hi there, i am a bluesman like back in the 1920's and 30's living and surviving from busking...someone whom got tired going along with a system that deliberately does certain elements of mankind down and in particular myself...back in the day it was due to skin colour and if you were brownskinned then you were done down...nowadays the new 'black' is white...it doesn't appear, to me at least, to be a bias based upon race any longer, merely upon the choices the individual makes in their life...if you believe that cannabis is a valued 'erb and economic/energy and food resource that we need to end the usual reason for wars and diminish our reliance upon the habitat destroying oil and paper industries and their affiliates, then you are done down...well i for one know that cannabis/hemp (the same plant) built our present day world and the seed of that plant is also the perfect long-term nutrition for mankind and thats why it's illegal and maligned in most folks minds...basically it suits their agenda to have this opinion amongst the many....gordon brown, the ex deputy prime-minister, was britains largest investor in hemp, why would that be i wonder..?  you figure it out...a clue would be 'jack herer's' book, 'the emperor wears no clothes' read that and you will become aware...anyway enough about why they've done us all down and a little background on me...i came to music  after an abusive childhood, using it as an escape first and foremost... arriving at playing an instrument seriously much later in life as something to learn patience...this was in late 1989, the week the berlin wall came down...i remember this because i was being shown my second chord by my good friend and neighbour, roy millard, a week after being shown my first chord and discussing whether we thought the wall would ever come down in our lifetimes, to which we both said in unison, nah..!  ...we watched in awe as a week later we were sat there and people were destroying it with hammers...since that time i had become an hobby guitarist and 8 years later a builder of high quality acoustic guitars...around 1990 i was exposed to complex ragtime inspired guitar arrangements and begun taking guitar playing far more seriously as a result...becoming proficient in finger-style...  i continued to add new and more complex right hand techniques to my repetoire and this began to add a different flavour and dimension to the tunes i already had in my repetoire and this has continued right up to the present day...the next big change in my playing came about in early 2011 when i was passed information that pertained to the 'goebels' imposed standard diapason of A4=440Hz and suggested i try tuning to 432Hz... as a result of this fella's reputation i gave it a try...i became certain of the veracity of this choice after finding out a considerable amount of info from the 'schiller institute' which backed up what i was told... after virtually re-learning my instrument for most of 2011 and part of 2012 i began soloing anew... so basically i am a bluesman akin to those back in the 1920/30's america, who called 'unfit for purpose' on the system that had subjugated them and caused their poverty, the only difference is i'm not brownskinned, i'm the new 'black'...hope you like the music you listen to whilst here, it is played with love and is me stomping away the blue feelings my life has left me with and hopefully changing the outcome of the suffering and abuse i was affected by, into aural pleasure in the ears listener hopefully, thereby turning around a disaffected life... 
	now for a little on the history of the musical style i play and a brief overview of the origin of the music follows... 
    The “Blues” as a musical form, is probably the best method of soulful expression, musically or verbally, to release the effects of traumas suffered by people enduring terrible or hopeless situations.  With the Pre-war styles being an almost perfect vehicle for those needing an outlet for the frustration, anger or rage that a troublesome and difficult life had built up inside them.  The thud, thud, thud, pounding approach to the finger-picking, allowing the musician to beat out their dis-satisfaction, thereby “stomping away the Blues”.  
    Song has been the chosen method used, throughout the ages, to pass down knowledge or stories from one generation to another or from one geographical area to another.  The “Blues” consist of a simple repetitive rhyming form that was simple to adapt or to verbally improvise with.  Originating on simple one stringed instruments reminiscent of the early banjo and transported to the Americas by traders from Guinea in West Africa, whom were able, because of their physical prowess and experience in navigating some of the worlds fiercest rivers on the African continent, to row across the ocean from West Africa to the coast of South America utilizing the ocean currents.  This hidden history is re-surfacing thanks to the diligent research into early population migrations into the Americas, made possible through archaeology, artefact discovery and DNA. 
    The commonly held belief is that this cross cultural musical pollination occurred solely as a result of the slave trade. Whilst this may be true in part, there were most definitely coloured peoples in the Americas long before Columbus or “slave ships”.  Writings and Artwork prior to the slave era exist depicting both the African facial characteristics and these trader Kings of old, believed to be the origin of the peoples known as the Olmec the precursor to the Mayan culture.  Giant stone heads found in the Americas depict African facial characteristics without a shadow of doubt, these stone carvings even pre-date our present day calendar let alone the “slave ships”.  These elaborately adorned ocean bound traders were known for their gold tipped spears, probably the origin of the name given to the old unit of British currency, the Guinea, as this was the name the traders themselves gave to their gold tipped spears.  It seems that the African forebears of the coloured race were much like their Afro-American cousins of today with their “bling” ;) .  The currency/gold connection is also likely to be one of the reasons why that part of Africa is still known as New Guinea today.  The “Blues”, or more correctly “the Blews”, as a generalized term for describing sadness or low spirits originates from the old Maritime term “the doldrums,” this was the name given to areas of the oceans and the times when there were no prevailing winds to carry the ships so ships would just sit motionless almost, sometimes for days on end, leaving those on board feeling helpless and hopeless, hence the old English Maritime phrase “in the doldrums,” or as it was more commonly known in those days by the Sea Captains of the British Fleet, as “the Blews”.  
    This hidden history aside, the widely recognized present day musical form of “the Blues” is radically different even from the early pre-war Blues, let alone the very earliest blues which sprang from the very primitive single stringed instruments and playing styles which have been traced back to Africa by the study of banjo playing and building techniques.  It's a very detailed and drawn out study and one we haven't the space or time to delve into now, so we'll concentrate on the more advanced blues styles of play from the late 1800's through the turn of the century until the Great Depression of the 1930's, as it's melodies and styling can be shown to have inspired and contributed considerably to most of today's musical offshoots from the Beatles to The Rolling Stones and from Rock to Pop music, or from Jazz to Rap.  All now owe they're present popular status to the roots from which they sprang, “the Blues”.  There are several geographical based differences to the ”Blues” that developed as distinctive styles in their own right.  Chief amongst these and the starkest and most haunting of all are the “Delta Blues” which emerged from the Mississippi delta, though there are some similarities with aggressive “Texas Blues”.  I believe that these stark, aggressive sounds are a reflection of the deeper hardships and suffering experienced by the coloured race in these areas, a result of the extremely hard work and the absolute poverty conditions that were experienced as the daily norm in these industrial and farming areas.  Poor water quality led to blindness being more common in the delta areas and this was why there were so many blind Blues artists, unable to work, they spent most of their time playing guitar on the streets, hence the level of technical skill achieved by some of them.  Rural musicians of the day would try and emulate the syncopations and feel, created in the recorded marching band music or early Jazz that was popular at that time.  “Ragtime” or “early Jazz” was created in part bizarrely, out of fear and racism.  Ragtime was so feared in it's heyday that the press carried insane comments such as - “the only cure for this modern menace to society is a bullet to the head”.   Remember this ridiculous level of hostility is about nothing more than musical syncopation!  Patterns within the melodies that simply caused people to get up and dance!  It sounds eerily reminiscent of the modern day hysteria and outcry over Acid House music in the late 1980's which was supposed to have ruined Society.  Nowadays nearly every single track you hear on the radio has a House/Dance music backing.  It just goes to show the retarded and over-reactionary thinking of the established order in their belief that we need protecting from ourselves or indeed shielding from fun and frivolity.
