Born and raised in Dallas, Vaughan began playing guitar at age 7, inspired by older brother Jimmie. By age 12, he was playing in garage bands, and within a few years, he joined semi-professional groups that occasionally landed gigs in local nightclubs. At 17, he dropped out of high school to concentrate on playing music. In 1970 Stevie was playing in a nine-piece horn band and then formed his first blues band, Blackbird, a year later. Blackbird moved to Austin, and after a few more stints in various groups, Vaughan joined Paul Ray and the Cobras in 1975.
The Cobras
The Cobras were Austin’s Band of the Year in 1976. After paying his dues as a sideman, Stevie formed Triple Threat Revue in 1977. Triple Threat also featured bassist W.C. Clark and vocalist Lou Ann Barton. Barton left the band in 1979, and the group became Double Trouble, the name inspired by the Otis Rush song.
Double Trouble
Double Trouble featured Jack Newhouse on bass, Chris Layton on drums, and Vaughan became the band’s lead singer. In 1981 Tommy Shannon joined on bass.
Through the early 1980s, Stevie Ray Vaughan and Double Trouble played the Texas club circuit, becoming one of the most popular bands in the area. In 1982 the band played the Montreux Jazz Festival, and their performance caught the attention of David Bowie and Jackson Browne. After Double Trouble’s performance, Bowie asked Vaughan to play on his forthcoming album, Let’s Dance, which, with Stevie’s lead guitar on six of the eight songs, became Bowie’s best-selling record to date. After an after-hours jam in the artists’ bar, Jackson Browne offered the group free recording time at his Downtown Studio in Los Angeles. Shortly afterward, legendary producer John Hammond landed Vaughan and Double Trouble a record contract with Epic, and the band recorded its debut album in two days over the Thanksgiving weekend at Downtown Studios. (read more: https://www.srvofficial.com/biography/)
Stevie Ray Vaughan, Albert Collins, and Their Electrifying Performance of “Frosty”
The New Orleans Jazz & Heritage Festival has long been a stage for musical legends and unforgettable moments. Among its many historic performances, one stands out for blues enthusiasts—the electrifying collaboration between Stevie Ray Vaughan and Albert Collins as they brought Collins’ iconic instrumental, “Frosty,” to life.
The Titans of Blues
Stevie Ray Vaughan, a Texas-born blues guitar virtuoso, was a force of nature in the 1980s music scene. Known for his searing solos, impeccable technique, and emotive playing, Vaughan revitalized the blues, merging traditional styles with rock’s raw energy. His mastery of the Fender Stratocaster and his deep-rooted respect for blues pioneers earned him a devoted following and a place among the genre’s greats.
Albert Collins, the “Master of the Telecaster,” was an elder statesman of the blues by the time he shared the stage with Vaughan. Known for his sharp, stinging tone and unconventional tuning, Collins had carved a niche with his unique style and fiery stage presence. “Frosty,” one of his signature songs, is a hallmark of his musical prowess—a cool, laid-back instrumental that showcases his command over melody and groove.
“Frosty” Live: A Meeting of Legends
The performance of “Frosty” at the New Orleans Jazz & Heritage Festival was more than just a song; it was a masterclass in blues collaboration. Vaughan and Collins—each a giant in their own right—came together to create something greater than the sum of their individual talents.
The instrumental begins with Collins leading the charge, his Telecaster slicing through the warm Louisiana air with precision and flair. Vaughan’s entrance complements Collins perfectly, his Stratocaster adding a layer of soulful depth to the mix. Together, they engaged in a playful yet respectful musical dialogue, trading licks and improvisations that left the audience spellbound.
The Magic of the Moment
What made this performance extraordinary was the palpable chemistry between the two guitarists. Collins’ fiery precision was a perfect counterpoint to Vaughan’s fluid and emotive phrasing. Each musician seemed to push the other to new heights, their mutual respect evident in every note.
The audience was treated to a front-row seat to blues history. The interplay between Collins’ piercing high notes and Vaughan’s soulful bends created a dynamic tension that was both exhilarating and cathartic. As the song unfolded, it became clear that this was more than just a performance; it was a celebration of the blues tradition, passed down and reimagined in real time.
