When Randall Bramblett, guitar ace Geoff Achison and the percussion section for the Derek Trucks Band – Yonrico Scott and Todd Smallie – played Atlanta recently, here’s what one critic said: “Incendiary. That's the word. BURNIN' HOT. This was a genius lineup, a perfect group. … (Their show) was a blues, jazz, rock, kick-the-genres-to-the-curb-and-play-amazing music concert. If you EVER have a chance to see ANY of these musicians, you owe it to yourself to go.” Achison, voted one of the Top 10 Hottest New Guitarists by Guitar Player magazine, hails from Australia, though his Outback mojo includes New Orleans funk, driving blues and jazzy soul. Bramblett, a multitalented songwriter who also plays sax and keys, has worked with Chuck Leavell and is on speed dial of some of rock’s biggest names, including Steve Winwood, Levon Helm and Bonnie Raitt. As for Scott and Smallie, the engine that thumps DTB, those two need no introduction – they’ve been here. But you’ve never done THIS.

Nothing goes together quite like Metal and the Upstate – unless you’re talking about moonshine and peaches or Jager and PBR. That’s why this four-band bill will Light You Up. Spartanburg’s Whiskey Mountain Machine picks up where the great Southern rock legends left off, and twists more metal-rock into the mix. With a growling sound and guitar assault, the quartet, which already has garnered more than 65,000 myspace visitors, has a Synyrd-Tucker-38 Special feel sparked with a Corrosion of Conformity-Pantera urgency. Six and Twenty (formerly Threshold), who just opened for Nonpoint, unleashes driving grooves, vocals that soar and punish, shifting time signatures and speeds, and a progressive atmospheric sense. Insidious Demise, a longtime Handlebar staple, rocks to the stellar vocals of David Meredith, who’s been accompanying some of metal’s greats lately. And Meat Curtain’s a death-metal trio that’s been gettin’ it done from Spartanburg to Columbia and beyond.

From Cream to Grand Funk Railroad and from Rush to Green Day, the power trio's role in rock has been to keep the music stripped down, raw ... real. That's Leslie. The Charleston band takes cues from guitar-driven heroes (Led Zeppelin, Hendrix, The Who), and from the blues they soaked up living in a Memphis trailer park. Now the band has finished a CD with the producer behind 3 Doors Down and Saliva, and they've shared stages with American Bang, Jason Isbell, Shooter Jennings and others. Crowfield's one of those bands we’ve come to love and adopt, the way we did Eddie From Ohio 16 years ago. Led by the silken/golden vocals of Tyler Mechem, Crowfield makes inspired acoustic pop-rock. A band on the edge of stardom, the super-tight outfit already has opened for Needtobreathe, Darius Rucker, Cracker, Rusted Root, Corey Smith and more.

It shouldn’t come as any great surprise that we get a startling number of calls from folks who want to bring their teen-aged (and sometimes younger) children to see ZOSO - The Ultimate Led Zeppelin Experience. After all, what better way to share one of rock’s most legendary bands -- along with your (likely sanitized!) memories of those halcyon days -- than with a band that critics fall all over themselves calling the gold standard of Led: "The most exacting of the Zeppelin tribute bands in existence” (St. Petersburg Times); "head and shoulders above all other Zeppelin tributes," (Los Angeles Times); and the "closest to the original of any tribute" (Chicago Sun-Times). ZOSO’s concise portrayal of Plant, Page, Bonham and Jones brings sold-out crowds every time, singing word for word some of the most enduring tunes ever recorded.

Nine bands and artists from the Upstate come together for Corey James, one of the talented trio that made up the rock band Krooked Blaze. (Corey recently lost his life in a skateboarding accident.) KB had opened at The Handlebar for ZOSO, among others, showcasing technical talent that included zingy time switches and high-octane tunes; we saw them first at a Gorilla Productions show here. Now, Gorilla presents: Funky White Monkey; Two Days In February; The Cajun Fortune Teller Rebellion; Fortunate Sons; Highway 29; Leslie Berry; Red Herring; Frederick Ingram; and Redd Wyne -- all in a musical memorial to one of their own.

