01. Keep On Rollin' (4:36)
02. Honey Babe (2:46)
03. It's You, Baby (2:11)
04. Ace In The Hole (2:34)
05. Let's Go (4:35)
06. Delta Lowdown (3:00)
07. It's All Over Now (3:36)
08. 100 Years Of Blues (4:53)
09. Let The Four Winds Blow (3:24)
10. That's What I'm Talkin' About (5:02)
11. Can't Take No More (3:15)
12. Southside Slide (2:40)

Elvin Bishop - Guitar and Vocals
Willy Jordan - Cajon and Vocals
Bob Welsh - Guitar and Piano
+
Kim Wilson - Harmonica on "It’s You, Baby"
Rick Estrin - Harmonica on "Delta Lowdown"
Charlie Musselwhite - Harmonica and Vocals on "100 Years Of Blues"

Bishop told The San Jose Mercury News, “Every time I pick up the guitar, something new comes out of it. I guess you’d call me a late bloomer. When you get to be my age, you’re not expecting to be progressing or coming up with any new ideas, but for some reason, I’m lucky enough that that’s what’s happening to me.”

Elvin Bishop’s Big Fun Trio is among his very best musical ideas ever. The music is rootsy, spirited and soulful, performed by serious musicians hell-bent on having a good time. Elvin Bishop’s Big Fun Trio features Bishop’s down-home delivery, deep blues picking and slide guitar playfully meshing with Welsh’s piano and guitar licks and Jordan’s soul singing and propulsive cajón playing. The album’s laid-back, front-porch vibe mixes four rollicking Bishop originals with three co-writes and five raucous, well-chosen covers of songs by Lightnin’ Hopkins, Fats Domino, Sunnyland Slim, Ted Taylor and Bobby Womack. And because one can never have too much fun, Bishop’s pals Kim Wilson, Charlie Musselwhite and Rick Estrin stop by the sessions, each adding his distinctive harmonica talent (and in Musselwhite’s case, vocals too) to a song. Listening to the proceedings, it’s easy to see why the Chicago Sun-Times enthusiastically declared, “It’s impossible not to like Bishop. He’s always singing something lowbrow and uplifting.”

When it comes to the formation of The Big Fun Trio, it’s best to let Elvin tell the story himself: Me and a couple of fellas got to jamming in my studio one day and we lucked up on The Big Fun Trio. I knew Willy Jordan from when he played percussion on some of my albums, and I liked his singing and rhythm feel. This time he brought a cajón, a South American percussion instrument. It’s a square box you sit on to play it, and he got some amazing sounds out of it—bass drum, snare, anything—and he’s a real strong singer. Bob Welsh is a member of my regular band, an amazing talent. He plays great guitar or piano and can get a tremendous “bass” sound on his guitar.

In a trio, there’s no place to hide. You need to be totally into it all the time and you got to have the right guys. The combination of the three of us clicked big time. We went out and played a couple of gigs, and it was really cool to see how the people reacted to the goin’-for-it feel of the music.

We decided we better make a CD, so here ‘tis. We enjoyed the hell out of playing this music, and we hope you do the same listening to it. --- bluesmagazine.nl

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1. Got To Be New Orleans
2. Callin' All Cows
3. Rock My Soul
4. Juke Joint Jump
5. Travelin' Shoes
6. Every Day I Have The Blues (feat. Bettye LaVette)
7. Don't You Lie To Me (feat. Selwyn Birchwood, Irek Dudek, Jarekus Singleton)
8. On My Knees (feat. Selwyn Birchwood, Jarekus Singleton)

Elvin Bishop – vocals,  guitar
Bobby Cochram – drums
Ruth Davis – bass
Ed Early – trombone
Steve Willis – keyboards
Bob Welsh – guitar
+
Bettye LaVette, Selwyn Birchwood, Irek Dudek, Jarekus Singleton – vocals

Rawa Blues Festival, Katowice, Poland
3 October 2015

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1 Instrumental
2 Calling All Cows
3 What The Hell Is Goin' On
4 Party Till The Cows Come Home
5 Fishin’
6 Instrumental 2
7 Instrumental 3
8 Sweet Home Chicago
9 Honest I Do
10 Blow Wind Blow
11 Live in the Country
12 Don't You Lie To Me
13 Instrumental 4
14 Lonesome Feeling