Legacy and Influence
The live rendition of “Frosty” at the New Orleans Jazz & Heritage Festival remains a treasured moment in blues history. It highlights the artistry and camaraderie that define the genre. For Stevie Ray Vaughan, the performance was a testament to his ability to hold his own alongside one of his heroes. For Albert Collins, it was a chance to share his timeless craft with a younger generation.
Even decades later, this collaboration continues to inspire musicians and fans alike. It serves as a reminder of the blues’ power to bridge generations and bring people together in shared appreciation for its raw, heartfelt expression.
Conclusion
The New Orleans Jazz & Heritage Festival has seen countless iconic performances, but the collaboration between Stevie Ray Vaughan and Albert Collins on “Frosty” stands out as a high point. Their shared stage presence, musical interplay, and deep respect for the blues made for an unforgettable moment that still resonates in the hearts of blues lovers worldwide. It’s a performance that captures the essence of what makes the blues so enduring—its ability to connect, inspire, and transcend time.
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We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
Born and raised in Dallas, Vaughan began playing guitar at age 7, inspired by older brother Jimmie. By age 12, he was playing in garage bands, and within a few years, he joined semi-professional groups that occasionally landed gigs in local nightclubs. At 17, he dropped out of high school to concentrate on playing music. In 1970 Stevie was playing in a nine-piece horn band and then formed his first blues band, Blackbird, a year later. Blackbird moved to Austin, and after a few more stints in various groups, Vaughan joined Paul Ray and the Cobras in 1975.
The Cobras
The Cobras were Austin’s Band of the Year in 1976. After paying his dues as a sideman, Stevie formed Triple Threat Revue in 1977. Triple Threat also featured bassist W.C. Clark and vocalist Lou Ann Barton. Barton left the band in 1979, and the group became Double Trouble, the name inspired by the Otis Rush song.
Double Trouble
Double Trouble featured Jack Newhouse on bass, Chris Layton on drums, and Vaughan became the band’s lead singer. In 1981 Tommy Shannon joined on bass.
Through the early 1980s, Stevie Ray Vaughan and Double Trouble played the Texas club circuit, becoming one of the most popular bands in the area. In 1982 the band played the Montreux Jazz Festival, and their performance caught the attention of David Bowie and Jackson Browne. After Double Trouble’s performance, Bowie asked Vaughan to play on his forthcoming album, Let’s Dance, which, with Stevie’s lead guitar on six of the eight songs, became Bowie’s best selling record to date. After an after-hours jam in the artists’ bar, Jackson Browne offered the group free recording time at his Downtown Studio in Los Angeles. Shortly afterward, legendary producer John Hammond landed Vaughan and Double Trouble a record contract with Epic, and the band recorded its debut album in two days over the Thanksgiving weekend at Downtown Studios. (read more: https://www.srvofficial.com/biography/)
Thank You Stevie Ray Vaughan Fans!
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(April 25, 1923 – December 21, 1992), known professionally as Albert King. He was an American blues guitarist and singer, and a major influence in the world of blues guitar playing. As one of the “Three Kings of the Blues Guitar” (along with B.B. King and Freddie King), he is perhaps best known for the 1967 single “Born Under a Bad Sign”.
In May 2013, King was posthumously inducted into the Rock and Roll Hall of Fame.
Albert was a big man and the Flying V guitar was his weapon of choice. It was like a toy in his huge hands. He eschewed picks, preferring to pluck the strings with his fingers.
His bluesy bends and stinging notes influenced a later generation of players including Eric Clapton, Stevie Ray Vaughan, and Jimi Hendrix, among others.
King of the blues guitar
Albert King is the undisputed “king of the blues guitar” and one of the “three kings of the blues” along with B.B. King and Freddie King. He started his legend with a debut album recorded for Stax Records. The greatest influence on King was pre-war bluesman Lonnie Johnson and Blind Lemon Jefferson, as well as post-war artists such as T-Bone Walker and Howlin ‘Wolf. He himself became a role model for another master – Jimi Hendrix.
