New Jersey Aquarian

Peter Ward is on the Train To Key Biscayne (Gandy Dancer Records) with an all-star crew of top-notch blues A-Listers. This all-original 12-track gem, the follow-up to his 2017 Blues On My Shoulders debut, features some of the guys from the band of Muddy Waters plus some of New England’s finest. Ronnie Earl, Sugar Ray Norcia, Guitar Junior, Johnny Nicholas, Anthony Geraci, and Evil Gal Willson get to shine both instrumentally and vocally in front of the house band which has Peter’s brother, Mudcat Ward, on bass. Highlights include the Eubie Blake-inspired “As Long As I Have A Chance,” and the album opener “The Luther Johnson Thing” (sung by Johnson himself, a former Muddy sideman). Texan Nicholas sings two. The Evil Gal sings two. It’s a democratic free-for-all. Ward, known as Hi-Fi in Boston, where’s he’s the town’s blues kingpin, plays bass on two, sings one, and plays a chunky, rhythmic guitar with splashes of electricity like lightning when he solos throughout. Highly recommended.

There is nothing austere or show-offy in the new release by Peter Ward, a prominent figure on the Boston blues scene. Train to Key Biscayne, as with so much music I like, reminds me why I was attracted to a particular thing, in this case blues, in the first place. Warm and approachable, the recording highlights the musicians he grew up or hangs out with in New England -- they include the likes of Luther "Guitar Junior" Johnson, Johnny Nicholas, Ronnie Earl and Sugar Ray Norcia -- alongside Ward's affable guitar style and nicely crafted songs.

He handles lead vocals on two cuts while farming out others to Nicholas, Norcia, Johnson and Michelle Willson. The songs, all Ward originals, are written out of an immersion in a tradition going back to the foundational sounds of mid-century Chicago. In a past incarnation Ward performed with the Legendary Blues Band, fronted by alumni of Muddy Waters's band. There's even a song, "The Luther Johnson Thing," that Ward wrote to celebrate Johnson (whose early performing career was in the Chicago clubs); Johnson himself sings it. I suppose this could be a little weird, but it isn't. Like so much else on this disc, it just feels good-natured and sincere.

Even so, the blues-rock "I Saw Your Home" (sung by Willson) is somewhere between depressing and disturbing, an epic ballad of poverty, conflict and cruelty. Most blues-rock arrives in my ears prejudged as a failed effort to insert authenticity into tired guitar-rock riffs. "Home" on the other hand is a surprisingly affecting story-song with a strong, memorable melody. It's one of the standouts on Train, which will linger in your mental jukebox even when you're not playing it.

Th Courier (Tupelo, MS)

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Making a Scene

While growing up guitarist Peter Ward and his brother were bitten by the blues bug. Influenced by the music of Muddy Waters and Little Walter they would attend as many live concerts as possible. Peter backed Jimmy Rogers, Eddie “Cleanhead” Vinson, Lowell Fulson and others when they came to town. Peter later moved to Boston where he often sat in with his brother Michael who had become the bassist with Sugar Ray and The Bluetones and at the time their guitarist was Ronnie Earl.

After Waters died Peter joined his remaining band members Pinetop Perkins, Willie “Big Eyes” Smith, Calvin “Fuzz” Jones, and Jerry Portnoy, now renamed The Legendary Blues Band, and toured and recorded with them. Peter appears on The Legendary Blues Band’s 1981 recording “Life of Ease” and on their 1982 follow up “Red, Hot ‘N’ Blue”. After getting married Peter retired from performing. Years later after his wife passed Peter gradually got back into playing, songwriting and producing. In 2017 Peter finally released his widely acclaimed solo debut “Blues On My Shoulders”.

“Train To Key Biscayne” is Peter’s follow-up recording. The band includes Peter Ward, guitar, bass and vocals; and Bluestones members Sugar Ray Norcia, harmonica and vocals; Anthony Geraci, piano; Peter’s brother Michael “Mudcat” Ward, bass; and Neil Gouvin, drums. Also included are numerous friends who sit in on twelve new songs written and produced by Peter. The album is recorded, mixed and mastered by Keith Asack at Keep The Edge Studios in Quincy, Ma.

