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John Vermilyea posted on your Wall. "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".
http://www.bluesundergroundnetwork.com/"

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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 Report
Bman's Blues Report: No Cure - Jay Gordon's Blues Venom
www.bmansbluesreport.com/.../no-cure-jay-gordons-blues-ve...
I just recieved a copy of Jay Gordon's Blues Venom - No Cure. WOW!
If you like guitar blues this ride is the equivalent of being dropped from the top of the Sears Tower. 
It comes on hard and fast and doesn't let up!
It is a fusion of a lot of different sounds but with a sound of it's own. I can draw influences like Alvin 
Lee's TYA, Leslie West, Frank Marion's Mahogany Rush, Foghat... I mean this is no recording for 
sissy's. It has a definite rock flavor but is right on the blues and the instrumentals are over the top. 
If you like hard driving blues

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

NOTES ON IMMORTAL

Jay Gordon And The Penetrators unleash their brand new Single
White Rabbit 
Truly a explosive performance. Pure magic and energy. 
One hundred percent pure rock.
No doubt that this song stands the test of time.

A very rare recording for
Jay Gordon and the Penetrators.

FRESH BLOOD - LIVE - NEW LIFE – Liner Notes
SOON TO BE RELEASED

Once again Jay Gordon the legendary rock blues guitar virtuoso and vocalist proves there are no limitations or boundaries within rock and blues music. Fresh Blood - Live - New Life, is captivating and penetrating, filled with shredding and tasteful innovative guitar solos and killer soulful vocals, a powerful trio second to none, bringing new life to these classic tracks and turning the old into new gems.

Throughout his career, Jay Gordon has become famous for his slashing guitar solos, his passionate vocals, and his dedication to the blues. While his inspirations have included Buddy Guy, Johnny Winter, Jimi Hendrix and Stevie Ray Vaughan, he does not sound like any of his predecessors and has long had his own distinctive voice. Never interested in merely recreating the past, 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. Others have taken notice and he was honored as the best blues/rock guitarist at the 2007 Real Blues Annual Awards in Canada , his latest in a long series of awards. Crowds throughout the United States and Europe have been very impressed by his intense playing and his series of memorable recordings.

On New Life, Jay Gordon presents his new band, the Penetrators. In 2007 while playing at a jam session that he was running at Lake Elsinore , he heard a female voice repeatedly shouting “Turn the guitar up!” After the set, he met the blues lover, a talented bassist and singer, Sharon Butcher. Soon they were jamming together and Jay was very impressed. “ Sharon is a very solid bass player who never overplays and likes to lock in with the drummer. She is also a very good rock and blues singer, putting a lot of emotion into her singing, and she has great phrasing.” Within a short time, Jay and Sharon decided to team up and form a new trio. They played concerts with different drummers, going through 15 before they found the right one, Abe Perez. “Abe and Sharon really rock. From the first time Sharon, Abe and I jammed, I knew it was right. Abe is powerful and understands the concept of playing what is needed for a song. They both play with feeling, leaving me free to do what I want. It is rare to get a group together that has this kind of chemistry.”

Jay Gordon is a talented songwriter and he loves to really stretch out during his dazzling solos, so New Life is a change-of-pace although a logical evolution from his past recordings. The performances are concise and the repertoire is comprised of eight standards from the rock and blues worlds. But these are not mere revivals or recreations for Jay and his group reinvent and modernize the classics. “Whenever I choose to perform a cover song, I wouldn’t do it unless I can make the song mine, putting my own stamp on it while doing the song justice. On this program, I take older songs and rock them, changing the melody, adding new guitar leads, and coming up with completely new arrangements than the earlier versions.”

The eight performances on New Life were recorded at 2008’s first Bike Rally of the year in San Bernardino . The music was performed at the Screaming Chicken, an old roadhouse that has a large outside stage with room for 2,000-3,000 enthusiastic fans. There are no overdubs so this is what the trio sounds like live in concert, and they sound unlike any other group.