     Ragtime was sweeping america by the end of the 1890's, making so called “decent folk” actually tap their feet in public!!  The greatest concern was “white folk” being swept into “delirium and frenzy” by the marching bands of the day because of their catchy syncopated rythms.  This was deemed so unacceptable because cultural norms were so very strict back then.   It would have brought disgrace upon any “decent” white woman and her family for her to simply be seen in public tapping her feet!!  Let alone dancing along with coloured folk or to coloured folks music!!  How ridiculous you are probably thinking and rightly so, sadly this was how the situation was viewed by the ruling classes and just as sadly it is little different today, merely tolerated as opposed to being considered inappropriate though now.  You have common sense to thank for that.  
     “Ragtime” or early Jazz was first recorded in 1926, the name of the actual recording escapes me now, but it was recorded by a recording engineer with racist views, who warned the black musicians they would “only be getting one chance at recording and when the wax was cut, it was over”.   The musicians, knowing this might be their only chance to make a record, had a discussion and decided to play their piece of music at twice the normal speed, the decision to play it this fast was due to their awareness that in rural areas of America (most were without an electricity supply), most folks had wind-up gramophones (early record players with 78rpm and 33rpm) so they could slow down their “fast” piece of recorded music to almost the right speed.  Quite a clever idea really.  When this fast recording was released, it swept the nation selling 3 million copies in one week and “Ragtime” or “early Jazz” was born.  
     Jazz is not really a musical style as it is often thought to be, it is simply a method of approaching the playing OF the music.  Recognized by scholars as “musical freedom,” it relates to the bending of, or non-adhesion to, the strict musical rules that had been set in stone for years.  Very fitting really that this form of “musical freedom” which has brought so much joy to the world through all of it's offshoots, has it's origin in such a dark mentality as racism. Therefore the “musical freedoms” we all share and which we mostly take for granted now, is owed to the quick thinking of a group of racially abused, hard-up coloured musicians.  Shameful, but nice to know, is how best to describe it.  We people are truly all the same, there are no differences between blacks and whites except that is, for skin colour.  We all cry when we are sad and we all bleed when we are cut.  It should give us all real cause for hope, that just maybe, all of the worlds woe's may just remedy themselves in the very same silver lining/dark cloud manner, now that would be “nice” and worth waiting for.
     The means by which the Blues influenced musical history is certainly a strange one and no mistake. The early Blues players who'd made the switch from “hard labour” as tenant farmers with little or no reward, to working for a few coin in their “life on the road”, playing instruments in marching bands or with medicine shows as early busker's, were eventually forced to migrate to the Cities or cultural centres through economic hardship.  The imposition of Jim Crowe laws made it illegal for coloured people to vote or own property and virtually overnight this added an unusual level of musical proficiency to the mix of itinerant self taught Bluesmen and Blueswomen.  This occurred because a great many “Creoles of colour” were directly affected by this harsh racist legislation and they were a part of the aristocracy,  claiming descent from French royalty.  Having had wealth and a full education in the Arts, some even having coloured slaves and/or servants themselves prior to the Jim Crowe laws being enacted.  A great many of these very well educated coloured people were made homeless overnight.  These educated types were now in the same sorry situation as the rest of coloured America.  These “Creoles of colour” with their opulent lives now over, relied upon their Classical training and technical proficiency on multiple instruments and they advanced the quality of street music almost overnight, blending vastly different musical styles into the melting pot of the streets.  Before this great leveller, the only serious technical advancements that took place happened mainly as a result of the coloured servants taking Note of any snippets of musicality seen or heard whilst going about their chores, allowing them to gradually become more technically proficient through practising the remembered melodies later on home made stringed instruments or old brass instruments left over from the civil war, (some Blues recordings have a direct relation to this parlour music, solely because of this cultural overlapping).  These technique advancements were facilitated so rapidly, purely as a result of these racist Jim Crowe laws, yet again another silver lining scenario from the dark cloud of racism.  Street musicians then took their new found technical proficiency back to their local rural areas, enabling the “Blues” to develop further and to then begin influencing the recorded music of the day all over again, exactly as it had done before.  This continual back and forth development and influence, from Blues to Jazz and back again, is the main reason for the depth, complexity and variation of the styles inherent within the Blues genre.  
       The “ragging” comes from the capture and full command of the melody and the tampering with the timing or musical feel of the melodic line using syncopation and swing rhythms.  It has its origin in the Jass Houses of Storyville (houses of ill repute in an area of St.Louis), so named because of the Jasmine perfume the prostitutes used to wear.  These places had live music (the house piano player had spy holes and played along to what the prostitutes were getting up to with their clients), this quickly made the piano players highly proficient and they'd gather after work in the local gin joints to “Cut Heads” or “play off” against each other.  Stomp Time piano as a style was considered by the upper classes to be tarnished, not only by this sexual connection to the underbelly of Society but also because of the “insolent behaviour” was believed shown by the coloured folk playing it or those smoking cannabis and gathering where it was played.   Remember, these were very prudish times and sex was not even talked about in public, so it being on public show was bound to offend the more prim and proper elements of Society who just so happened to be the ruling class.     
      “Insolent Noise” or “Jazz” got some pretty bad press and the hysteria it created caused an immense fear of black people by running stories which created those very same racial divisions within Society.  “Insolent noise” and all connected to it, namely the usage of cannabis, the insolent behaviour and the prostitution etc. were first to be blamed when white women fell pregnant after affairs with the free and easy going, liberated, coloured musicians who were obviously being found attractive by white women leading to many false claims of rape etc. to excuse their infidelity.  Further sensationalist reporting of these situations by the press fuelled this and other ignorant fears of the coloured race, the remnants of which are still with us today.         “Insolent behaviour” amounted, at the time, to the following -  Standing on a white man's shadow!! Looking directly at a white man whilst being spoken to!  Looking a white woman in the eye!  Speaking to a white man without first being spoken to!  These “insolent behaviours” may be known as “normal life interaction” now, but if you were brown-skinned back then it would likely buy you a hanging.  
	Hence “the Blues” being a daily occurrence...
long live the life altering original blues...  ;)

