New Press



(Tempe, Arizona)

Pennsylvania-based guitarist/singer/songwriter Tim Woods’ latest release, For You, pays tribute to his many musical influences, so the ten tracks offer a variety of styles ranging from blues to rock and folk with variations of each genre in the mix.  Woods has enjoyed a long career, nearly five decades, performing as a solo artist, also fronting his own five-piece band (The Tim Woods Band) while also serving as a longtime member of The Mountain Jam Band.  He also performs regularly as part of the Woods Family Band with his sons Derek and Ryan.  Woods’ lifelong dedication to the blues also earned him a spot in the New York Blues Hall of Fame in 2012.

For You teams Woods with multi-instrumentalist Bobby Lee Rodgers (who also produced the album), keyboardist Paul Hornsby, and saxophonist Erik Lawrence for ten original songs, beginning with the tough blues-rocker “Can’t Stop Rockin’,” a catchy rocker with a strong fretwork from Woods.  The title track follows, which features Hornsby’s B3 and Lawrence’s saxophone and has a swinging R&B feel.  “Are You Kind?” has a late 60’s/early 70’s feel with the churning guitars and its message of peace and love, while “It’s True” is an easy-going rock ballad that recalls the same era.  The funky instrumental “Mimic” features Woods’ guitar and Rodgers’ B3.

The emotional “Low Down Blues” focuses on recovering from the repercussions of the Covid lockdown, and the ballad “Believe” has a psychedelic edge as Woods encourages us to continue to persevere through life’s challenges.  The hypnotic blues rock n’ boogie “Reaching Out” ventures into hill country territory, while “The Story” blends rock with Eastern influences.  The closer, “Within,” is an mostly-acoustic piece that finds Woods reminiscing about a romantic night.

For You shows Tim Woods’ diverse musical influences to great effect.  Though the influences span multiple genres, the album flows smoothly, owing to Woods’ deft guitar work and songwriting and the seamless interplay with the band.


Graham Clarke



The story of Tim Woods is punctuated by virtual but also very real encounters since after having discovered music in the broad sense of the term through the jazz, rock, blues and bluegrass albums of his brothers in his native Pennsylvania, his choice fell on Willie Dixon, Howlin' Wolf and Muddy Waters until he started jamming when he followed his family to Macon, Georgia. Influenced by the music of Reverend Gary Davis, the guitarist will develop a personal style mixing the use of the thumb and the mediator and allowing him to ensure both the lead and the rhythm and it is by sharing the stage with Sonny Landreth, Donna Godcheaux of the Grateful Dead or Commander Cody and Mick Fleetwood that he will make a name for himself, founding The Mountain Jam Band which, during the first decade of the 2000s, will experience some success. The meeting with Honeyboy Edwards, Homesick James, Sam Lay and Pinetop Perkins in 2005 will mark a new beginning in the musical adventure of Tim Woods who will record his first personal album with sixteen big names including Honeyboy Edwards, John Primer, Big Jack Johnson or Bob Stroger and after two more albums and an entry into the New York Blues Hall of Fame, it is with a fourth musically very expanded opus that the singer songwriter returns this year, a work of ten titles in which the influences range from Van Morrison to Peter Green via the Grateful Dead, Neil Young and the Doors. There are influences from Chicago but also a good dose of swing, 70's tinged rock, some nice hints of funk, psychedelic hints and more broadly a very wide musical palette that allows Tim Woods to give free rein to his desires. the craziest through titles like "Can't Stop Rockin'", "For You", "Low Down Blues" or "Reaching Out". Enough to spend about forty minutes in very good company in an atmosphere that is both warm, colorful and a bit old school!



For nearly five decades, the career of singer and guitarist Tim Woods has taken him on a long and storied journey that writes new chapters every year. Originally from Western Pennsylvania, he grew up in a virtual "crucible" of music. Thanks to his older brothers, who introduced him to a wide range of styles, including jazz, blues, bluegrass and rock, Tim's love of music took root as if naturally. Admiration and admiration turned into a deep love for the blues of Willie Dixon, Howlin' Wolf and Muddy Waters. Tim Woods began performing professionally with improvised rock 'n' roll bands playing psychedelic blues and playing in all sorts of styles with local musicians.

In the fall of 2020, Tim Woods released his major album " Vortex " (produced by Bobby Lee Rodgers). The session was attended by famous musicians, including the legendary Paul Hornsby (Marshall Tucker Band, Hour Glass, Charlie Daniels), Derek Woods & Ryan Woods (Tim's two sons) and Bobby Lee Rodgers. The album was well received both in the US and Europe and appeared on the prestigious Roots Report Blues Rock List (#4) and was a #1 hit in Pennsylvania. In the summer of 2023, Tim Woods presents his next new album " For You".Also produced by Bobby Lee Rodgers, with special guests Paul Hornsby and Eric Lawrence (Levon Helm Midnight Ramble Band, Little Feat). This is to some extent a cross-sectional album by Tim Woods, who has over two hundred songs in his repertoire. The guitarist also performs in various regional and national configurations, plays solo recitals, in a duet or trio. He not only runs his own The Tim Woods Band, but also - with his sons, Derek and Ryan - the family The Woods Family Band. There is a neat phrase in the music of Tim Woods built on the one hand by the nonchalance of Van Morrison, the aggressiveness of Neil Young and Bruce Springsteen, but also the subtleties of blues nostalgia and hit rock. Excellent American Roots .


(United Kingdom)

This is the fourth solo album from Western Pennsylvania singer
and guitarist Tim Woods. It was recorded in Georgia and

features some stellar players, including producer and multi-
instrumentalist Bobby Lee Rodgers. There is also plenty of organ

work, which gives the set a strong 60s feel at times.
That is almost certainly intended too. Lend an ear to the
psychedelic influences on both organ and guitar on ‘Low Down
Blues’ (which isn’t, by the way), and the spirit of 1967 crops up
elsewhere too. But the focus of the first half of this album is generally on the blues, sometimes
more over towards the blues-rock end of the spectrum , as on the first three numbers, though
the opening ‘Can’t Stop Rockin’’ has hints of both John Lee Hooker and Howling Wolf.
‘Mimic’ is an instrumental leaning a little towards funk and more towards the jam band
approach, and ‘Reaching Out’ draws on blues, soul and rock. Some of the remaining tracks move
further away from the blues, but most readers should find a lot to enjoy about this set, especially
if they are “of a certain age”.
Norman Darwen



Artist / Group: Tim Woods

Album: "For You"

Label: Self Production / Blind Raccoon

Publication year: 2023

Critical date: 09/2023

Assessment: VERY GOOD


Originally from Pennsylvania, Tim Woods has not only been a blues musician but also an enthusiast of the genre who, among other activities, has dedicated himself to recovering and recording old blues legends such as Honeyboy Edwards, Homesick James, Sammy Lay, Big Jack Johnson, John Primer, Bob Stroger or Pinetop Perkins. His love comes from a young age when, at just eighteen years old, his family moved to Macon, Georgia where Tim immersed himself in the blues scene working in a club, as well as promoting and coordinating the concerts of many of the bluesmen who They toured nationally, making great friends.

This is the fourth album that he has recorded under his own name where he develops a varied and eclectic repertoire that goes from blues to folk, through rock and psychedelia. In addition, his music combines influences from musicians such as Van Morrison, Jerry García, Neil Young, Peter Green or The Doors. In the recording of this album, among others, the multi-instrumentalist, old friend and producer, Bobby Lee Rodgers, along with Paul Hornsby on organ and Erik Lawrence on sax, have contributed.

Although it is not the classic blues album to use, lovers of good music and especially the sounds of those sixties and seventies, will discover in this album a more than interesting and attractive singer, guitarist and composer with a musical discourse. that I dare to assure will captivate the listener who is looking for records with a good level.






Tim Woods Blue Doodles 2021

(Belgium, Netherlands)

Tim Woods, the founder of the five-piece Woods Family Band, is a gifted singer-songwriter and guitarist. He and his older brothers have been involved in music for several decades. Tim started his career in the Pennsylvania music scene but moved to Macon, Georgia, the home of Capricorn Records. Woods learned the blues from his guitar teacher Ernie Hawkins, who was a specialist in Piedmont fingerpicking. From 2002 to 2009 Woods was part of The Mountain Jam Band. Woods also performs solo with his sons Derek and Ryan and with The Woods Family Band. In 2012 Woods was inducted into the NY Blues Hall of Fame.

Tim Woods made his solo debut in 2010 with "The Blues Sessions". He recorded it on a six-month studio tour that covered Clarksdale, Atlanta and Chicago. The album features no less than sixteen guests, including David “Honeyboy” Edwards, Big Jack Johnson, John Primer, Bob Stroger, Bobby Lee Rodgers & Jeff Sipe.