The opening track “The Luther Johnson Thing” pays tribute to the Blues Music Award winning Luther “Guitar Junior” Johnson, former Waters sideman, whose own recordings were hugely popular. Peter and the band are joined by Johnson who sings on the track. Peter’s song conveys the joy found in a Johnson performance. “People come and see me when they’re feeling sad, I comfort them and make them feel glad, the blues ain’t easy but at least it’s real, it’s all about how the people feel”.

Fervor Coulee: roots music opinion

Peter Ward Train to Key Biscayne Gandy Dancer Records

Peter Ward doesn’t mess around. He opens Train to Key Biscayne with Luther “Guitar Junior” Johnson singing an ode to himself entitled, “The Luther Johnson Thing.”

This song, like most of Train to Key Biscayne, is like going from ‘winter to spring.’ There is joy captured in this recording, the pleasure that comes from playing the blues with friends.

Massachusetts-based, Ward years ago played with the Legendary Blues Band, backing Pinetop Perkins, “Big Eyes” Smith, “Fuzz” Jones, and Jerry Portnoy—Muddy Waters’ band—and has a more than solid resume for playing the blues chords, “like an old man.” He’s got the soul for the music running through his veins, and one can hear it on the dozen tracks comprising his second album.

While several guests aside from Johnson join Ward on this memorable journey through Chicago blues stylings, the solid-core of the album is Mudcat Ward (bass), Neil Gouvin (drums), and Anthony Geraci (piano.) Ronnie Earl plays on one track—“Blues Elixir (Ronnie’s Here,)” and gets name-checked within “A Westerly Sunday Night,” one of three songs sung by resident-harp player Sugar Ray Norcia.

Johnny Nicholas sings a pair of songs, both memorable and finely crafted performances. When he sings of a “good-looking woman playing bass in a country band,” who steals his wedding ring (“Change Ain’t Never For the Good,”) one believes him.

Michelle “Evil Gal” Willson also sings a couple. “I Saw Your Home” is a rock radio anthem, a tale of a shared journey into the past. “Coffee Song” is similar in style, if not mood; a flirty song of metaphor, this song is further heightened by Hank Walther’s organ-playing.

Ward sings only two numbers; I suppose with friends like his, there is nothing wrong with stepping aside. His voice is distinctive and possesses some gravel; “Something Always Slows Me Down” is a fine blues jam.

Ward’s guitar playing throughout Train to Key Biscayne is enjoyable, slick licks in spots but mostly complementary to the needs of the song. The instrumental “Supposedly” has a 60s country vibe, while “As Long As I Have A Chance” is similarly retro.

This is an enjoyable album, filled with band-interplay and smokin’ vocals. Ward has crafted strong songs. Come for “The Luther Johnson Thing,” stay for the Peter Ward experience.

donandsherylbluesblog (Wordpress)

Renowned New England-are guitarist Peter Ward made a huge splash in contemporary blues with his debut solo release from 2017, “Blues On My Shoulders.”  His follow-up to it is here, twelve originals that form “Train To Key Biscayne,” for Gandy Dancer Records.  On board for this one are some of his closest friends, including Luther “Guitar Junior” Johnson, Michelle “Evil Gal” Wilson, Johnny “Too Many Bad Habits” Nicholas, Anthony Geraci, Sugar Ray Norcia, and Ronnie Earl.

The cuts herein are blues, swing numbers, and ballads, and the above-mentioned guests bring them all into vivid focus.  Leading off is the gentle, loping swing of “The Luther Johnson Thing,” as Johnson sings of his humble beginnings in Itta Bena, MS, and the things he’s seen throughout his life as a bluesman.  Sugar Ray blows a nice solo about the halfway mark, too.  Sugar steps up for the vocal on the Fifties-inspired love song, “When You Are Mine,” while Michelle Wilson takes a hard look at abusive relationships in “I Saw Your Home.”

We had several favorites.  Sugar Ray is on vocal in a tribute to his Rhode Island hometown, in the Berry-licious “A Westerly Sunday Night.”   Texan-by-way-of-New England Johnny Nicholas is on vocal on the title cut, the swingin’ story of taking that “Train To Key Biscayne,” name-checking numerous stations along the way.  Peter is on vocal on a tune that showcases the guitar skills of Ronnie Earl, “Blues Elixir (Ronnie’s Here).”  The set closes on a somber note, with the reverential instrumental, “Anthony’s Son,” dedicated to Anthony Geraci’s son, Todd, who recently lost part of a leg in a tragic pedestrian accident.