HERON is a project founded in 2016 by American singer/songwriter Hannah Mancini and Croatian music producers/musicians/dj’s, Marco Grabber and Kresho Tomec. Their debut album titled, “Momentum”, consists of 10 tracks, which they describe as electronic future-bass that is both ambient and beat driven. The album is the pursuit of capturing a moment in time where Hannah wishes to express herself from the current musical context, which has evolved through her journey as an artist in electronica, dance and nu disco genres. Hannah started on stages around the world as a backing vocalist for some well-known touring bands and released different musical collaborations that have appeared on various international charts. On the other side, Marco is more oriented in underground music of all kinds, always exploring electronic
sounds through deep, melancholic, often dark and mystical sounds. Kresho is a producer and bass player influenced by afro-cuban, timba and broken beats. The mixture of these three elements informed by great guest musicians has resulted in an album that goes from down-tempo to deep house, as well as encompassing new styles of future-bass music. HERON is also a fully live musical band that consists of five members including vocals, bass, guitar, live electronic drums/percussion and live dj sampling/ synths. On live gigs HERON plays on a more emotional and experimental level along with the obvious touch of electronic dance music.
HERON is :
Hannah Mancini - vocal/song writing
Marco Grabber - dj/live electronica/producer
Kresho Tomec - bass/synth/mixing/producer
Tadej Kosir - guitar
Blaz Celarec - live electronic drums/percussion

