playing.
Altogether, Jarekus and the band have crafted a fine second album. There is no sophomore slump here. There has been a lot of hype surrounding Jarekus Singleton and label mate Selwyn Birchwood as keepers of the flame in the blues world. Sometimes it becomes hyperbole but sometimes the hype is matched by talent, ability, and originality. Such is the case with Refuse To Lose. Refuse To Lose isn’t just an album title but a credo. From triumph to tragedy and triumph again, this young man has faced adversity and simply refused to give up. In the crucible of those experiences, a seasoned performer, and writer, was forged. Give in to the hype, pick up Refuse To Lose, and get out there and see this band live.
I’m not sure what’s been going on in Canada in the last ten years or so, but it has become a fertile breeding ground for Blues in the 21st Century. The music has followed the Mississippi River way up north and taken hold. Almost as an antidote to the bloated, big business popular music in the United States, it seems Canadians are looking deeper for more meaningful music that requires skill and attention to the craft. Kirby Sewell Band definitely fits into that movement. Hailing from Calgary, they released their first disc in 2010. Led by six foot six inch blues belter Kirby Sewell, the band has been spreading the word and sharing their mix of Americana roots music. Girl With The New Tattoo is their next step forward.
“The Devil’s in The Details” offers a churning riff and funky chords, and Sewell’s smooth honey-oak cured voice. “Simply Not Enough” has some sweet sounding guitar harmonies. The guitar team of Neil Gunhold and Morgan Turk put together well placed harmonies all over this record. Neil Gunhold is listed as producer and primary song writer. He certainly builds satisfying arrangements. Some great examples are “Carry Me Home” and “Stop And Go” which provide a back to back study in layering and intertwining instrumental parts. The pieces fit like an exquisite jigsaw puzzle that appears seamless when complete.
“$1.11” boogies with a classic stomping jive beat while Sewell laments “I sold my soul for a dollar, I sold my dreams for a dime. I sold my heart for a penny in a pawnshop on the corner. Now I got a $1.11.” I hope he doesn’t spend it all in one place. I can’t tell if Sewell is scornful of the “Girl With A New Tattoo” or if he’s shining her on to get lucky. He says he hasn’t seen a tattoo of a unicorn in a while so I’m guessing it’s the latter. He’s obviously smitten either way and it seems any tattoo gets his motor running. The disc cover is adorned with lovely Betties showing their ink and it’s quite eye-catching, but there’s nary a unicorn in sight. Maybe it has been a while after all.
Girl With A New Tattoo is not strictly blues. If you’re looking for Muddy Waters, Howlin’ Wolf, or Son House this isn’t where you’ll find it. But hey, there are plenty of Muddy Waters songs to listen to after you give Kirby Sewell Band a spin or two. If you like neatly arranged songs with plenty of energy and instrumental interplay to follow, and smooth, but rousing, hot-blooded vocals this is a great place to start.
Rob Stone is a Boston native who caught the blues bug at a Charlie Musselwhite show. Stone spent some time learning from Jerry Portnoy and playing with Rockabilly legend Sleepy LaBeef. During his four yearstint with Sam Lay, Stone met Chris James and Patrick Rynn. Together they left Sam’s band and have been playing together ever since, churning out Chicago Blues in classic style, with high energy and authenticity. While they have dropped the C-Notes from the Rob Stone & The C-Notes band name, the core of Stone, James, and Rynn is very much intact on Gotta Keep Rollin’. Their chemistry is undeniable and they have produced a tour de force of Post War Blues revelry.
“Anything Can Happen” features Chicago Blues legend Eddie Shaw on saxophone. In a show of deference and class, Stone’s harp sits out and he allows his guest to shine. Eddie Shaw guests on two tracks, as does another legend, John Primer. Both men served as long time sidemen and as band leaders so they know how to make the song the centerpiece. All egos are left in the alley. On “Lucky 13” Stone and Primer trade licks in a stirring harp and guitar conversation. “Move Baby Move” has a “Shake Rattle & Roll” rhythm and Patrick Rynn’s bass keeps the beat surging. Chris James rips it up on guitar and Eddie Shaw offers up a hard-charging Rock and Roll sax treatment. This is the boogie woogie flu you won’t mind catching. John Primer sits in again on a mid-tempo eight bar blues called “Cold Winter Day.” There are not enough good eight bar blues these days. It’s like a lost art and I applaud them for doing this Willie McTell tune and doing it well.
Every Blues album needs a song about Bigfoot and Gotta Keep Rollin’ comes through with “Strollin’ With Sasquatch.” Stone’s harp is howlin’ like the Northwest winds as we slowly, softly shuffle through the redwoods in search of the elusive lost chord known as Sasquatch. I just want to say Sasquatch a lot. Sasquatch. What the title really says is that Rob Stone doesn’t take himself too seriously and wants to have some fun, even if it’s just the title of smoking instrumental. His brand of Chicago Blues is fun. The tempos get you moving, the lyrics make you smile, and playing with get you shaking your head and playing air piano. This is not downtrodden misery. It the music that makes you forget about the misery and puts a little swing in your step because if you’ve got the blues you Gotta Keep Rollin’.
