Bitrate: 320K/s
Year: 2021
Time: 46:26
Size: 107,4 MB
Label: Wild Heart Records
Styles: Blues/Blues Rock/Southern Rock
Art: Front
Year: 2021
Time: 46:26
Size: 107,4 MB
Label: Wild Heart Records
Styles: Blues/Blues Rock/Southern Rock
Art: Front
Tracks Listing:
1. Madison Square Garden - 4:59
2. The Ride - 3:53
3. My Kind of Woman - 2:33
4. Pain - 3:07
5. Landline - 3:50
6. All I Need - 4:23
7. Dangerous - 3:07
8. Savior's Face - 5:10
9. My Kind of Crazy - 3:37
10. That Ain't Love - 4:04
11. Cheap Romance - 3:22
12. Jenny - 4:15
1. Madison Square Garden - 4:59
2. The Ride - 3:53
3. My Kind of Woman - 2:33
4. Pain - 3:07
5. Landline - 3:50
6. All I Need - 4:23
7. Dangerous - 3:07
8. Savior's Face - 5:10
9. My Kind of Crazy - 3:37
10. That Ain't Love - 4:04
11. Cheap Romance - 3:22
12. Jenny - 4:15
Jonathon Long is pleased to announce the release of his new album "Parables of a Southern Man", Long’s second release for Samantha Fish’s Wild Heart Records out on July 2, 2021. Like his previous album, Long’s sophomore effort was also produced by Fish.
The first thing you notice about Jonathan Long’s new record, is that his virtuoso guitar playing is not his only strength. Long is a complete musician and entertainer, a great singer and totally original songwriter whose lyrical guitar playing is always in service to the bigger picture.
Technically there is only so much you can play on an electric guitar-fronted blues band, and most everything has been tried at least once. The differences are more in emotional expression, the ineffable human quality that animates the playing and performance. Long excels at the high-intensity blues-rock format. You can hear Louisiana calling in Long’s control of dynamics, and his conversational manner of playing, that front porch penchant for telling multiple stories in a single solo. As a sheer force player Long belongs in the company of the masters. The bells he rings come closer to Albert Ayler’s than Johnny B. Goode’s. Yet he can be as elegant and soulful as B.B. King on an R&B jump tune or a ballad.
But that still isn’t the best thing about Long. What really sets him apart is his songwriting and singing, which has evolved out of the blues canon into his own version of Americana, a place emerging from but not tied to any genre, too personal to be anything but unique.
Long comes from a long line of blues musicians who know how to play a Louisiana dance party. The Baton Rouge-born musician was child prodigy who was playing guitar by age six and started performing at blues jams in the Baton Rouge club Swamp Mama’s when he was ten years old, alongside local legends Kenny Neal, Rudy Richard and Lil’ Ray Neal. When Long was 14 his parents gave him permission to go out on the road with Louisiana Blues icon Henry Turner. Long, playing bass in the band, learned the ropes on the juke joint circuit and before long knew how to please a crowd on his own. Long joined New Orleans icon Luther Kent’s blues band and began playing at the New Orleans Jazz and Heritage Festival, where he has become a local fixture. In 2011 at the age of 22, going under the name Jonathon “Boogie” Long he won the “King of the Blues” award for best unsigned Blues guitar player in America and in 2012 released his first album, an impressive showcase of his blues guitar talents. His second album Trying to Get There showed Long growing as a songwriter and singer, a transition he’s completed on the new album.
The first thing you notice about Jonathan Long’s new record, is that his virtuoso guitar playing is not his only strength. Long is a complete musician and entertainer, a great singer and totally original songwriter whose lyrical guitar playing is always in service to the bigger picture.
Technically there is only so much you can play on an electric guitar-fronted blues band, and most everything has been tried at least once. The differences are more in emotional expression, the ineffable human quality that animates the playing and performance. Long excels at the high-intensity blues-rock format. You can hear Louisiana calling in Long’s control of dynamics, and his conversational manner of playing, that front porch penchant for telling multiple stories in a single solo. As a sheer force player Long belongs in the company of the masters. The bells he rings come closer to Albert Ayler’s than Johnny B. Goode’s. Yet he can be as elegant and soulful as B.B. King on an R&B jump tune or a ballad.
But that still isn’t the best thing about Long. What really sets him apart is his songwriting and singing, which has evolved out of the blues canon into his own version of Americana, a place emerging from but not tied to any genre, too personal to be anything but unique.
Long comes from a long line of blues musicians who know how to play a Louisiana dance party. The Baton Rouge-born musician was child prodigy who was playing guitar by age six and started performing at blues jams in the Baton Rouge club Swamp Mama’s when he was ten years old, alongside local legends Kenny Neal, Rudy Richard and Lil’ Ray Neal. When Long was 14 his parents gave him permission to go out on the road with Louisiana Blues icon Henry Turner. Long, playing bass in the band, learned the ropes on the juke joint circuit and before long knew how to please a crowd on his own. Long joined New Orleans icon Luther Kent’s blues band and began playing at the New Orleans Jazz and Heritage Festival, where he has become a local fixture. In 2011 at the age of 22, going under the name Jonathon “Boogie” Long he won the “King of the Blues” award for best unsigned Blues guitar player in America and in 2012 released his first album, an impressive showcase of his blues guitar talents. His second album Trying to Get There showed Long growing as a songwriter and singer, a transition he’s completed on the new album.
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