Portland, Oregon, July 6 2012

The festival's 25th anniversary was a rousing success! More than 120,000 people thrilled to five jam-packed days of the best blues in the world including Steve Miller Band, Elvin Bishop Band with James Cotton, Booker T., Charlie Musselwhite, Toots and the Maytals, Bobby Rush, Otis Taylor, JJ Grey & Mofro, Galactic, The Mannish Boys with Sugaray Rayford, Roy Rogers, Lionel Young, Cedric Burnside Project, James Hunter and more. --- waterfrontbluesfest.com

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01 – I’m Gone
02 – Middle Aged Man
03 – Long Shadows
04 – Home Of The Blues
05 – Think
06 – Another Mule Kickin’ In Your Stall
07 – Ace In The Hole
08 – Kissing In The Dark
09 – Don’t Let The Bossman Get You Down
10 – Come On In This House
11 – Devil’s Slide
12 – She Puts Me In The Mood
13 – Midnight Hour Blues
14 – Honest I Do
15 – Slow Down (Live Feat. Little Smokey Smothers)
16 – The Skin They’re In (Live Feat. Little Smokey Smothers)

Elvin Bishop – guitar, vocals
Little Smokey Smothers – guitar, vocals

Growing up in the 1940s on a farm in Iowa with a loving but non-musical family, Elvin seldom heard music as a kid. “This was before TV,” Elvin says, “and on the radio you got a lot of Frank Sinatra and ‘How Much Is That Doggie In the Window’ type of stuff.” The family moved to Tulsa, Oklahoma, when Elvin was 10, in 1952. Tulsa was “totally segregated,” says Elvin, “I mean, hard core.” However, “the one thing they couldn’t segregate was the airwaves. When rock and roll started up, in the mid-’50s, Chuck Berry, Fats Domino and Little Richard showed up on white radio.”

And then, late one night when Elvin was 14 or 15, the atmospheric conditions a little rough, Jimmy Reed’s harmonica came cutting through the static from WLAC in Nashville, and Elvin Bishop’s life was changed. The song was “Honest I Do.” “That piercing harp came through, cutting in like a knife, and I said, ‘Oh, man, that’s it.’ I found out that blues was where the good part of rock and roll was coming from.”

And about that time, he started trying to play guitar. “I wanted to play it from the beginning,” Elvin says. “I kept trying and then quitting it. Hurtin’ my fingers, playing those old pawn-shop guitars with the strings two inches off the fret board. Nobody I knew played.” But he kept after it. “Not being able to dance, and seeing how the musicians did with the girls, and loving the music, I finally stuck with it.”

Hooked on the sounds emerging from the radio, Elvin had to find out where they were coming from and who was responsible. When he was awarded a National Merit Scholarship in 1959, he could have gone to pretty much any college he wanted, but chose The University Of Chicago, because that’s where the blues were. And so he landed in the middle of one of the richest and most vital scenes in blues history. “Any night of the week you could hear Muddy Waters, Little Walter, Howlin’ Wolf, Hound Dog Taylor, Otis Rush, Junior Wells, Buddy Guy, Magic Sam, Bobby King, Eddie King, Little Smokey, Big Smokey, and a whole ton of people you never heard of.”

His first week in Chicago, he came across Paul Butterfield, who was sitting on some steps drinking beer and playing blues on guitar. “We fell together right away,” says Elvin. “I was amazed to find other white guys into blues.” After playing with a lot of different people, including J.T. Brown, Hound Dog Taylor and Junior Wells, Elvin hooked up with Butterfield to form the legendary Paul Butterfield Blues Band, with bassist Jerome Arnold and drummer Sam Lay, who’d been Howlin’ Wolf’s rhythm section. Producer Paul Rothchild of Elektra Records encouraged them to add guitarist Michael Bloomfield. “I’d met Bloomfield before, in a pawn shop,” says Elvin, “when I was looking for guitars. We got to talking. He got a guitar out, started playing circles around the world.”

In 1965 the Butterfield band went into the studio and recorded The Paul Butterfield Blues Band album, which turned out to be a sea-change record for thousands of rock fans and musicians. An integrated band playing blues music in 1965 was unheard of. It introduced a lot of people to the blues, and to the musicians who had influenced the Butterfield band. After several more albums with Butterfield, including the pivotal genrebending East West, Bishop took off on his own. “I wanted to stretch out, see how far I could take it on my own,” says Elvin. Bishop had visited San Francisco with the Butterfield band during the Summer of Love in 1967. “I loved the people, the weather, and not having to watch my back all the time.” And like several other Chicago musicians he ended up moving to the Bay Area.

The 70’s saw Elvin hit the charts with solo tracks like “Travelin’ Shoes,” “Sure Feels Good” and what would become his biggest hit, “Fooled Around and Fell in Love,” with a powerful vocal by Mickey Thomas (later of Jefferson Starship). During the 1980’s, Elvin spent most of his time on the road, “entertaining the people and maybe having a little too much fun myself.” Later in the decade he hooked up with Alligator for a number of excellent albums that grew right out of his blues roots.