"Human Race" was the title of Woods' second studio album. His friend and multi-instrumentalist Bobby Lee Rogers, who is also a star, was the album's producer. This month the successor "Vortex" will be released. It was recorded with (again) Bobby Lee Rogers as producer, guitarist, bassist, drummer and keyboardist. Derek & Ryan did the backing vocals and one song features Paul Hornsby on piano.

"Woods channels melodic structures and lyrical subjects to create a thought-provoking improvisational jam rock band where r'n'r meets psychedelic blues cantata ..."

Woods wrote ten new songs for the album and tries to “channel melodic structures and lyrical subjects to create a thought-provoking improvisational jam-rock band, where r'n'r meets psychedelic blues cantata…”.

Tim Woods opens "Vortex" with "Ready," in which he tries to sing about "his willingness to embrace love." It's a quiet rocking song that ends with thumping drums and roaring guitars. In the title song “Vortex,” Woods sings about the impressions he got during his visit to Sedona, a farming village in Yavapai County, Arizona, that became a place for artists to meet. He calls it the “sacred ground” and is where he found his inspiration for this epic piece of dramatic rock. Atmosphere and tempo change with the funky “Some of Your Love” in which Woods tries his best to be the Godfather of Soul. The atmosphere is left on the introspective rocker “Sometimes” and becomes more tense on the prog instrumental rocker “Sage”. Do you recognize some of Joe Walsh in the carefree pounding shuffle “I Don't Know Yet”? “Take Me Away” is a ballad and on “Destination Unknown” producer Paul Hornsby (Charlie Daniels Band, The Marshall Tucker Band) plays the piano. In the uptempo roadhouse blues “This Mess”, Woods encourages us to get our hands dirty to help someone and make the world a better place. In the closing song “Water is Life” he goes on an ecological conciliatory tour. In this quiet acoustic song, with some nods to The Beatles, Woods argues for saving the world for the kids.

“A vortex or (air) vortex is a rotating movement in a fluid. A vortex can be two or three dimensional. Two-dimensional are stable, while three-dimensional are unstable. Vortexes can occur as a mono-, bi- or tripolar vortex… ”

On his new release 'Vortex', Tim Woods is not only an excellent musician with a unique style as we know him from previous work, but also a whirlwind person, who brings us a message of “love, peace & kindness to Mother Earth…” to take up our responsibilities.



‘Vortex’ is the third solo album by blues-rock guitarist Tim Woods. Embracing influences such as soul, blues, and progressive rock the ten songs are inspired by a visit to Sedona, Arizona, and the natural landscapes he explored.

The veteran guitarist and vocalist has been playing music for more than three decades both solo and in various bands including The Woods Family band alongside his sons Derek and Ryan. In 2012, his music and contribution to the blues were recognised when he was inducted into the New York Blues Hall of Fame.

The brooding opener ‘Ready’ sets up the tone of the album and quickly establishes Wood’s credentials and both a songwriter and guitarist. His lyrics flow over a mesmerising rhythm while his guitar solos are fluid and passionate. Swiftly switching genres, ‘Some Of Your Love’ is a funky soul-inspired song that even James Brown would have been proud of showing the versatility of Wood’s playing.

The country-rock style of ‘Sometimes’ and ‘Destination’ harken back to the sounds of The Allman Brothers Band with a mix of acoustic and electric and infectious foot-stomping melodies.

There’s a steer into progressive rock with the title track ‘Vortex’, a song in which Woods expresses his feeling of awe at the natural beauty of the landscapes of Arizona. Sticking with the progressive theme, ‘Sage’ is a moody instrumental that is full of swirling keyboards and soaring guitars.

Rounding out the album, ‘Water Is Life’ is a slow-burning psychedelic tribute to the natural world that inspires the listener to look after it and save it for the next generation.

An exceptional guitarist, Tim Woods stretches his playing to the limit on ‘Vortex’. Taking inspiration from the sound of classic bands such as The Beatles, Jefferson Airplane, and The Allman Brothers Band, he mixes these influences together into a contemporary sound that’s both refreshing and respectful.




For over three decades, Tim Woods as a solo artist and frontman of the Woods Family Band has made forays into folk, blues, rock, and soul. He says, “  The journey of my life continues as I am drawn to sacred sites around the world. This time I went to Sedona, Arizona where I visited an energy vortex where natural energy emerges from the Earth. I left with an indescribable deep feeling that entered my soul and inspired the song 'Vortex' ". So he wrote the original ten tracks of this album exploring the idea that these vortices are swirling centers of energy, conducive to healing, meditation and self-exploration located in places where the earth seems. particularly alive. Rock'n'roll, psychedelic blues and funk intermingle over the tracks hinting at the shadows of the big groups of the 70s. There were not many of them in the recording studio for this dramatic rock epic, Tim Woods (guitar and vocals), Bobby Lee Rodgers (guitar, bass, drums, keyboards), plus Tim's two sons Derek and Ryan backing vocals on ' Vortex ' and Paul Hornsby on piano on ' Destination Unknown', but the result is really rich. The album ends with the environmental anthem ' Water Is Life ', a sweet pop ballad full of lyricism. Magnetic production of very good quality.
Gilles Blampain


Listening to Tim Woods’ album “Vortex” is like a solitary nature walk: The farther you go, the more beautiful things you discover.

This wonderful collection of original songs travels in the area a psychedelic rock. And if the title track feels like a peyote trip, you understand. The record was inspired after Woods visited the desert in Sedona, Arizona.

A Pennsylvanian who cut his professional teeth in Macon, Georgia, Woods was jamming before there were groups called jam bands. But his guitar virtuosity – he picks with his thumb — and respect for blues shines from his sound. A decade ago, he made an album, “The Blues Sessions,” with a litany of noteworthy guest stars (including three songs with Honeyboy Edwards, who played in the early 1930s with “Father of Delta blues” Charley Patton), so obviously the respect is mutual.

As with succinct blues lyrics, Woods’ words are concise, layered atop exploratory, meandering melodies. There are so many gems to be found.

“Vortex” was produced by Bobby Lee Rodgers and the title song has backing vocals from Woods’ sons Derek and Ryan, who both already have the look of rock stars.

From the first beat of the opening song, “Ready,” the album hurtles into a trance groove as Woods’ chants, “I’m always dreaming, dreaming of you.” Woods doesn’t possess a remarkable voice but his singing is spot on and it contains compelling emotion.

“Vortex” is next, a celebration of “swirling centers of energy.” A twisted tree adorns the back cover.

A funky bassline and clean, high guitar notes bounce along on the following track and Edward Abbey has become James Brown. While “Some of Your Love” is a nice song, it feels out of place on this record. Odd to me since Woods seems to appreciate “concept albums” because he’s clearly a Pink Floyd aficionado. Just check out “Sage” for a vintage “Wish You Were Here” flavored instrumental.

After the funky interlude, the fourth track brings back the listener to a blistering Southern rock ‘em, sock ‘em anthem, “Sometimes.”

There’s so much to dig on this record, it’s hard to pick a favorite, so I’ll take two.

I appreciate the wink to John Lee Hooker on “This Mess,” and the quintessential car-driving song “Destination Unknown” (with Paul Hornsby on piano), but “Take Me Away” and “Water is Life” are simply exquisite and brilliant rock ballads. Plenty of people will be happy to discover and cover those tunes.

The Covid crisis has kept musicians off the bandstand but an upshot would be the copious songwriting and record-making that has occurred. There is an abundance of great new recorded music to be found, and “Vortex” is a fine example. The music takes you inward, makes you nod and smile. I hope Tim Woods tours West someday so I can hear him live. I’m always dreaming.

— Tim Parsons


Originally from Western Pennsylvania Tim Woods has been influenced by a variety of genre’s including blues, rock, bluegrass, and jazz. When Woods turned eighteen his family relocated to Macon, Georgia and he immersed himself in the music scene promoting national acts at a local nightclub.

Later, Woods formed the Woods Family Band with his sons, Derek and Ryan; and has since shared the stage with Donna Godcheaux, George Frayne, Sonny Landreth and Mick Fleetwood. In 2002 Woods was a founding member of The Mountain Jam Band playing rock in the style of the Allman Brothers and The Grateful Dead. His deep love for the music of Willie Dixon, Howlin’ Wolf and Muddy Waters further inspired him and in June 2005 Woods spent an intimate musical evening with “Honey Boy” Edwards, Homesick James, Sam Lay and Pinetop Perkins. In 2010 Woods released his debut album “The Blues Sessions” with Edwards, Big Jack Johnson, John Primer, Bob Stroger, Kenny “Beedy Eyes” Smith, and Bobby Lee Rodgers. Woods, a 2012 New York Blues Hall of Fame inductee, followed up with his sophomore effort in 2018 when he released “Human Race”, also with Rodgers.

