01. Dirty Deal (Mitch Kashmar) 4'02
02. Nickels & Dimes (Mitch Kashmar) 5'51
03. New York Woman (Mitch Kashmar) 3'33
04. Just Show It To Me (Mitch Kashmar) 3'40
05. Lizzy Mae (Abu Talib) 4'46
06. Gettin' Drunk (Johnny Watson) 3'24
07. Becky Ann (Mitch Kashmar) 4'29
08. Knock 'em Dead (Arthur Adams) 3'35
09. I Don't Play (Willie Dixon) 2'17
10. Whiskey Drinkin' Woman (Lou Donaldson) 5'12
11. We're Sittin' Home Tonight (Mitch Kashmar) 4'28
12. Who (Bernard Roth) 4'04
13. Runnin' Off At The Mouth (Mitch Kashmar) 4'32

Mitch Kashmar - vocals & harmonica
Jr. Watson - guitars except #13
Ronnie James Weber - upright & Fender bass
Richard Innes – drums
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Bob Welsh - piano, guitar on #13
Arthur Adams - guitar & vocals on #8
Abu Talib - guitar & vocals on #5
Randy Chortkoff - background vocals on #2

"Nickles and Dimes" is not Mitch's first release, but it is certain to be his breakthrough into the mainstream of the blues world. Delta Groove Productions head Randy Chortkoff, one of the West Coast blues scene's movers and shakers for many years, has been a longtime fan and friend of Kashmar. Under Chortkoff's expert guidance Mitch has been teamed up with his longtime friend and collaborator Junior Watson, plus the all-star rhythm section of Richard Innes and Ronnie James Weber, and pianist Bob Welsh. Watson is well-known to blues fans worldwide as the dean of west coast blues guitarists; he was one of the first, and certainly the most influential, to blend gritty Chicago blues with the jazzy sophistication of players such as T-Bone Walker and Pee Wee Crayton. In the process, he created a virtual blueprint for succeeding generations of West Coast guitarists, and pioneered the blues style now known as "West Coast Swing." What Watson is to the guitar, Richard Innes is to drums; it would be far easier to list those he hasn't played with over the last four decades than those he has. His unerring sense of balance between subtle swing and driving power are legendary, and has made him the drummer of choice among those in the know since the late 1960s. Weber is one of the few bass players to completely master both old-school stand-up bass it's modern, funky electric counterpart, making him the perfect choice for this band. And Welsh brings the excitement and enthusiasm of youth to his mastery of the piano styles of such icons as Otis Spann and Lloyd Glenn. The end result of this outstanding combination of talent is one of the deepest-rooted, hardest-swinging, funkiest blues outfits you're likely to come across - and one that is perfectly tailored to Mitch Kashmar's finely honed blues blend of old school tradition and modern power and sophistication.

Also making guest appearances here are two bona fide blues legends: Arthur Adams and Abu Talib, both incredibly versatile guitarists and singers with long and varied resumés. Adams began playing blues and gospel in the 1950s, and over the years branched out into session work that has resulted in his guitar being heard on literally hundreds of high-profile recordings by artists as diverse as the Jackson Five, B.B. King, the Jazz Crusaders, and comedian Bill, among many others, in addition to an impressive discography of his own releases going back to the early 1960s. Abu Talib (formerly known as Freddy Robinson) was a member of blues harp icon Little Walter's band in the late '50s, and recorded for Chess in Chicago both as a leader and sideman in the 1960s (he's on Howlin' Wolf's "Back Door Man", "Spoonful" and "Wang Dang Doodle.") His fleet-fingered and sophisticated guitar work later earned him a place in the bands of Ray Charles and John Mayall, among others, along with a lengthy series of releases under his own name beginning in the mid 1960s.

Of course all this impressive company would be for pointless without a strong frontman, but Mitch ably proves he's more than up to the task. He's one of the most soulful and powerful blues singers in the business today, black or white. Add deep-rooted blues harp playing that is second to none for creativity, drive and excitement. And on top of that, he's also a witty and imaginative songwriter, as he displays on the seven originals included here. Season the whole mix with a few decades of experience as a bandleader, and the end result is one of the most exciting blues releases of the year. So sit back, turn it up, and make the "discovery" for yourself - Mitch Kashmar is the real deal. --- cdbaby.com

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01. East Of 82nd Street (03:05)
02. Too Many Cooks (03:32)
03. Young Girl (04:49)
04. The Petroleum Blues (04:47)
05. Mood Indica (05:44)
06. Don't Stay Out All Night (03:38)
07. My Lil' Stumptown Shack (02:54)
08. Makin' Bacon (04:29)
09. Alcohol Blues (04:23)
10. Love Grows Cold (03:31)
11. Canoodlin' (07:41)

Mitch Kashmar (vocals, harmonica, claves (#2),
Junior Watson (guitar),
Fred Kaplan (piano & hammond organ, cabasa (#2),
Bill Stuve (upright bass),
Marty Dodson (drums).