A great man once opined that “the blues ain’t easy, but at least it’s real.”  Fans, with Peter Ward and “Train To Key Biscayne,” this is blues that is as real as it gets! 

The Rock Doctor

A swingin’ new blues disc from Peter “Hi-Fi” Ward to follow his solo debut, 2017’s Blues On My Shoulders, proof that even people from New England get the blues.

“Peter Hi Fi Ward has been a brother to me since I have known him in 1975” says the guitarist’s guitarist Ronnie Earl. “He plays the kind of music I love- traditional blues, western swing and country, and he’s adept at all those styles.”   Train To Key Biscayneboasts a trainload of New England blues notables as guests in these grooves too including Earl, Sugar Ray Norcia, Luther “Guitar Junior” Johnson, Johnny Nicholas, Anthony Geraci and Michelle “Evil Gal” Wilson to name a few.  Ward’s band includes Neil Gouvin on drums, Peter’s brother Michael on bass and Hank Walther on keys.  I’m a fan of some of these players (I have 11 Ronnie Earl albums) there’s a looseness to these tracks, a sense of feel that really pours on the steam and gives the record some oomph.

Peter played the blues for years in bands with Johnny Copeland, Joe Beard, Jimmy Rogers, Junior Wells and Otis Rush, so it’s only right that he gets a chance to lead the charge for a change.  His last album made it to the top 25 blues charts, and Train To Key Biscayne has the spirit and spunk to do likewise. I like the production overall, but the drum sound feels weaker than it should be- good groove, but not enough “THWACK!” These songs and the musicians playing could turn any juke joint on its ear.

Bman's Blues Report

I just had the opportunity to review the most recent release, Blues On My Shoulders, from Peter Ward and it's quite good. Opening with solid shuffle, She Took It All, Peter Ward on guitar and lead vocal sets a great pace with Mudcat Ward on bass, Neil Gouvin on drums and Sugar Ray Norcia on harp. Excellent opener. Surf rocker, Which Hazel, is a solid rocker along the lines of Chuck Berry with a strong surf twist. Clever lyrics and guitar riffs by Ward give this track a lot of gas. On title track, Blues On My Shoulders, Anthony Geraci adds nice piano and I particularly love the guitar work by Monster Mike Welch. Collaborate is all about lush chords and sassy sax and Ward's guitar work with Sax Gordon Beadle's sax work is just that. Excellent! Shuffle track, It's On Me is another outstanding entry on the release with a hot sax solo from Beadle and hot fingering from Ronnie Earl and Ward. Very nice. Southpaw is a hot number with a smoking B3 solo from Rusty Scott, solid bass work from George Dellomo, and hot guitar riffs by Ward.  One of my personal favorites on the release is jump track, Kansas City Blues featuring great vocals, a strong bass line by Joe Delia and really nice soloing by Ward. Wrapping the release is Drummin' Willie, about Willie Big Eyes Smith with Neil Gouvin on druma, Mudcat on bass and Sugar Ray Norcia on harp. This is a strong release with a lot of cool surprises. Check it out.

Peter Ward longtime New England area guitar ace and touring guitarist for Muddy Water's Legendary Blues Band has stepped forward with his first solo album titled Blues On My Shoulders a thirteen song collection. Some of the musicians helping out in the studio include former Roomful of Blues guitarist Ronnie Earl, harp player Sugar Ray Norcia, Anthony Geraci on piano, Sax Gordon Beadle on sax, Monster Mike Welch on guitar and Ward's own brother Mudcat Ward slapping the upright bass. Outstanding cuts include "She Took It All", the title track "Blues On My Shoulders", "Collaborate" with Sugar Ray handling vocal duties, "It's On Me" and a jazzy cover of the Jim Johnson chestnut "Kansas City Blues". A poignant moment comes in the form of the instrumental "Shiprock" Ward's ode to his late wife renown Boston blues DJ Mai Cramer who passed away from breast cancer in 2002. One other note about Ward, he spent a considerable amount of time playing with legendary Rochester guitarist Joe Beard in the late 70's in that city's clubs. For more information about Peter Ward and his album Blues On My Shoulders check out


Jazz Weekly

Peter Ward delivers plenty of blues hues with a rotating crew of buddies which include Ronnie Earl/g, Sugar Ray Garcia/harp and Sax Gordon Beadle/sax as well as a rhythm team of Bob Berry-Joe Delia-Mudcat Ward/b, George Dellomo-NeilGouvin/dr,  Anthony Geraci-Rusty Scott/key and Monster Mike Welch/g.