Jeff Dale is from the South Side of Chicago. He’s an award winning songwriter and performer who learned to play the blues from West Side Chicago musicians around age 13. He wrote his first blues tune at 14 and eventually became an accompanist for legendary blues performers Lowell Fulson and Etta James. He put out two records in the ‘80s and pretty much disappeared. In 2009, Jeff returned with a new band, The South Woodlawners and the album Blues From The Southside Of My Soul. This year, Jeff Dale and his band put out their third album in five years, Good Music. You can really open a can of worms calling your record Good Music. It takes a fair amount of confidence and thick skins to endure the flogging you might get if it falls short of the title. I know my first reaction to the title was “I hope so.” After a look at the song titles, Dale’s grizzled visage on the cover, and a cigar box guitar on the inside cover I felt much better about the chances.
Trouble with Femme Fatales figures prominently on Good Music, and I’ve often said people happy and in love can’t make good music, so I was encouraged by this development. “Naked Woman In My Bed,” “Murder,” “She Love Me,” and “My Brain Took The Night Off” all describe the myriad effects of women. I must say I love it that Dale made the first line of “Naked Woman In My Bed” “I woke up this morning.” It’s a cliché turned on its head when he completes it with “there’s a naked woman in my bed.” Dale’s lyrics have a wry smile and reflect real life, which is sometimes funny and sometimes not. Dale is a keen observer and translates his findings into illustrative words. For instance in “Town Line Road” he sings “just because I can’t bathe you in diamonds baby, don’t mean that I’m no good.” He punctuates the sparse words with searing guitar licks reinforcing his frustration with the separation of sides on Town Line Road.
As Producer, Dale takes chances and brings in unexpected instrumentation. He has Dane Little on cello as the lead instrument on the slow burning “Final Destination.” The mournful cello weaves through the tune following Dale like a Hellhound on his trail. On “Murder,” Dale brought in Marilyn Schram to solo on oboe. Good Music is all about the unexpected, from instrumentation to topics, it will keep you guessing. You may even expect the title to be hype, but through clever writing, stylistic divergence, and songs about naked women you’ll come out the other side agreeing and shouting “Yeah, yeah! I like Good Music.”
The Pocono Blues Festival had been a Pennsylvania tradition for 19 years, bringing the best of blues music to the Pocono Mountains and fans from around the globe. In November 2010, it looked like the tradition might be over. Michael Cloeren, the founder and producer of the festival was called into a meeting with the president of Peak Resorts and was told the company was going in a different direction and that the resorts were no longer going to do any summer or fall events. However, Michael did not want to see the tradition of the festival and what he calls a “family reunion” fade gently away.
By the end of 2010, Michael Cloeren met with the administrators at Blue Mountain. Fortunately, their general manager, Jim Daley, had attended Pocono Blues Festival and was familiar with the clientele, acts, vendors, and perhaps most importantly, the popularity. The name Pocono Blues Festival could no longer be used and from the ashes of the Pocono Blues Festival a new festival was born. Michael says Blue Mountain is “a wonderful facility; very user friendly, closer to more people and fully embraced by the staff.” Blue Mountain is indeed closer to the fans, seated 45 minutes south of the original site, it’s closer to Allentown, Bethlehem, Easton, and Philadelphia which are the core markets for Blues in the Poconos. Plus Blue Mountain is ideal for a festival since it has all the perfect facilities like parking, real restrooms, a natural amphitheater, and camping on site, which the other facility did not. Camping has had an unexpected but very welcome effect on the musical adventures too, “Camping on site is extremely popular and is a direct positive result how the nightly Jams have taken off since year #1 (2011).” You never know who is going to take the stage and it’s easier to stay up late to take it all in if you’re not driving.
In just a few short years, Pennsylvania Blues Festival has taken the torch of nineteen years of blues history in the Poconos and run with it, regaining the status of its legendary predecessor. Much of the success is owed to Michael Cloeren and his sterling reputation and track record. According to Michael, “changing locations takes time to get on people’s radar.” He adds, “I feel this year will be very special.” Michael recently told us the transition from Pocono Blues Festival to Pennsylvania Blues Festival has been “a great experience – I feel that the event is growing in momentum and we continue to educate new customers in a positive way.” That positive way is reflected in the lineup of acts Michael brings to the festival, “I feel I program a lineup different than just about anyone in the USA. My programming work for 23 years speaks for itself.” It does indeed. You may see some familiar faces at Pennsylvania Blues Festival but you’re in for a few surprises too. Michael says he likes to schedule “1/3 blues icons, 1/3 strong festival circuit names and 1/3 acts that most people never have seen before.” Michael has a knack for getting acts out of their comfort zone too and gets some amazing performances on the smaller stages. He tells us, “I know every act that I have ever booked (since 1992 around 400 acts) and through experience I know how and where to slot them. That stuff comes easy to me.”