Albert quickly began to perform for a wider audience, he played, which was then difficult to comprehend, for white listeners, among others in the Fillmore Auditorium, thanks to which his fans became e.g. Eric Clapton, Mike Bloomfield, Gary Moore, and Stevie Ray Vaughan. He became an inspiration. It can be safely said that he contributed to the creation of the so-called white blues in the UK.
Stevie Ray Vaughan
Stevie Ray Vaughan was born on October 3, 1954, at the Methodist Hospital in Dallas. Together with his parents and older brother, 3 years old, they led a nomadic lifestyle. It was related to my father’s work. In the end, however, the family settled for longer in Dallas. Stevie Ray Vaughan had contact with music from an early age.
His teaching had an interesting course. He was an opponent of the game lesson. He listened to then great guitarists and played with his ear(even Jimi Hendriks). Then, thanks to his brother, he became interested in blues music, listening to B.B. King or Otis Rush. Once, when Jimmy Vaughan, played a concert with his first band, The Chessmen, Doyle Bramhall appeared on it. He saw Stevie playing the guitar. Doyle was the first who recognize the talent of the future music star. At the age of 17 the “youth rebellion” of Stephen Vaughan began – he dropped out of school and took his first tattoo.
It is worth mentioning that the guitarist started playing very early. Already at the age of 12, he was active in the band A Cast of Thousands. Then he began to play his first concerts. with the brother’s band, and then with Blackbird. In the end, he decided to quit school and move out of the house. At the same time, he took a job in a car wash. He took on a variety of activities before he decided to become a musician. Often you could see him and listen on local bars. In terms of the beginnings of his career, he did not differ from other artists at this time. Many were playing at Soap Creek Saloon or Vulcan Gas Company. Often for the free beer and a roof overhead. One of the club owners, who believe in the talent of a young guitarist, persuaded the famous Albert King to play with him. Later King repeatedly emphasized the positive impression that Vaughan had made on him.
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Tightrope is from the album In Step, the fourth studio album by Stevie Ray Vaughan and Double Trouble released in 1989. Robert Christgau in the review of this album stated that “Tightrope” falls into ex-addict jargon like it was natural speech. “Tightrope” feel so intensely personal, it’s hard to believe that they weren’t the product of just one man.
Stevie Ray Vaughan
Born and raised in Dallas, Vaughan began playing guitar at age 7, inspired by older brother Jimmie. By age 12, he was playing in garage bands, and within a few years, he joined semi-professional groups that occasionally landed gigs in local nightclubs. At 17, he dropped out of high school to concentrate on playing music. In 1970 Stevie was playing in a nine-piece horn band and then formed his first blues band, Blackbird, a year later. Blackbird moved to Austin, and after a few more stints in various groups, Vaughan joined Paul Ray and the Cobras in 1975.
The Cobras
The Cobras were Austin’s Band of the Year in 1976. After paying his dues as a sideman, Stevie formed Triple Threat Revue in 1977. Triple Threat also featured bassist W.C. Clark and vocalist Lou Ann Barton. Barton left the band in 1979, and the group became Double Trouble, the name inspired by the Otis Rush song.
Stevie Ray Vaughan and Double Trouble
Double Trouble featured Jack Newhouse on bass, Chris Layton on drums, and Vaughan became the band’s lead singer. In 1981 Tommy Shannon joined on bass.
Through the early 1980s, Stevie Ray Vaughan and Double Trouble played the Texas club circuit, becoming one of the most popular bands in the area. In 1982 the band played the Montreux Jazz Festival, and their performance caught the attention of David Bowie and Jackson Browne. After Double Trouble’s performance, Bowie asked Vaughan to play on his forthcoming album, Let’s Dance, which, with Stevie’s lead guitar on six of the eight songs, became Bowie’s best-selling record to date. After an after-hours jam in the artists’ bar, Jackson Browne offered the group free recording time at his Downtown Studio in Los Angeles. Shortly afterward, legendary producer John Hammond landed Vaughan and Double Trouble a record contract with Epic, and the band recorded its debut album in two days over the Thanksgiving weekend at Downtown Studios. (read more: https://www.srvofficial.com/biography/)
We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
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The Life and Career of Stevie Ray Vaughan
Stevie Ray Vaughan was an American blues rock guitarist and singer who left a lasting mark on the music world. Born on October 3, 1954, in Dallas, Texas, Vaughan grew up in a musical family. His older brother, Jimmie Vaughan, was also a well-known guitarist. Stevie started playing guitar at a young age, influenced by blues legends like Albert King, B.B. King, and Jimi Hendrix.