Woods decided to expand his love for Mother Earth after visiting the natural wonders of Sedona, Arizona. He explores the thought-provoking idea that vortices, or swirling centers of energy, are conducive to healing, meditation, and self-exploration; and channeled his own energy to create these ten original tracks. Woods, guitar and vocals; is again accompanied by producer Rodgers who plays guitar, keyboards, bass, and drums. Special guest Paul Hornsby plays piano on one track; while his sons provide the background vocals on another.

Woods opens this concept album with “Ready” as he embraces love “I’m always dreaming, dreaming of you”, featuring the twin guitars and Rodgers’ drums, he sets the stage for the remainder of the album. On the title track, “Vortex”, Woods sings “I’m in the desert in Sedona, something going on ‘round here”, like a man in awe of the natural beauty and Sacred Ground surrounding him; while his sons provide the backing that completes the production.

My favorite is the funky “Some of Your Love” with the lyric “wrap yourself, around me baby” and it’s the first song selected for airplay. Woods’ rocks on both the country-styled “Sometimes” and on the instrumental “Sage”.  The shuffle “I Don’t Know Yet” provides an amusing interlude. The haunting ballad “Take Me Away” features a pleading Woods as he sings “I don’t know why, I made you cry”.

The anthem “Destination Unknown” features pianist Hornsby, and Rodgers who switches to organ, as Woods sings “take our chances and ride, onward we go”.  On “This Mess” Woods reminds us to figure it out “get up in the morning, get up out of bed, things could be worse, well you could be dead, get yourself together, get your feet on the floor, you haven’t done enough, you could do some more”. “Water Is Life” is a Beatle-esque plea to preserve our environment for future generations.

Woods draws on influences from multiple genres on this new concept album. It results in a unique contemporary blues that will get you energized.

Richard Ludmerer




Tim Woods is an atypical musician who forged a musical ear from an early age thanks to brothers who made him listen to blues, jazz, bluegrass and rock, so many things that will push him, when he leaves Pennsylvania to follow his parents to Georgia, attend local stages and perform with groups of all styles. Influenced by Pink Floyd, Jethro Tull or even Grateful Dead, Woods who got to know Willie Dixon, Howlin 'Wolf and Muddy Waters will endeavor to mix his different genres of predilection and it is naturally that we will find him on the boards opening by Sonny Landreth, Commander Cody or Donna Godcheaux but also alongside Honeyboy Edwards, John Primer, Pinetop Perkins and Bob Stroger. Known through various groups, not the least of which is The Woods Family Band, the singer and guitarist offers this fall a third personal album, "Vortex", for which he is accompanied by Bobby Lee Rodgers on guitars, basses, pianos and percussion but also a few guests like Derek and Ryan Woods on the backing vocals on the tittle track or Paul Hornsby on the piano on a track. In ten compositions full of nuances, Tim Woods invites us to discover the full extent of his music and delivers us some beautiful pieces of blues and rock of course, but without forgetting to take a tour of soul, funk, Americana and rock that is sometimes 70's, sometimes progressive. From the greasy hints of "Ready" to the more folk notes of "Water Is Life", we will go through a devilishly funky "Some Of Your Love", by the instrumental "Sage" and its stamps straight from prog, by the shuffle "I Don't Know Yet" or by the ballad "Take Me Away", titles that end up getting everyone to agree about an artist who loves people and the land and who intends to make it known. Using Sedona photos for artwork was far from innocent, that's for sure!




This is Tim’s first album since 2018’s ‘Human Race’ and during that time he has been exploring the natural wonders of America and experiencing their almost sacred, spiritually calming effects upon the individual, one place in particular that affected Tim with its positive energy, was Sedona, Arizona, which has inspired this album, within it he, exhorts, peace, love and respect for the ecosystems of this world. Tim, who takes lead vocals and guitar, has written and recorded 10 numbers with the aid of Bobby Lee Rodgers who provides guitar, bass, drums and keyboards; he also, sits firmly in the producers’ chair. Originally from Western, Pennsylvania, Tim moved with his family to Macon, Georgia at the age of eighteen but, is still a firm favourite on the Western, Pennsylvanian music scene. He learned acoustic guitar from Ernie Hawkins and frequently plays alongside George Frayne (Commander Cody) and was a founding member of The Mountain Jam Band, playing in a style reminiscent of The Allman Brothers and The Grateful Dead.

Tim’s playing today is still somewhat reminiscent of seventies rocking blues and funk, as you can tell from the enjoyable opener ‘Ready,’ which is led by a richly ringing and roaring guitar that is backed with a prowling bass and powerfully solid drum work, Tim’s vocal is equally raw and dominating. ‘Vortex,’ is equally brash and inviting with its gently building guitar that whirls, swirls, swoops and soars, underpinning the wonderment and belief in Tim’s vocals. The instrumental ‘Sage,’ has an engaging hymn like quality to it, as a gentle acoustic guitar introduces and gives way to a majestically soaring keyboard and progressive rock guitar feel. ‘Destination Unknown,’ relates to a life of roaming, taking each day as it comes unaware of the possible outcomes, the engaging and enticing rolling, rambling piano of Paul Hornsby, is underpinned by a sonorous organ as Tim, plaintively invites us into the unknown. The acoustic and electric swirling guitar led ballad ‘Water Is Life,’ is a heartfelt plea to all, to do what is best for mankind and the world we all live in, now.

Greatly endorsed!

Brian Harman



The first time I heard Tim Woods was a decade ago, when I wrote about his album “The Blues Sessions” in my previous blogger incarnation as BlueNotes, at the Pittsburgh Post-Gazette newspaper. It was an excellent album of traditional blues from the Irwin, Pa., native. This one is different. The first words on the first track, “Ready” are “I’m always dreaming…” and lure you right into this dreamy-blue landscape of music and lyrics. It’s sometimes a trippy throwback to ’60s psychedelia, moody blues and new-age rock, if there is such a thing. It’s enchantingly tough, inspired by a vortex of feelings, and, maybe, just one toke over the line. Pay close attention to Woods’ creative guitar work and his lyrical wordsmithing.


-- Jim White



10 tracks and all written by Mr Woods himself with the family supporting via background vocals, disc art and photography
by his sons Derek and Ryan, I don't believe his daughter necessarily contributed to this album but with a name like Silver
Moon I have to give her a mention. Woods himself has said that this album was born of his love of sacred sites, drawn to
places of great beauty throughout the world this time around he found himself in Sedona and Arizona where visiting an
energy vortex inspired the song Vortex, named after that part of the earth that left him with an indescribable feeling, deep
in his soul. Like a lot of musicians in 2020 Tim Woods is drawn to what is happening around us and our part in what is
happening with our environment, this album makes you want to sit down in a quiet space with a little glass of something
warming and let the music wash over you Originally from Western Pennsylvania Tim Woods and the Woods family
band remain a fixture on the music scene and I can see why, with influences from 1960's British and American
musicians this album is a great mixture of influences including Psychedelic rock, Art rock and progressive rock,
Folk, Jazz and Blues this is a very cool album. Reminiscent of Pink Floyd and for me, early Genesis, Woods has a
great vocal and with his skills on the Guitar and support of the Woods family band this album is well produced and has a
well rounded sound, slick, professional feel to it. Some Of Your Love, made me say WOW out loud, with elements of
disco, funk accompanied by the rock guitar it made me think of studio 54 days, cool. At times sophisticated and others
folky I could imagine a seasoned gang of motorcycle guys humming their way through the amazing sky lines of the
Californian desert.



Tim Woods has made a big record with ”Vortex.” I get the impression that when Woods and his producer Bobby Lee Rogers stepped into the studio, and asked themselves what they were going to use, they said in unison “Everything!

Woods, originally from Western Pennsylvania, moved to Macon Georgia at 18, and became steeped in the classic blues of Willie Dixon, Muddy Waters and Howlin’ Wolf. In the early 2000’s Woods was a founding member of the Mountain Jam Band. “Vortex” is his third album, his first was entitled “The Blues Sessions" and included guest appearances by David “Honey Boy” Edwards, Ike Stubblefield and Jeff Sipe among others. In 2012 Woods was inducted into the New York Blues Hall of Fame. His second album release “Human Race” like "Vortex,” was also produced by Rogers, who contributed drums, bass and keyboards while Woods delivered guitar and vocals and composed all ten tracks on the new album. Woods asserts his guitar-playing is influenced by his guitar instructor, the Pittsburgh blues musician Ernie Hawkins, and the Piedmont Blues fingerstyle playing of the Reverend Gary Davis.