The “West Coast” blues sound might best be described as a swingin’, jumped-up hybrid of Chicago blues, popularized by players such as George “Harmonica” Smith and T-Bone Walker. The “new” generation of those players include Kim Wilson, Rod Piazza, San Pedro Slim and Mitch Kashmar. Mitch has just released his latest set for Delta Groove, “West Coast Toast.” Along with Mitch on vocals and all harps, he has an All-Star backing core of sidemen behind him. You got Junior Watson on guitar, Fred Kaplan on keys, Bill Stuve on the doghouse bass, and Marty Dodson on drums.

This one features cool covers interspersed with Mitch’s own uniquely-clever way with an original blues tune. He bolts outta the gate strong, with a killer instrumental, “East Of 82ND Street.” The band sets up a tight groove behind Mitch’s vocal on “Young Girl,” with cool organ from Fred. They all get their “swing” on with Mitch givin’ a mighty soulful read of Billy Boy Arnold’s “Don’t Want No Woman who likes to stay out all night long!” He gets into a vintage Chess mode on the sparsely-arranged “My Little Stumptown Shack,” and pays tribute to another West Coast legend, Lowell Fulson, on the rhumba-rockin’ “Love Grows Cold.”

We had two favorites, too, one original and one cover. Whisky and wimmin’ don’t necessarily mix on Mitch’s down-home-styled cover of John Lee “Sonny Boy” Williamson’s “Alcohol Blues,” while his original tells it like it is–“the price goes up, the price goes down,” but we all got them “Petroleum Blues!” It flat-out rocks from the git-go!

Mitch Kashmar and “West Coast Toast” continues to carry on the strong tradition of jazzy, jumpin’ harp players, all on a mission to keep the beat groovin’ and your feet movin’! Until next time…Sheryl and Don Crow, The Nashville Blues Society. --- donandsherylsbluesblog.wordpress.com

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[4:07] 1. Night Creeper
[4:20] 2. My Kinda Woman
[3:43] 3. 100 Miles To Go                  play
[3:03] 4. Lip Service
[3:14] 5. Gonna Find Someone New
[4:55] 6. Horn of Plenty
[4:58] 7. Long As I Have You
[4:39] 8. Walkin' Downtown
[5:11] 9. Let It All Fall Dead
[3:15] 10. I'm Sorry About That            play
[3:55] 11. When You Do Me Like That (I Wanna Do You Like This)
[5:02] 12. The Petroleum Blues

Mitch Kashmar: vocals & harmonica
Bill Flores: guitar & tenor sax
Jon Lawton: guitar
Jack Kennedy: bass
Tom Lackner: drums
William Clarke: 1st harmonica on track 6
Jim Calire: tenor sax & piano on track 5, organ on track 9, piano on track 11, 
piano & tenor sax on 12

The Pontiax began life in the early 1980’s, sweatin’ it out and honing their chops in the local bars and venues in Santa Barbara, San Luis Obispo, and Ventura counties. By the mid-80’s, Kashmar relocated to Los Angeles where The Pontiax’s reputation as one of the premiere West Coast Blues bands continued to grow as they expanded their base and visibility across the Southern California region. As their popularity flourished, the band eventually took to the road with tours throughout the U.S., Canada, Europe and the South Pacific. Their notoriety also found them favor with many Blues luminaries whose high regard for their talent landed them opportunities to back up legends such as Albert Collins, Luther Tucker, Lowell Fulson, Jimmy Witherspoon, Pinetop Perkins, Pee Wee Crayton, Big Joe Turner and Eddie “Cleanhead” Vinson.

100 Miles To Go is the welcome reissue of the long out of print classic 80’s recording by The Pontiax featuring Mitch Kashmar, long before he became a household name. Recorded at Pacifica Studios in Los Angeles, California, the band’s distinguished lineup features Jon Lawton and Bill Flores on guitars, Jim Calire on piano and organ, Jack Kennedy on bass, and Tom Lackner on drums. Also of special note is an appearance by legendary West Coast Blues harmonica virtuoso William Clarke, who generously lends his full-bodied tone to the storming instrumental Horn of Plenty.

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