The set begins with Willie Dixon’s “Good Morning Little School Girl.” Jay gives the standard a brand new guitar pattern that makes the tune sound brand new. He takes an expressive vocal (with Sharon singing background) and unleashes his guitar in an explosive solo.

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. “Heartbreaker,” from Grand Funk Railroad, has a powerful and impassioned vocal duet with both Jay and Sharon sharing the spotlight and singing their hearts out. It is a joy to hear the two of them interacting and singing with such passion.

While “Honky Tonk Woman” was made famous by the Rolling Stones, it is fair to say that the Penetrators sound nothing at all like the Stones. Jay belts out his vocal while his guitar rages. His solo is both intense and melodic, and Sharon is quite effective singing in the background behind his vocal. A lot of music takes place within this concise performance.

Bon Jovi’s/Del Shannon/Bonnie Raitt “Runaway” is a perfect vehicle for Sharon ’s vocals. Her voice is not one that can be forgotten easily for she sings with passion, sincerity and a great deal of musicality. Her singing clearly inspires Jay’s blazing guitar.

 “Rock Me” gives Jay Gordon an opportunity to stretch out on a low-down blues. While he has performed many different arrangements of this song in his career, each version sounds fresh for Jay is a blues man to the core.

Wynonna Judd’s “That Was Yesterday” is a different kind of blues and showcases Sharon ’s voice, making the song sound as if it were written for her. The set concludes with Marshall Tucker’s “Can’t You See,” a famous rock number performed by the Penetrators in a catchy, inviting and fresh new way.

One of the most accessible of Jay Gordon’s recordings, New Life features the guitarist staying true to his roots in blues and rock while introducing his new band featuring the memorable Sharon Butcher and Abe Perez. It is not at all surprising that the crowd at the Screaming Chicken went crazy over the music, for the brilliance and passion of the playing and singing, along with the creative arrangements, are not to be denied.

With the right distribution and marketing, this cd will be in the hearts and homes of every rock and blues fan.

Scott Yanow,
Author of ten books including The Jazz Singers, Trumpet Kings, Jazz On Film and Bebop, All Music Guide

It  is sometimes said by those who do not follow the scene very closely that the evolution of the blues is
near its end, with the last blues innovator being the late Stevie Ray Vaughan. It can sometimes seem that
way since a countless number of so-called blues bands grind out the same unimaginative repertoire (how many
more versions do we need of “Stormy Monday?”), ideas and frameworks in predictable fashion night after night.

Jay Gordon stands far apart from the crowd. There is nothing predictable about his music and his playing
does not sound like anyone else’s. He is inspired by such masters as John Lee Hooker, Muddy Waters, Stevie
Ray Vaughan, Jimi Hendrix, Johnny Winter and Buddy Guy but has his own distinctive style, extending and
pushing the blues tradition ahead. He infuses the blues with the sound, power and fire of rock and
creates consistently fresh ideas. “The blues is about the struggles of life,” says Gordon. “It is filled
with emotions, both good and bad. The blues make you feel happy and to me the blues is life.”

Born in Charlotte, North Carolina, Gordon grew up in Chicago, the center of the blues world. He began
playing guitar when he was nine and within three years was performing in bars. “When I was a teenager in
Chicago, I was lucky enough to be around Willie Dixon, Muddy Waters, Luther Allison, Hound Dog Taylor and so many others. They planted the seed inside of me to always want to play the blues.” Since moving to Los
Angeles in 1985, Gordon has recorded nine CDs, toured the world and gained a worldwide reputation, being
particularly well known in Europe. He was one of 50 guitarists picked by Eric Clapton (who was very
impressed after hearing one of his CDs) to perform at the Crossroads Guitar Festival, sharing the bill with
such greats as Santana, Jeff Beck, B.B. King and Buddy Guy.