"Growing up in Southern California with cool parents during the 70's and 80's was a place where a lot of music happened." Starting off on trumpet at the age of seven and bass in high school Bret always found his way to perform. Before leaving California in 1990 Bret had several years of performing with featured Living Blues Artist the Legendary Soul Brothers of Bakersfield (Al Garret, Willie Adams & Robert Walker).
Bret relocated to Austin in 1990 and soon found himself playing seven nights a week with various blues and roots music bands like Kill the Head, Storming Heaven, Parker Townsend, Part Time Lovers, Walter Higgs and the Shuffle Pigs, International blues artist Bobby Mack and Night Train and Local/Regional favorites The Holy Moellers from which the many Antone's associations and shows would occur. 
Throughout the 90's Bret toured the U.S. and Europe as well as becoming a regular player at the famed Antone's nightclub backing up countless artist and bands. Bret played with a lot of great people and on popular records but
somewhere he needed to find his own voice and push himself.
By 2000 Bret had now established a modest music schedule in Seattle playing with the tasteful and well received Soul Miners Daughter & Mary Mc Page Band. Seattle changed Bret's musical flavors and expanded his taste. “This was a great period of learning other instruments and higher education."
Bret moved back to Texas in 2006 to be near his family playing with Texas Funk Tyrant Barfield and international Blues artist Alan Haynes all while raising his family and becoming a full time High School teacher. "Teaching High School is awesome and playing music is awesome, it is a nice mix of humanity."  
Currently, Bret is moving into his 6th year as a solo artist and has quickly established his presence as someone to watch. Upon his second release Music for the People Bret found himself touring in Europe and the states in support of his release. His band 'The Roots Music Marathon' has evolved and consist of core members Brandon Custer (Big Beat) drums & Christopher Bell (The Bell Tower) on guitar. Bret also continues to have a healthy sideman life and is teaching High School as long as possible and currently working on a third solo release.