In the 1970s, Vaughan began to gain attention with his band, Double Trouble. They played around Texas and started to build a local following. His big break came in 1982 when he performed at the Montreux Jazz Festival. Despite a mixed reaction from the crowd, Vaughan impressed David Bowie and Jackson Browne, who were in the audience. This led to Vaughan playing guitar on Bowie’s “Let’s Dance” album and recording his own debut album, “Texas Flood,” at Browne’s studio.
“Texas Flood,” released in 1983, was a huge success. It featured songs like “Pride and Joy” and “Love Struck Baby.” Vaughan’s fiery guitar playing and soulful voice captivated audiences. He followed this with more albums, including “Couldn’t Stand the Weather” in 1984 and “Soul to Soul” in 1985. His music mixed blues, rock, and jazz, and he was known for his energetic performances and technical skill.
One of Stevie Ray Vaughan’s most memorable live performances was on September 21, 1985, at the Capital Theater in Passaic, New Jersey. During this concert, Vaughan played an amazing version of “Look at Little Sister,” showcasing his exceptional guitar skills and stage presence. The energy in the theater was electric, and fans remember this concert as one of the best examples of Vaughan’s live prowess. His ability to connect with the audience and deliver powerful performances made his concerts unforgettable.
Despite his success, Vaughan struggled with drug and alcohol addiction. In 1986, he entered rehab and got clean, which rejuvenated his life and career. He continued to tour and record, releasing albums like “In Step” in 1989, which won a Grammy Award for Best Contemporary Blues Album. Vaughan’s dedication to music and his ability to overcome personal challenges inspired many.
Tragically, Stevie Ray Vaughan’s life was cut short on August 27, 1990. He died in a helicopter crash after a concert in Wisconsin. He was only 35 years old. Vaughan’s death was a significant loss to the music world, but his legacy lives on through his recordings and the countless musicians he influenced.
Stevie Ray Vaughan’s impact on blues and rock music remains significant. His passionate playing and heartfelt performances continue to inspire new generations of guitarists and music lovers around the world. His life, though brief, was full of musical achievements that ensure he will always be remembered as one of the greats in American music history.
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We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
Born and raised in Dallas, Vaughan began playing guitar at age 7, inspired by older brother Jimmie. By age 12, he was playing in garage bands, and within a few years, he joined semi-professional groups that occasionally landed gigs in local nightclubs. At 17, he dropped out of high school to concentrate on playing music. In 1970 Stevie was playing in a nine-piece horn band and then formed his first blues band, Blackbird, a year later. Blackbird moved to Austin, and after a few more stints in various groups, Vaughan joined Paul Ray and the Cobras in 1975.
The Cobras
The Cobras were Austin’s Band of the Year in 1976. After paying his dues as a sideman, Stevie formed Triple Threat Revue in 1977. Triple Threat also featured bassist W.C. Clark and vocalist Lou Ann Barton. Barton left the band in 1979, and the group became Double Trouble, the name inspired by the Otis Rush song.
Stevie Ray Vaughan – Pride And Joy
Double Trouble
Double Trouble featured Jack Newhouse on bass, Chris Layton on drums, and Vaughan became the band’s lead singer. In 1981 Tommy Shannon joined on bass.