Gold Rings, Silver Bullets is Jay Gordon’s finest recording to date. The performances are concise and
make every moment count, Gordon’s guitar playing is as passionate as ever, his vocals are both intense and
personable, the material is new, and his lyrics tell meaningful stories. “We used a lot of different
grooves including rock and roll, funk and boogie, with the blues always being a large part of the music.”

A very good place to start is with “Six String Outlaw.” “Being a traveling blues musician, it is easy
to feel like an outlaw, always on the road.” Eight thuds on the bass drum precede Gordon’s wailing slide
guitar. His vocals talk about the blues life and the role of the guitar as a six-string outlaw. It is
immediately obvious that he is a true original, both as a guitarist and as a singer.

They were playing together before 250,000 people at an all-star concert in Sturgis,
South Dakota.” The three musicians with Jay Gordon in the lead consistently
think as one, driving the music to the edge while remaining true to the blues.

The music on Gold Rings, Silver Bullets includes songs about overcoming heartache (“Blue Hearts”), being an
outcast (“Black Sheep”), partying (“Juke Joint”) and starting relationships (“Thing Going On” and “You’re
Driving Me Wild”). “‘Picking On This Piece Of Wood’ is autobiographical. It is about how I was brought up,
where I was raised, and about how people I knew early on went on to other things but I’m still picking on
this piece of wood, refusing to give up on my dreams.”

Gordon’s singing on this set is as powerful as his intense guitar, and his lyrics are well worth
listening to closely. Other performances include the explosive “Fire & Brimstone Boogie,” the intense “Let
It Ring” (“about love, death and just making it through the madness of life”), a lowdown “The Original
Sin,” the hard-driving rock song “Freight Train,” “Lost In Time” (about being oneself without fear),
“Pain,” the socially topical “Propaganda,” an emotional “My Heart Is Heavy” and “Love’s Emotions”
(“the battle to be loved”). Every selection on Gold Rings, Silver Bullets is memorable in its own way with
Gordon contributing not only his remarkable technique and creativity to the music but his life’s
experiences. One has to live the blues to really be able to play the blues.

Jay Gordon looks forward enthusiastically to the future. “With the release of this record, I plan to go
back on the road and have the music be bigger and better than ever. One day I may stretch out and record
a jazz or a fusion album but the blues is always where my heart is so I plan to stay rooted in the blues and
rock & roll for many years to come. Music is a journey and, no matter how good you get, you can never be good enough. My goal is to take it as far as I can.”

Scott Yanow,
Author of nine books including Jazz On Record 1917-76,
Jazz On Film and ~~~~~~

WHAT THE PRESS IS SAYING AND WRITING ABOUT
JAY GORDON AND THE PENETRATOR’S NEW CD:

VALLEY MAGAZINE
JAY GORDON: IT'S A CRYIN' SHAME
By Neil Flowers
June 1, 2007

It's a damned shame. I'll say it again. It's a lowdown, dirty, rotten, stinkin' shame.
One a.m. My nephew Jesse and I sit in a bar and eatery at 1331 North Hollywood Way, Burbank. Goes by the name of "Mr. B’s." The room's divided in two. One side sports red naugahyde booths and white tablecloths for the food crowd. The other half has a long bar and tables and chairs scattered around the floor. This furniture is aimed at a bandstand so cramped and nondescript it would suit perfectly an east Texas honky-tonk circa 1957.
The man up on that little stage, Jay Gordon - Mr. Gordon, that is-is a blues, rock, boogie guitarist and singer who plays his own work, and covers such as "Sympathy for the Devil." He gives so much of himself in playing that it's a wonder the walls at Mr. B’s don't just give up, bust out, and collapse all around us.
Jay Gordon? Ever heard of him? Me neither. Not, at least, until VSM asked me to review his show and CD. Now I'll never forget him, because he puts on the greatest guitar show that I have ever seen in my life, and I saw Buddy Guy play live in the 60s.
Buddy Guy. Clapton. BB King. Hendrix. Townsend. Stevie Ray Vaughn. Guitar gods every one. Now maybe you won't believe what you are about to read because this report comes from a tiny bar in Burbank and concerns a musician you almost certainly have never heard of.
But here's the truth flat out straight as I can put it: Add Mr. Gordon's name to the six that begin the previous paragraph. And I declare by Willie McTell, Elmore James, and everything holy th at this ain't hype.
More superlatives? Following are a few lifted straight from scribbles in my notebook as my jaw was dropping to the floor hearing Mr. Gordon play. Fantastic, amazing, incredible, unbelievable, impossible, imp-assioned. Musicianship max! Energy! Blazing arpeggios! Sweet high bends. Covers entire fret board. Throws fistfuls of notes. Master at bottleneck slide. Plays slide in standard tuning! Peerless tone arm and wah-wah complexity/control. As Lizst was to piano, JG is to Stratocaster.
And then there are these two sentences that I wrote down between sets. (1) Can play straight 12-bar blues as well or better than anybody past or present, but in 10-minute jam he kicked the stuffing out of that repetitive structure so much that his music transcended blues clichés to become free-form jazz-rock fusion. (2) When he's so into playing that he leans back and throws his chin and nose at the stars, he seems to be channeling all at once every note it's possible to squeeze out of an electric guitar.
One small quibble: Mr. Gordon's sets would profit by a couple of choice slow tunes sung and played simply.
Still, you get the picture. Mr. Gordon is a phenom. Not a kid phenom like Jeff Healey was. Mr. Gordon's not a kid, though he plays with such physicality you could be excused for thinking so. How old he is exactly? Mr. Gordon is a bit shy on telling. But when he was knee-high to a grasshopper, his grandmother took him 'round to famous clubs on Chicago's south side-like Pepper's Lounge-when those venues were hot hot hot with acts that became legends. Acts like Muddy Waters, Little Walter, Otis Spann.
This is where the lowdown dirty shame part comes in. Seventeen spectators in all turn up at Mr. B to hear Mr. Gordon-a world-class talent-play. And this is the town he calls home, in a bar where there is no cover charge. When he plays Europe, where he is revered, the joints and the arenas are packed.
Look at this way: If Robert Johnson, Luther Allison, Jimi, Eric, or Robbie were playing Burbank, the crowds would be lined up to Santa Monica. Well, you can hear a guitar master the equal of any of them when and wherever Jay Gordon wails.
Finally, the newest Jay Gordon and The Penetrators CD has just been released. It's called Gold Rings and Silver Bullets and has great work on it, including my faves, "Love's Emotion," "Propaganda," and, especially, "Juke Joint." Mr. Gordon needs to be seen to be believed -and hopefully we'll see him at the Staples Center sometime soon, where he belongs. Meanwhile, catch the CD at
www.cdbaby.com/cd/jaygordon6, and clap an ear on one of the planet's greats.
Special thanks to Jessie- a heck of a blues guitarist himself- for his invaluable help in writing this piece on Jay Gordon and the Penetrators.
Neil Flowers
~~~~
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
~~~~~~~~~
***Gordon will be featured on nationally syndicated radio program, Blues Deluxe, during the week of June 10-16. "Jay Gordon and the Penetrators are one of our favorite ways to rock the blues!" said Dave Johnson, host of BLUES DELUXE - which is heard weekly on over 100 stations across the U.S. with a two million-plus listenership.
~~~~~~~~~
“Jay Gordon has always been a great player. His new CD, GOLD RINGS,SILVER BULLETS, shows Jay as a burning slide player as well. GRSB rocks!"

