Tag Archives: Candye Kane

July 24, 2012

Interview: Earl Thomas – R E S P E C T

**Earl Thomas & Friends  Raise The Roof Concert
   Sunday, March 24, 1pm PDT (8pm GMT)
  Club Fox Redwood City http://clubfoxrwc.com/
Online Pay Per View http://venmundi.com/

    

 

B411: It is a thrill that you are coming to the Pennsylvania Blues Fest, this weekend,  July 27-29, what are you planning on packing, entertainment wise, when you come East? What can we expect?

Earl Thomas: Well the show that people saw on the Blues Cruise was my international show. I brought my friends together from around the world for that one but, for Pennsylvania I am bringing my American band, The Blues Ambassadors Of San Francisco. We don’t tour a lot – but this is the band that is on my Introducing The Blues Ambassadors CD.

I always want to bring a show. I come from the old school, all the artists I admire and fashion myself after all had a show. They rehearsed to exhaustion before they ever went on a stage. I don’t see a lot of that these days in the Blues. There is a lot of improvisation. I think people will realize what we’ve done and, hopefully, enjoy it.

B411: What is your background, musically?
ET:I grew up in a musical family with all of the repertoire of the African American experience but my training  is from a classical music and music theatre background – symphony  and opera – and my shows are put together sort of like an operetta with a beginning, a middle, and an end. Everything is scripted, it’s not just jamming through a bunch of songs. There is a flow and story line to our performance.

B411: Sounds similar to the R&B Revues that were so popular back in the day, am I close?
ET: Yes, but it’s definitely a Blues show. Exactly. Let me get on my soap box for a minute….

Ok dig this, contemporary Blues artists, we are all copying what came before, so in a nutshell, I will say all of us who have had the luxury of using public restrooms and water fountains our whole lives, have no idea of what the daily lives of Muddy Waters, Howlin’ Wolf, Koko Taylor, et al., those whose music we are copying, went through. We know nothing about the reality of their life experience, except through their music and it is that “life” that gave us this music. I feel that if we are going to copy their music and stylize our music after them then we need to go all the way and to respect the art form by presenting our music today on a level that is similar to how they did it, with respect.

B411: So you are suggesting practice equals respect for the art form? That the tightness of a show, and band for that matter, is in essence the ultimate respect for these songs and their creators?
ET: Absolutely! There is an adage that I think applies here: How do you get to Carnegie Hall? Practice, practice, practice! I have heard Blues artists get up on stage and say they don’t even know what song they are playing next, they pick a random key and then they regurgitate the same old guitar piano or harmonica piano riffs over the same chord changes with no attention to details like volume and dynamics and call it the Blues. This is ridiculous to me. I feel this is an art form that deserves our ultimate respect, because there is so much attached to it. There is blood on this art form…

Those people (Muddy, Wolf) didn’t wake up one morning and say they had to invent a blues song as a way of coping. This was their life. I hear people say “I was a drug addict, so I know the Blues” that’s not the Blues.Try not being able to use a public toilet or not being able to vote, and that was the least of their worries.

B411: There seems to be an epidemic of guitar masturbation in the blues these days, and an obfuscation of the other forms of the blues – those which might be more closer to the true blues.
ET: It’s not just guitars but there is a lot of that  going around. It seems that all you got to do is buy a Stratocaster, or a Gibson and the occasional Flying V, a Fender Twin Reverb tuned to ‘hero’ and there you go – our forebears  lived the blues, it represented their history and they played the music from the depths of their souls. And, as I said, none of us know what it is like to have to ride on the back of the bus or deal with the constant threat of being lynched. Not even me, but my parents and grandparents knew that life. B. B. King knew that life.

B411: That could be the cause for the shifting scope or focus of the state of the blues. No one knows these things personally and therefore we have become alienated in a way to the real deal.
ET: The world is a different place now. We don’t have the same impetus so our art is going to be different. We have our own life experience and that is what I think we should write about. One day I heard an artist say something to this effect, that a friend took him to Memphis to eat a pork chop sandwich so he could be more in touch with what the Blues is about. I wanted to slap some sense into that person. What a thing to overlook, if it was that simple it wouldn’t be the Blues. It wasn’t pretty back then, it’s not a pleasant topic today – but it doesn’t mean we can’t acknowledge and honor those great artists for the courage they showed by doing our best work. If you play this music show some respect by being good work! Albert Collins was not good by accident!

