Slide Rules

Jay Gordon & Blues Venom

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"Creative, Aggressive, Blistering slide guitar-and then some! Really, it doesn't begin to describe what Jay Gordon brings to the Blues party. Amazing slide guitar, vocals, and overall energy and artistry is found on Slide Rules. It's absolutely captivating. Slide Guitar Mastery a work of art." Cleve Baker Confessing The Blues Radio" To purchase this cd or any track on it, scroll down to the bottom of this page and click on the CD

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Woodchoppers Ball

Jay Gordon & Blues Venom

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Jay Gordon and his outfit Blues Venom are indeed again delivering genuine, credible, freehearted Blues Music and are recognized as candid, veracious entertainers and blistering hot, fuel-injected representatives of the Blues World.
Jay Gordon - Seven Time Award Winner, 2012 Grammy® Nominee and Winner of Three 2012 Los Angeles Music Awards Al Bowman - Founder of the Los Angeles Music Awards. "You are truly the single best guitarist in LA, maybe the US. Few play like you Jay"..
Jay Gordon is endorsed by GRETSCH GUITARS Wanted to let you know I received Woodchoppers Ball today. The timing is amazing. Yesterday myself and another DJ were talking about if we've found yet what we each would be calling our individual pick for the album of the year. After hearing this I believe I've just found mine! Thanks :) Deb Downtown Deb's 21st Century Blues To purchase this cd or any track on it, scroll down to the bottom of this page and click on the CD

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Blues Venom: No Cure

Jay Gordon & Blues Venom

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Take the primal wail of American Blues and amplify them beyond the point with no limitations. Jay Gordon continues to shake planet earth with his onslaught of Electric Voodoo Blues. When you listen to this CD you will see how Jay has moved the blues forward to the 21st century, infusing the music with the fire and power of rock while carving out his own place in the music world. This CD features songs like, Dockery's Plantation (for Robert Johnson), World Blues, Slow Burn/Biker Mama, Red Hot Tempered Woman and more, even a bonus track in honor of the late great Phillip Walker.. Joining Jay on this CD is Bassist: Sharon Butcher, Drummer: Rich Gordon Lambert, Hammond B3 & Piano: Harlen Spector, Mississippi Saxophone: Mario Ramirez (Younger brother of the great Richie Valens) also on Hammond B3 & Piano: Rich Wenzel. For all Blues/Rock fans everywhere we created  "Blues Venom – No Cure

2012 Los Angeles Music Awards Jay Gordon was presented his Nomination for "Americana Artist of the Year" from Al Bowman Saturday Night March 10, 2012 at the Hollywood, CA. House of Blues

Jay and his band Blues Venom have also been Nominated for "Rock Album of the Year." It was just announced August 14th, 2012 on KMRJ FM 99.5 The Heat Radio in Palm Springs, Ca That Jay Gordon has received the Producers Choice Award for Rock/Blues Guitarist of the year and Sharon Butcher has received the Producers Choice Award for Rock/Blues Bassist of the year.

Reviews on Jay Gordon's "Blues Venom - No Cure" CD 12-30-2011 BLUES REVUE MAGAZINE
http://bluesrevue.com/2011/12/jay-gordons-blues-venom-no-cure-12-30-11/# BluesWax Picks: Jay Gordon's Blues Venom No Cure Phillip Smith says that Jay Gordon's Blues Venom's new release, "No Cure," is one of the best this year Jay Gordon’s Blues Venom No Cure Self-Released BluesWax Rating: 9 out of 10 Getting bit by Jay Gordon’s Blues Venom newest release, No Cure, is similar to Peter Parker getting bit by a radioactive spider. There is no cure, but that’s a good thing. This CD is exceptionally well written, played, and recorded. Jay Gordon’s Blues Venom band consists of Jay Gordon himself on guitar, bassist Sharon Butcher, drummer Rich Gordon Lambert, Harlen Spector, and Rich Welzel sharing credit on the Hammond B3 and piano, and Mario Ramirez (Richie Valens‘ younger brother) on the Mississippi saxophone. No Cure, is composed mostly of originals, but contains a few standout covers. Jay Gordon’s Blues Venom at times is a blend of Seventies’ blues rock bands such as Cream, The Allman Brothers, Led Zeppelin, and the Yardbirds. Other times, they are more reminiscent of the Blues Brothers band, with guitar, sax, and keyboards swirling around in a cornucopia of rich, full sound. Coming out of the gate first is “Dockery’s Plantation,” a powerfully intriguing slower-tempo song. This song pays homage to Robert Johnson, who legend has it, met with the devil down at the crossroads near the Dockery Plantation in Mississippi to trade his soul for the ability to play the guitar at a masters level. Immediately following is “World Blues,” in which Gordon sings about witnessing Jesus turn beer into wine, and “Blues Venom,” flavored with white-hot guitar solos, juicy harp licks, and a wall of sound from the B3. “Winds of Thor,” probably one of my favorite tracks, with its softly played organ, is more about the soulful vocals begging for mercy than showcasing Gordon’s mad guitar skills. Another huge and pleasant surprise, is a live cover of Wynonna Judd’s “That Was Yesterday,” a break-up letter to an abusive husband. This is such a great song, and Gordon’s guitar playing is nothing less than spectacular. Most noteworthy is the guitar solo on this one. Every note is played with pure emotion. Two other covers deserve to be mentioned as well. First is Muddy Water’s “Rock Me.” Gordon gets down to business on this one, and plays it close in style to Led Zeppelin’s “You Shook Me.” Slim Harpo’s “King Bee” is the other, a true blues standard infused with high-voltage electricity and discipline. It’s quite a pleaser as well. No Cure is as solid a blues album can be, and I consider one of the best I have heard this year. Phillip Smith is a contributing writer at BluesWax