The mix of boogie-ing guitar and harmonica meld well as the team shuffles on “She Took It All” and “Drummin’ Willie” while Ward delivers some Dick Dale licks on the Western Swinger “Which Hazel.” Scott’s Hammond oozes smoke on “Southpaw” and Earl taps into his inner Ventures with Beadle on “On the Ropes” while Ward takes you to the Delta swamp on “Colletta.” Ward’s strings clip of slick licks on “Shiprock” and produces a 60s feel on the twangy title track. This one’s a Strat Frat special.

Living Blues Magazine

Aquarian Weekly

Blues Blast Magazine

Blues Blast Magazine – Nov. 9, 2017 

Peter Ward - Blues On My Shoulders

Gandy Dancer Records

13 songs - 51 minutes

When New England-based singer-guitarist Peter "Hi-Fi" Ward decided to step into the limelight after decades playing in support of other musicians, he didn't mess around. He enlisted the aid of Ronnie Earl, a former roommate, Gordon "Sax Gordon" Beadle and Sugar Ray And The Bluetones, including his brother, bassist Michael "Madcat" Ward, to get the job done.

A native of Lewiston, Maine, he, Mudcat and younger brother Jeff played the blues in a family band as teenagers after schooling themselves with LPs and exposure to Muddy Waters, Taj Mahal, Hubert Sumlin, Buddy Guy and Junior Wells in concert. Still underage, he played bass behind legendary drummer Ola Dixon in New York before moving to Boston, where he backed several major touring artists, including Jimmy Rogers, Eddie "Cleanhead" Vinson and Lowell Fulson. And he commuted on weekends to Rochester, N.Y., where he worked with guitarist Joe Beard, the man credited with influencing Son House to perform after going "missing" in the late '30s.

In the early '80s, Peter toured with the Legendary Blues Band in a lineup that included several of Muddy's former sidemen, appearing on their first two albums, Life Of Ease and Red Hot 'n' Blue. Always working, but in the background, he stages an annual fundraiser for breast cancer research in memory of his late wife, blues deejay Mai Cramer, with headliners who've included Lurrie Bell, Jody Williams and Luther "Guitar Junior" Johnson. In 2010, he and Herb Remington, an original member of Bob Wills And The Texas Playboys, co-produced the album Goodbye Liza Jane: Hello Western Swing.

An avid, often humorous, songwriter and stylish guitarist, he's penned all but one of the 13 tunes on this disc, delivering a solid set of traditional, old-school blues in the process. Peter handles guitar and vocals backed by a rhythm section that includes Mudcat, Bob Berry and Joe Delia on bass and George Dellomo and the Bluetones' Neil Gouvin on drums. Neil's bandmates -- harp player/vocalist Sugar Ray Norcia, guitarist "Monster" Mike Welch and keyboard player Anthony Geraci -- all contribute on multiple cuts, as does Beadle. Eric Kilburn sits in on mandolin for one song, and Rusty Scott provides Hammond B3 organ on two others.

Ward's laid-back vocals play call-and-response with Norcia's harp to open "She Took It All," a steady-walking blues that describes a woman walking away with just about everything -- even his goldfish. But he insists he's not bothered at all. "Which Hazel" is up next and has nothing to do with the topical astringent. Instead, the medium-fast rocker, a tip of the hat to Chuck Berry, deals with a romantic interest in two women as different as night and day but sharing in the same name.

The feel continues for the title tune, "Blues On My Shoulders," with the distinct contributions from Welch and Norcia before Sugar Ray takes command of the mike to deliver the melodic slow blues "Collaborate," Peter's tribute to Lonnie Johnson and Robert Lockwood Jr., which is loaded with truly tasty, smooth lyrics that could have come straight out of the '50s and features stellar horn and harp solos.