B411: Speaking of your family background, and things related to that, I want to shift gears here….your hometown, Pikeville, TN, has named a Blues Festival after you. Whoa, how cool is that – give up the details Earl.
ET: The Earl Thomas Homecoming Blues Festival with the inaugural event to be held on October 6th. My family has been in Pikeville, Tennessee for over 200 years. My parents were both musicians, my mom a gospel singer, and my dad a blues guitarist. They never pursued a career. He would just play around the house and for family gatherings.

My dad told me about the times when there were curfews for black people in Pikeville, but check this out, I was the first Afro-American child to be born in the Bledsoe County hospital! I wasn’t born upstairs though – I had to be born in the basement because they didn’t allow “coloreds” to be born upstairs. That was on August 29, 1960. Before that, all black babies were born at home with a mid-wife. The stage for the show is being built right in front of the entrance to that hospital! What a trip man. The thing is, in my hometown it wasn’t about racism. It was just the law of the land.

B411: That’s great, so you persevered, and overcame.
ET: Well, my ancestors persevered and overcame. All I had to do was grow up. My dad was in the Navy so I grew up on military bases around the world but I did go to high school in Pikeville and it was there at Bledsoe County High School where I forged some of my deepest life long friendships. The main purpose of the festival is to create a scholarship fund for music students at Bledsoe County High School, where I graduated. It is such an honor to be able to do this.

B411: So you are a descendant of sharecroppers or slaves, which explains the deep rooted feelings that you have about the Blues as an art form.
ET: Yes, my great-grandparents were born into slavery. The generation before that were brought to Bledsoe County. That county (Bledsoe) where my hometown is located was one of the three the state that did not join the Confederacy during the Civil War.

B411: Why would that be, wasn’t there great pressure put upon counties and states to sign up for the cause?
ET: Yes there were sanctions and tons of pressure but as the story goes the major slave owner in the county was a man called John Bridgeman (Bridgeman is my family surname) who was in love with one of his slaves, a woman called Delphia and together they had eighteen children and the descendants of those children made up my fathers side of the family. But this is the secret reason for not joiing and it was completely illegal for a slave owner to marry a slave.

B411: So any relation to Junior Bridgeman the former Basketballer?
ET: Yes! He is my third cousin and he is from the same clan of John Bridgeman & Delphia from back in the day.
B411: Damn man, Jr. could light it up with that jumper of his. Sorry, back to music and family.
ET: So I feel that I not only have the “pedigree” to do this art form, and I must do it. I get it! But I am insulted when I see people jacking off on stage just to get their $50 bucks. All it takes is rehearsal – I didn’t say anything about this through the years but I’ve had enough. Can you imagine going to see The Ike & Tina Turner Revue with Tina in one of her see through dresses showing all of her humanity and the Ikettes ready to kick it and then have Ike say, “Ok! Everybody ready? What key? Ok. G. From the five! A one, a two, a one, two, three…” and then play a sloppy shuffle? That wouldn’t make sense!

You would never see Ike & Tina, Sam & Dave, or Muddy Waters do a sloppy show, they all rehearsed their shows. It’s a form of respect for the music, and audience. B.B. King always has had a ‘show’ and still does.

B411: Yes he does, it’s a different show, but it’s a show baby. So you are bringing that SHOW, the Earl Thomas and the Blues Ambassadors to the PA Blues Fest?
ET: Yes indeed, there ain’t no other way to do it. And the people will know it and I hope they’ll appreciate what we’ve done for them, it’s performance at a different level. It’s the show we do at Biscuits & Blues in San Francisco on the last Saturday of the month. We have the tourists who walk in but we also have loyal regulars, our “locals” who fill the place every show. Ya know it’s great to have people come to us and say ‘we didn’t know we liked the Blues till we heard you”, or “we like your kind of Blues”, it is so rewarding that it humbles me.

B411: So you are actively keeping the Blues — wait I am not a fan of that term “keeping the Blues alive” it sounds like it is on a respirator – so you are allowing the Blues to thrive.

ET: Yeah just pull the plug and let it die (we laugh at the whole idea). Keeping the blues alive is right there with people saying that black people don’t like the Blues – that’s not true! Black people like quality and can tell the difference, we know what quality in music is. Make something of quality and we will like it, just like everybody else.