The title track “Vortex” is the most compelling musically, and includes ethereal vocal harmonies by Woods’ sons Derek and Ryan. The album is predominantly blues-rock with a flair for the wall of sound sometimes reminiscent of Oasis or Pink Floyd, most especially when you hear a steel string acoustic guitar blended into the wall of keyboards and electric rhythm guitars. The album performances switch up musical styles from the wall of blues-rock to the funk groove of “Some of Your Love” – the melancholic instrumental “Sage” to the twelve bar “I Don’t Know Yet,” and the rockabilly “telephone-morphed” vocals of “This Mess.” The renowned record producer and keyboard player Paul Hornsby contributes a beautiful piano accompaniment to the song “Destination Unknown.” Hornsby has played with Elvin Bishop, and with Duane and Greg Allman in the Hour Glass in 1967, and has produced Charlie Daniels, Wet Willie and the Marshall Tucker Band. His piano playing is somewhat obscured by the organ track, and in my hearing would well have served the song better if it was brought up in the mix and more pronounced.

The standout tracks are “Vortex,” and the opening song “Ready” which brings the heavy guns of Woods’ rolling guitars driving the song in front of producer Rogers’ propulsive drumming. These two characters have clearly spent a long time together practicing their art, and fit together musically hand-in-glove. The album deserves attention for the power of Woods’ dreams. There’s enough contrast and dynamic variance in the musical landscape it depicts to merit repeated playing. We should look forward to what comes next from these guys.

Reviewer Conrad Warre originally from London, England, is a freelance writer and plays lead guitar in the Boston-based acid-blues band Bees Deluxe..




I came across the work of Tim Woods ten years ago with his debut album entitled "The Blues Sessions". The reason that made me reach for that album was not! Tim, and above all the large group of distinguished guests, whom he invited to the studio, incl. David "Honeyboy" Edwards, John Primer, Kenny "Beedy Eyes" Smith. Tim Woods has been active in the music scene for over three decades, but his personal discography is very modest. With tg, the newest one contains only three items. The album was inspired by Woods' visit to the desert of Sedona, Arizona. Enchanted by the beauty of wild nature, he realized that the destructive activity of man could lead to the disaster that future generations would be deprived of such miracles of nature. The album is basically a work of two people. Tim Woods composed all the songs, sang and played guitars, and producer Bobby Lee Rodgers added bass, drums and keyboards.

To be precise, it should be added that in the song Vortex, vocal support was given to Tim by his sons, with whom he is also active in The Woods Family Band, and in Destination Unknown, Paul Hornsby serves beautiful piano parts. The opening is not particularly surprising - it is a solid rocker Ready with clearly audible southern rock elements. A real surprise awaits the listener at number two, because the title composition ^ can easily be classified as ... progressive rock. As if that was not enough, the next item on the track list is a fiery and zjnviolowy funk in the style of James Brown (characteristic shouts also sg). A really surprising beginning. Then it's just as intriguing. The instrumental Sage evokes distant echoes of Wish You Where Here Pink Floyd for the acoustic guitar part. The ballads Take Me Away, Destination Unknown and Water is Life perform well. The main thing is that they are not sugary and Izawa, which unfortunately often happens in this type of compositions.








Alan Paul review


Downbeat Tim Woods 2018

Tim Woods of the Woods Family Band is a rocking blues artist with that perfect gravelly voice and guitar licks that don’t quit.  He would be at home with artists like Ricky Van Shelton, The Allman Brothers Band, The Doors and the Grateful Dead.  This album is a kick from the first song, “Can you Feel It?” and the resounding answer is “Yes!”  You can feel it from the hair on your head down to the tips of your toes, and the feeling is great.  This is a classic rock album that needs to be at home with every true lover of music.

Recommendation:  Drop everything and run to Get this one!



(Belgium, Netherlands)

Tim Woods, the founder of the five-member Woods Family Band, is a gifted singer-songwriter and guitarist. He and his older brothers have been busy with music for several decades. He started his career in the Pennsylvania music scene but moved to Macon, GA. Woods learned the Blues from his guitar teacher Ernie Hawkins, who was a specialist in Piedmont fingerpicking. From 2002 to 2009 Woods was part of The Mountain Jam Band.

Woods' debut album 'The Blues Sessions' was released in 2010. He recorded it during a studio tour that lasted six months and that Clarksdale, Atlanta and Chicago did. On the album, no less than sixteen guests can be heard, including David "Honeyboy" edwards, Big Jack Johnson, John Primer, Bob Stroger, Bobby Lee Rodgers & Jeff Sipe. In 2012 Woods was introduced in the NY Blues Hall of Fame. Woods performs solo, with his sons Derek and Ryan and with The Woods Family Band.

'Human Race' is the title of Woods' new studio album. His friend and multi-instrumentalist Bobby Lee Rogers, who also plays along, was the producer of the album. The album opener "Can You Feel It?", The first of the eleven songs, is a hypnotic slow blues drenched in an abundant portion of reverb. With "Every Day", Woods ventures to a waltz on acoustic guitar with solos that link the Allman Brothers.In the funky "Step" you will find fragments of Zeppelin and in the quiet "Take a Minute" influences of Pink Floyd. The number is Woods' call to free up some more time for the beauty that surrounds us. With "Human Race" Jim Morrison, with the help of Iggy Pop, comes back to life. "Black Maria" (written by Perry Werner, an old friend of Woods) is a love song. This mystical brew is a reminder of a wild trip to Mexico. The instrumental "TW Funk" focuses on itself and "Image Is Clear" is a number about repentance. Here William Newell Bate took over the place behind the drums from Lee Rodgers. Pete Lavezzolli is the drummer of service in the remaining tracks, starting with the instrumental "Trixie". "Have Mercy" is a dark blues rocker with Don Coffman on standing bass. In "Where Did She Go?" Woods, like Chester Burnett, cries out in the dark and the closing "Leave the Earth Alone" is a sincere plea with a simple but poignant message.

Songwriting implies pushing the boundaries of imagination and creativity. Good songwriting always means that you pour out your heart and soul. Tim Woods does this, who has been trying to make his musical dreams come true for decades, every day.How he does that you hear on 'Human Race'. Tim Woods finds his inspiration on every corner and shares his ideas in every song in his own way, with everyone.




Tim Woods, guitarist and singer impressed in his debut by giants like Willie Dixon, Howlin 'Wolf and Muddy Waters has played in rock bands, psychedelic blues and jam bands which is felt in the spirit of this record. This baladin released his first blues album in 2010, The Blues Sessions, with a collection of guests and it was an international success. For this second output, it gives in simplicity. He is helped in his work by Bobby Lee Rodgers who provided the bass, drums, keyboard and second guitar parts which brings out the "rough release" side of this CD. Just on two tracks, Don Coffman laid down his bass notes and five other drummers shared the measurements (Pete Lavezzoli and William Newell Bate). The powerful voice which tends to force the tone, speaks often of peace and universal love, of defense of the nourishing earth on powerful orchestrations. He could have allowed himself to write on the cover: "Play it loud". The song that gave the title of the album 'Human Race' is reminiscent of the Doors of the great era when Woods shouts to whoever wants to hear: "Save The Human Race! While in 'Where Did She Go?' It's the Hendrixian side that's coming up. 'Leave The Earth Alone' would be a kind of electric rock-gospel very vitaminized on its end. With 'TW Funk', everything is in the title and it's an instrumental. 'Step' too is an instrumental where the guitar is forward. The compositions of this album could last longer without any problem because Tim Woods is a king of the improv and the one who loves the Grateful Dead and its titles will have an extension with this record.


The opening ‘Can You Feel It?” is very much in the vein of West Side Chicago blues great Magic Sam, a powerful performance that continues on from the blues approach of Tim’s debut set, “The Blues Sessions” for Earwig Records, though the majority of tracks here go far beyond strict blues parameters and many of the lyrics are nicely optimistic and hopeful. Originally from Western Pennsylvania, Tim learned acoustic guitar from Ernie Hawkins, frequently plays alongside George Frayne (who you may know better as Commander Cody) and was a founding member of The Mountain Jam Band, playing in an Allman Brothers and Grateful Dead style – all of these have left their mark here (many tracks recall the jam band approach), along with Tim’s original psychedelic blues leanings. Lend an ear to the heavy Jimmy Reed beat of the title track, the instrumental ‘Step’ which throws in tinges of Led Zeppelin, or the slow-ish, tough, crunching blues-rock of ‘Where Did She Go?’ So, alongside these blues-based performances are the spacey late 60s California rock sound of ‘Take A Minute’ and ‘Black Maria (which also has some blues interludes), the bright and breezy Grateful Dead inspired instrumental ‘Trixie’, the infectious rock and jazz flavoured funk instrumental of ‘TW Funk’ and the closing ‘Leave The Earth Alone’ with its echoes of 1967 – ‘69. Producer and Tim’s long-time friend, the under-rated Bobby Lee Rodgers also supplies guitar, bass, drums and keyboards, and the overall result is a nicely varied album, guaranteed to appeal to anyone with a fondness for the music of the late 60s and early 70s.