“For Crying Out Loud,” it’s Miller time. Scott Miller, the edgy, rough-hewn, self-described redneck troubadour returns, this time solo/acoustic, showcasing his brainy and defiant lyrics and toe-tappin’ melodies. Having built a solid fan base through his bands, The V-Roys, then his backup troupe, The Commonwealth, the Knoxville, Tenn., just released his ninth album, “For Crying Out Loud,” which debuted at No. 37 on the Americana charts, then landed at No. 5, a perch held by Bob Dylan, Steve Earle and the Flatlanders. He’s been keeping good company at shows, too: In January, he performed alongside Patty Griffin and Jack Ingram; Patty also appears on his record. Of the scrappy songwriter, No Depression says: “Probably too smart by half for his own damn good, Scott Miller straddles the cerebral and the visceral.” Adds the Washington Post says Scott has “a voice gruff enough to suit the music he loves and a personality lighthearted enough to keep the performances from dragging.”

Jay Clifford may be as impressive for what he does OFFstage for all the talent and prowess he displays ONstage. The former Jump, Little Children frontman co-wrote five songs recorded on Howie Day’s debut album; Jay also traveled to London for the entire recording session of Howie’s “Stop All The World Now.” Jay also has co-written songs with Sean Lennon, Robert Randolph, Mandi Perkins and Peter of Peter, Bjorn and John. Missy Higgins’s single, “Ten Days,” has the Clifford imprimatur on it. Onstage, the gifted songwriter becomes a performer, owning, the Charleston City Paper says, “one of rock’s supreme voices: a silky-smooth, soulful tenor that never sounds forced or ugly. He can belt it out at need (even un-mike’d), but there's none of that gravelly bellowing that often passes for pop singing.” In short, Jay’s a sophisticated singer/songwriter. Even Elton John contacted Jump to tell the band how much he admired the Top 10 single, “Cathedrals.”) And Zach Braff’s a big fan, too.

Before Bela Fleck and Steve Martin got their hands on it, the banjo was an African instrument that came to America on slave slips. “Expect one part history lesson,” says the Philadephia Inquirer of the Carolina Chocolate Drops, “and three parts hoedown.” Rising to the ranks of the Avett Brothers, Dave Rawlings Machine and other current and former Handlebar luminaries who have earned Americana Music Award prizes and nominations, the Chocolate Drops are becoming an acoustic/bluegrass/old-time music force that requires recognition; after all, just how many all-black North Carolina musicians can get away with naming their latest album “Genuine Negro Jig.” They’ve opened for Taj Mahal; appeared in a Denzel Washington film, on Prairie Home Companion and at the Grand Ole Opry; and have earned rave reviews. Rolling Stone describes the band’s style as “dirt-floor-dance electricity” -- the kind of genuine, real, raw American music that takes from history . . . and makes it.

They - whoever “they” are - say you can’t judge a book by its cover. Take just one look at that photo there of The Gourds, the slaphappy Austin band, and ask yourself: Doesn’t this scruffy outfit of road-punched Texans look an awful lot to you like the village that raised bands like the Avett Bros., Chatham County Line, Hackensaw Boys, Hoots & Hellmouth? From the same well that gave life to NRBQ and Brave Combo springs the troupe of adventuresome acoustic/electric rockers, and they’ve just released Haymaker!, their 12th album since 1997; the record has already landed on Billboard’s Top 20 Heatseekers chart. “The exclamation point in the title of the Gourds' latest album doesn't lie,” exclaims Pitchfork. The Gourds play an “emphatic, exclamatory amalgam of Americana styles, ambling through pre-rock country, bluegrass, rockabilly and Western swing.” All in a live show that’ll have you hootin’, scootin’ and bootin’. If you want original, danceable, alt-country jam, go to the … roots.

At age 19, he went on a world tour with Boz Scaggs. For the next three decades, Michael Landau went about making music history. The blues-rock-pop-jazz guitar whiz has recorded with, backed up and toured alongside, just to name a very few, Pink Floyd, Miles Davis, Joni Mitchell, Linda Ronstadt, B.B. King, James Taylor, Ray Charles and Rod Stewart. He has appeared on more than 700 albums, including soundtracks. Which means you HAVE heard Michael Landau -- that is, if you have ever listened to any recorded music. Now, here's a chance to watch the chopmeister at work. After all, we all love our guitar heroes, seeing their pyrotechnics. Landau's an expressive, jazzy, brilliant player. a Renaissance man of modern music, a chameleon or a sunburst. Catch three decades of guitar wizardry, in and out of the spotlight, at The Handlebar, a close-up and personal opportunity to see how Music Is Made. All for the price of a movie.