I challenge anybody, any of my contemporaries, to go to the Apollo Theatre in Harlem and try their act out on a Sunday afternoon when the ladies in the hats are there, and see what happens. Take the risk of being “booed off the stage” as the Apollo is famous for. Sometimes you need to get booed or have rotten eggs and tomatoes thrown at you to make you realize where you stand in the whole scheme of things.
The Blues is alive and trying to evolve, and needs to do so. Muddy Waters was not playing the Blues that Robert Johnson played, people thought Muddy was full of shit when he started playing amplified Blues. But he evolved the art form and kept it alive and thriving.

B411: Yes, but it evolved on a natural progression of itself. Somewhat shaped by its environment and surroundings. Like the Resonator guitar was created to be loud on the streets with all the buskers vying for attention, Muddy moves North and is playing in loud clubs in an urban setting, it HAD to happen.
ET: Yes loud crowds, and cars and all that shaped his music’s evolution. The art form wants to evolve but people won’t let it. it seems that all you need these days is a Tele or Stratocaster, a bowling shirt, jeans with the big cuffs rolled up at the bottom, tattoos and your hair pompadoured up and know four or five variations of a twelve bar progression in three keys and you’re a “contemporary” bluesman – but that’s not the Blues – it’s a fucking minstrel show! Yes I just said it. Somebody had to say it!

B411: Hell man, I’m down with that. It’s the guitar masturbation syndrome we be going thru, time to move on nothing to see here folks move along…..When I went to art school my art teacher told us that when we left his class we would be artists and not diletantes.
ET: Ah man, I do love that term, guitar masturbation, I’m gonna use it. But, yes exactly we don’t need no posers. But who’s fault is it? I think it’s the audience fault, they are allowing this mediocrity to continue. A Black audience in the 50′s wouldn’t let this happen. James Brown got his self booed off the stage at the Apollo, they had their shit together and still got booed off the stage there. I read a story where he played the Apollo and was JAMES BROWN, with all that and he would throw his hankie into the crowd (mixed crowds) and they would go wild clamoring for it, well he tried that at the Apollo and they threw it back at him.

B411: So were you ever booed or have that come to Jesus moment?
ET: Oh hell yeah! This is the best story ever. I was doing a gig back in the 90′s in San Diego on a Wednesday night and there was nobody in the club – well that’s not true, there was the manager looking at his watch wondering why there was no audience, two bartenders, and a drunk chick on a first date with some dude. So ya know she’s laughing loud and talking all loud, and we are doing our set and the house is empty and the manager says we gotta finish the whole set because we might draw some people in from the street.

So  we’d just play our songs and blah blah blah, I really wasn’t into it. So in walks this man, sits down right in the middle of the empty room, and I continue to play the set, never looking at him but just going thru the motions and not minding that he knew I was unhappy. We finish the set and I’m sitting down waiting for the break to end and this guy walks over to me and says, “you’ve never been to New York have you?” – I turned and said “excuse me?” He repeats the question and before I can answer he says “I know you haven’t because if you had been to NY you would know that in NY there are at least 20 other male singers there who are better looking than you, can out sing you by a mile, who could walk in this place and take your gig and be proud to have it. How dare you stand on stage, elevated above humanity, and act like you don’t want to be there. I came in here tonight to have you take me away from my problems, not to see you have yours”.
I was appalled and said to him “well who the fuck are you to tell me this?” He said “I am the guy who paid $3 to come in here and see you. That’s who”. And he then turned walked away, and I praise God for that man because he saved my life – totally. That minute and a half changed my entire life and my approach to performance and I’ve never looked back.

B411: Gottdamn man that’s some harsh shit, phew. So do you fell that  if everyone had these ‘moments’ the Blues could be in a better place?
ET: Dude we could revolutionize the Blues!! Why do you think the Grammy’s took the Blues of the ballot? It’s because there ain’t nothing interesting going on. People don’t want the twelve bar sitting around the shack era blues shuffles and those nursery rhyme lyrics, nobody wants to hear that shit. I hope people don’t misinterpret what I’m saying here, they might shoot the messenger but there’s a reason that ‘Hootchie Cootchie Man’ or ‘Wang Dang Doodle’ and ‘Stormy Monday’ has stood the test of time, they were deep and touched the soul. It seems that people today are trying to copy the limited vocabulary of these songs and use them in modern day themes but because they are not digging deep enough, lose the essence. We are modern day people and have a much broader vocabulary and life experience. Let’s use our words and our individual struggles to convey our own message.