BLUEPOWER.COM
***
“Aggressive slide guitar - and then some! Really, it doesn't begin to describe what Jay Gordon brings to the blues party. For proof, check out the amazing slide
guitar, vocals, and overall energy found on Gold Rings Silver Bullets, the latest from
Jay Gordon And The Penetrators. Fans of Blues Bureau International's rockers-turned-bluesmen Pat Travers and Rick Derringer need to check out the axe work and intensity emanating from Gordon's six string - it hits you right in the gut like an Oscar De La Hoya body blow. Many find it hard to distinguish themselves when they play blues, but Gordon and his band immediately impress because they do
have their unique presence that allows the listener to identify them after only listening to a couple of bars. Looking for passion, blood, guts and scraped knuckles from
your blues? Check out the latest offering from Jay Gordon - Gold Rings Silver Bullets. Wow!
GUITAR 9 RECORDS MAGAZINE
***
"On Day #2 of the Crossroads Guitar Festival, Jay Gordon ignited the day with an opening performance at 10 a.m. Those who were ready to rock were treated to an awesome show! As soon as Jay and his bandmates began with "Big Boss Man the trio moved easily into "Hootchie Cootchie Man. " Their interpretations of these blues standard coaxed more festival goers to the Ernie Ball Stage. Attired in black leather and suede, Jay and his Fender Strat created metallic blues…Jay’s vocals are vibrant and intense. This is definitely a power trio!”
***
From the Electric Blues Site
Texas enjoys a reputation for putting out more top notch contemporary blues and blues-rock guitar players than any other state in the US, and considering the rich history of players coming out of that state, few can argue. One state that may have a legitimate contention for equal rights however is California. While many of the top players from the West Coast may not be as well known, there are quite a number of them non the less. Jay Gordon is among those making a strong case for the capabilities of guitar players from California.
As electric blues has migrated into the contemporary music scene, it's been broken down into several sub-categories, including Chicago blues, Texas blues, blues-rock, and what I had considered to be the last frontier and farthest reaching boundries of the blues, Heavy-blues. But Jay's style necessitates a new classification, at least one I haven't considered before. Shred-blues is the best description I can come up with that aptly describes Jay's style of play. Even though I'm a major league fan of seriously guitar oriented blues, I recognize that as the boundries are move outward there's the risk that emphisis on speed and technique will undue the passion. However, Jay plays with fiery passion that matches the power and ferocity of his style.
Jay's guitar playing talents are amazing to say the least. His picking attack is fast and furious, and he's also very capable on slide guitar. His axe has a piercingly crisp, heavily over-driven tone with tons of sustain and bite. Vocals are on the hard side and a bit harsh at times, but for the most part they're solid and a good match for his style of blues. The band is a minimal three piece arrangement of guitar, bass & drums.
Divided into two parts, part one opens with the powerful instrumental "Message to Collins", and the listener learns right up front what Jay Gordon style blues is all about. The second song, "Drippin Blues", features Jay doing some serious cuttin' on slide guitar and by the end of that song most serious guitar fans should be hooked. After a somewhat more rock oriented "Lucky 13" comes the slow (slow?) blues song, "Stretchneck Lill", a tribute to the tool of his trade. If you hadn't yet acquired a good feel for what is meant by "Shred-guitar", you will be well educated after experiencing this song.
The torrid pace is maintained throughout the first half of the disc. Settings are turned down a tick or two for "Blacktop Alley", which leads into an honest to gosh acoustic mini-set including "Farmdog" and "Tears", both of which feature some nice acoustic slide work. Then, all the dials are reset to 12 as Part II begins. Here Jay really pushes the limits, exceeding even my liberal definition of blues and gets more into a heavy-metal mode. This is especially true in "Savage Resurrection", a tribute meant for Jimi Hendrix, but which has a decidedly Frank Marino feel to it. In fact, 70's fans of early Marino will relate quite well to all of Part II.
This disc is heavy-duty, highly animated, guitar-driven blues and heavy rock that will send most traditional blues fans running for cover. Only those interested in seeing just how far the blues can be stretched need dwell here. Or, if you're a cocky guitar player looking for some challenging new chops, this disc should keep you busy for quite a while, if not totally frustrate.

Electric Blues
Herm

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