ALL ACCESS MAGAZINE http://allaccessmagazine.com/2011/10/20/search-for-the-hidden-gem-2011-vol-8/ Search for the Hidden Gem (2011 – vol# 8) Written by Mike Cavanaugh on October 20, 2011 in Music Reviews, Jay Gordon’s Blues Venom - “No Cure” Style (Blues) What really caught my ear with this blues CD is how each studio recorded song has the heart and soul of the live show. I’ve never seen Gordon’s live show but each time I’ve played through this disc I can feel the heat from the stage lights; I can visualize the cigarette smoke rhythmically gyrating seductively in the spot light; I can feel the stretch of every note squeezed out of the guitar strings until they snap from red hot finger picking; my hearing is dialed into the rough grizzled vocals; and I feel energized. Jay Gordon’s new CD includes 10 new tracks and 3 bonus tracks (two of which are in fact live tracks from another CD) that simply get the job done. It’s great to hear a contemporary blues artist who’s been at this for awhile and knows how to write and perform good music. Rating 4 (well done) John Vermilyea Blues Underground Network's Top Picks For January 2012 L.R. Phoenix "The Hollow Log Of Capt. Richard Wolfe", Savoy Brown "Voodoo Moon", Brandon Isaak "Bluesman's Plea", Priscilla's Revenge "Third Gear", Alastair Greene "Through The Rain", Jay Gordon's Blues Venom "No Cure".

"The First time I heard Jay Gordon it invoked musical visions of Stevie Ray Vaughn. King Bee is a great Standard also performed by early Pink Floyd and Jay put a new spin on the tune. "Jay is one the finest blues Guitarist's I have heard in a long time" Program Director KONG

Thanks so much for sending me this excellent album! I've really been enjoying No Cure. What a great band, and the songs are totally solid. I'm definitely interested in working with you guys. Best Regards, David Avery - Powderfinger Promotions 47 Mellen St., Framingham, MA 01702

JAY GORDON’S - BLUES VENOM - No Cure Shuttle Music By opening with homage to Robert Johnson, adding songs by Muddy Waters and Slim Harpo to the program, and featuring 11 originals in this session, Jay Gordon puts his hot guitar and hard-hitting voice into action on this contemporary blues program designed to thrill. With Sharon Butcher on bass, Harlen Spector on keyboards and Rich Gordon on drums, the Blues Venom band rocks. Special guests include Rich Wenzel on piano and organ as well as Mario Ramirez (He’s Richie Valens’ younger brother) on blues harp. Together, they put a mighty powerful blues spell on you and make sure that tradition hasn’t faded away. Gordon gives “Blue Venom” a hearty guitar fire and sings it out slow with plenty of character. He makes “Dockery’s Plantation” sizzle with deep-south southern-fried history. He and Ramirez make “Kickin’ Blues Ass burn with a fast-paced fire­storm and they fry “Mister Max” lightly in the fat of a thousand blues songs that praise man’s determination to keep on going in spite of obstacles. “Slow Burn Biker Mama” changes pace with a slow-as-molasses tempo and a convincing story about what makes for a successful relationship. “Voodoo Boo­gie” keeps in character with much of the CD, driving hard as the Blues Venom band supports Gordon’s passionate vocals. -- Jim Santella - Southland Blues Magazine

2012 Bluesrockers.ws - Tom Branson One dictionary defines the phrase “to push the envelope” as “to move beyond the limit of what has usually been done or was the accepted standard”. In every generation, we have had recording artists who did just that, whether by introduction of a new style, or by use of some before unknown technique or technology, these musical pioneers moved their respective genres outside of their comfort zones and into entirely revolutionary new musical realms. I believe that it is a mild understatement for me to say that California based blues/rock guitarist Jay Gordon is an envelope pusher. If you have been shipwrecked for the past several years and not heard any of his work, Gordon is yet another of those phenomenally gifted guitarists, singer/songwriters who for some unknown reason flies just below the collective radars of many mainstream music fans. His explosive playing has drawn comparisons to all past heavyweights of the blues and rock world. But, even though he demonstrates the influences of most great blues/rock guitarists, his work bears little similarity to those before him. While his music is difficult to describe in a few words, let me try by saying that he plays with the intensity of Walter Trout, Frank Zappa or Alvin Lee, the raw passion of Johnny Winter or Hound Dog Taylor, and does it all with the precision of the world’s finest Swiss watch. His work is unpredictable, impossible to categorize, and chaotic. It is also brilliant. If Fender ever decided to build an assault rifle, Jay Gordon would be offered the first Artists model. His latest release “No Cure” from his band Jay Gordon’s Blues Venom may be his very best thus far. The scorching guitar and soulful vocals are there as always, however this time backed by a band that really supports him very well. The rhythm section of Sharon Butcher on bass and Rich Gordon Lambert on drums have tremendous chemistry together and perfectly suited for Gordon’s ferocious ax attack. And Harlen Spector adds the final secret ingredient to the Blues Venom with his Hammond B-3, and his work really adds a lot to the final product. All in all, I think this is my favorite of the lineups that Gordon has used. There are 10 molten tracks on this set and 3 bonus tracks, 2 live ones that are almost overpowering at points. These are not for kiddies, the faint of heart, or people who list Gordon Lightfoot as their favorite guitarist. However, if you are a fan of aggressive, volcanic, cosmic, and grapefruits to the wall blues/rock guitar you are going to love “No Cure” or any of Jay’s other recordings for that matter.