​

Rick Fowler, former guitarist for Fortnox and Bombay, recorded the blues-rock album "Back On My Good Foot" for the Jammates Records label in 2008. It was highly praised by major music critics and the success of that record led to the formation of this band. 

The Rick Fowler Band members are:
Rick Fowler: guitar and vocals
Greg Veale: bass and vocals 
Michael Doke: guitar, slide guitar, and vocals
Deane Quinter: drums
Tim “Drawbar” White: Hammond organ

These are all veteran musicians who have been at it all of their lives. We don't want to bore you with a bio full of self-hyping information. Just please give our music a listen. Hopefully you will enjoy it.

What others have said about this artist: Reviews of Back On My Good Foot:

"Georgia resident Rick Fowler pulls no punches on this fine blues-rock album. It is aptly titled, suggesting some sort of recovery, or perhaps returning to something he does best. His best is very good: a superior riff-based collection of songs, which combine lyrical maturity and attitude in equal measure. This veteran of many local bands, and opening act for many a Stateside star, has accumulated a wealth of experience and know-how, and has produced an emotionally credible recording. There is a complete lack of pretension to his work, and though he is clearly influenced by English rock of the '60s and '70s, there is an originality and substance to his work. Mention must be made of his fine band, apart from his own excellent guitar playing and strong vocals, he is backed up by a sympathetic group of musicians, especially the brilliant Hammond organ virtuoso Tim “Drawbar” White. Fowler supported a local charity benefit to raise awareness of Tourette syndrome, and even enlisted the recently retired Bill Berry (REM) in that enterprise, and he drums on “Road to Nowhere.” I was struck by the clever paradox “She makes me feel so much better/I look forward to feeling bad” in the slow blues “Feel So Much Better.” Elsewhere, he covers Savoy Brown's “Hellbound Train,” which thematically fits the mood and is a worthy conclusion."...Blues Matters! Magazine, July 2009

“This is an incredible recording from this singer, songwriter, and guitar player from
Georgia. “Infected with the Blues” starts out with a strong bass line from Michael
C. Steele before Rick Fowler terrorizes you with phenomenal guitar licks. “Skeletons
in Your Closet” has a very cool with resonator guitar that moves into a toe-tappin’ blues song and Randall Bramblett lights it up with his Hammond organ. “Feels So Much Better,” a Jonathan Dorsey song, has Rick playing haunting guitar and merging powerfully with Tim “Drawbar” White on Hammond. “Back on My Good Foot” features more tasty licks and smokin’ organ. “Preacher” is a pedal-to-the-metal song with great lyrics (“Preacher, don’t try to save no souls when I die”). I think the guitar riffs in “Walk Softly” sound a lot like Mark Knopfler, which really works for this slow ballad. “Running from the Truth” has a country-western feel spruced up by a wah-wah pedal. “Road to Nowhere” starts out with a juicy rock riff, then plows into a heavy metal blues solo mixed with killer Hammond organ. Michael Steele’s
acoustic guitar permeates “Hitchhiking,” a Harl Baggett ballad. “Hellbound Train,” by Kim Simmonds of Savoy Brown, is an excellent cover song. Every musician on this one does an impressive solo—it blew me away. Rick Fowler wrote or co-wrote all the songs except the ones stated. He is truly a talented musician, one I hope to hear from a lot more in the future.”...Holler Magazine, Colorado Blues Society, April, 2009

“It won’t take long for Fowler’s third solo release to move you. His songs are sharply written bursts of swampy blues that never overstay their welcomes while leaving space for sincere talk-sung vocals and liquid-metal guitar lines. 

Fowler is a well-established figure in his hometown of Athens, Georgia, gigging with dozens of talented neighbors, including ex-R.E.M. drummer Bill Berry, who contributes to one track here, and members of Randall Bramblett’s band, who play on several cuts. There’s a sense of restraint, unusual for blues-rockers, that brings a noir-soaked atmosphere to songs such as the dark, brooding “Feel So Much Better” and, especially, a remarkable 10-minute cover of Savoy Brown’s “Hellbound Train” that rides an ominous groove.

Songwriting is generally where adherents to this cluttered genre fail. But with cutting-edge lyrics on songs such as “Infected With the Blues” and “Preacher” (the latter a scathing indictment of clergymen who use funerals to push their religious agendas), Fowler brings maturity and intelligence to his craft. “Running From the Truth” comments on the political climate but still finds room for a scorching guitar solo. The disc’s sound is defined, clean, and muscular without being simply loud; every instrument blends into the mix, resulting in an aggressive but never overwhelming vibe best illustrated by the walking bass line of “Road to Nowhere.” 

It might have taken some time for Fowler to get back on his good foot, but judging by this release, it was worth the wait.” ...Blues Revue Magazine, Nov. 2008

“Power chords and blazing guitars blues from the speakers right from the opening track, the blues rocker "Infected With The Blues;" but there were some surprises in store with the subtle guitars on the slow organ driven of "Feel So Much Better" with the verse "she makes me feel so much better, I look forward to feeling down." The title track is a mid tempo shuffle, and "Walk Softly" is a slow blues with a veiled warning for his lover to not do him wrong that has some really nice lines on the guitar. Some tracks are straight up blues, and other have more of a rock edge to them; but instead of over-analyzing this CD, the proof is in the listening: the more times I listen to Back On My Good Foot, the more I like it.”...Washington Blues Society, Seattle, WA, Jan. 2009

“With Randall Bramblett and his whole band as his companions and on top of all Bill Berry, the R.E.M. drummer as a guest, off course there is a top band, and you can hear that.

It is played very well on this "Back On The Good Foot". At this moment Rick lives in Athens, Georgia, his musical basis is mainly built from British Blues and rock influences and you can hear that in the last song, a remake of the Savoy Brown classic.

