Поиск по этому блогу

понедельник, 26 февраля 2024 г.

The David Landon Band - This Time

Size:146,5 MB 
Label:Whip Records

Tracks Listing:
 1. The Biggest Fool - 5:00
 2. Think Twice - 4:20
 3. Say Goodbye - 4:51
 4. Who's Lovin' You ? - 8:29
 5. Log Jam - 4:39
 6. One Hundred Years - 4:22
 7. Ducks in a Row - 4:55
 8. I'm Gonna Quit You - 8:34
 9. A Man's Gotta Be a Man - 5:04
10. You've Done Nothing Wrong - 2:37
11. This Time - 7:30
12. Goodbye My Friend - 3:22

After attending college in Boston, David Landon went to Paris to hone his chops. He worked the streets and club scene in Paris and around Europe. When he returned to the states, he settled in the San Francisco Bay area. David is also the owner operator of Whip Records recording studio and record label, which he literally built from the ground up. He is not just the owner. His resume also includes recording engineer, producer, and session player, as well as singer, songwriter, guitarist, and band leader. The David Landon Band is made up of music industry veterans. David and/or members of his band have played with Lenny Williams, Tommy Castro, Coco Montoya, Eric Gales, Frankie Lee, and Earl Thomas. The band plays regularly at Bay area venues such as Biscuits and Blues and the Boom Boom Room. This is David’s fourth CD. All of the songs were written and arranged by David.This Time has twelve radio friendly tracks whether pop or FM format. “The Biggest Fool,” the opening track, is a rocking number about a musician who loses his woman over a one night indiscretion. It has good organ and guitar solos. The second track, “Think Twice,” warns his new woman not to do what he just did. The CD generally follows in a logical storyline progression. “Say Goodbye” is very Motown like. “My Girl” by the Temptations comes to mind. The theme of indiscretion is carried through. Charles Mc Neal, a guest musician, interjects a soulful sax solo.Speaking of Motown, the next track, “Who’s Lovin’ You,” even borrows a Motown title. Continuing in the storyline, now that they have said their goodbyes, he’s missing her and asking the age old question, “who’s loving you.” It has a long gospel like instrumental section that I call “taking it to church.” “Log Jam” is a honky tonk instrumental jam. “One Hundred Years” and “Ducks In A Row” are rock and roll numbers. “I’m Gonna Quit You” is a slow blues with stinging guitar. It’s about a bad habit he can’t quit- his woman. This one is a sure bet crowd pleaser at a live show.In “A Man’s Gotta Be A Man” the storyline fellow has finally got his act together and sends this woman packing. “You’ve Done Nothing Wrong” is an ironic tale. “This Time” is the title track and rightfully so. It’s a very nice ballad. The CD should have ended on “This Time.” The last track, “Goodbye My Friend” ends the story on a goodbye note but the tone of the song seems out of place with the previous tracks.The songs have standard blues themes, “I did her wrong, she did me wrong, I want her back, I can’t get enough,” but they are done in a fresh way. This Time is a good CD.

Retro Deluxe - Watermelon Tea

Size:145,8 MB 
Label:Rinkled Rooster

Tracks Listing:
 1. Watermelon Tea - 2:51
 2. A Woman Like That - 4:23
 3. I've Got One Woman - 5:21
 4. You're Lyin' - 2:58
 5. The Mother Nature Song - 5:17
 6. One Tooth Tessie - 3:04
 7. Too Much Drama - 3:10
 8. Clarksdale, Mississippi - 6:56
 9. Hoochie Coochie Back Door Man - 3:20
10. Wine and Religion - 4:38
11. Rockin' The Blues Tonight - 3:19
12. What In The Devil Did I Do Last Night? - 2:03
13. Beer and Whiskey, Wine and Cigarettes - 3:56
14. Heavenly Band - 2:58
15. Rough, Tumble, Roll - 3:03
16. Blues Infusion - 5:46