Sultry, vulnerable, playful, candid and strong as a country star’s supposed to be, Terri Clark has fold more than 4 million albums and nearly a dozen Top 10 hits, including “I Just Wanna Be Mad,” “You’re Easy on the Eyes,” “When Boy Meets Girl,” “I Wanna Do It All,” “Poor Poor Pitiful Me,” “Girls Lie Too” and her first hit, “Better Things To Do.” Terri’s a traditionalist, one of those rare female artists who hews to the way country music used to be (and should be) and yet still makes her mark in the world of Big Hat Country. She’s toured with Brooks & Dunn, Reba McEntire and George Strait. A native of Alberta, Canada, she’s also the first Canadian woman inducted into the Grand Ol’ Opry. We don’t put on a lot of country shows (mostly “alt-country”) but the hard-charging, dynamic, take-no-prisoners performer, whom Canadians voted seven times as Country Music Association Entertainer of the Year, is just too good to pass up.

A deliberately independent jam band before anyone actually knew what a jam band (or even “indie”) was, Jupiter Coyote has morphed from a frat-rock fave to a Southern-rock institution. Through their 20-year history, the band that got its start in Brevard, N.C., has played more than 4,000 shows, sold nearly a half-million CDs and tends of thousands of downloads, toured everywhere and built a fan base as solid as their shows are wide-ranging and unpredictable. JC has shared stages with The Allman Bros., Dave Matthews Band, Widespread Panic, String Cheese Incident and The Radiators, to name a few. They’ve performed festivals from coast-to-coast, including: High Sierra Music Fest in California, Charlotte's Center City Fest, Atlanta's Mid-Town, Asheville's Bele Chere and The Magnolia Fest in Live Oak, Fla. Prolific and consistent, Jupiter Coyote excels at their very own genre: “mountain rock,” a steamy, heady blend of Southern Appalachian boogie, bluegrass-infused, funk-rock.

FACELESS ENEMY headlines a showcase of Upstate and regional talent that also features FALLEN BRETHREN, CHASING EDEN, DIVULGENCE, X-MAS, BLOODCAM, TASTING VERENA and SUFFER CONTENT. The Shell Agency, a spinoff of the ever-popular, always-packed Gorilla Productions events, promises a long day - from late afternoon well into the evening - of the best rock, hard-rock and neo-metal the area has to offer.

Six-time Grammy Award-winning saxophone innovator David Sanborn returns to The Handlebar, this time with his latest (and 24th) album, Only Everything; a world-class band, including Joey DeFrancesco (keyboards); and enough history to fill a jazz-rock encyclopedia. The Tampa native-turned-Missourian started alongside blues greats Albert Collins and Ray Charles; performed with Paul Butterfield at Woodstock; and has recorded with everyone from David Bowie to James Brown, from Bruce Springsteen to Steely Dan and from Billy Joel to Bryan Ferry. He has appeared regularly on David Letterman, composed film scores (Lethal Weapon) and even has ringtones with Derek Trucks and Eric Clapton. One of the most influential saxophonists of the last 20 years, he returns to his roots on his new Phil Ramone-produced album, where he’s also joined by James Taylor on Joss Stone. We’re honored, thrilled and tickled beyond words that this towering talent returns to our little listening room.

“Rainbow bands,” as they’re known in the biz -- a patchwork of veteran musicians who create a new band from their often-multiplatinum blockbuster groups - can be dicey. Plus, you’ve heard all about a band’s “influences”; plenty take their cues from ’90s hit-makers, as well as rock’s durable classics. Gracious Few is more than just a “rainbow band.” Members of LIVE and Candlebox have just released their first record, Honest Man, in anticipation of a heavy summer tour and world tour. The band features: LIVE bassist Patrick Dahlheimer; drummer Chad Gracey; and guitarist/songwriter Chad Taylor, along with Candlebox’s frontman Kevin Martin and sideman Sean Hennesy. With Jerry Harrison (Talking Heads) producing your CD, you’ve got a band every bit as powerful as the older ones. GF feels strikingly like LIVE and Candlebox, with touches of Zeppelin and the Black Crowes -- guitar-heavy, no-frills rock backing Martin’s acrobatic vocals.

Modern Relic, among the more supple of the Upstate's cover bands, turns this time to Van Halen and Ozzy Osbourne for a hard-rockin' tribute show that's sure to appeal to Diamond Dave and Ozfest fans alike. For less than the cost of a movie ticket, Modern Relic performs the hits from both bands in a marathon classic-rock bash that will get you on your feet and screaming all the words to all the songs. Known best for their facile interpretations of Led Zeppelin, Modern Relic has sharpened - and for this double-barreled tribute, hardened - their sound ... and they're looking forward to doing what they do best: packing the place out with fans dancing to long-time favorite tunes.