The instrumental "Shiprock," a tribute to his late wife influenced by a trip they took to Navajo land, puts Ward's guitar skills on display before he questions "What Can I Do To You?" as a clerk just hired to work in a downtown store surrounded by beautiful female customers. Earl makes his distinctive first appearance for "It's On Me," a horn- and guitar-propelled promise to pick up the tab even though the singer has very little money.

The keyboard work of Scott is featured throughout the instrumental, "Southpaw," Peter's ode to lefthanded swing guitarist Dickie Thompson, before the slow blues, "A Little More," features a full arrangement featuring Monster Mike as Ward sings about realizing why his woman left -- because she always wanted more than he could deliver. Earl and Geraci trade licks on "On The Ropes," an instrumental with a Duane Eddy feel, before the acoustic "Colletta" recounts a bad marriage. An uptempo cover of Jim Johnson's familiar "Kansas City Blues" follows before "Drummin' Willie," Peter's aural slow-blues tribute to Willie "Big Eyes" Smith, who kept the rhythm for Muddy and Legendary and drove the band across country before fronting bands as a harp player, brings the CD to a close.

Available through Amazon, CDBaby and other retailers, Blues On My Shoulders is a pleasing taste of what music used to be before pyrotechnic guitarists took command of the airwaves. Strongly recommended for both its original material and musicianship throughout.

Reviewer Marty Gunther has lived a blessed life. His first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

The Rock Doctor


Music Reviews by the Rock Doctor – Nov 4th, 2017


BLUES ON MY SHOULDERS Peter Ward (Gandy Dancer) ****

This is the first solo project for Boston-based guitarist Peter Ward, and it’s a beauty.  With an unhurried, improvisational style he picked up from his heroes in The Muddy Waters Blues Band, Ward has fashioned a casual masterpiece.

Blues On My Shoulders is a pretty easy going slice o’ blues that relies on loose playing from Peter as well as guests like former roommate Ronnie Earl on guitar, Sax Gordon Beadle on sax, and the guys from Sugar Ray & The Bluetones.  This disc has the feel of a bunch of guys gathering in the studio, just to see what might happen- coming out with an album almost as if by accident… though these songs and performances are intentional, it has that vibe.  It’s like Billy Gibbons once said when talking about the intro to La Grange; “The best things happen when you’re not paying attention.”

As a teenager growing up in Lewiston, Maine, Peter and his brother Michael listened intently to blues records and went to see Muddy Waters, Buddy Guy, Junior Wells, Taj Mahal and Hubert Sumlin whenever they performed in the area, and I’m sure those guys would be pleased to know that Peter is carrying on their blues traditions in his own way.  “In the Big Apple, I was thrilled when Otis Rush told me I played chords like an old man” Ward remembers fondly.  In that way, Blues On My Shoulders is a record that straddles generations; though it just came out October 20th, it has that classic feel that makes all those classic old blues sides musically relevant today.

There’s something about the uncomplicated, unhurried vibe of this disc that reaches the soul, that makes me want to pick up my acoustic guitar and learn some blues- I think I will, and learn the chords as I go.  Though not as loaded with guitar firepower as the blues records I consistently rate this highly, Blues On My Shoulder is inspiring.

KEY CUTS:  Which Hazel, It’s On Me, Southpaw



Growing up in Lewiston, Maine, guitarist Peter “Hi-Fi” Ward, and his bass-playing brother, Michael “Mudcat” Ward, absorbed all the blues recordings they could find, learning the licks and chord structures that would serve them thru a lifetime of music.  Peter often sat in with Ronnie Earl, and later toured with the Legendary Blues Band of Pinetop, Fuzz Jones,  Jerry Portnoy, and the backbeat of it all, Willie Smith.  They instilled in Peter an unhurried appreciation for the blues, as well as giving him some life experiences that could never be equaled.  Those influences are all over his latest for Gandy Dancer Records, “Blues On My Shoulders.”  Many of Peter’s old friends drop by for this party, including Monster Mike Welch, Sax Gordon Beadle, Ronnie Earl, Sugar Ray Norcia, Anthony Geraci, Neal Gouvin, and brother Michael.