Sergei Andreev thank you so much dear JAY -you are real superstar in center of Europe, but you don't know about it..i own maded 3 radioshow with you in during last 7 years on radiobrest 104.8 fm . My town on border between Belarus and Poland , so welcome please on tour in POLAND or BELARUS on MINSK ARENA !! YOUR BLUES OUTSIDE THE EARTH , YOUR VOICE --CALLING TO UNIVERSE , YOUR GUITAR -CRYING OF SOUL AND HEART . THAAAAAAAAAAAAAAAAAAAAAAAAANKS . ALWAYS FOR YOU and for BLUES

Gary Schwind Orange County Music Examiner If I were to tell you that the first song ("Dockery's Plantation") on Blues Venom: No Cure is about Robert Johnson, you might guess that Jay Gordon is a guy who picks an acoustic guitar while stomping on a wooden crate or some other makeshift rhythm instrument. Gordon is definitely a blues artist but he is no acoustic guitar picker. No, Jay Gordon believes in fast fingerwork on guitars played much louder than the average blues band. His style is closer to Gary Moore than Robert Johnson or Mississippi Fred McDowell. The opening song is a good introduction not only to Jay Gordon's style but also to one of the prevailing feels of the album. One of the songs on the album is called "Slow Burn" and if you had to sum up the album in two words, those would be the ones to choose, especially for songs like "Blues Venom" and "Winds of Thor". 4 out of 5 stars The flipside of those slow burning blues tunes can be found in songs like "World Blues". This song sounds a lot like what might happen if Angus Young decided he wanted to be in a blues band. "Kickin' Blues A--" is another song that doesn't fit into the slow burn category, as you might guess from the title. Gordon's version of "King Bee" is equal parts hard blues rock and boogie woogie. Different? Yes, but definitely worthwhile. Blues Venom: No Cure is a solid album of 13 songs that show how Gordon can appeal to fans of both traditional blues as well as fans of rock infused with a healthy dose of blues. If you fall into either category, this is an album worth adding to your collection.

Continue reading on Examiner.com Schwindy's indie music spotlight: Jay Gordon - Los Angeles Music | Examiner.com http://www.examiner.com/music-in-los-angeles/schwindy-s-indie-music-spotlight-jay-gordon-review#ixzz1mmWwTmcs 2-2-2012 Hi Jay, Sergei Andreev commented on your activity. Sergei wrote: "DEAR JAY !! Great thanks for magic real gifts from you , who 1 february in my hands . i was right-your new cd is too superfantastic modern electric blues on all times as better alive lesson for all musicians this genres forever . My support and promotion for your music in center of Europe FOREVER !! CHEERS , SERGEI !! thanks to you my friendly real superstar , thanks to all your supermusicians and SHARON PERSONAL !!!" www.rootstime.be It keeps (stone) Blues Rock albums good rain early this year. Now again the latest steps of Jay Gordon And Blues Venom that the title "No Cure" meekreeg. Ten songs and three bonus tracks long our ears spoiled. Besides Jay, vocals and guitar, make Sharon Butcher, bass and vocals, Rich Gordon, drums, and Harlen Spector on Hammond and Piano, a sparkling sound. Most of the songs are written by Gordon but also adorn some clever covers this fine album. Include Muddy Water's "Rock Me" and Slim Harpo's "King Bee", get another long but interesting version. Our musical captivates the aftrapper "Dockery's Plantation." With the known legend of Robert Johnson's encounter with the devil as textual guidance, this is a bit slower, but damn intriguing song become.

Lately we have some (too) many songs which lyrically heard a number of blues artists named are then perhaps our slowly bubbling aversion. Musically however all technical about mustache with this release. Think of the bands that remind you of the blues rock of the seventies and you come anyway on names like Led Zeppelin, The Allman Brothers and Cream. A rich, full sound, seasoned with wailing guitar solos like in "Blues Venom" to be heard.

Gordon is a phenomenal guitarist see me sometimes reminiscent of Walter Trout. Orchestrated chaos but brilliant at times. You should listen to his version of Naomi Judd's "That Was Yesterday". How he rages it is, to say the least, impressive.