Island-infused ninja soul. That’s Zach Deputy, a one-man collision of Keller Williams and Leftover Salmon in flip-flops, a big ol’ teddy bear of back-beat soul ‘n’ riddim, part Calpyso and dancehall, part hip-hop and rock-steady, part Motown and all roots music. Zach’s roots are in Puerto Rico and St. Croix, hence the crystal-blue-water vibe, but he hails these days from the South Carolina coast; he plays upwards of 300 shows a year, gathering fans with his solo, often duo dance-party guitar-shredding and soul-filled voice that can fly through four-plus octaves. Zach’s instrumental and vocal talents add to a charisma that gets his audiences on their feet and fills the room. Opening for Zach this time around is Big Daddy Love, an Appalachian-rock outfit that’s a WNCW favorite. Four-part harmonies, whose singers exploit the talents of two songwriters, unwind energetic roots-rock drizzled with bluegrass chops.

Even before we booked Drew Holcomb & The Neighbors, a Handlefan emailed: “Drew is so very talented in his songwriting and music. (Drew’s wife) Ellie is awesome … a voice like an angel, and then she can bring the house down with her rock! We hear a little Springsteen, a little Robert Earl, a little Dylan even.” Not what you’d expect from a Nashville band. But Drew’s originally from Memphis, so he mixes blues with Americana/folk to make rollicking, danceable, sing-along-able roots rock. “Drew’s mild, husky tenor and Ellie’s delicate soprano lead Holcomb’s band through charming hunks of country rock and soaring ballads with a pleasing pinch of alt-country grit,” the Nashville Tennessean says. “Their delicate interplay helps set the band apart from so many similarly veined local peers, and illuminates the quality of their no-frills rock.” Opener Ben Rector’s 2010 release, Into The Morning, peaked at No. 5 on the iTunes pop chart. He has toured with Dave Barnes and Five For Fighting.

The punk/folk/soul/hardcore pioneer whom Slant magazine calls “one of indie's most prolific and continually passionate treasures” has, along with his longtime band, The Pharmacists, has just delivered his fifth album since 2003’s masterpiece, Hearts of Oak. The new CD, The Brutalist Bricks, which hit No. 2 on Billboard’s Heatseekers chart, has been hailed as the “finest record from one of the greats” (Pitchfork). Leo, a denizen of New York’s late-’80s hardcore scene, built his reputation on songwriting “as infectious and calculated as that of Brit rock legends the Kinds, yet the rhythms remained fueled by the the anthemic energy reminiscent of bands like the Who and the Clash” (allmusic.com). From Coachella to Bonnaroo and headlining dates everywhere in between – and beyond – Ted Leo and The Pharmacists (often referred to as TL/Rx) has been a longtime hero of the Upstate’s indie set, who’ve been looking forward to a Handlebar show for years.

Zebra Ranch, the acclaimed new release from Hill Country Revue, takes its title from the recording studio that Cody Dickenson’s parents own. You know Cody from the band he launched with his brother, Luther, North Mississippi Allstars. And you know their dad, Jim, who had, until his passing, was one of the most influential music producers in the business. And Cody says the new album not only celebrates that, but makes a statement: “This album is a yell of rock ‘n’ roll rebellion,” he says. It’s the band’s “ ‘we-have-arrived’ kind of party.” Drenched in the Southern rock and blues of north Mississippi, the band is hitting the road, like their no-fuss, no-muss hot-dusty music, hard. Between playing at The Handlebar and headlining other venues, HCR tours with Robert Randolph & The Family Band, Tea Leaf Green and others. They are, Cody says, creating their niche, owning it--then spreading it like a Hill Country wild fire.

It’s a Friday night in October, and you’ve got the pre-winter blues. But before it gets as cold as Siberia, why not have one last fall blowout with some from-Russia-with-love rockenrol that has been lighting a fire under Handlebar crowds for years! It’s gonna be a night of loud guitars, louder suits, goofy accents and tunes so catchy you’ll have to send them to the gulag to get them out of your head. Igor and the boys are incapable of a bad show, and it’ll be impossible to keep the smile off your face (or the sweat off your brow) as they chug through sure-fire crowd pleasers like “Rocketman (Be Bop A Lula),” “I Wanna See You Bellydance,” “Closet Disco Dancer” and the immortal “Drinking With Jesus.” So come on out an be social(ist) at this big Bolshevik blowout! Are you excited? Because Igor is, too!

