“Can’t Go Home” by Josie Bello, from the album “Can’t Go Home”

Clever,beautiful,well made,heart breaking and intelligent and that’s the description of one of TMEfm  Radio’s favorite artists, the video is damn good too. 


The video and the song “Can’t Go Home” represent the feelings I have whenever I return back to the neighborhood where I grew up. My childhood home doesn’t look like the same place anymore, and most of the surrounding buildings have been replaced or refaced to the point that they would be unrecognizable if viewed out of context. The few friends who remain are the new “old” people — replacing the “old” people who were there when I was growing up. The video attempts to illustrate what it’s like to try to reconnect with your past by searching for the home you grew up in, which is impossible to find because as the song says “you can’t go home, ’cause it ain’t home no more, and it don’t exist the way it did before”. Even though it’s a sad song about the sense of loss associated with change and the passage of time, it does end on a positive note, rooted in my deeply held belief that someday our maker will call us home, we will be restored and all be together again. — Josie Bello



The song was produced by Mike Nugent at Melts In Your Ears Studio, mixed by Kevin Kelly at The Workshoppe East, and mastered by Mike Kalajian at Rogue Planet Mastering, New Paltz, NY. The album cover photo and design is by Frank Bello. “Can’t Go Home” is lead vocals and accordion by Josie Bello; electric guitar and bass by Mike Nugent; with drums by Jonathan Mele and background vocals by Kelly & Kat at www.KellyandKat.com.

The video was filmed an produced by Chris Pati, Founder & Chairman, IndiMusicTV, with set assistant Adrienne Fuchs. The outdoor footage was filmed on the grounds of Coindre Hall, one of Long Island’s famed Gold Coast.

“Chicken Grease” by Biscuit Miller & the Mix, from the album “Chicken Grease”


Biscuit Miller & The Mix are proud to announce their brand new album release “Chicken Grease . Dirty greasy blues with a funk that ll 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 Fun!


“Contemporary” by Rick Estrin & The Nightcats, from the album “Contemporary”

Award-winning San Francisco Bay-area blues band Rick Estrin & The Nightcats today released a hilarious video for Contemporary, the title track from their decidedly unpredictable new album.

The video, directed by band guitarist Kid Andersen, is a funny, mind-blowing Zappa-esque mashup of Chicago blues, uptown funk, rock ‘n’ roll and tongue-in-cheek rapping. The full album is packed with originals that combine memorable, savvy songwriting and world-class musicianship, creating a potent and powerful modern blues sound.

Contemporary is the band’s fifth album for Alligator Records. With Estrin’s virtuoso harmonica 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.

“I Got Plenty” by Big Daddy Wilson, from the album “Deep in My Soul”


Deep In My Soul was the project that lured Wilson back to the USA in May of 2018 to begin pre-production in Memphis with ace guitarist Laura Chavez and bassist extraordinaire Dave Smith. That December, tracking began at Bessie Blue Studios in Stantonville, Tennessee with Grammy-winning producer Jim Gaines (Santana, Stevie Ray Vaughan) at the helm. The record was finished at the legendary FAME Studios in Muscle Shoals, Alabama, where Etta, Aretha, and Duane Allman captured lightning in a bottle all those years ago. Even on such hallowed ground, Wilson’s art more than measured up and expanded from his normal acoustic sound to a full band set powerful enough to turn goat’s milk into gasoline.

The record opens with the smooth and brassy soul of “I Know” that shows Big Daddy Wilson giving a fresh spin to the classic soul music recipe. His genius is in his songwriting and the way he makes quintessential American styles sound new and original again. It’s a bit of magic Wilson performs over and over on Deep In My Soul that would fall flat in the hands of lesser creatives.

Thanks to Mike O’Cull for the words taken from review at Rock & Blues Muse


“Judgement Day” by Tyler Bryant & the Shakedown, from the album “Truth And Lies”

Indeed, if there’s one thing Truth And Lies makes plain, it’s that Tyler Bryant is fast developing into a songwriter of serious repute. He’s now capable of putting his singular stamp on material as eclectic as the witty, ‘Born Under A Bad Sign’-esque ‘Judgement Day’ and the turbulent alt.rocker ‘Couldn’t See The Fire’, while ballads showcasing his vulnerable streak, including the redemptive ‘Shape I’m In’ and the heartfelt ‘Out There’ (“Love will break your heart/Life will break your bones”), are also fast becoming his forte.