Is this his best album so far? I think it is. His increasingly passionate vocals, his guitar playing and scorching the damn solid rhythm section here and seasoned with a dash Hammond ensure there anyway that this is one of my favorites in this genre has become. For fans of aggressive guitar sound on a blues twist, this feast.

Luc Meert

Cashbox Jay Gordon's "Blues Venom No Cure" CD Review By Scott Thomas Did someone say Elmore James ? The first tune "Dockery's Plantation" has mojo dust all over it. Wow !!! I must say... I think we've got us a live-wire here. Can I get a witness over here yonder? I mean !!! Jay is on fire vocally and guitar-wise too. His vocals have got that sound reminescent of ala Gregg Allan and other like great blues kat legends. And yes, this is 101% pure electric blues. Ya know, like that Kentucky bourbon Wild Turkey 101 proof. Or, for those that are true bourbon drinkers out there, weez likes to calls it "The Dirty Bird" or "Gobble Gobble". And let's not forget "The Kickin’ Chicken"... Yeah, Yawl know who you bourbon sipperz are out there in Bluesville. And Kick'n the Chicken 'round the hen house is what this fine Blues CD does... Jay Gordon covers allot of delta here. His soulful spirit shines through in each song. Jay captures the essence of the Delta Blues that have made others a legend. This musical outing delivers in spades hands down. The songs on "Blues Venom" are raw, loud, proud and full of road house raucous. The song "World Blues" is so combustible that its guaranteed to start a bar fight every time played. And there's the tune "Blues Venom" with the Stevie Ray vibe and the James Cotton-type harp playing. Oh yeah baby ... Take me to levee ... Where's the bridge ? As the CD progresses, I begin to realize just how much I'm really enjoying the overall mix... The music sounds live and in your face in a good way... And man, I can feel those amps pushing air with some awesome blues licks and tone. This has early Jimmy Page, Jeff Beck, and Eric Clapton all over it... Hard Driving Blues !!! Song List:: 1. Dockery's Plantation 2. World Blues 3. Blues Venom 4. Red Hot Tempered Woman 5. Mister Max 6. Kickin Blues Ass 7. Winds Of Thor 8. Voodoo Boogie 9. King Bee 10. Slow Burn Biker Mama Bonus Tracks: 11. Rock Me 12. That Was Yesterday 13. Wiskey Women And Fast Cars There are 10 feisty down and dirty songs on this CD "Blues Venom - No Cure" to include 3 killer bonus tracks. I think I've pretty much given you the flavor of this CD. So if you like hoppin' straight ahead barrel house, kick'n blues ass music, then here ya go. It doesn't get much better then this. 5 out of 5 stars.... Bman's Bluse Re... To purchase this cd or any track on it, scroll down to the bottom of this page and click on the CD

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White Rabbit

Jay Gordon and the Penetrators

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A VERY RARE RECORDING FOR Jay Gordon and thePenetrators The guitar rages, his solo's are both intense and melodic throughout this entire track. Her voice is haunting, she puts plenty of feeling into the words, she makes the 40-year old song sound modern. Also featured The Sunlight Guards The Day, more than ten minutes long, a rocker that complicates the sweetness by means of both words and the plunging forceful lead guitar work.

"Not since Hendrix has a guitarist so infused rock and blues with the spirit of adventure." Rock City News - G - Man

His fingers blaze across the strings spewing out notes in rapid succession like a AK47. His playing is as much a feat of athleticism as his musicality. ***** Jim Fowler - L A Times

A great CD, a must have, for your rock collection. Limited Eddition.

While Jay's guitar rages, his solo's are both intense and melodic throughout this entire track. Sharon Butcher is in the spotlight during the Jefferson Airplane’s “White Rabbit.” Her voice is haunting, she puts plenty of feeling into the words and she makes the 40-year old song sound modern. Her voice is not one that can be forgotten easily, for she sings with passion. Her singing clearly inspires Jay’s blazing guitar while Abe Perez lays down a solid pulsating rhythm on this CD Single. A very rare recording for Jay Gordon and thePenetrators.

“The Sunlight Guards The Day,” is a wonder. For nearly 50 seconds of the intro—an eternity in a pop song—and before we’ve heard a single word—Ms. Butcher lays down the sweetest, slow-walking bass you’ll ever hear, and Mr. Gordon, all macho bravado laid aside, picks a beautiful melodic treble on his six-string. For a couple of minutes the lyrical impulse continues, the guitarists singing plaintively about a lost paradise. This yearning gives way suddenly to a rocker that complicates the sweetness by means of both words and the plunging, forceful lead. Finally, the tenderness returns, and the song fades out. “The Sunlight Guards The Day” is a magnum opus, more than ten minutes long, and it’s genius, really, in the way it expands the world of the album.

