Blues Journey

In 2015, Big Apple Blues released the album ENERGY, which described day in a life of New York City. Boasting entirely original material, ENERGY marked a departure from the well-trodden blues genre towards a fusion of instrumental blues, soul, funk, and rock. Unable to assign the album to a pre-defined genre, the critics labeled it as the “Big Apple Blues Sound.” MANHATTAN ALLEY builds on ENERGY and presents more of the feel-good Big Apple Blues Sound. Like its predecessor, MANHATTAN ALLEY tells its own story, aiming to draw from a well of energy and philosophical, utterly positive reflections on life and creativity. It is inspired by New York City itself - NYC with a nod to Tin Pan Alley - the collection of New York City music publishers and songwriters that dominated popular music in America in the late 19th and early 20th century.

Big Daddy Wilson, the well-respected North Carolina-born bluesman, who made his name on the European scene with acclaimed albums like Love Is The Key (2009) Thumb A Ride (2011), I'm Your Man (2013), has walked a winding road to finally come to record these Hard Time Blues. With the release of Deep In My Soul in 2019, Daddy Wilson felt his music and career had come full-circle in style. "I see it as a journey," he said of his incredible backstory.

GLAY leader/guitarist TAKURO embarks on a Journey without a map in his highly anticipated first solo project! Armed with his three vintage Les Paul guitars, TAKURO teamed with producer Tak Matsumoto and Los Angeles-based musicians to record his ambitious first solo instrumental album.

No ordinary artist. No ordinary covers album. From the day he conceived the project to the moment he counted off the first song in the studio, Walter Trout had a bolder plan for Survivor Blues. "I'm riding in my car sometimes," says the US blues titan. "I've got a blues station on – and here's another band doing Got My Mojo Workin'. And there's a little voice in me that says, 'Does the world need another version of that song?' So I came up with an idea. I didn't want to do Stormy Monday or Messin' With The Kid. I didn't want to do the blues greatest hits. I wanted to do old, obscure songs that have hardly been covered. And that's how Survivor Blues started…"