Further on he calls Robin Trower and the young Johnny Winter as main inspiration for his music, although you don't hear any direct links to the music.

What you do hear with Rick, is that it's all about the music, not popularity.

Beautiful is also the acoustic and easy played "Hitchhiking", with the resonator of Micheal J. Steele, which sees to a nice contradiction of Rick's guitar playing. 

Rick is a strong songwriter and above all a storyteller. His texts are as important as the excellent music that he plays, just listen to "Preacher" en "Running For The Truth", in which he slashes down the hypocrite religion and politics.

Rick Fowler proves with this "Back On The Good Foot" that not all blues rock comes from Stevie Ray's closet.” ...Rootstime, Belgium, Nov. 2008

"Athens, Georgia's Rick Fowler is a midnight stalker on guitar, steady when called for, but fearless when he rips into the moment. As a vocalist he's spooky-smooth. Randall Bramblett, along with a few others, mixes up tasty blues/rock cocktails behind Fowler on Back On My Good Foot. There's a distinct Brit-invasion vibe to several of the songs, but the production and the deft, exciting performances root the album firmly in the here and now. “You've got skeletons in your closet; well mine's out walkin' 'round; and when that jawbone starts to rattle; it spreads the news all over town.” That line alone, on top of a stomping beat, distinguishes Fowler as one hell of a writer. The timely political outrage in “Running from the Truth” and the chic blues in “Walk Softly” are two more cases in point. As a perfect conclusion to the album, the band all but one-ups Savoy Brown in ten agile minutes of sheer “Hellbound Train.” ...Hittin' the Note magazine, June 2008

"...actual soul makes this an incredibly solid blues record. Fowler, as anyone who listens to this can hear, is about music, not popularity, and plays his music that way." ...John Shelton Ivany's Top 21, June, 2008 

"His lyrically and melodically sharp, swampy songs are sung with a dusky, husky edge and his guitar solos stay taut and sharp. He sounds infected with the blues, as one of his tunes is titled, and he's ready to spread the disease." ...Creative Loafing Magazine, June, 2008

“In 2008 Back On My Good Foot was released by Rick Fowler on Jammates Records. This is some of the best British blues rock you are going to hear without going back to the late sixties early seventies bands. Raw blues rock, strong guitar base, never boring, or over indulging solos. The music is always the focus, with good lyrics that tell easy to understand stories. Adding to that authentic sound is the Hammond Organ always giving the songs more depth. Back On My Good Foot starts off with "Infected with the Blues," a great song you should already know if your radio station is doing their job. "Skeletons in Your Closet" drops down from the past blues rock to a nice acoustic stomping introduction that kicks in about half way into the first verse. A good stomping beat with the Hammond fills in very nicely as it will continue to do on the very beautiful "Feel So Much Better." This is great slow blues song with feeling. Something you may think would fit into Eat A Peach by fellow Georgian band The Allman Brothers. This is not to say this CD sounds like the Allmans just that this one song has that very beautiful soft slow style that Eat A Peach possessed. Rick wrote "Back On My Good Foot" with Harold Baggett who happens to have just one leg from an old motorcycling accident. Harold had jammed with some of the old blues artist like Lightnin' Hopkins when he was young. Then pretty much introduced Rick to the blues and toughened him a lot when they were in a band together. "Preacher" is one of the songs that has been getting good radio play along with "Feel So Much Better," "Skeletons in Your Closet," and "Infected with the Blues." "Preacher" has a catchy riff that runs through out the song with nice brakes for guitar and organ. For me Rick Fowler's Back On My Good Foot is one of those rare finds of the type of music I love so much but so few people are doing now. Many people seem fine with the re-re-released versions of some old band but I prefer to find someone new who can play that style but with new songs. Not only will I be enjoying Back On My Good Foot for years to come I'll be keeping my eye on Rick Fowler for up coming records.”...A1 Blues.com, Dec. 2008

"As a writer, Rick Fowler pens songs that reach out and literally grab the listener by the lapels. Add to that his stinging guitar attack and a red-hot backing band, and Back On My Good Foot makes for a highly-recommended listen!!!" ...The Music City Blues Society

"With so many blues guitarists aping the Vaughns, it's refreshing to hear somebody wear his British blues influences on his sleeve. . . Fowler achieving a fat sound that would do Kim Simmonds proud. . . Road to Nowhere and the Strat-y Walk Softly are good, old-fashioned, unadorned blues." ...Vintage Guitar Magazine