Among the joys of The Handlebar is discovering artists who are in it for the long run, for the art, those who play for the love, not the money and perform because they HAVE to. Those are the artists who bring the passion that generates sweat, fans and a solid career. Meet Will Hoge. The first time we saw Will, we thought we had entered a Tent Revival Séance, where a younger version of Bruce Springsteen was picking up where the Boss left off, singing new-fashioned rock ‘n’ rollickers about bad luck, bad politics, bad whiskey, bad women. Will’s come into his own lately, with more soul, a little more funk, more maturity and conviction -- and that same passion. The formula’s working. Will joined an all-star lineup at Nashville’s Ryman Auditorium for a televised flood-relief benefit that featured CeCe Winans, Kellie Pickler, Brad Paisley, Lady Antebellum, Keith Urban, Martina McBride and Keb’ Mo’. Will tore it up, with his earnest and meteoric voice, driving guitar and heartfelt tunes.

The question is this: What in sweet Southern Culture, exactly, is Unknown Hinson? Carnival sideshow freak? Rockabilly vampire with a pure-country heart? Squidbilly patriarch? The hottest guitarist since Hendrix went upstairs to meet the Big Man? Solid-gold composer of timeless trash-rock classics like “Peace, Love & Hard Liquor” and “Fish Camp Woman?” Rockabilly demon preacher? A singular musical visionary from so far in the murky Southern backwoods that he makes Rick Miller look like Rick Springfield? The best possible excuse you could ever need to celebrate Helloween a few days early? The answer to all those questions, friends, is “Yes.” Costumes encouraged - even if that's what you normally wear.

Folk. Indie. Soul. Alt-country. Even blues. Langhorne Slim’s gone from tripped-out Americana to a more mature sound that Paste magazine says “places him in the league of contemporaries like Josh Ritter, Conor Oberst and the Avett Brothers.” Some stout company for the Pennsylvania native who moved to Brooklyn and now plies tunes that allmusic.com says sounds like a mash-up of the Cramps, early indie Beck and the soundtrack to “O Brother, Where Art Thou?” He’s got the Will Hoge-like energy that turns his live shows into tent-revival tho’downs, and the same scruffiness, to boot - a rakish look that belies the supple voice that’s a bit more raw than, say, Martin Sexton. Danceable, hummable, sing-along-able, Slim’s tunes are reminiscent of early Springsteen, too, with familiar, bouncing melodies that celebrate devil-may-care free-flights into love, life and other acts of human lunacy. “We ain’t goin’ to hell,” he sings, “we’re going to the rebel side of Heaven.”

The three actual Felice brothers and their dice-throwing pal, Christmas, spent their formative years as a band channelling Dylan and The Band, through the prism of their Catskill Mountains earthiness and that underdog earnestness you earn from growing up in the Hudson River Valley. Then something happened. By the time their fifth album, Yonder Is The Clock (a nod to Mark Twain), the band grew up, moved to New York City, played subways, and sharpened their rustic Americana with urban grit. Now, says the BBC, "happily unlike anything to come out of the States in recent years, the five-piece outfit ... boast a distinctively muscular, rough-hewn, dirt-under-the-fingernails sound.” With accordion, guitar, nicotine-ravaged vocals and honing their stagecraft at Bonnaroo, Levon Helm’s Midnight Ramble and the Newport Folk Festival, among tons of other gigs, the Felice Brothers have a diamond in their ramshackle, rough and tumble roots rock.

Either something’s in the water in Texas or something Texas is in the Upstate. Whatever it is, that Lone Star sensibility has tons of fans here. Perhaps that explains why Robert Earl Keen, Guy Clark, Charlie Robison, Jack Ingram, Pat Green and several others have all sold out The Handlebar. Welcome Jason Boland, whose new live album, “High In The Rockies,” takes that raw, rough, boot-strap mentality … and sends it up the charts. The CD was the fourth-highest Billboard Country debut (after Willie, Colt Ford and Merle Haggard), landing at No. 27. It was No. 1 on Billboard’s South Central Heatseekers chart, No. 2 on the national Heatseekers chart, and hit No. 5 on iTunes’ Country Album Sales chart. Critics applaud the Okie-turned-Texan and his band, raving that you can hear touches of Waylon and David Allen Coe. One critic calls the Stragglers’ concert a “reminder that country doesn’t need pop or rock elements to still kick ass.”