B411: You do create some interesting artwork with your songwriting, I tend to think that you are somewhat overlooked with respect to your abilities there.
ET: You might think so but BMI, knows who I am. Etta James ( I Sing The Blues) knew, Tom Jones (Get Me Some) knows, Solomon Burke knew. They have recorded my songs among others. Tracy Nelson did one of my songs, can you believe it?!

B411: I know, plus Big Llou did Get Me Some also. It’s interesting the crossover appeal of you writing, it shows that there is a market out there for ‘the Blues’ if it’s done correctly and given the reverence it deserves.

Until next time,
Love, Peace & Chicken Grease
chefjimi
©Blues411.com 2012
photos: courtesy of KedwardsPhotos2011, Artist.

*Earl Thomas and the Blues Ambassadors will be headed East to the Pennsylvania Blues Festival July 27-29, 2012 in Palmerton, PA. For info on this super fest go to: http://www.skibluemt.com/SkiBlue/special-events/pa_blues_fest.aspx

**For the low down on Earl Thomas visit: http://www.earlthomasmusic.com/main.html

***OK, just have to do this, to see Tom Jones get panties thrown at him while singing Earl’s “Get Me Some” visit: http://www.youtube.com/watch?v=7dkHnBlVe8E

 

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January 6, 2012

The 411 in 15: Candye Kane; Fat Advertisement Debases Children

Candye Kane has always been a fat activist. The former plus size sex symbol and current professional singer/songwriter, Ms. Kane has written many songs about body image and body acceptance – “200 lbs of fun” “You need a great big woman to show you how to love” and “work what you got if its a little or a lot” are just a few of her song titles.  Recently Strong4Life Org. has begun an ad campaign that reks of discrimination and bullying. Ms. Kane was willing to share her feelings about this ad with us, give it a read - it might just resonate with you, and if it does take action to stop it.

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B411: Candye, at one point you weighed nearly 300 pounds, then got terribly sick with pancreatic cancer – and survived that battle. Where are we now in the scope of weight, size and health issues?

CK: Although I am now an average size 12 adult female, I once weighed close to 300 lbs. In 2007 I was diagnosed with pancreatic cancer and I lost over 100 pounds during my cancer surgery and subsequent treatments. I have chosen after cancer, to limit sugar and avoid the diet cokes, processed and fast food, bread, pizza and alcohol that contributed unnecessary sugar to my diet. Mostly I do so because I only have half of a pancreas now and so sugar is very hard for my body to process but also because sugar has been linked to cancer growth. (Read “Beating Cancer With Nutrition” by Patrick Quillen).

That being said, I was very proud of my size and very active, even at 275 lbs. I rode my bike daily. I walked for miles every other day on the beach where I live. I danced onstage nightly. I had low cholesterol, low blood pressure and no diabetes or blood sugar issues. Until cancer struck, I was a healthy, large sized woman in her 40s who loved my curvy, sturdy body and was often told I was beautiful, sexy and desirable and had to fight off date offers. Had I been only 125 lbs, which is the suggested weight for my height on the standardized weight charts, I would likely have died from the cancer surgery. Essentially, my 300 lb frame saved my life. In essence, my fat ass SAVED my fat ass.

B411: Yes, I have heard you say that at your shows, and personally I repeat it to people because I feel it is important to understand that concept.
What is it about this specific ad that obviously has you taking up arms against it?

CK: I think this ad campaign is fat discrimination at its most blatant and disgusting. That this discrimination is being played on primetime television in any city, anywhere, is vile. Fat people are already discriminated against in the workplace and in the culture. I grew up being called names and being ridiculed even though I didnt become overweight (whatever that means…) until I was in my 20s. I had a round face and large breasts at an early age and was called ‘fatso‘ even when I weighed only 130 lbs and was 5’5.

B411: I tend to see this as just another form of bullying, but a government driven social-economic form of such, your thoughts on this.