Through the early 1980s, Stevie Ray Vaughan and Double Trouble played the Texas club circuit, becoming one of the most popular bands in the area. In 1982 the band played the Montreux Jazz Festival, and their performance caught the attention of David Bowie and Jackson Browne. After Double Trouble’s performance, Bowie asked Vaughan to play on his forthcoming album, Let’s Dance, which, with Stevie’s lead guitar on six of the eight songs, became Bowie’s best selling record to date. After an after-hours jam in the artists’ bar, Jackson Browne offered the group free recording time at his Downtown Studio in Los Angeles. Shortly afterward, legendary producer John Hammond landed Vaughan and Double Trouble a record contract with Epic, and the band recorded its debut album in two days over the Thanksgiving weekend at Downtown Studios. (read more: https://www.srvofficial.com/biography/)
Thank You Stevie Ray Vaughan Fans!
We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
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Stevie Ray Vaughan & Double Trouble – The House Is Rockin’
“The House is Rockin’” is the opening track of Stevie Ray Vaughan’s fourth and final studio album In Step, recorded with his backing band Double Trouble.
Double Trouble is Stevie Ray Vaughan’s backing band, as Crazy Horse is to Neil Young. The band consists of Tommy Shannon on bass, Chris Layton on drums, and Reese Wynans on keyboards. Before recording this album, Vaughan recorded another with his brother Jimmie.
If this van’s a-rockin’, don’t bother knockin’.
The title is a used a popular decal of the 1970s, which stated, ‘If this van’s a-rockin’, don’t bother knockin’. Vans were all the rage in the very early ’70s. Part of their appeal was that they could be utilized as an unexpected place for a “quickie”. Numerous drivers tricked out their vans with outrageous carpeting and a bed as if it were a bachelor pad on wheels. Thus, the bumper sticker implies that if the automobile is parked as well as returning as well as forth on its suspension, there’s clearly some enchanting activity going on in there and you should not disturb them.
Amongst lots of social recommendations, comic George Carlin on the stand-up cd What Am I Doing in New Jersey? as soon as expressed his disdain of vans, with the words: “You wish to transport lumber lease a vehicle. You intend to obtain laid, go to the motel like an evangelist would, for God’s purposes!”.
Vaughan wrote this tune and a couple of others on the album with fellow Texas songwriter Doyle Bramhall. Vaughan was in a band with Bramhall called The Nightcrawlers when they were beginning, and both started collaborating on tracks when Stevie Ray began his solo career.
Multiplicity
One of the most popular soundtrack usages of “The House Is Rockin’” is in the 1996 film Multiplicity. It plays while Michael Keaton works on sprucing up their home in the initial step to obtaining his life back together. It was additionally used in an episode of the TV series Supernatural. The cd title In Step is a referral to Vaughan’s healing from chemical abuse problems and also the successful completion of rehabilitation. Yet obviously, it’s additionally handy to refer to dancing steps – fitting provided this very danceable tune.
Stevie Ray Vaughan: Unveiling the Magic of Live at El Mocambo
Stevie Ray Vaughan, a name synonymous with guitar mastery and blues revival, left an indelible mark on the music world with his unparalleled skills and passionate performances. Among his many legendary concerts, the “Live at the El Mocambo” stands out as a pivotal moment in Vaughan’s career and a showcase of his virtuosic talents. This article delves into the magic of that night, exploring how Vaughan’s performance at the El Mocambo not only solidified his status as a guitar hero but also breathed new life into the blues genre.
The Setting: El Mocambo, 1983
Toronto’s El Mocambo club had already earned its place in rock history by the time Stevie Ray Vaughan and his band, Double Trouble, took the stage in March 1983. However, Vaughan’s performance would elevate the venue’s legendary status to new heights. At the time, Vaughan was on the cusp of stardom, having just released his debut album, “Texas Flood,” to critical acclaim. The concert at El Mocambo was part of a tour to promote the album, and it provided Vaughan with the perfect platform to showcase his extraordinary talents to a wider audience.
The Performance: A Guitar Masterclass
From the moment Vaughan struck the first note of “Testify,” it was clear that the audience was in for an unforgettable night. His playing was both fiery and precise, blending technical mastery with deep emotional expression. Vaughan’s setlist spanned a range of blues styles, from the slow, soulful strains of “Texas Flood” to the fast-paced, rock-infused “Voodoo Child (Slight Return).” Throughout the performance, Vaughan’s guitar work was front and center, captivating the audience with its intensity and virtuosity.