The twelve original songs and one cover on this set capture the feeling Peter and Michael undoubtedly had during their formative  years listening to their heroes, and several styles are represented.  The set starts with a humorous ode to a lover who departed, and, sho’ nuff, “She Took It All,” even down to “my records, my CD’s, and my MP3’s!”  Sugar Ray lays down some cool harp, too.  Sugar takes the lead vocal on the jazzy “Collaborate,” with Gordon on sax, and features virtually every possible combination of words that rhyme with the song’s title.  “Shiprock” is a pastoral instrumental done in tribute to a region in Navajo country that Peter and his wife visited prior to her untimely passing from breast cancer in 2002.  Another jazzy instrumental is dedicated to swing guitarist Dickie Thompson, and is entitled “Southpaw.”  It features some mighty fine B-3 work from Rusty Scott, too.

We had two favorites, too.  Peter always enjoyed the music of Chuck Berry, and pays the ol’ duck-walker a nice tribute with the clever tale of twin sisters with the same first name but vastly different agendas, begging the musical question, “Which Hazel should I choose?”  And, Peter closes the set with the deep, slow-blues story of one of the greatest blues drummers ever, “Drummin’ Willie.”  This one details Peter’s time spent with Willie “Big Eyes” Smith and the other members of the Legendary Blues Band, sung from the heart of a man who obviously had a lot of fun during this time in his life.

Peter “Hi-Fi” Ward has been concentrating on his songwriting of late, and the results are in the fine material that makes up “Blues On My Shoulders.” Add in excellent musicianship from all the players, and this is one fine collection, indeed!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Midwest Record of Chicago

Some warm, winning stuff from a white boy with the blues that's been slinging his guitar for 40 years as a sideman and now steps out in to the light. With a bunch of leaders rounding out his crew, this is one sweetie of an after-hours set that brings the blues without bringing you down. Contemporary while being traditional, this is a set that'll get you paying attention and not wanting to miss a beat. 


How nice to come home from a road trip to find Musicians Making the USPS Great Again! This time, it's Blues on My Shoulders, the new CD from New England's Peter Ward (his first, I think). I met Peter more than 30 years ago, in Ithaca, NY, when he performed there with the Legendary Blues Band. This CD is full of fine blues, with some side trips into rock and roll and other hip styles. Good stuff and sharp songwritng! 

"..splashes of electricity like lightning.."

"Plays a chunky rhythmic guitar with splashes of electricity like lightning when he solos throughout . Highly recommended."  — Mike Greenblatt's Rant 'N' Roll

"MAGICAL" — BenVee Roadhouse Blues

"On his second solo musical foray, Peter Ward has simply outdone himself!  The album is well produced and performed; it is entertainment at its finest ...

"All the songs on the album were written by Peter and the mental images he creates with the lyrics and music are magical."

BenVee Roadhouse Blues 

"This is blues that is as real as it gets!"

"A great man once opined that 'the blues ain’t easy, but at least it’s real.'  Fans, with Peter Ward and Train To Key Biscayne, this is blues that is as real as it gets!  Sheryl and Don Crow, The Nashville Blues And Roots Alliance.

"There is joy in this recording"— Fervor Coulee

"A lot of musical territory covered here."

"Peter Ward’s Train To Key Biscayne is a trip in the best sense. There’s a lot of musical territory covered and each stop along the way on this follow-up to his 2017 release (Blues on My Shoulders) is a rewarding discovery.  ... Peter Ward wrote all twelve of the original blues, ballads and rock tracks that fill this satisfying album."

— Parcbench Live

Peter Hi-Fi Ward


"Killer disk!" (Blues on My Shoulders) WBRS-FM

[About Blues on MY Shoulders]: "Warm, winning stuff from a white boy with the blues that's been slinging his guitar for 40 years as a sideman and now steps out in to the light. ... This is one sweetie of an after-hours set that brings the blues without bringing you down. Contemporary while being traditional, this is a set that'll get you paying attention and not wanting to miss a beat" —  Midwest Record of Chicago. 



New LIVING BLUES review!

Hey! Another rave review.... check it out.

(It's on the  "What They're Saying" page. 

Check Peter out on CD Baby

"Wholeheartedly recommended"

"A veritable super session" — Mike Greenblatt, Aquarian Weekly, New Jersey.