CK: Bullying in schools is rampant and our children are killing themselves. How can it be allowed to point a critical, insulting finger at any segment of society, particularly our nations children – who are already under such pressure? Large sized children dont need to be told they are fat – they are already suffering persecution in school and they KNOW they are different. All they have to do is turn on the television, go clothes shopping, open a magazine or buy a Barbie doll to see what the “norm” is in our culture. The chubby little girl, is still that — JUST A LITTLE GIRL. To say she is NOT a little girl, dehumanizes fat people and makes it acceptable for others to follow suit. Or shame her into hiding herself in fear of the insults she surely endures on a daily basis. To give bullies more ammunition to belittle and degrade their classmates will only result in more needless suicides.

B411: Well stated. With the sudden interest in ‘childhood obesity’ being a good thing in it’s purest form (not to mention adult obesity) what should have they done – how could have they addressed this in a better fashion?

CK: This ad campaign does nothing to address the fact that a sedentary lifestyle is unhealthy at ANY SIZE. I have many thin friends who suffer from all kinds of health issues attributed to fat people — diabetes, high blood pressure and high cholesterol are just a few of them.

B411: Very true . . .

CK: Further, this campaign unfairly targets families who are very likely low income. It is no accident that the “dollar menus” at many popular fast food restaurants are calorie rich and affordable for the poor. McDonalds are found in poor neighborhoods far more than they are in upper income neighborhoods. When Congress and school districts are labeling pizza a vegetable, what kind of mixed message are we sending children with this ad campaign full of blame and shame?

Physical activity is essential at any size. This ad campaign would be far more effective were it to show children of all sizes – turning off their televisions, Ipads and playstations, throwing out their Cap’n Crunch and Coca Cola and dancing in the sunshine. SHOW THEM HOW TO BE CHILDREN AND CELEBRATE THEIR BODIES. Teach them how to be tolerant of each other in all their beautiful diversity.

No one has ever been ridiculed into losing weight. One of the main reasons the diet industry is a multi billion dollar industry is because diet programs like Jenny Craig and Nutri System, serve unhealthy foods, loaded in sodium and only help you lose weight while you consume their disgusting, pre-packaged foods. The Diet industry is big business and I wouldn’t be surprised to find out that they are funding these detrimental ads behind the scenes to boost their own revenue.

B411: So making better choices in both food and lifestyle would be a better, more holistic (and in turn) a less of a feed the corporations solution? Plus help gain momentum to the ‘self acceptance’ and diversity of humankind issue.

CK: Encouraging exercise, healthy foods, and loving our bodies at any size; teaching self acceptance and accepting that most of us will not look like super models; celebrating our miraculous bodies while teaching that beauty comes in all shapes, sizes, colors and ages would be the best gift we could give our children. This ad would never be tolerated if a child was asking his black parents “Why am I black?” or his gay parents “Why am I gay?” This ad campaign is revolting and should be stopped immediately!
Strong4Life and the Childrens healthcare system in Atlanta should be ashamed.

B411: Candye, thank you for speaking out on this issue and let’s all pull together to bring it into the light.

Write here to protest the unfair debasement and targeting of overweight children in Atlanta.
Children’s Foundation
1687 Tullie Circle NE
Atlanta, GA 30329
404-785-GIVE Fax: 404-785-7355
choagiving@choa.org

Until next time,
Love, Peace & Chicken Grease
chefjimi
©Blues411.com 2012
photos: Advertisement from campaign:
Candye Kane photo Leslie K. Joseph.

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November 30, 2011

The 411 in 15: Laurie Morvan Skinny Chick with Big Game !

B411: Was it/is it difficult for a lady who plays guitar to be taken seriously or to get work?
LM: At this point it is hard for everyone, it’s not just hard for woman. I don’t want it to sound like its women complaining – it isn’t – the music is so hard. Now woman do have a different flavor of trouble. When I started playing, this was in the late 80′s, there were people who treated you as a novelty, instead of as an artist, and nobody wants that. Yeah there have been times that I was frustrated – things that I couldn’t get, shows that I couldn’t get on.
There was this one club that I could just never get in, and I knew I belonged there. So I had one of my male friends try to book me in – ya know man to man. He came back and said to me that he never realized how hard it was for a female guitar player to get booked. He said it was so eye-opening for him, the guy told him women shouldn’t be playing – so I never got booked there till he sold it and BOOM I got booked.
Inappropriate things have been said to me, or you are not being taken seriously, but ya know what, as I said everyone has a different flavor of hardship that they go thru – it’s all blah, blah, blah – but once you do get on stage and you play your ass off, then who’s gonna argue with you after that?
Sometimes the doors don’t get opened for you and sometimes it still happens. There have been festivals where I have been told ‘we already booked our woman’ singular. I have been told that within the last couple of years. My lord there are like twelve male acts but there can only be one woman. I kinda shake my head, it’s like the woman are a genre ! That can be a little weird but all that being said there may also be a guy who can’t get on because they might have a guy who already plays a purple guitar – see what I’m saying, it’s all different flavors of hardship we all get them thrown at us in some form, but yes it is different in some cases for women.