“Fowler sings with an understated intensity and his playing isn't showy, but brims over with a dark soulful power. Fowler's also a superior songwriter, and while his scenarios are unremittingly bleak they're also imbued with a self-effacing humor that keeps things from getting too grim. The opener, "Infected With the Blues", likens the blues to a fatal disease. Fowler's observations on his condition here mirror the lives of many as he sings "I'm worried 'bout the future, I'm haunted by the past, ain't crazy 'bout the present, I pray that it can't last" His solo is full of fire and brimstone that belies his protestation of helplessness.” ...Billboard.com

"Classic white boy blues guitarist that's happy to be a well regarded journeyman in search of the ultimate riff. The kind of cat that knows his stuff, doesn't make a big deal out of it and lets the good times roll. Fun stuff for blues guitar fans ready to let it rock." ...Midwest Record

"The thing I loved the most about this record is the subtlety of the playing. Understated, but yet still able to deliver a king hit without you even realising you're being set up for a sucker punch! Though this is a guitar rocking album, take nothing away from the lovely hammond organ playing of Tim 'Drawbar' White (great nickname!) and Randall Bramlett. Sometimes to be effective, you don't have to display ample amounts of flash. It's the complete honesty and tradition of the style that is important, and without doubt, Rick Fowler has that covered easily." ...Glory Daze magazine, New Zealand


                                                                                     VOCAL-GLOBAL (DavidX & Noga) 

Vocal-global is an exciting project that takes you on a musical journey around the globe !
Noga and DavidX explore their origins and influences and create music that crosses borders and cultures. Noga brings her Middle-Eastern back ground and David adds his French Caribbean roots, together with their favorite influences such as Jazz, Calypso, Blues, Dub-step, Funk, Latin, African music and more they create their own thing.

David X is a Vocal artist-performer-One Man Band, One of the most unique talents from France. He has practiced beat-boxing for 20 years and mastered all of the possibilities one can make with the voice. The magic comes when David blends his vocal master ship simultaneously with playing violin, guitar, flute, loop station and dancing! 

Noga Ritter is a singer-song writer, DJ and a key-board player. Originally from Israel, she has lived in Europe for the last few years. She sings in Hebrew, English and Portuguese as well as Wolof as a backing vocalist. In her songs you can hear the influences of a variety of different countries, cultures and centuries.

Vocal-Global’s music carries a strong message of cultural celebration. The fusion of the music genres and the lyrics express the vision of the band; bringing people together from different backgrounds and introducing them to new and different kinds of music and sounds.

                                                                                                     JOIN THE JOURNEY!