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Immortal

Jay Gordon and the Penetrators

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This is an arena rock CD complex and textured that will pull you into dark mysterious places. Weather your a straight up blues fan, rocker or metal freak, you'll be digging the action of Jay's great fret work. Amazing solos that are well orchestrated that will peel the paint off the walls. Sharon on bass, anchors all the tracks while laying it down and dirty with the drummer Abe as he carves up the beats red hot. Songs that rock and vocals that soar, this trio were all born under the same bad sign and sounds like a thousand harleys. So rise up and rock, listen and live forever. Buy it now and play it loud.

NOTES ON IMMORTAL Jay Gordon ought to be a household name. He has recorded so many albums that even he can’t remember them all, including a bunch for the French label Dixie Frog. Jay can fill a stadium in Europe, and he was invited by none other than Eric Clapton himself to play at a guitar summit. So why doesn’t he record for a major label? And why isn’t he known coast-to-coast in the USA, his own country?In a word: Blues. Jay is the quintessential blues guitarist. He can play gutbucket stuff right out of Lightin’ Hopkins or he can dazzle you with scintillating electric runs in the 12-bar structure that would make Mike Bloomfield or Alberrt Collins sit up and say howdy. Truth: The blues—unlike back in the 60s and 70s—now has a narrow audience, so Jay’s career has been circumscribed recently to mostly aficionados of that form.Can’t teach a salty dog new tricks? Dead wrong.Jay and his band, The Penetrators, have switched gears and released this rock album, Immortal. Not a by-the-numbers rock album, either, but an arena-rock concept album, complex and textured, that explores good and evil. And not in any kind of academic way, mind you, but from the heart with lots of heat. Immortal is an album that will get you shouting, get your butt out of the chair and onto the dance floor, and bust your speakers into shreds and sawdust if you crank the juice up enough. Of course, this being Jay, there’s a sweet side, too.The proceedings kick off with “Rock and Roll - Lock and Load,” a hard-driving anthem that states the modus operandi musically speaking for the entire proceedings to follow. “My blood is pumpin,’ Jay shouts right up front, “Rock has set me free.” To prove it, he blasts out a great, wailing riff in the break that’s pure chromatic honey to the ears. Right on the heels of this manifesto comes another, “Ride to Heaven,” a celebration of Harley Davidsons, the freedom of the road, and the celestial possibilities of wind in your hair. The sound of a burbling chopper begins and ends the song. In the middle, Sharon Butcher’s bass anchors the track and proves women have the outlaw spirit down deep as much as any man. Meanwhile, Abe Perez, a prodigious percussionist, carves up the beats and the off beats and drives the whole song right down the road to the far horizon. These two superb musicians back up Jay to the max, as though the trio were born under the same bad (meaning good) sign. And to get this out of the way right here: The production values and mixing are top shelf.Tune Number 3, “The Sunlight Guards The Day,” is a wonder. For nearly 50 seconds of the intro—an eternity in a pop song—and before we’ve heard a single word—Ms. Butcher lays down the sweetest, slow-walking bass you’ll ever hear, and Mr. Gordon, all macho bravado laid aside, picks a beautiful melodic treble on his six-string. For a couple of minutes the lyrical impulse continues, the guitarists singing plaintively about a lost paradise. This yearning gives way suddenly to a rocker that complicates the sweetness by means of both words and the plunging, forceful lead. Finally, the tenderness returns, and the song fades out. “Sunlight Guards The Day” is a magnum opus, more than ten minutes long, and it’s genius, really, in the way it expands the world of the album.Tracks four, five, and six, “Set The River on Fire,” “Way Down Inside,” and “Electric Redemption,” constitute a trinity in the way they each separately explore the sorrow, anger, and angst of living—and the possibility of a way out.. “Every day the war gets stronger,” Jay sings to a chucka-chucka beat and some mean, descending chords in the first of these tunes. In the second, the singer has “been away so long now,” though he keeps chasing his dream, and there is some light at the end of the tunnel, as he manages somehow to keep his faith “in the higher power.” “Electric Redemption” uses the vocabulary of faith, of hell and redemption, to lay out the polarities of what it means to be human and struggling to understand our plight and to survive and triumph. These three powerful songs demonstrate how Jay can use his guitar to so masterfully to inflect the emotion in the lyrics as he gets his instrument to cry his sorrow seemingly from the depth of his soul.“Rockin’ Woman” is a kind of secular hymn and enters well-known rock and roll territory while showing a way out of the darkness explored in the three previous songs. In sexual love between men and women, that “warm and tender feeling,” the song insists there is a possibility of redemption. This is a theme as old as poetry itself. But of course sex isn’t everything, as the next song, “The Magic of Love,” makes clear. Returning to a slower lyricism, this next-to-last tune explores the better side of life’s dualism and insists that we thank god for who we are and that we “just be happy.”And yet the album ends with “Hell’s Kitchen,” taking that image as a metaphor for the world in which we live, a world of “evil eyes,” and “witchcraft,” and “black magic,” with Lucifer himself orchestrating the “horrors” and “shooting fire upon the lamb.” At first, this song, straight out of The Book of Revelations in tone, seems an odd way to end this concept album of the struggle between good and evil. Wouldn’t the happier ending of “The Magic of Love” be a better way to go out? Yet maybe that’s too Hollywood an ending for Jay, who literally lived in Hollywood for many years, and so has seen up close what the world looks like for real, rather than in celluloid dreams. Or maybe he just wants to scare us, to get us back to the magic of love. Anyway you look at it, it’s a circle and rock and roll is the vehicle that gets us around that uroboros—that snake with a tail in its mouth..Finally, one thing that not every listener may notice right up front, but which makes Jay Gordon such a fine—such a genuine—musician, is that although his music is blues and rock based, he does not just play routine, programmatic “box” scales. Instead he mixes up major and minor scales, using varied tonalities to draw out the emotional nature and quality of any given song. Also, his solos, present in every song, can be passionate and fiery, of course, and he can blaze as well as anyone. But that’s not the whole of his guitar work by any means. He doesn’t play just to impress by virtuosity. He’s no egotist or showboat who rips off runs to wow you just because he can. Instead, his solos are always tasteful and well orchestrated; and they are always integrated into the context of the tune at hand. This makes him second to none in the guitar-slinger business, and when I say that I do mean that he is up there—way up there—with the big guys like T-Bone, Duane, Jimi, and Jeff Healey. As a result, it doesn’t really matter whether you’re a straight-up blues fan, a rocker, or a metal freak. If you know the electric ax and what it can do in any of those genres, you will be digging the action of Jay’s fretwork..And finally, finally: There are a couple of bonus tracks on this amazing CD, two different takes of “Set The River On Fire” and “Hell’s Kitchen.” They’re good too. And so is the flaming guitar artwork for the CD cover! Immortal, indeed. Now where’s that major label? Neil Flowers is a writer, editor, film, book and music critic, and theatre director. He can be reached at flowersneil4494@yahoo.com for professional engagements