On Gettin’ My Groove Back (2005), Elvin’s first Blind Pig release and first solo album in seven years, he mixed his signature good-time party atmosphere with tracks that dealt with personal grief and social concerns. Blues Revue commented that the album was “one of his most creative yet” and went on to say “If Groove’s tone is a bit darker than that of Bishop’s previous work, attribute it to the deepening of a well-established artist’s outlook. In addition to plenty of his trademark wit, listen for textbook examples of inventive rhythm guitar interplay and effective band arrangements. Bishop’s groove hasn’t gone anywhere.”

Highlights abound on the new live offering, Booty Bumpin’. The mood is set on the opening instrumental, “Stomp,” where thundering drums, swirling accordion and Elvin’s powerful slide guitar all combine to create a down-home vibe that lands somewhere between New Orleans and Chicago. The crowd favorite “Stealin’ Watermelons” is punctuated with bursts of trombone and funky clavinet, while Elvin heads straight to the heart of Crescent City R&B with a rendition of Allen Toussaint’s “I’m Gone.” The band takes the opportunity to stretch out several instrumentals, including the title track, featuring harmonica from Bishop’s Blind Pig label mate John Németh, and the slow burning “Blue Flame,” with fellow Bay Area guitarist Daniel Castro. Elsewhere, Elvin keeps the spirits high with “My Dog,” and digs deep into the blues with Roy Milton’s “Keep A Dollar In Your Pocket.”

In an age where music is often sterilized in the studio for mass consumption, Booty Bumpin’ captures Elvin Bishop’s brand of easy going blues and delivers it unfiltered, raw, and honest, with the same crowd pleasing manner that’s been delighting audiences for years. For those who haven’t been able to experience his show in person, it will bring some of that live magic home. For the countless who have been along for the ride, Booty Bumpin’ will only confirm why Elvin Bishop has and will continue to rank as one of the most engaging performers on the blues scene today. ---amazon.com

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CD1: Elvin Bishop Group
01.The Things That I Used to Do
02.Tulsa Shuffle
03.Sweet Potato
04.How Much More
05.Dad Gum Ya Hide, Boy
06.Honey Bee
07.Prisoner of Love  
08.Don't Fight It (Feel It)
09.I Just Can't Go On
10.So Good
11.Crazy 'Bout You Baby
12.So Fine  
13.Party till the Cows Come Home
14.Hogbottom
15.Be With Me
16.As the Years Go Passing By  

CD2: Elvin Bishop Band
01.Rock My Soul
02.Holler and Shout
03.Let It Shine
04.Don't Mind If I Do
05.Rock Bottom
06.Last Mile
07.Have a Good Time
08.Wings of a Bird
09.Old Man Trouble
10.Out Behind the Barn
11.Stomp
Bonus Tracks:
12.Stealin' Watermelons
13.So Fine (Live) 
14.Party till the Cows Come Home (Live)