What set Vaughan apart was his ability to channel the essence of the blues while infusing it with his own unique style. He drew on the influences of blues legends like Albert King and Jimi Hendrix, yet his sound was distinctly his own. Vaughan’s use of the Stratocaster, combined with his innovative techniques, allowed him to create a sound that was both raw and refined, powerful and emotive.
The Legacy: Live at El Mocambo
The “Live at the El Mocambo” concert was recorded and has since become one of the most celebrated live recordings in blues history. It showcases Vaughan at the peak of his powers, demonstrating not just his technical prowess but his deep connection to the emotional core of the blues. The performance also served as a catalyst for Vaughan’s career, propelling him to international fame and cementing his place as one of the greatest guitarists of all time.
The legacy of “Live at the El Mocambo” extends beyond Vaughan’s individual achievement. It played a key role in revitalizing interest in the blues, a genre that had been overshadowed by rock and pop in the years leading up to the concert. Vaughan’s passionate performance reminded audiences of the power and depth of the blues, sparking a resurgence of interest in the genre that continues to this day.
Conclusion
Stevie Ray Vaughan’s “Live at the El Mocambo” concert is more than just a memorable performance; it is a testament to the enduring appeal of the blues and the transformative power of music. Vaughan’s ability to convey deep emotion through his guitar, coupled with his technical brilliance, made that night at El Mocambo a pivotal moment in music history. Today, the concert remains a beacon for musicians and fans alike, a reminder of the magic that happens when talent, passion, and soul converge on the stage.
We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
Stevie Ray Vaughan & Double Trouble – The House Is Rockin’
Stevie Ray Vaughan & Double Trouble – The House Is Rockin’
“The House is Rockin’” is the opening track of Stevie Ray Vaughan’s fourth and final studio album In Step, recorded with his backing band Double Trouble.
Double Trouble is Stevie Ray Vaughan’s backing band. The band consists of Tommy Shannon on bass, Chris Layton on drums, and Reese Wynans on keyboards. Before recording this album, Vaughan recorded another with his brother Jimmie.
If this van’s a-rockin’, don’t bother knockin’.
The title is a used a popular decal of the 1970s, which stated, ‘If this van’s a-rockin’, don’t bother knockin’. Vans were all the rage in the very early ’70s. Part of their appeal was that they could be utilized as an unexpected place for a “quickie”. Numerous drivers tricked out their vans with outrageous carpeting and a bed as if it were a bachelor pad on wheels. Thus, the bumper sticker implies that if the automobile is parked as well as returning as well as forth on its suspension, there’s clearly some enchanting activity going on in there and you should not disturb them.
Amongst lots of social recommendations, comic George Carlin on the stand-up cd What Am I Doing in New Jersey? as soon as expressed his disdain of vans, with the words: “You wish to transport lumber lease a vehicle. You intend to obtain laid, go to the motel like an evangelist would, for God’s purposes!”.
Vaughan wrote this tune and a couple of others on the album with fellow Texas songwriter Doyle Bramhall. Vaughan was in a band with Bramhall called The Nightcrawlers when they were beginning, and both started collaborating on tracks when Stevie Ray began his solo career.
Multiplicity
One of the most popular soundtrack usages of “The House Is Rockin’” is in the 1996 film Multiplicity. It plays while Michael Keaton works on sprucing up their home in the initial step to obtaining his life back together. It was additionally used in an episode of the TV series Supernatural. The cd title In Step is a referral to Vaughan’s healing from chemical abuse problems and also the successful completion of rehabilitation. Yet obviously, it’s additionally handy to refer to dancing steps – fitting provided this very danceable tune.
Thank You
We appreciate your time and dedication to reading our article. For more of the finest blues guitar music, make sure to follow our Facebook page, “I Love Blues Guitar”. We share exceptional selections every day. Thank you once again for your continued support and readership.