Norman Darwen


I just had the opportunity to review the most recent release, Human Race, from Tim Woods and it shows strong influences of blues and rock players of note. On Can You Feel It, a solid blues rocker, traces of Cream and Robin Trower permeate the flow and Woods' Leslie West like vocals ride high on the backing by Bobby Lee Rodgers on guitar, bass, drums and keys. Solid! Instrumental, Step has a funky bottom giving Woods a real nice platform to lay down his best rock riffs with snappy drums and bass by Rodgers. Roger Waters like composition, Take A Minute has more of an American flavor but the Brit's clues are there. With a poppier edge, another solid contribution. Title track, Human Racepulls trace sounds from the Yardbirds and the Doors to create an electrifying driving rocker. TW Funk has a cool yet funky vibe fueled by a rich bass groove, clean, tele sounding lead and wah wah guitar backing. Very nice! Trixie is a catchy jam with "Dead like" melody. Woods' tone is very nice and I really like Lavezzoli's drumming on this track. Where Did She Go? is a lumbering blues rocker with real swagger. Wrapping the release is Leave The Earth Alone again draws from Dead influences with melodic guitar lead and loose, funky keyboard work ending with a Revival like break. Very cool.



This is Tims follow up album on from his Earwig Records release ‘The Blues Sessions’. On the opening number here “Can You Feel It”, Tim creates a strong and stridently influenced Magic Sam feel, which is a delight to the ears. On the following eleven numbers he widens out his playing and focus.

In the past Tim, who is originally from Pittsburgh, Pennsylvania has been a member of The Mountain Jam Band but, after the break up of the band due to the unfortunate death of a band member Tim became able to follow his dreamand play with such artists as his long-time friend George Frayne, also known as Commander Cody, Nowadays, he is a solo artist but, also he is an integral member of The Woods Family Band, in which he plays with his two sons. On this album Tim, who is on guitar and vocals, is joined by Bobby Lee Rodgers; guitar, bass, drums and keyboards, Don Coffman is on upright bass with Pete Lavezzoli and William Newell Bate helping out on drums. On the number “Leave The Earth Alone “, Tim sends out a gently building plea that has echoes of late sixties early seventies good-time rolling, ringing guitar work combined with satisfying, burning, urging organ-work to the ever hungry materialism of industrialists and for world leaders to abandon their obsessions with armaments races and finally truly embrace ecology, which is all wrapped up in true late sixties protesting rocking fashion. The very enticing instrumental “Step”, pleasantly displays hints of Led Zeppelin in the menacing drum-work and delightfully swaying guitar. “Take A Minute”, enjoyably inhabits The Eagles dreamy open rolling guitar world that is for most people the Californian dream. The driving instrumental “TW Funk”, is a splendid mixture of Jazz and Funk, which creates images and memories of Carlos Santana at his urging and free flowing best. On “Human Race”, Tim has a good deal of psychedelic guitar fun, mixing a strident Jimmy Reed beat with the more dramatic leanings of late sixties Doors.

Greatly endorsed!

Brian Harman.


With a repertoire of more than two hundred songs, Tom Woods exceeds the limits of imagination and creativity that musical composition requires. Tim finds inspiration in the most hidden corners, he presents in this last album along eleven own compositions plus one coming from Perry Werner. All songs describe his love for life and mother earth, making them as a sound catalytic of his musical message. For more than three decades Woods has done a non stop work so, over the years, he has gathered a great maturity that can be noticed either when he plays alone, in trio format or with his band The Tim Woods Band. Together with his two sons Derek and Ryan, he has formed a group called The Woods Family Band. Besides Tim on guitar and vocals, this time you will find Bobby Lee Rodgers on guitar, bass, drums and keyboards, as well as the collaborations of Pete Lavezzoli on drums in four cuts, Don Coffman on double bass in a couple of tracks and William Newell Bat on drums in a song. An album with a call of well assembled sounds and a musical spirit that drinks in the sources of folk, ballads and blues. VERY GOOD.


Tim Woods grew up in Pennsylvania and lives there these days, but the time that he lived in Macon, Georgia has left an indelible imprint upon his music. Woods is a fine guitarist, singer and songwriter, and the influence of the American south is easy to pick out of his blues-rock style. Tim has recorded a few discs over the years and has earned the respect of his peers, which was proven by his induction into the New York Blues Hall of Fame. He plays out as a solo artist and with his band, as well as with his two sons in The Woods Family Band. Tim Woods certainly does get around, and after many decades in the business this man knows exactly what he is doing.

Woods’ new solo release, Human Race, was recorded in Atlanta and Fort Lauderdale, and was produced by Tim’s friend, Bobby Lee Rodgers, who also contributed guitar, bass, drums, and keyboards to the mix. For his part, Tim played guitar, provided the vocals, and wrote all but one of the dozen tracks. This duo did most of the heavy lifting, but a few other fellows joined in, including Pete Lavezzoli and William Newell Bate on drums, and Don Coffman on the upright bass. This album is full of lyrics of hope and brotherhood, and all of them are set to a lovely mixture of rock, southern rock, blues, and even funk.

Most reviews include any mention of instrumentals after an in-depth discussion of the conventional songs, but the three instruments-only tracks on Human Race are quite compelling. “Step” is pretty much a funky bass solo with heavy guitar riffs and dry-sounding drums laid over the top of it, complete with Led-Zeppelin like stereo guitar layers. Then there is “TW Funk,” which uses even more funk and some sweet organ from Rodgers to augment killer solo work from Woods. And lastly, “Trixie” uses surf guitar leads over a funky Latin beat that is driven by Lavezzoli’s drumming. There is a lot of funk going on here!

The regular songs are all very good too. The nostalgic opener, “Can You Feel it?” is a nice chunk of 1970s blues-rock with Robin Trower-like leads and vocals with plenty of echo. Next up is the very catchy “Every Day” which carries an empowered message that is accompanied by layers of acoustic guitar from Tim and a fat walking bass line from Rodgers. And the title track includes an array of killer guitar tones over a 1960s rock beat, while “Human Race” features some solid grooves from Rodgers on the drums and vocals that channel the long-lost Jim Morrison.

There is only one track that was not written by Woods and that is “Black Maria,” which was penned by Tim’s longtime friend, Perry Warner. This tune is a semi-ballad that is a curious hybrid of Southern rock and rhythm and blues, and in this case there is more emphasis on Tim’s voice than on the instruments (all of this works out well, in case you were wondering).

The album ends as strongly as it begins with “Where Did She Go?” and “Leave the Earth Alone.” The former is a heavy blues piece that allows Woods to take his voice to its limit, and there is a cool Hendrix vibe to his rhythm guitar work. The latter is the fabulous closer that reminds us to take care of the world we were given, as we are not going to get another one.

Human Race is a pleasant break from everyday life, courtesy of Tim Woods and his friends. You can hear samples from this release at Woods’ website, and while you are there be sure to look over his gig schedule. If you are going to be in Pennsylvania (or Maryland) any time soon you might be able to catch Tim with the duo or the Woods Family Band, and that would surely be a treat!

Reviewer Rex Bartholomew is a Los Angeles-based writer and musician; his blog can be found at




Review by Michael G. Nastos

Tim Woods has been languishing in relative obscurity in the blues realm, but this recording should change all of that. During the course of his career, he has built a strong resume playing with big names, and it's assumable most of them were recruited for these studio sessions, done in Chicago, Atlanta, Savannah, and Clarksdale, MS. Each track features at least one or more heavyweights, supporting but not dominating the rough-edged, untamed voice, and pithy, slightly dirty guitar of Woods. There are traditional numbers, familiar songs from Willie Dixon, a few from David "Honeyboy" Edwards, who appears with Woods, classic urban Chicago blues, and an original. Edwards in particular is a force on this project, singing his heart out on "Drop Down Mama" with Woods and harmonicist Eric Noden, or slow and sure for two other tracks. Classic blues tunes like "Spoonful," "Built for Comfort," and "It Don't Make Sense," penned by Dixon, are lovingly re-crafted, but also Howlin' Wolf's "Who's Been Talkin'" with Woods, keyboardist Allen Batts, Big Jack Johnson, and Terry "Big T" Williams is the ultimate jam for these standout figures. John Primer and Bob Stroger play prominent roles elsewhere, especially on yet another Dixon evergreen, "Do the Do." Every track is precious, every measure full of fun, as Woods shapes these immortal icons of blues into a unified whole that is much greater than the sum of their parts, inspired and loaded with integrity.