Bass – Art Stavro (tracks: 1-1 To 1-7), Bill Meeker (tracks: 2-1 To 2-11), Kip Maercklein (tracks: 1-8 To 2-11)
Drums – John Chambers (tracks: 1-1 To 1-16, 2-11)
Guest, Backing Vocals – Clydie King (tracks: 2-1 To 2-11), Delaney And Bonnie (tracks: 2-1 To 2-11),
 Gloria Jones (tracks: 2-1 To 2-11), Jo Baker (tracks: 2-1 To 2-11), Perry Welsh (tracks: 2-1 To 2-11),
  Shirley Matthews (tracks: 2-1 To 2-11), Vanetta Fields (tracks: 2-1 To 2-11)
Guest, Clarinet – Jim Gordon (tracks: 2-1 To 2-11)
Guest, Congas – Chepito Areas (tracks: 1-11, 1-14), Micke Carabello (tracks: 1-11, 1-14)
Guest, Fiddle [Solo] – Bobby Bruce (tracks: 2-1 To 2-11)
Guest, Harmonica – Perry Welsh (tracks: 2-1 To 2-11)
Guest, Percussion – Milt Holland (tracks: 2-1 To 2-11)
Guest, Rhythm Guitar – Delaney Bramlett (tracks: 2-1 To 2-11)
Guest, Slide Guitar – Delaney Bramlett (tracks: 2-6)
Guest, Tenor Saxophone – Dennis Marcellino (tracks: 2-1 To 2-11), Mel Ellison (tracks: 2-1 To 2-11), Ron Stallings (tracks: 2-2)
Guest, Timbales – Chepito Areas (tracks: 1-11, 1-14), Micke Carabello (tracks: 1-11, 1-14)
Guest, Vocals – Anita Pointer (tracks: 1-9, 1-10, 1-15), June Pointer (tracks: 1-9, 1-10, 1-15),
 Patricia Pointer (tracks: 1-9, 1-10, 1-15), Perry Welsh (2) (tracks: 1-12), Ron Stallings (tracks: 2-2)
Guitar – Elvin Bishop (tracks: 1-1 To 1-16)
Harp – Applejack (tracks: 1-1 To 1-7)
Lead Guitar – Elvin Bishop (tracks: 2-1 To 2-11)
Lead Vocals – Elvin Bishop (tracks: 2-1 To 2-11), Jo Baker (tracks: 2-1 To 2-11)
Organ – Stephen Miller* (tracks: 1-1 To 2-11)
Percussion – Jo Baker (tracks: 1-8 To 1-16)
Piano – Alberto Gianquinto (tracks: 1-1 To 1-7), Stephen Miller (tracks: 1-8 To 2-11)
Rhythm Guitar – Elvin Bishop (tracks: 2-1 To 2-11)
Slide Guitar – Elvin Bishop (tracks: 2-1 To 2-11)
Strings [Arranged And Conducted By] – Jim Gordon (tracks: 2-1 To 2-11)
Vocals – Elvin Bishop (tracks: 1-1 To 1-7, 1-12), Jo Baker (tracks: 1-8 To 1-16), Stephen Miller (tracks: 1-8 To 1-16) 

This double CD combines Elvin Bishop's first three albums (variously credited to the Elvin Bishop Group and the Elvin Bishop Band) on to two discs. Containing 1969's Elvin Bishop Group, 1970s Feel It!, and 1972's Rock My Soul, it has virtually everything he recorded for Fillmore and Epic in the late 1960s and early 1970s, serving as an overview of his entire early career as a bandleader. Also included are three bonus tracks: one, "Stealin' Watermelons," from a non-LP single, and two other live performances from the various-artists compilation album Last Days of the Fillmore. Although they have their merits, these are erratic albums in which Bishop didn't stick solely to the electric blues-rock he'd made his name with in the Paul Butterfield Blues Band. Instead, these also dig into soul and R&B, as well as what can only be called (on some of his vocal numbers) comedy. He relinquished most of the lead vocal duties to Jo Baker starting with the second album, and this saw an improvement in the sound and material, though even at its best, it's just okay, early-'70s-period \soul-rock. As this includes everything from his first three albums plus bonus material in one neat, two-CD package, one might think that it's a preferable alternative to the Sundazed reissues of the same records, which puts them on three separate CDs, the first two of which offer the same three bonus tracks as this Acadia compilation does. It's not quite so, however, as the Sundazed version of Rock My Soul has a bonus track, the outtake "Sit and Wonder," that isn't on Party Till the Cows Come Home. ---Richie Unterberger, AllMusic Review

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01. Red Dog Speaks
02. Neighbor Neighbor
03. Fat & Sassy
04. Barbecue Boogie
05. Many Rivers To Cross
06. Blues Cruise
07. Doo-Wop Medley
08. Get Your Hand Out Of My Pocket
09. His Eye Is On The Sparrow
10. Clean Livin’
11. Midnight Hour Blues

Personnel:
Elvin Bishop (Guitar, Vocals, Slide Guitar), 
Ronnie Baker Brooks (Guitar), 
Buckwheat Zydeco (Accordion), 
Kid Anderson (Guitar). 
Roy Gaines (Guitar, Vocals), 
Terry Hanck (Tenor Sax), 
John Nemeth (Harmonica, Vocals), 
Mike Schermer (Rhythm Guitar), 
Snakebite (Tenor Sax), 
Tommy Castro (Guitar), 
Bobby Cochran (Drums), 
June Core (Drums), 
Ruth Davies (Bass), 
Tom Poole (Trumpet),
Bob Welsh (Guitar, Piano, Keyboards), 
R.C. Carrier (Rubboard), 
Sir Reginald Dural (Rubboard), 
Ed Earley (Trombone, Tambourine, Vocals).