B411: Yeh I understand, but I am not a women and I (and possibly other men) don’t know what it’s like. The very first time I saw Bonnie Raitt (in like 1978) since there was no other female that I could relate her playing to I said she played it like a man. I think that the lack of women guitar players created that thought in my mind – I had no where else to go with it, no prior experience.
LM: Yeah people say that to me ‘you play guitar like a guy’ and I say no I play like a girl – this is exactly how a woman plays a guitar. I am a woman and I play guitar so this is it !

B411: Candye Kane told me her response to someone saying that Laura Chavez played like a man, it was something to the effect that she’s playing it with her hands not her female parts, hands are non-gender specific !
LM: Great answer. You try to stay low key about that. I have been playing along time now. The Blues world might be just discovering me in the last four or five years but I’ve been pounding in the clubs. I used to play Rock & Roll and found my way to the Blues. I wish I could have been exposed to the Blues when I was eighteen, but I didn’t know anyone who was listening to it. I just wasn’t exposed to it, and that’s what it takes, you need to have access to it to know you love it.
That’s what the Blues was like to me, when I first heard it I was like ‘ahh what is this beautiful music that I have just never been exposed to’, and then I went after it.

B411: So you come from a Rock background ?
LM: I was in a power trio, it was the late 80′s early 90′s. Stuff like Heart, Pat Benatar, Jimi Hendrix, we did Eric Clapton, and it starts to point in that direction, then Stevie Ray Vaughn – who is this Stevie guy ? It’s such a wonderful musical palette all the forms of it. But what gets my heart pumping is the Rock & Roll influenced Blues, I just love it. My desert island music is Stevie Ray Vaughn. He was my gateway to the Blues so I will always love him and his style of Blues. It’s kinda like your first love which you never will forget.

B411: Any other influences that you found when you went back to the Blues?
LM: Bonnie Raitt, of course. But again, I came through Pop Music to discover it. So you listen to her pop tunes and then to some of her older stuff and realize how cool they were and want to learn more about all of it. I think one of the greatest songwriters in the whole wide world ever was Freddie King. To me the breadth of his songwriting and the influence it still has is just incredible.
I consider myself a songwriter first, and you know how much I like to play guitar, but to me music is all about the song. Without a real song the guitar playing would have no meaning. The guitar is there to serve the song and help energize the people. But I think the song will transcend and that’s whats gonna last. Sure Freddie King was a great guitar player, but what we remember are his songs. That’s what stirs peoples hearts, I’ve always admired that about him.

B411: He was the complete package for sure. It pays to be able to play and sing – to get that spirit level to a good balance, as I said the whole package.
LM: Yes, I sort of liken it to track and field where you can have the worlds greatest 100 yard sprinter, the worlds best shot putter, the world’s best high jumper and no one else can do these things better. But then you have the decathlete, people who can do many things and do it all well. They never will be the best at any one thing and that’s the way I look at musicians like me. You always find a better singer than me, or guitar player or business manager but I have to do ten things in my band and have to do them all well. So when you are going for that total package your brain has to multitask therefore you can’t specialize. It all kind of comes around to where in track and field you have the decathlete in the Blues you have the entertainer. You become the complete entertainer, can you talk to the audience? Can you relate to them, do you have stories behind your songs…..but there are only 24 hours a day, I am interested in a lot of things so being an entertainer is what I see myself as globally. I want people to have a good time, I want people to walk away from my show saying it was a good way to spend some time, they felt the fellowship with the band and their music. So all the other parts feed the main goal as being a great entertainer.

Visit Laurie on her web site:  http://www.lauriemorvan.com/

Until next time,
Love, Peace & Chicken Grease
chefjimi
©Blues411.com 2011
photos: Leslie K. Joseph

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