FROM THE BLUES TO ROCK ’N’ ROLL Jay Gordon out to prove that neither genre is dead BY VANESSA FRANKO THE PRESS-ENTERPRISE March 12, 2010 Jay Gordon isn’t one to believe a supposed death knell of music genres. “Rock ’n’ roll is not dead and the blues isn’t dead,” the Riverside-based guitarist said. “Rock ’n’ roll will be here forever, and so will the blues.” That legacy of music is what led Gordon and his band the Penetrators to name their new guitar rock album “Immortal.” They wanted to put out an album that would live forever. While Gordon isn’t a mythological hero who has been around since the dawn of time, he has been playing the guitar for decades. He knew from the time he was 9 years old that he wanted to play music and he has toured the world as a blues guitarist. With songs like “Ride to Heaven” and “Way Down Inside,” Gordon bridges his blues roots to arena rock with bassist Sharon Butcher and drummer Abe Perez. “There haven’t been exciting guitar solos in a long period of time,” Gordon said. Gordon started thinking about doing a rock record nearly a decade ago but wasn’t ready until last October, when he found himself wanting to push the envelope further than his regular blues and boogie stylings. “I’ve done 11 blues-rock albums, and I want to stretch it a little bit,” he said. Gordon ended up with 30 songs and brought them to Butcher to work on and then weed out. On the other hand, Gordon knows that the blues world is only so big, and he wants to expand out of that group. “I didn’t want to totally disregard where I came from — my roots,” Gordon said. He ended up with “Immortal.” visit www.jaygordonandthepenetrators.com for more information. Reach Vanessa Franko at 951-368-9575, vfranko@PE.com, www.myspace.com/Audio_File or http://blogs.inlandsocal.com/music.

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Fresh Blood Live

Jay Gordon and the Penetrators

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Live On The Sunset Strip No Quarter Given

Jay Gordon

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jay gordon is a guitarist on the scene with big steps.he's a blues/rock guitarist by definition, full of explosiveness and individualism. he can definitely be counted among those who will put his stamp on the future of the blues and rock.

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Broadcasting The Blues Live

Jay Gordon

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Pure raw electric blues. a guitarist with a ton of attitude,and masterful stage presence. This cd is unique, timeless. groundbreaking version's of blues classics.

Jay Gordon

Broadcasting the Blues – Blue Ace #82555

Warning: This disc will dare you to be blue on its own terms!

Gordon’s guitar playing is to the blues what the attack on Pearl Harbor was to a peaceful Sunday morning in the South Pacific – heinous and un-called for; screaming, free-falling, kamikaze dive-bombing; a deadly threat; full-throttle, head-on, and lethally potent; the consequences of which (beyond the kamikaze’s ultimate release and spiritual redemption) are the last things considered, if they are ever considered at all.

With that said, a confession: I grinned through this entire disc – bemused, admiring, wondering at Gordon’s relentless audacity, his inventive outrageousness, and his sheer, brilliantly psychotic abandon. This might be too savage to be music; but it may very well be some perverse art.