The Blue Dogs are as much a Carolina institution as a meat ‘n’ three, sweet tea and good manners. Over 15 years, the band has evolved from a frat-house party machine to full-fledged Brand Name, after 10 albums and thousands of shows. The Blue Dogs (not a brand of rogue Democrat, but the South Carolina musicians) were born out of the friendship of Bobby Houck and Hank Futch, and became known for their robust Americana and bang-up covers of funk and folk tunes (Guy Clark's "Home Grown Tomatoes" and the Commodores' "Brick House"). Their fans include Edwin McCain, Hootie & The Blowfish and die-hard longtime listeners. Tasty, filling, finger-lickin' good--and always great with a cold beer.

Perpetual Groove is rocketing toward the place we love to see bands go -- growing too big for The Handlebar, becoming the stars they deserve to be. Based in Athens, Ga., and formed in Savannah, the quartet unleashes what legions of fans call “trance arena rock” - a funk blend of jazz-rock, neo-psychedelia jam, R&B, electronica, progressive and anthemic, fist-pounding pop rock. Their latest album, LiveLoveDie, was produced by the Grammy Award winner behind Outkast and Speakerboxx, capturing the intense energy of the band’s must-see shows. Speaking of: PGroove, as they’re known, sold out their last show here, leaving a line of disappointed fans outside. Their 2010 tour, which, fortunately, includes the Upstate, will include TWO nights at Atlanta’s famed Variety Playhouse, as well as other major venues up and down the East Coast. Veterans of Bonnaroo, Langerado, High Sierra Music Fest and others, the band never stops touring. We’re thrilled they’re making one of their stops here.

Gentleman rocker Jimmy Herring winds up his fall tour with Widespread Panic with his own show at The Handlebar, returning to our humble listening room. After all, Jimmy's one of the jam/rock/jazz world's finest guitarists, a pyrotechnical wizard who also performs with the Allman Bros., Phil Lesh & Friends, Aquarium Rescue Unit, Col. Bruce Hampton and the zillions of other talented jammers.(Jimmy was also on the short list for the Grateful Dead's tour last summer, but fellow shredder Warren Haynes got the gig instead.) Still, Jimmy, who picked his way onto the scene with Hampton's ARU, has performed with some of the very best -- Derek Trucks, John Popper, Jeff Sipe, Billy Cobham, the Burbridges. Not bad for a Fayetteville, NC, boy who started bending the strings of his first Fender Bronco at 13. Jimmy, it's always a pleasure to have back you in our room.

One of the “Big Three” of the South Carolina music scene of the '90s (along with Hootie & The Blowfish & Edwin McCain), Cravin’ Melon never quite reached the national superstardom of their peers. But their melodic, heartfelt acoustic rock has never gone out of style. Now, Doug Jones, Jimbo Chapman & Co. return the day after Thanksgiving to burn off all that tryptophan, playing the Handlebar stage and the songs that made them one of the Southeast’s favorite acts for more than a decade. It’s like a tall refreshing glass of “Sweet Tea” for your ears!

Three-time Grammy Award-winning legend Delbert McClinton returns with his “breathtaking, hardcore roadhouse rhythm & blues” (Rolling Stone) … and one of the most anticipated artists to appear at - and return to - The Handlebar. The Texas harp phenom, whose first recording, the 1960 cover of Sonny Boy Williamson’s “Wake Up Baby,” has laid down a long career that has included two No. 1 blues albums and songs recorded by industry icons, including Bonnie Raitt, Emmylou Harris, Waylon Jennings, Doug Sahm and more. Plus, his “B Movie Boxcar Blues” was used in the film, The Blues Brothers. A mesmerizing, charismatic and powerful performer, Delbert and his band deliver “smoking, jumping big-band blues and Gospel-rooted ‘60s soul honed to a razor-sharp edge in the Texas juke joints. Jalapeno hot!” (L.A. Times). His fans are rabid and legion. This show will sell out. And it’s the best Christmas present around.

The third year, and it’s lookin good -- wall-to-wall collectibles and bargains. Join the fun and shop. Join the fun and be dealer. Horizon celebrates its 35th year, so expect some really nice surprises. Plus, admission is free, as is an in-store show just down Stone Avenue, after the record-selling market winds down at 4 p.m. For more information, call (864) 235 7922.