Miss Bix & The Blues Fix shows her stuff on video!

A few days without a post, real life can be a pain sometimes, so to make up for it here are two videos from Miss Bix.

The concept of this collection of songs is inspired by the home of the blues, the Crossroads in Clarksdale, Mississippi. Leslie Bixler (aka Miss Bix) spent several months there soaking in the culture and learning the blues from the founders themselves. This is a rare find, 12 songs that pack a punch, in a conceptual flow, reminiscent of days past, when albums told a story.
Leslie Bixler and co-producer Ralph Carter (previously with Eddie Money and Sugaray Rayford), who brings bass, percussion, guitar and keys to many of the songs, are joined by John ‘JT’ Thomas (keyboardist with Hornsby), Gary Mallaber (drummer previously with Van Morrison, Steve Miller and more), blues guitarist extraordinaire Franck Goldwasser (aka Paris Slim), sax man Bill Bixler, and harp player RJ Mischo.

The songs reflect the culture that permeates the south – ‘Voodoo Man,’ ‘Black Widow,’ ‘Slave To The Grave’, and ‘Crazy ‘Bout You’ all have the smoky sensuous sound of the bluesy south. At the same time, Bixler creates a sound and voice that is all her own, and each song tells a different story. The Hendrix inspired ‘You’re A Child’ harkens back to the excitement of early rock days, and features the amazing RHCP drummer, Chad Smith, with whom Leslie worked on the children’s album “Rhythm Train.” The opening track ‘Follow Me Down’ draws the listener in with a trance-like psychedelic groove and from there the excitement builds.

Artistic influences like Sheryl Crow, Bonnie Raitt, Peter Gabriel, Sting, John Mayer, and many others weave together in this altogether new package. Hints of Motown are perceptible in the R&B feel of ‘Baby Come Back’ and the ending cut is a sensitive homage to the muse herself, that never ends, in ‘All The Time.’ The title cut ‘We Don’t Own The Blues’ is a playful look at the nature of love and heartbreak, and is destined to become a blues classic, as is the romping ‘If You’re Doing What I’m Thinking.’ The vocal stylings of the heartbreaking ballad ‘It Wasn’t Me’ are beautifully framed with the gorgeous keyboard virtuosity of John ‘JT’ Thomas.



LESLIE BIXLER aka MISS BIX aka LESLIE LETVEN has been writing, recording and performing since her early twenties. Her first international record “Make It Right” was released on Syndrome Records under her maiden name Leslie Letven and did very well in the smooth jazz category, reaching #12 on the charts, and still receiving radio play today. At that time, she was collaborating with her talented husband Bill Bixler of the Wild Blue Band and nightclub.

Moving back to LA, Leslie and Bill produced and self-released “Porcupine,” which she sold at gigs and on CD Baby. After the birth of her son, Leslie turned her attention to children’s music, spending several days a week doing music circles with preschool age children. It was there that she wrote and test-ran several children’s songs which attracted the attention of Dick Van Dyke and Chad Smith (drummer of the Red Hot Chili Peppers), whose child was in her class. She produced two albums “Moon Food” with Dick Van Dyke and “Rhythm Train” with Van Dyke and Chad Smith. She toured with Dick and Chad promoting those albums and received notable press from many celebrities and publications and won a parent’s choice award.

Once her son grew up, Leslie’s yearning for a new musical start led her to Clarksdale Mississippi where she fell seriously in love with the blues, something she had always gravitated towards. Working with co producer collaborator Ralph Carter (former Musical Director with Eddie Money and co-writer of his hit tune ‘Shakin’’) Leslie began writing “We Don’t Own The Blues,” a group of blues-based songs that reflect a new and exciting musical direction: passionate, intense, and sultry.

“Train 66” by Black Cat Biscuit, from the album “That’s How the Cookie Crumbles”

 With Train 66 the Biscuits immediately start the album with a snazzy, somewhat dirty, intro. Then comes a cracker up-tempo blues song.


The biscuits are from Belgium