DELTA ROW / HOOCHIE COOCHIE MAN / BIG BOSS MAN / SKY IS CRYING / LEAVE MY LITTLE GIRL ALONE / VOODOO BOOGIE / DUST MY BROOM / BLUES INFESTED / STOP BREAKIN’ DOWN

NY CD Takes:

DELTA ROW: Vocally, Gordon recalls the late Steve Marriott, the wiry knot of screaming British gristle of Humble Pie fame. At the outset of this Muddy Waters/Willie Dixon track (recorded, along with the next four tracks, as part of a live radio broadcast from KCBS in Santa Barbara in 1990), Gordon’s guitar sounds like Taste-era Rory Gallagher, raw stark, scratchy, and set against an equally spare bass-and-drums rhythm section. Once he launches full-bore into his solo, he sounds like the acid-burning product of a genetic engineering experiment featuring Jimi Hendrix, Eddie Van Halen, Jeff Beck, and in breeding. In the same way that insanity sometimes masks genius, Gordon’s reckless relish may mask virtuosity. We may never know. But the speculation, along with the listening, is wildly and morbidly thrilling.

HOOCHIE COOCHIE MAN / BIG BOSS MAN: In the rhythm section, Russ Greene on bass and Will Donovan on drums aren’t so much sidemen as thugs, bludgeoning out a backbeat over which Gordon conducts his razor’s-edge, high-wire, aerial act. As a momentary grounding in the roots from which this Willie Dixon track sprung, Gordon plays a swampy, open-string boogie riff here; but then he’s off in another dog-fight with himself, ripping the air with flaming tracer-notes for about six minutes, after which he segues into an Al Smith/Luther Dixon, uh, shuffle? With muted chicken-picking, whammy-barred chords, trills, swoops, slurring octaves, discordant double-stops, and scorched-earth riffing, Gordon rips through a couple of verses and instrumental progressions of this tune before bringing it down a few hundred degrees and playing some astonishingly tasteful, sophisticated, and melodic jazz chords. But it’s a false alarm: He quickly jams the throttle, re-gaining air-speed, and ending the track in a blaze of fire and a red-hot hail of notes.

SKY IS CRYING: That flopping sound you hear would be Elmore James flailing in his grave like a gaffed fish on the boat-deck. While I think Brother Elmore would give Gordon big points for interpretation and resolute unabashedness, I’m not sure anyone could sit still, let alone lie quietly, under this onslaught. After a now-typical slash-and-burn intro, Gordon suprises again, with more jazz chords and some suprisingly delicate and melodic riffing before starting the first verse. As he sings he alternates between artful chording, gut bucket blues licks, and critical-mass scorching. The floodgates come completely un-hinged during the extended break in the middle, with Gordon playing anything and everything you can imagine, literally.

LEAVE MY LITTLE GIRL ALONE: At the beginning of this Buddy Guy slow blues, Gordon does a pretty nice guitar-impression of BG – presuming Buddy has chugged a dozen espressos in the half-hour before show time. He manages more impressive, lyrical restraint on his self-accompaniment during the vocals. Then he buries the tach and dumps the clutch in another top-fuel hole-shot, hell-bent for shred-heaven.

VOODOO BOOGIE / DUST MY BROOM: Like the proverbial chicken-and-egg dilemma, you have to decide which came first here – the voodoo or the boogie. Gordon slings his bottleneck like a demented shaman, maniacally falling charms and curses, while clearly under the spell of an antic rhythm-jones of magical, spiritual proportions. Another seemingly ad hoc sort of medley, Gordon rips off a few progressions of voodoo boogie before giving way, without notice, to another crack at the still-tossing-and-turning Elmore James. Then, after one both-barrels blast through “Dust My Broom,” it’s on to a gratuitous verse of “Sweet Home Chicago” before a blazing re-entry and a crash landing.

BLUES INFESTED: This is a rather astounding performance of a tune Gordon wrote in honor of the late Stevie Ray Vaughan. Since this track was also recorded in 1990 (but not as part of the radio broadcast from whence the first five came), it’s likely Gordon was still mourning the then-recent death of SRV; although, it’s unlikely anyone had any idea that’s what he was singing about, even in the song’s most overt verse: “There’s a dark cloud over Wisconsin / And everybody knows why / The blues fell out of the sky / Sent tears to everybody’s eyes.” Given the gut-churning nature of his performance, it’s just as likely his audience imagined he was singing about the gastro-intestinal effects of one particularly virulent batch of un-pasteurized cheese. But Gordon doesn’t trade on his prowess as a lyricist; he stuns with his jaw-dropping guitar blitzes. Here, electric and unaccompanied, he runs the gamut from Delta-style picking to a purple haze of blinding speed, from harmonized lines to modal runs, from grinding power-chords to jazzy inversions. It sounds as if his trick-bag just exploded; and he’s just grabbing pieces of shrapnel as they fly by. Amazing.

STOP BREAKIN’ DOWN: Last, but by no means least (especially since these performances do not conform to orthodox and wholly inadequate value-judgments – most/least, best/worst, etc.), Gordon uses another Buddy Guy composition as a launching pad for explorations into the beyond. This particular foray was recorded in a place called Luceille’s [sic], in Universal City, in November of 1995. Given the three people who respond when Gordon calls for the audience to make some noise, it doesn’t sound like he played to a full house this night. If that’s true, it’s too bad. But it surely didn’t affect his performance. Five years older than he was when the first track on the disc was cut, his energy is diminished not a bit, his reckless improvisations are as boundless and unabashed as ever, and his commitment to his buzz-saw blues is unwavering.