It may come easy to Michael since he’s been a blues fan and champion of the art form for many years. Michael told us he first met the blues on “March 30,1975 at the age of 18. I went to the Philadelphia Spectrum to see Eric Clapton and the opening act was Muddy Waters. Muddy’s show that night changed my life and I have been a blues addict ever since.” When Michael introduces bands on stage you can hear the love and admiration in his voice. You also get the notion sometimes that he knows he’s about share a secret with you and he can’t wait. Every year you have to get there early because Michael will be sharing some of the Blues best kept secrets all day long. One of my personal favorites was Linsey Alexander’s tent stage performance a few years ago. I had never heard Linsey before and had to go back for his second set later in the day. Linsey outdid just about everyone and it was revelation. You’re going to find the heart of the blues beating under the tent and you’ll get some lasting memories of special performances like the Lonnie, Ronnie and Wayne Baker Brooks performing an acoustic set. The love between father and sons was tangible as was their respect for each other and the good time they had playing together like they would in the living room at home.
Over the years Michael had several memorable moments of his own including James Peterson starting his set in 1996 from the chairlift, Eddy Clearwater starting his set in 1998 on a white stallion horse in full headdress, Shemekia Copeland entering the stage in 2002 on a Harley Davidson Motorcycle, and booking Lowell Fulson in 1996, which was his last east coast appearance. His other personal highlights include Ruth Brown in 2005, Luther Allison in 1995, and Otis Rush in 1998. Michael says his initial vision was “a blues festival in a mountain setting” and it has blossomed into a remarkable event hosting music legends every year. Michael says attendees should expect “a weekend of World Class Music, a wonderful facility and a staff that welcomes them with open arms.” He continues “I would suggest that people should attend this and other like-minded events with an open mind and they possibly could have a life changing moment like the one that happened to me on March 30th, 1975 at The Philadelphia Spectrum.”
Michael Cloeren is directly and indirectly involved in several like-minded events including The Philadelphia Folk Festival which he says is “The longest continuous music festival in the USA and Canada at 53 years. It offers eight stages of music, fifty thousand music guests from all over the world, and 2500 volunteers.” If Michael is involved, you can be sure the music with be exceptional and the environment will be fan friendly. A few years ago, at the time of the first Pennsylvania Blues Festival, I spoke to Michael Cloeren and he shared his approach to the booking the artists and it gives great insight to his process and what you’re going to see and hear at his events. “I program differently than a lot of festivals out there. I try to get to the core of the subject matter. To me, the core is the artists that live it, breathe it, and die it. With all respect to classic rock artists who have been in it for 30 years and just discovered the blues or put out a blues record, that’s not what I’m looking for. That’s not what I do. Obviously, the headliners are important, and they’re great acts, but it’s not always about the headliners. It’s about the entire bill. After years of experience, the guests know to get there early because some of the best sets are early in the afternoon. They may not have heard the act before but they know from history that I’ll never book a bad band. And that’s what’s great about this music, as you know, you think you’ve heard or seen a lot and then there’s a band that blows you away that you’ve never seen before. What I try to do is mix them between contemporary and traditional blues, New Orleans music, Sacred Steel, gospel, acoustic, and electric; I try to give the audience the full spectrum of blues music.”
Pennsylvania Blues Festival is taking place July 25-27, 2014. There is an amazing array of talent lined up for the event so make plans to visit the Pocono Mountains for some red hot summer blues. For ticket information and festival information please visit the website. We hope to see you there.
Our thanks go to Michael Cloeren for taking the time from his hectic schedule to answer our questions.
Blues Biscuits will be live tweeting from the festival so be sure to follow us on Twitter @BluesBiscuits and look for #PABluesFest and remember, #thatsahotbiscuit !
Here’s the line-up:
Friday, July 25th 2014 – Friday Night Jam
8pm to Midnight in the Adventure Center – doors open at 7pm.
Cover charge at the door is $10 & Jam Buffet is $8 (food optional).
Exciting news Biscuiteers! Today we launch our first contest. It’s a Facebook contest and you’re invited to enter. Two lucky winners will each receive a pair of tickets for next Sunday to Pennsylvania Blues Festival at Blue Mountain Ski Resort. The rules are pretty simple: You MUST do two things: Like the contest post AND share it. That’s it. It seems simple right? 1. Like the contest post on Facebook. 2. Share the contest post on Facebook. YOU MUST DO BOTH TO WIN. Two winners will be selected at random. The contest is open until 6 pm ET, Tuesday July 22. Winners will be announced on Facebook, on Twitter @BluesBiscuits and here at www.bluesbiscuits.com. If you win please acknowledge your win and confirm with us by Wednesday July 23 at 6 pm ET. Good Luck! Please follow the link below…