Veteran guitarist/vocalist Elvin Bishop has always been -- at heart -- a blues man, but more known for his pop tunes ("Fooled Around & Fell In Love") and associations as an accompanist. Though he's put out many recordings as a leader, this could be the crown jewel in a long and perhaps sometimes frustrating career. It's his second for the Delta Groove label, accentuating Bishop's deft, meaty slide guitar work, featuring five of his originals, and covers of great standards written by Leroy Carr, Huey Meaux and others. In addition, Bishop is teamed with many heavy friends (including guitarist Tommy Castro, R.C Carrier on rub board, pianist Bob Welsh, and ex-Charles Brown electric bassist Ruth Davies) who also know a great deal about the Chicago-based electric urban music they grew up with and still adore. John Nemeth adds his soulful and gritty vocals to three songs, including a cover of Jimmy Cliff's "Many Rivers to Cross" and a classic read of Otis Spann's New Orleans-flavored "Get Your Hand Out of My Pocket." Kid Anderson's literate second guitar is paired well with Bishop for another triple feature of tunes, especially their instrumental cover of "In the Still of The Night," but the killer collaboration crops up during the shuffle "Blues Cruise," a live concert jam with Ronnie Baker Brooks, Roy Gaines, Sir Reginald Dural, and Buckwheat Zydeco. Bishop himself has never sounded better, and despite the years of wear and tear, not to mention those long months on the road, lives to tell the tale, particularly on two autobiographical talking blues selections. There's also an acknowledgment of traditional acoustic blues and gospel music here. Fans should be quite pleased with this, and considering the assistance from so many heavyweights, everybody who enjoys this kind of music should deem this a triumph for Elvin Bishop -- a main man at last. --- Michael G. Nastos, allmusic.com

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1. Rock My Soul 
2. Holler and Shout 
3. Let It Shine 
4. Don't Mind If I Do 
5. Rock Bottom 
6. Last Mile 
7. Have A Good Time 
8. Wings of A Bird 
9. Old Man Trouble 
10. Out Behind the Barn 
11. Stomp 
12. Sit and Wonder

Elvin Bishop (vocals, guitar, slide guitar); 
Jo Baker (vocals); 
Delaney Bramlett (guitar, slide guitar, background vocals); 
Bobby Bruce (fiddle); 
Jim Gordon (clarinet); 
Perry Welsh (harmonica, background vocals); 
Ron Stallings (tenor saxophone, background vocals); 
Dennis Marcellino, Mel Ellison (tenor saxophone); 
Steve Miller (piano, organ); 
Kip Maercklein (bass); 
Bill Meeker (drums); 
Milt Holland (percussion); 
Bonnie Bramlett, Clyde King, Vanetta Fields, Gloria Jones, Shirley Matthews (background vocals).

The talented musician in the likable Elvin Bishop is always fighting for the upper hand with Pigboy Crabshaw, his spaced-out hayseed persona. Co-producer Delaney Bramlett helps steer the sound toward Memphis and Muscle Shoals R&B and keeps the focus on the music, not the headliner. Not a bad idea, considering his enthusiasm barely overcomes his singing limitations. This is a solid and surprisingly varied outing that, until "Fooled Around and Fell in Love," gave him his signature tune in the powerhouse title track. --- Mark Allan, allmusic.com

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1.Raisin' Hell
2.Rock My Soul
3.Sure Feels Good
4.Calling All Cows
5.Juke Joint Jump
6.Hey,Hey,Hey,Hey
7.joy
8.Stealin' Watermelons
9.Fooled Around and Fell in Love
10.Little Brown Bird
11.Yes Sir
12.Struttin' My Stuff
13.Give It Up
14.Travelin' Shoes
15.Medley: Let the Good Times Roll / A Change is Gonna Come..etc

Elvin Bishop (vocals, guitar, slide guitar, background vocals); 
Donny Baldwin (vocals, drums, percussion, background vocals); 
Debbie Cathey, Mickey Thomas (vocals, background vocals); 
John Vernazza (guitar, slide guitar, background vocals); 
David Grover (guitar); 
Bill Slais (alto saxophone, tenor saxophone, Clavinet, organ, keyboards, synthesizer); 
Dave Grover, Greg Adams, Chuck Brooke, Bill Lamb, Bob Claire, Stephen "Doc" Kupka, Tower of Power, Mic Gillette (horns); 
Melvin Seals (piano, Clavinet, organ, keyboards, synthesizer); 
Reni Slais (background vocals).

Headliner Elvin Bishop's folksy, good-old-boy charm is as much a part of this upbeat live set as the music, thanks to generous doses of good-natured banter with fans. This live best-of collection, culled from five performances over almost a year, is highly entertaining. Mickey Thomas takes the singing pressure off the boss, but the thin sound undercuts the swagger of the horn section. --- Mark Allan, allmusic.com

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