San Diego Blues review

BC Blog critics

Tim Woods has been picking and playing the blues throughout his more than 25-year career but rather than rush to release an immature approximation of the music he loves, he opted to wait ‘til the time was right. The Blues Sessions, his debut disc, is the result of a six-month odyssey, with Woods travelling to Clarksdale, Atlanta, and Chicago, seeking the aid of some of his heroes in his quest for authenticity. The results are impressive indeed. Woods has enlisted some genuine heavyweights, including David ‘Honeyboy’ Edwards, one of the last surviving originators of the Delta blues. Also on hand are the likes of guitarists John Primer and Big Jack Johnson, bassist Bob Stroger, drummer Kenny ‘Beedy Eyes’ Smith, and Michael Frank, the man behind Earwig Music, on harmonica. And that’s just the beginning – in total there are some sixteen participants along for Wood’s musical ride. So there’s a great deal of living history involved in The Blues Sessions. Fortunately, Woods has his own ideas, and what could have been yet another dry and dusty tribute is instead a lively and vital collection that respects the music’s origins and originators while adding distinct touches that help carry tradition forward. True, Woods is only responsible for one composition here – “World Comes Tumblin’ Down,” the slithery boogie that closes the disc. But while some covers stick closely to tradition – notably the three Honeyboy Edwards songs, acoustic affairs with Edwards himself handling the vocals – elsewhere there are elements of Woods’ jam-band background to add a somewhat more modern edge. Take Willie Dixon’s “It Don’t Make Sense You Can’t Make Peace” - with its spacey violin (courtesy of Joe Craven) and crunching beat that veers off into psychedelic territory, it’s an arrangement that might well have baffled the composer. And yet it works, as does Wood’s somewhat jazzy rendition of Dixon’s “Spoonful,” here an acoustic romp featuring Woods’ and Eric Noden’s guitars, with Smith adding understated percussion. Dixon the songwriter is well represented here, with Woods tackling “Do The Do” and “Built For Comfort” as well. Other highlights include a romp through Big Jack Johnson’s ”Clarksdale Boogie,” with Johnson himself trading licks with Woods, and Edwards’ “Wind Howlin’ Blues,” a tune last recorded in 1942. Woods is a fine guitarist, and the friends on board all live and breathe this music, so instrumental performances throughout are uniformly first-rate. And Woods is an eminently adequate vocalist, though there are occasional moments when he comes across as a bit more earnest than accomplished. (But then who could hold a candle to the quiet dignity Edwards brings to his two righteously ragged vocal performances?). And Woods’ respect for the music and his energetic approach more than make up for any minor quibbles. A fine and spirited outing that balances sincerity with musical exuberance, this one’s a winner. Here’s hoping we’ll be hearing much more from Tim Woods! notes

I want to start getting back to some new CDs I got recently from Earwig Records, a fine little blues label run My Michael Frank, harp player, manger of Honeyboy Edwards and Burgh native. First up is one by Tim Woods, "The Blues Sessions." Woods is from Irwin (yes, our Irwin), and I'm not sure how I've missed seeing this fine picker and singer of great old blues, but I have. My loss. But at least now I have this very enjoyable CD. It's called "Blues Sessions" because it was put together in a series of studio sessions in Chicago, Atlanta, Savannah and Clarksdale, Miss., and more importantly, because it draws on some really great old blues music. Woods has put together an amazing set of tracks featuring some classic and some not-so-classic blues, in which displays serious guitar chops (he plays and picks with his thumb, allowing him to play lead and rhythm), and a nice gritty voice for the music he's selected. It's not enough that Woods sounds like he found Chicago and the Delta somewhere in the depths of Irwin, but he's surrounded here by musicians who bring a powerful blues history to the music. Let's start with David "Honeyboy Edwards, who shares guitar and vocal duties with Woods on several cuts, including Honeyboy's classic "Bad Whiskey & Cocaine." Then add the excellent piano of Allan Batts and Aaron Moore, fine guitar from Big Jack Johnson, John Primer, Bobby Lee Rodgers and Eric Noden, plus Lee Williams and Kenny Smith on drums, Michael Frank on harp -- and plus many other musicians who turn this project of Woods into a mini-old-time blues festival. This is Woods' first CD, and he deserves a lot of credit as a co-producer for putting together such an excellent package. There are mini-bios of the contributing artists, session photos and a little of Woods' personal history and his effort on this album. -- all the trappings that you might not exprect to find on a first effort. And then there's the big deal -- the music. Woods hasn't created anything brand new here, but he takes classic blues as a starting point and brings us a very fine set of great old blues as seen through his own passion and instinctual feel for the music. Here are just some of the tracks he's chosen: "Deep Ellum Blues," "Do the Do," "Castle Rock Boogie," "Spoonful," "Clarksdale Boogie," and "Wind Howlin' Blues." Here's a sample of Woods on "Deep Ellum Blues." All this got started, Tim says, when he first saw an article about Edwards and decided to look further. He said that Ernie Hawkins told him that Honeyboy was in Chicago, and that Michael Frank was his manager. Woods said that he called Frank, they hit on their Burgh connection, and it all flowed from that. The CD represents not only good music, but Woods personal journey into the blues. A nice story.

Blues blast magazine

Tim Woods has 25 years of experience in the blues. A session in June 2005 with David “Honey Boy” Edwards, Homesick James, Sam Lay and Pinetop Perkins inspired Tim to the point of recording with these greats. “The Blues Sessions” was hence recorded over a six-month period in studios in Clarksdale, Atlanta and Chicago. Featured on the CD alphabetically are: Allen Batts, Joe Craven, David “Honey Boy” Edwards, Michael Frank, Shannon Hoover, Big Jack Johnson, Aaron Moore, Eric Noden, John Primer, Bobby Lee Rodgers, Jeff Sipe, Kenny “Beedy Eyes” Smith, Ike Stubblefield, Bob Stroger, Lee Williams and Terry “Big T” Williams. Four Willie Dixon cuts, three Honey Boy Edwards tracks, and one each from Howlin’ Wolf, Roosevelt Sykes, Big Jack Johnson, himself and an un-authored traditional number comprise the dozen tracks presented here. Woods opens with “Deep Ellum Blues”, a beautiful acoustic piece with Noden and Smith supporting him. Folks my age will recognize it as an old folk song covered by the Dead. The interplay of Woods and Noden is a great start to a disc full of Tim’s great work and the blues greats surrounding him. Dixon’s songs like “Do the Do” get great covers here. Primer and Woods guitar work on the this is quite nice while Woods and Big Jack Johnson bend notes together on songs like “Built for Comfort”. Woods and Honey Boy sing and play together on “Bad Whiskey and Cocaine”, “Wind Howlin’ Blues” and “Drop Down Mama”, giving us traditional Delta blues done up like they used to be. The Dixon covers are updated a bit except “Spoonful” where he goes acoustic and traditional sounding; another well done effort with Noden and Smith showing less can be more. This is a nice mix, and he finishes up with an uncredited but apparently original track with some cool organ work by Stubblefield and jumping rock-a-billy guitar work by he and Rogers. A dozen tracks of tight and well done studio tracks showcasing Woods’ two and a half decades of experience and his ability to blend and mix it up with some other talented folks who enjoy playing together and also do it quite well! His acoustic and electric guitar are equally well done and his vocals are all spot on and bluesy. If you like traditional blues from the Delta and Chicago, this album will warm both your heart and your ears quite well! Reviewer Steve Jones is secretary of the Crossroads Blues Society in Rockford. IL.

Blues art studio/ Austria

For over twenty five years Tim has been playing music in one form or another, whether it was with his good friend George Frayne (Commander Cody) or opening for artists such as; Sonny Landreth and Donna Godcheaux (The Grateful Dead). Although, now he resides in Irwin, Pennsylvania; At the age of eighteen Tim moved with his family to Macon, Georgia, not long after settling there he gained a job as a club promoter which enabled him to meet a wide variety of musicians and singers and during his time in Macon and his subsequent further travels into the south he gained a greater understanding of the music and the people that played it. In June two thousand and five he was fortunate enough to meet David ”Honeyboy” Edwards; Homesick James, Sam Lay and Pine top Perkins and after spending a musical evening with these living legends a friendship was born and Tim was inspired enough to seek out the right locations, the right time and most importantly the right players to create a lasting tribute to all those great players that have gone before him. Between the years two thousand and two and two thousand and nine Tim played in the Mountain Jam Band but, after the break up of the band due to the unfortunate death of a band member Tim became able to follow his dream. So, after six months of travelling on the road; recording in Atlanta, Chicago, Clarksdale and Savannah. Tim; vocals and guitar, has with David “Honeyboy” Edwards; vocals and guitar, Allen Batts and Aaron Moore; piano, Joe Craven; violin, Michael Frank; harmonica, Big Jack Johnson; Eric Noden; John Primer and Bobby Lee Rodgers; guitars, Bob Stroger; Terry “Big-T” Williams and Shannon Hoover; bass, Ike Stubblefield; Hammond B3, Jeff Sipe; Kenny ”Beedy Eyes” Smith and Lee Williams; drums, Created together with these fine musicians a stunningly crisp and fresh collection of old classics, such as the grippingly fast moving footapper “Spoonful” and the slowburning, almost remorseful “Bad Whiskey and Cocaine,” to irresistibly grooving instrumentals as “Howlin Wind Blues” and “Clarksdale boogie.” In fact all twelve of these classic and not so classic numbers have been revitalised and re-invigorated by Tim; not for a new hip audience but because they deserve a ‘dusting off ‘ and with a fresh approach we can again enjoy them for the fine, fine songs they in fact are. Recorded by, artists that have an appreciation and understanding of the music’s longevity. Thoroughly enjoyable! Brian Harman.