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I am a guitarist who started learning to play as a teenager. I purchased a VMI guitar(Strat Knock Off) and a fender champ amplifier from the local Adams Brothers Store in Newport, Arkansas.  I was 17 when I began playing. I went back not too much later and purchased a distortion pedal because the amp was only clean. I hit the bedroom practice hard. I was in my room practicing when I wasn't working over the summer as the grounds keeper and designated painter at the Newport Municipal Water Company. I gave up football but not weight lifting for music and dedicated all my time to my craft. A lot of people were mad at me for my decision but you couldn't deny it because music was a calling. I practiced everyday my senior year of high school only time I put my guitar down was during school and when I worked a contract job reading water meters for Breckenridge Rual Water Union.  I learned mostly glam Rock songs when I started everything from Guns and Roses to White lion. Then all of a sudden an amazing thing happened.  I ordered a couple new tablature books and when they came in one was not what I ordered. Instead of getting Cinderella Long Cold Winter I was sent Randy Rhoads Tribute. I thought man they made a mistake but in reality the Good Lord set me on a course of music that changed my life forever and still influences my playing to this day 31 years later as I write this. Also, thanks to a good friend (Kenny Thaxton) in school who loves Metal music loaned me his Randy Rhoads Tribute tape and that was it.  I was changed from the inside out. That's why my core influence today is and always will be Randy Rhoads. After a couple years of dedicated practice; I put my 1st serious band together with the help of 2 great friends I met Corby Spicer(Bass) and Mike Black(Drums).  We eventually got a vocalist (Rusty Dilday) and named the band Dytrying. After, our 1st demo was recorded we replaced our drummer( Mike Black) with a new drummer(Mike Hall) who fit the band better with his style of drumming. We recorded another 2 EP's at Studio-V in Jonesboro, Arkansas with Engineer Brad Vosberg.  Dytrying played a lot during the year and half we were together. Dytrying played several shows in Newport like Shag Nastys, Hardees and Jack's Dairy Cup parking lot on flatbed trailers. Jonesboro and Little Rock, as well. After a lot of disagreements and fighting between the band and Rusty the vocalist we parted ways with Rusty. We tried a couple of ideas to start a band with the core players so after a couple months of auditioning singers; We decided on Matt Read as our new vocalist and added rhythm Guitarist(Lane Merrell). They played together in there former band Killer Klowns).  In no time at all we started writing new songs and agreeded on the name STONEHEAD. We were together from 1994 through 1997. Stonehead has a separate profile on SoundCloud with indepth information so I will only highlight stonehead. The band recorded 1 demo and 3 EP's and extensively giged in Arkansas, Tennessee, Louisiana, and Missouri. We received a lot of airplay in Jonesboro, little Rock, and Memphis. Stonehead also beat out over 350 bands around the south to win the Strings N Things Battle of the Bands championship. In 1997, STONEHEAD disbanded over disagreements in the bands future direction and built up rifts that occured over time and was too much to put aside. I started writing some stuff with my long-time friend and fellow guitarist (Chris Hinkle) and decided on doing a musical project with fellow friend and drummer (Mike Black). Soon after, we got Vocalist and Bass Player (John Parks) to join in on the musical project. We called the band project DragChain. We wrote a couple tunes and recorded the Lunch Box demo at Delta Sounds Studio with producer Oliver Waren over a weekend that was mixed and finalized by Danny Jones a famous recording engineer that produced a lot of famous acts like Stevie Ray Vaughn, Shawn Lane, Beach Boys, Etta James, Joe Walsh, Al Green, Patti Labelle, and Black Oak Arkansas.  The project we did was more commercial type music with a strong alternative sound. We played it around a few radio stations in Jonesboro, Little Rock, and Memphis.  I joined a band with Mike Black in Olive Branch, Mississippi and the bothers were former members of the metal band (Valhalla). We practiced a few times but we didn't have that chemistry and didn't click as a band. So, from there I have slacked a lot on guitar, writing, and gigging. Over the last 22 years I have played in a project with former drummer (Jim Davis) and did some digital recording on just stand alone tracks and songs with computers and backing tracks. I also played Guitar in the praise and worship band at Newport First Assembly of God church and The Newport Pentecostal Church of God church.  I still practice some;  a lot more in the past few months. I am hoping to jump start playing music live again and doing some recording.  I guess I will have to leave this open from here out a while until I see were music and playing guitar takes me next. I hope you enjoy these songs, compositions, and guitar playing as much as I did writing, playing, and listening to these relics of my life. 

Shane Comer
Guitarist... 🎸

May 2011, Randy Frisch started to lay down the groundwork for his original Texas folk/rock songs. Randy, an accomplished songwriter needed to find the right musical blend to express his honest, emotional and heartfelt lyrics. There were many musicians that came along the way, band names changed like the Texas weather, but the songs remained and got tighter with every twist and turn the band endured. 
June 2013, saw Kenny Whitewolf, a veteran lead guitarist from Virginia laying down the bedrock for RKN with his unique style of soaring riffs, dynamic slide lead guitar and growling blues vocals. 
February 2014, Greg Kenefic, an experienced east coast drummer of many moons established the steady, consistent, always in the pocket back beat that gave RKN the presence and grit it truly deserved.
March 2014, Lynn Girouard filled the bass player spot and rounded out a solid rhythm section. The band started playing some classic rock and blues cover songs to compliment the original songs and soon realized this band sounded pretty damn good with the right musicians. 
December 2015, Ricardo Aguilar replaced Lynn Girouard and introduced RKN to his 6 string bass. Influenced by the west coast sound, Ric amped up the "Country Blues" movement and kept the bump and grind momentum alive and cooking.
February 2016, saw the band bidding farewell to Kenny Whitewolf and his bad ass lead guitar as he moved on to greener pastures in Tyler, Texas.
Lynn Girouard, former bassist with RKN, returned to fill the lead guitar vacancy. Lynn has a passion for the RKN Country Blues Band sound and is a stellar lead guitarist with a fluid style that spans the range of country, blues and rock and roll genres. 

February 2017, RKN released its debut CD “On Solid Ground”.

July 2017, Ric Aguilar bid farewell to the band to pursue his musical journey and his position was filled by veteran rock and roll bass man, Jerry McDonald. Jerry, a long time Houston resident was heavily involved in the 70’s music scene, deeply influenced by the southern rock style, has a passion for Americana and Alternative Country and is packing some cool backing vocals to boot. 

Our music is fresh, spontaneous and a little rough around the edges. It's where Dylan meets Austin City Limits. It's where the country ballad blends with the rock and roll guitar. It's unique and vibrant as Robert Johnson's blues.

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