In the end, there is something cathartic, comic, and redeeming about Jay Gordon and his full0alvo assault on the blues. In his novel, A Fan’s Notes, the late Frederick Exley wrote: “Though it is indeed best to keep ones’ devils within, one still has to learn to live with them.” To conjure Jay Gordon, then, imagine him as a caricature of some mad, musical exorcist, possessed by God-knows-what devils, learning to live with them, and giving us, in outlandish measure, some purgation for our own. When my courage fails, my inhibitions threaten, and my devils overwhelm, I’ll cue this bad boy up for inspiration and dare to be blue.

Reviewed by Mark N. O’Brien

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Jaywalkin

Jay Gordon and Phillip Walker

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ELECTRIFYING BLUES: Jay Gordon and Philip Walker team up and put out an extremely electrifying performance, featuring: burning guitars, bluesy vocals, and nine new hot songs written by Jay Gordon. This project is emotionaly charged with kinetic blues energy. A defining moment in blues history.

2007 Was a good year for Jay Gordon. He won the South Bay Music Award for best blues /rock band. He was also nominated in three categories at the LA Music Access Awards. Best blues/rock Guitarist, best blues/rock Album of the year, best blues/rock Band of the year. He also won Best Blues/Rock Guitarist at the 2006 Real Blues Annual Awards in Canada. A big thanks to Andy Grigg & Doug Deutsch.

ELECTRIFYING BLUES: Jay Gordon and Philip Walker team up and put out an extremely electrifying performance, featuring: burning guitars, bluesy vocals, and nine new hot songs written by Jay Gordon. This project is emotionaly charged with kinetic blues energy. A defining moment in blues history.

Jay Gordon, renowned throughout both Europe and the U.S. for his over-the-top, sizzling live performances, recorded a series of albums for Blue Ace that have inspired comparisons to such legendary guitarists as Jimi Hendrix and Stevie Ray Vaughan. Beginning with "Blues Infested" (1994), Gordon won much praise from the blues community. Each successive album became increasingly successful - "Broadcasting The Blues Live" (1996), "Electric Redemption" (1998), and so on - and the guitarist soon found himself being compared to some of the most legendary guitarists to ever play electric blues. Jay's song "Drippin' Blues" is featured on the current Electric Blues Radio Playlist. In 2000, Gordon collaborated with Phillip Walker on the "Jaywalkin" album for Blue Ace, yet another accomplishment for the celebrated guitarist.

Scott Yanow/ALL MUSIC GUIDE

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Rings Around The Sun

Jay Gordon

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Fret-melting shred-blues guitar work. Furious blues-rock and amped-up guitar solos.

Rings Around The Sun is a compilation of Jay Gordon's finest work. This CD demonstrates his explosive and tasteful artistry as a premier rock-blues guitarist. His musicianship along with his soulful vocals place him in a class by himself.

Strat-slinger Jay Gordon's self-produced CD is strictly for lovers of in-your-face guitar playing, something he is really good at. its more a wall of sound approach than one with varied dynamics, and the Hendrix/SRV licks around on all 17 cuts. - (blue access)

Whoo-ee baby, grab the fire extinguishers. rings around the sun (blue ace 30005) a compilation by LA player Jay Gordon is loaded with fret-melting shred-blues guitar work. Mustang Sally is brutal. Rings Around The Sun is designed to blow your ears flat against your head.

A greatest hits collection with bonus and "hidden" tracks, this is packed with furious blues-rock and the kind of amped-up guitar solos that can leave audiences limp from pleasure.

Jay Gordon is a master of the genre. - (rock city news.)

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Electric Redemption

Jay Gordon

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Not since Hendrix has a guitarist so infused rock and blues with the spirit of adventure. "...most outrageous electric-guitar blues I've heard since Jimi's last coherent, live performance"

Not since Hendrix has a guitarist so infused rock and blues with the spirit of adventure.

He's a fireball of energy whose screaming solos and chunky chord work leave little doubt as to where he stands at all times. Over the top is the best way to describe his emotive playing.

This LA blues rock guitar player is a guy who has everyone else just trying to keep up as he pulls off endless incendiary guitar solos.

This is Gordon's fourth album, with a fifth threatened for 2000 release. here's a guy who attracts guitar players who show up to watch and take notes.

(GRADEA*/ROCKTALK'BILL LOCEY/LOS ANGELES TIMES.)

This is simply the hands-down coolest, most outrageous electric-guitar blues I've heard since Jimi's last coherent, live performance.

There is nothing, save regard for our more refined sensibilities, that Jay Gordon doesn't think of here.

Presented, as it is, in a section of the disc dedicated to Jimi Hendrix, Miles Davis, and John Coltrane, it contains all the requisite melodic angularity, all the down-your-throat brashness, all the inventive abandon of the giants in whose names it's offered.

Staggering. Humbling. Wonder-inspiring. White, hot, and blue.

This disc is your best earthly hope for Electric Redemption.

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