Blues Bytes and Satellite times/ spain

This is the debut album for a very talented musician – so talented, in fact, that he has attracted a host of guest musicians to his project. How about Dave Honeyboy Edwards, Big Jack Johnson, John Primer, & Bob Stroger, to name but a few? The album was recorded during a six month tour of studios in Clarksdale, Atlanta and Chicago, and it includes one track – “Wind Howling Blues” – that has, apparently, not been recorded since 1942. The album is dedicated to the musicians that Woods respects and musicians who have influenced him, and so all twelve tracks on the albums are covers – this is no criticism of what is a fine CD. In fact, it’s much more than just fine, it is an excellent album. The CD opens with an old traditional blues (one I hadn’t heard before) called “Deep Ellum Blues” performed by a trio of Tim Woods on vocals and acoustic guitar, with Eric Noden on second acoustic guitar and Kenny Smith on drums – I knew I was going to like this CD within 30 seconds of this track starting. A Willy Dixon track follows, “Do The Do” – electric guitar this time, with John Primer providing second guitar and Aaron Moore on piano. Bob Stroger and Kenny Smith are on bass and drums respectively. This is one of the best versions of this particular track that I’ve heard. “Castle Rock Boogie” keeps the tempo going, with a bit of fun thrown in from Aaron Moore on piano again, and there’s another boogie a little later, the “Clarksdale Boogie” which is even better! It has Alan Bates on keyboards, Big Jack Johnson on guitar (he wrote it), and the rhythm section of Terry Big T Williams on bass and Lee Williams on drums. In between there’s a fantastic version of Willy Dixon’s “Spoonful” (a trio of two guitars and drums) and a Honeyboy Edwards track “Bad Whiskey & Cocaine”. Honeyboy takes the vocals on his own song “Wind Howling Blues”, and he makes it very special indeed, with Tim Woods, Eric Noden and Kenny Smith backing him up. Honeyboy takes vocals later on another of his songs, “Drop Down Mama” with Woods & Noden on guitar and harmonica – lovely stuff! There’s also excellent versions of Willy Dixon’s “Built For Comfort” and “It Don’t Make Sense You Can’t Make Peace”, Howling Wolf’s “Who’s Been Talking”, before the album winds up with a very up tempo jazzy blues “World Comes Tumbling Down”. This is definitely one of the best CDs that I’ve reviewed this year so far! Terry Clear

Nashville blues society

Tim Woods has been a staple of the southwestern Pennsylvania blues scene, playing guitar for more than 25 years. Also, as a young man working in Macon, GA, as a club promoter, he booked and worked closely with a number of national acts, thus forging lifelong friendships with many of the biggest names in the blues. Those friendships are the listeners' reward as Tim joines forces with many of these titans to create "The Blues Sessions," for Earwig Records. It was recorded in Atlanta, Chicago, and Clarksdale, with well-known names in attendance throughout. The set consists of twelve choice covers that span the early days of the Delta masters up through the postwar, amplified era. Of particular note, and one that can be easily heard upon first listen, is Tim's unique playing style, where he plays and picks with his thumb, allowing him to play both lead and rhythm. He kicks things off with an acoustic offering of the traditional "Deep Ellum Blues," which also featuures Willie Smith's son, Kenny "Beedy Eyes" Smith, on drums. Pianist Aaron Moore and another Muddy alumnus, guitarist John Primer, spice up the Howlin' Wolf chestnut, "Do The Do." Big Jack Johnson joins Tim and adds a hill country touch to "Built For Comfort," and the classic tale of a man who lost his lover and admits himself to be "the causin' of it all," "Who's Been Talkin." Organ from Ike Stubblefield, violin from Joe Craven, and guitar from Bobby Lee Rodgers give a psychedelic feel to "It Don't Make Sense You Can't Make Peace," and the set-closing "World Come Tumblin' Down." And now, for our favorites. Big Jack and Tim once again trade red-hot licks on a "can you top this" instrumental entitled "Clarksdale Boogie." And, the venerable David "Honeyboy" Edwards takes lead vocal and guitar on "Bad Whiskey & Cocaine," then duets with Tim on one of his own songs that has not been recorded since 1942, "Wind Howlin' Blues." Earwig founder Michael Frank adds the perfect touch of harp to these cuts, adding to their authenticity from one of the last living links to the legendary Delta greats. For Tim Woods, this set was a labor of love, with a touch of inspiration, dedication, and a little luck mixed in to pull it all together. "The Blues Sessions" is a sweet ride from the South up to Chicago, from a brilliant guitarist! Until next time....Sheryl and Don Crow.


This album, The Blues Sessions was recorded in Chicago, Atlanta and Clarksdaleu recorded by the guitarist and musician Tim Woods and published by the Earwig Music Company 18th May 2010. year. To me this album came thanks to the kindness Betsie Brown of the promoter of the house Raccoon Blind. Tim Woods certainly is not an anonymous, in fact he is a musician, a guitarist who plays guitar for more than 25 years. For this inaugural album The Blues Sessions The team decided to collect more than superb team of musicians who are in one way or another contributed significantly to this album is impressive ambience to the songs in the song that complete feeling grows more and more becoming a part of us themselves. Tim Woods has decided to select some of the most famous blues songs with carefully chosen musicians decided to record this album. Here's what the team says: "My love and respect of the great music called the 'blues' has been depened by my experiences. Blessed with good fortune of meeting and playing with the musicians on this album, I'm more humbled and inspired than ever. The Blues will forever be cemented in my heart and soul. " Here's who these musicians: Allen Batts-piano (worked with Freddie Robinson, Freddie King, Major Lance, Harold Burrageom, Eddyjem Clearwater and Albert Collins); Joe Craven-violin and percussion (worked with David Grisman Quintet, Stephane Grappelli, Jerry Garica and TomWaitsom); David 'Honeyboy' Edwards - Guitar & vocals - a living blues legend, the owner of numerous and various awards and blues owner of two Grammy Awards; Michael Frank - harmonica, producer and owner of Earwig Music Company (working with David 'Honeyboy' Edwards since 1973. And later he became manager. Harmonica played on albums by Louisiana Red and Les Copelenda what you read on this site). Michael in 2008. received the prestigious Keeping The Blues Alive Awards for Artist Menagment. Shannon Hoover-bass (radio Fourchestra Jonathan Scales, Bobby Lee Rodgers and Jeff Sipe) Big Jack Johnson - guitar Aaron Moore - piano legend boogie - woogie piano style. Eric Noden - guitar, harmonica, vocals (performed in Croatia) John Primer - guitar (played with Willie Dixon, Muddy Waters, Magic Slim and The Teardrops his.) Bobby Lee Rodgers - Guitar Jeff Sipe - drums (played with Phil Lesh & Friends and Jimmy Herring) Kenny 'Beedy Eyes' Smith - drums (son of the legendary Willie 'Big Eyes' Smith played with Pinetop Perkins, Homesick James, Billy Boy Arfnoldom, Henry Townsend, Jr. Wells, and Jimmy Rodgers) Bob Stroger - bass (legendary bluezer, played with Otis Ruch, Jimmy Rodgers, Sunnyland Slim, Pinetop Perkins and Willie 'Big Eyes' Smith Ike Strubblefield - Hammond B3 played with BBKing, Eric Clapton, Rod Stewart, George Benson, Jim Capaldi, Quincy Jones, Jerry Garcia and Marvin Gaye Lee Williams - drums (playing them anymore since 30 years) Terry 'Big T' Williams - bass guitar is one of the 'young and new' snage.Glavni mentor was his legendary blues teacher Johnnie Billington. But only on this information, we can conclude that it is extremely stable quality album, full of exquisite blues tones and luxurious atmosphere. Certainly here I want to point out the following songs: Do the do, Castle Rock Boogie, Bad Whiskey & Cocaine (plays and sings devedesetpetogodišnji David'Honeyboy 'Edwards), Spoonful, Clarksdale Boogie (not taken from the back 1942nd year), Wind Howlin' Blues , expressive It Do not Make Sense You Can not Make Peace, and Built for Comfort and Who's Been Talkin '. What is certainly worth mentioning is that every song on the way a little jewel that one by one to make an amazing low composed of the gems that will for a long, long time light to time many coming blues musicians. In 57 minutes and 56 seconds listening to the best recordings of different approaches to certain blues standards, which in one way or show why these musicians are so simple, relaxed and full of will and desire to bring us all together this incredible 'blues mojo. Finally here is an exceptional musicians, the blues legends who are in a relaxed atmosphere and humor to capture a true masterpiece - a work. RECOMMENDATION: The Blues Sessions album is just that, incredible and permanent 'jamming' Tim Woods and great musician, true blues master. They are important factors of this brilliant album which together easily exchanged and complement its undeniable and powerful blues feelling and atmosphere. Their experience, musical sensitivity and virtuosity significantly contributed to the album sounds so that sounds, full sound, plenty of blue notes and shiny Bluish Nebula, which we first arose in the heavens, and then you go down around the legs and then you simply encircle and take. I do not think, but just listen and enjoy! More about everything you can learn to:

Western pa blues society newsletter

Make no mistake about it; this is a blues record! Tim Woods went on a personal journey and discovered the deep satisfaction of meeting and recording with some of America’s best living purveyors of the genre. He writes in the liner notes that, “When I began this project, I had no idea what I would end up with….” What Woods has captured is a blues record that is not about recreating or writing original songs so much as it is all about reinterpreting some of the classics, with a heavy emphasis on the songwriting of Willie Dixon, particularly those recorded by Howlin’ Wolf. Where Woods scores big, is on his interpretation of these classics as he breathes new life into the compositions and includes a variety of respected pros such as Honeyboy Edwards, John Primer, Bob Stroger, and Big Jack Johnson, to name a few. Michael Frank’s Earwig label can be satisfied and proud in that Woods took the time, and had the foresight to seek out these artists and create these inspiring interpretations of fresh new versions of the songs. The guitar playing is clean and crisp throughout. The songs include full ensembles as well as the acoustic gems of the Honeyboy Edwards driven tracks, of which there are three. These alone are worth the price of admission as Woods trades guitar and vocals with Honeyboy in a sympathetic and respectful manner backed by the accompaniment of Franks and Eric Noden on the Mississippi saxophone. Woods brings a fresh read to these timeless songs that any blues lover would relish. After a successful CD Release show at Memphis’ Rum Boogie Cafe, Woods is back in Irwin, PA where you can find him at ~ Jimmy Adler

Midwest record

TIM WOODS/The Blues Sessions: A white boy with the blues that has an affection for Willie Dixon comes with a sound that would have been at home on the roots music portion of the Andy Griffith Show. Rollicking, easy and sneaking peaks at the underlying fire within, Woods knows his way around a blues studio and a blues festival and he delivers just what you'd want to find at the roadhouse at the edge of a college town in the Midwest where kids that know how to boogie still like to kick out the jams well into the weekend night. Fun stuff. by Chris Spector

Folk and Acoustic music exchange

Right from the start, it's more than obvious that Tim Woods loves playing the blues. There's such an exuberance and joy here that one is almost taken aback: should anyone that deeply into such a purposely depressing style be so damn happy about it? Well, yes, and that's what puts a unique stamp on him. Combining a snappy sense of tempo with a folk looseness and just the right amount of knowing blues slop, this human bear rocks, trots, swings, and boogies all the way through The Blues Sessions. Recruiting 16 savvy musicians—some well-known (Honeyboy Edwards, Ike Stubblefield, etc.), some not, but all very good—Woods put together a project he'd sweated over for years, and the result is rather glorious. The engineers were careful to preserve a neighborhood tavern element in the recording, and each cut sounds live (probably was! but sans audience) and richly atmospheric, not neoprene and glossy. In each song, everyone lets his hair down and gets to business, setting up driving rhythms and solid solos. Then there are the backporch numbers like Edwards' Bad Whiskey & Cocaine, raw as an oyster dug straight from the sand and steaming with swamp balm, Honeyboy himself singing and playing while Michael Frank provides a wailing harp just before Woods ducks in on secondary vocals, keeping perfect resonance. There are a lot of classics here: Spoonful, Who's Been Talkin', and one of my all-time faves: Willie Dixon's Do the Do. All are rendered with the gusto and guts associated with the 60s and 70s marriage of Chicago and dirty white boy blues styles. The jams, especially the instrumental Clarksdale Boogie, are pure heaven. Woods knows his stuff through and through and toured with Sonny Landreth, Donna Godchaux, Commander Cody, and others. It's that last name I see as most appropriate, as there's a fundamental swing to Woods' music that finds a warm kindredness with the Commander's work, though Woods is a good deal more downright drenched in out and out blues, while the good Commander is more the Asleep at the Wheel type. by Mark S. Tucker

Blues underground network/ Canada

Simply The Blues, Done Simply, was perhaps all it was meant to be and with Tim Woods release, "The Blues Sessions", we now understand, more than ever, just what that means and what that sounds like. When you try to be to fancy to make a point, that is when you may of just missed the point. Tim Woods, I believe, has always known that and has worked long and hard over his now 25+ years blues journey to offer more authenticity to his sound, then theatrics. One of the ways Woods' achieves this authenticity is simply by the way he plays his guitar and that is by way of also picking with his thumb which of course, like the greats of the past, allows one to play both lead and rhythm. You might say that "The Blues Sessions" was an Album 25 years in the making and you may just be right, especially considering that this is, after all, Woods' Debut Release and what a release it is, considering many of today's Blues Legends were more than willing to be guest artists. In fact their were at least 16 Artists more than willing to join Woods' on his amazing 6 month journey thru Clarksdale, Atlanta, and Chicago and all accomplished via recording the Album in no less than 4 studios, along the way. Artists such as David 'Honeyboy' Edwards, Jack Johnson, John Primer, and Kenny ‘Beedy Eyes’ Smith to name just a few, make the odyssey that is "The Blues Sessions", as special and unique as any Blues Artists could ask for. "The Blues Sessions" consists of 12 Tracks and offers us a Dream Team Mix Of The Blues, with 11 Covers that stick pretty close to their Original Sound and 1 Original at the end, called, “World Comes Tumblin’ Down", closing out the Album in fine Tim Woods style. "The Blues Sessions" is a Album that defines a moment when the blues was the blues and it also defines an artist, namely Tim Woods, whom not only understands the true blues, but he is also one whom is more than able to relay that magic to all of us. This Album shows us the uniqueness of an Artist whom is willing to wait for something really special before making a commitment to share it with his audience, and in doing so has created, I think, a little bit of a very enduring blues masterpiece. "The Blues Sessions" gets my 5***** Rating with absolutely no problem at all... This is an exceptional Album and a must have for any lover of Simply The Blues, Done Simply. Review By John Vermilyea (Blues Underground Network)

Jazz Quad/Russia

The debut album by American guitarist and singer Tim Woods could be called the research work of musicologist - folklorist, if he had not taken an active part in the recordings made by him in different parts of the U.S. Midwest and South. And the name of his project, he gave as a real scientist - the humble and completely accurate: "Blues session. In Chicago, Atlanta, Savannah and Clarksdale, Miss., Tim played the Chicago blues, boogie, blues of the Delta with the veterans living in the blues for thirty, forty or more years. The most colorful figure of his partners was undoubtedly Honeybee David Edwards, who made his first record in the far 1942 (!) Year. Repertoire Records - classics of the genre: songs of Willie Dixon, the same Haniboya, including his famous blues hit Bad Whiskey & Cocaine, as well as other veterans, Big Jack Johnson of Clarksdale with his signature Clarksdale Boogie. Only the final track, Tim put his own track World Comes Tumblin 'Down, perfectly blended into the program. Not surprisingly, since Tim Woods and myself playing the blues for 25 years. In the records of The Blues Sessions, he demonstrated his unusual technique of playing the guitar with his thumb, allowing him to simultaneously lead and solos, and rhythm. But particularly I would point out his vocals, just perfect for the blues. Place the microphone and the party solo guitar Woods conceded only three tracks - but not to anyone but himself Honeybee, solo in her own songs. In Bad Whiskey & Cocaine can be detected among musicians and a permanent manager Haniboya, but at the same time Earwig Records boss Michael Frank. Together with Frank Woods and produced this interesting project. I can not fail to note that in the booklet to the album, Tim took most of the space is to his colleagues at the sessions, thereby veterans, each of which he found warm and sincere words of respect. Very nice in all respects the draft - and really blues! Leonid AUSKERN

Deluxe music blog/ Brazil

Classic! This cd was not released and may well be on the list of great albums with names like Muddy Waters, Howling Wolf etc. Tim Woods has invited a team of jaw-dropping, but his guitar and voice that makes this work something really wonderful. Even when interpreting or Built For Comfort Spoonful Willie Dixon, Tim does it as if it were one of his originals. The compositions are very well excutadasdemaneiraque an unwary listener may think you are quietly faced with new material. Tim Woods has good technique and a remarkable voice. Guitarist certainly owes nothing to established names like Duane Allman, Eric Clapton or Peter Green. The Blues Sessions is sure the money well spent a pleasant hearing. by Deluxe music blog/Brazil

Downbeat Magazine