Earnest "Guitar" Roy, 6:30 p.m.

Earnest Roy Jr. was born on September 25, 1958, in Clarksdale, Mississippi, under the watchful eye of his father, guitarist Earnest Roy Sr., who worked with Jackie Brinston, Ike Turner, John Lee Hooker, Wade Walton, Raymond Hill, and many of the other Clarksdale bluesmen. Earnest's father taught him bass guitar at five, and when Earnest turned eight, he began playing in his father's band, Earnest Roy & the Clarksdale Rockers, whose members included Big Jack Johnson. At age 11, Earnest Jr. began playing lead guitar, and he formed his first band at 14, which led to his being regular performer on Soul Train.

Terry Quiett Band, 2 p.m.

As his Web site (TerryQuiettBand.com) says: "Terry Quiett explodes every power-trio cliché" by performing striking original material, from haunting Delta blues and sophisticated jazzy swing to rock-flavored riffs, all featuring his stunning guitar technique and soulful vocals. Hal Reed brought the Terry Quiett Band to The Muddy Waters, so we found out firsthand that his Web site doesn't exaggerate.

Bryce Janey, 2 p.m.

Bryce Janey grew up in a musical family and has been playing his guitar for almost 30 years. He started playing at 13 years old in his hometown of Marion, Iowa, in a blues trio with his mother on drums and his father also on guitar. They were simply named The Janeys. Both he and his father Billy Lee Janey are in the Iowa Rock & Roll Hall of Fame. They still perform as a four- or five-piece band called The Janeys; his mother no longer performs, but Bryce and Billy Lee still headline the band. Bryce also has a band of his own that performs under the name Bryce Janey Group.

Jeff Banks & the Pain Killers, 3 p.m.

Congratulations to the winners of the Iowa Blues Challenge: Jeff Banks & the Pain Killers! They emerged victorious from tough challenges by two Quad Cities bands - Serious Business and The Mississippi Misfits - at the final round in Des Moines in May.

The Pain Killers will represent the state of Iowa at the International Blues Challenge in Memphis next February. Besides their set at the Mississippi Valley Blues Festival, they will receive recording time and cash to help defray expenses in Memphis.

Winter Blues All-Stars, 3 p.m.

The Winter Blues All-Stars is a collaboration of graduates of the River Music Experience's Winter Blues program, led by Ellis Kell and Hal Reed. The kids have been practicing hard, so their set will be sure to amaze the audience!

David Horwitz (blues photography): Saturday, June 30, 2:30 p.m.

Photographer and educator David Horwitz of Tucson, Arizona, has been traveling to clubs and festivals for decades in search of great blues music for his ears and visual images to capture on film. The winner of the 1999 Blues Foundation's Keeping the Blues Alive Award for Photography, David has spent more than 25 years capturing moments of the blues masters. His works have appeared in countless publications. Last year, he was inducted into the Arizona Blues Hall of Fame. This is his 25th year of shooting the Mississippi Valley Blues Festival, and the free photo exhibit near the workshops will showcase David's work. - Ann Ring

(Editor's note: This concert was canceled on June 13.)

Richard Lloyd. Photo by Brian Jenkins.What's essential to know about the Redstone Room's June 14 headliner can be summed up succinctly: Richard Lloyd was one of the guitarists of Television, the seminal band whose 1977 Marquee Moon is widely considered a great debut, an unmistakable influence on post-punk and alternative rock, and a classic, period.

The All Music Guide calls it "a revolutionary album, but it's a subtle, understated revolution. Without question, it is a guitar-rock album - it's astonishing to hear the interplay between [singer/songwriter/guitarist] Tom Verlaine and Richard Lloyd - but it is a guitar-rock album unlike any other," composed entirely of "tense garage rockers that spiral into heady intellectual territory, which is achieved through the group's long, interweaving instrumental sections ... ."

But to reduce Lloyd to a member of Television - whose initial incarnation disbanded in 1978 after two sterling studio albums - is to diminish a more-than-respectable career as a performer and songwriter outside of that band, and to rob the world of a fascinating person.

Scott H. Biram. Photo by John Pesina.

RIBCO's June 6 show features two Bloodshot Records artists, and there the surface similarities end. Scott H. Biram is a 38-year-old one-man-band road dog from Texas whose music draws from the blues and hard rock, and Lydia Loveless is a 21-year-old singer/songwriter from Ohio pulling from country and punk.

"We're quite a bit different in our musical styles," Biram said in a phone interview earlier this month, "but as far as our attitudes go, it's pretty close."

They both write and record quickly, yet their songs match an inherent urgency with unpretentious and unforced maturity and grace - nestled among lots of rough edges. And they share a boldness of musical personality.

SpindriftThe Los Angeles-based quintet Spindrift has developed a reputation for its cinematic sound - something that started with a score for a film that was then only an idea in the head of bandleader Kirpatrick Thomas: The Legend of God's Gun, which later became a 2007 feature written and directed by Mike Bruce. One track for that film was used in 2008's Hell Ride - executive-produced by Quentin Tarantino - and Thomas now has three additional film-score-composer credits with Spindrift.

But this tack for the band - playing at Rozz-Tox on May 19 - is a relatively recent development. Spindrift was formed in the early 1990s in Delaware, and was at that point an experimental psychedelic-rock band. It was only in 2001, when Thomas heard Ennio Morricone's music for the Sergio Leone classic Once Upon a Time in the West, that his band changed course.

Jeffrey Konrad

Jeffrey Konrad's Shadow Boxing, his second "official" release under the name Konrad, is all over a pop map written mostly in crayon, with keyboard cheese and drum machines aplenty. If the album weren't so layered and carefully constructed, it would be an easy mistake to dismiss many songs as amateurish outsider art produced largely on a synthesizer.

The wrongheadedness of that should be evident solely from "Hang-Ups," which foregoes electronics entirely for a poignant, country-tinged ballad that recalls Neil Young in its instrumentation and sleepy vibe. The two-line chorus is plainspoken but clear, with understated vocals that capture a character both self-aware and lost: "Getting over you has been difficult / 'Cause I'm faking it through my future." The verses are loaded with phrases both cryptic and evocative - "Open season on the polygraph," "Shadow-boxing with the angel of death."

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