Retro Deluxe for this effort consists of Bobby Joe Owens on lead vocals and the amazing young guitarist Zach Sweeney abetted by The Squirrel Nut Zippers’ Jimbo Mathis as producer and rudimentary drummer and Jimbo’s partner in crime Justin Showah on electric and standup bass. This is the first time out for this configuration that deals in a raw and spare sound as they deliver all original songs that take from various blues styles. You’ll swear that you’ve heard some of these tunes before as the band has absorbed without mimicking. Zach props up the proceedings with his endless trick- bag of licks providing rhythm and lead. Blues, rockabilly-blues, Chuck Berry riffs and grunge pop up to pepper the tunes while Bobby Joe’s swagger and hint of an Elvis and George Thorogood vibe keep things real. Grammy/Emmy Award winner Billy Earheart(Amazing Rhythm Aces, Hank Williams Jr.) underscores with his piano and organ on about half the tracks. The only other extra is backing vocals. The title track would fit into the soundtrack of a hokey Elvis movie. I can see it now-“The King” swiveling his hips as he exhorts the virtues of his Ruby Mae’s watermelon tea making skills as scantily glad bimbos cavort around “His Swivel-Ness”. “A Woman Like That” is George Thorogood territory, but with better guitar skills. Bobby Joe’s voice goes in-and-out of Thorogood mode on the clever “Hoochie Coochie Back Door Man”. Distorted guitar goes hand-in-hand with Owens’ down-in-the-gutter berating of an untrue lover in the aptly named “You’re Lyin’”. “The Mother Nature Song” is old-school guitar blues at its best as the writer unfolds a litany of travails the old girl has imposed on our hero. “One Tooth Tessie” is a gut-bucket blues ode to his girlfriends ability to “work that one tooth right”. Acoustic guitar, harmonica and standup bass give the song the necessary atmosphere. The pitfalls of family life are described in “Too Much Drama”, again regaled with Zach’s driving and catchy string work. Chuck Berry and the spirit of Johnnie Johnson are called up on another Thorogood-ish workout via “Rockin’ The Blues Tonight.” Zach brings out his T-Bone Walker arsenal to the front on “Beer and Whiskey, Wine and Cigarettes”, a song that sounds like it’s a jump-blues standard. “Heavenly Band” is a “dead-blues guy” tune that REALLY swings and works without sounding corny. A John Lee Hooker groove-meets-jump blues, sang thru the harp mic is the draw of “Rough, Tumble, Roll”, not to mention the ever-ready Skinny Fats. I’ll admit this one took a while to grow on me, but once the growing is done, you’re left with a dose of hard-edged blues reality. The slight flaw of the monotonous drone of “Clarksdale, Mississippi”(guess the number of times the title is repeated and you win a “kewpie doll”) aside, there is a heapin’ helpin’ of modern blues to found here. Jimbo’s production values elevate the tag-team effort of Bobby Joe and Zach. If there is any justice in the world Zach will eventually join the ranks of blues guitar masters such as Duke Robillard, Anson Funderburg and Steady Rollin’ Bob Margolin. So don’t touch that dial….pick this one up and anxiously await to see what these guys cook-up next.

Mr G and the Mystery Band - It's A Mystery

Size:168,2 MB 
Styles:Blues/Harmonica Blues/Chicago Blues 
Art: Front 

Tracks Listing:
 1. It's A Mystery - 5:46
 2. My Dog & Me - 8:12
 3. Hey Jose - 4:36
 4. After Party - 5:11
 5. I'm Trying To Quit - 6:06
 6. Cheat Me Fair - 8:01
 7. How Much Longer - 7:48
 8. Get Out And Walk - 6:44
 9. All I Need Is Your Love - 6:25
10. Paying Taxes - 7:40
11. Work, Work, Work - 6:38

“Mr G” is Chris Gillock, a singer, songwriter, and harpist who started life in California but finished his education in Chicago and put down area roots. He became a student of Chicago Blues and traded his California funk and jazz trombone for the Blues harmonica. Mr. G established the Mystery Band on Thanksgiving evening in 2003, filling in for a busted booking at the now defunct Bill’s Blues Bar in Evanston, Illinois, where he was a “hanger-on” and investor. In the six years since, Mr. G has convinced over 45 of Chicago-land’s top blues and jazz players to join the Mystery Band’s mission: “to jam and have fun.” The liner notes list most of those recruits, and the “A Team” on this CD are very talented Chicago stalwarts and pedigreed, indeed: Guitars – OSee Anderson and Anthony Palmer; Drums – James Carter; and bass – Greg “E.G.” McDaniel. As a reviewer, I receive too many “Blues” CDs that are not. It is a joy to receive this set of solid Blues with first rate playing, unique chromatic harp tones, and eleven original songs with both thoughtful and humorous lyrics. Some of Mr G’s raucous harmonica is rightly featured in the first track, which poses both deep questions (“mean people”) and funny mysteries (the “tattoos” and “saggy pants”). Sometimes, Mr G juxtaposes a light hearted look and heart break in the same verse like in “My Dog and Me,” a swampy guitared story of marital breakup. “When I first met my wife, I thought she was so fine / But the longer I lived with that woman the more I loved my canine / I couldn’t satisfy her no matter how hard I tried / But now she’s gone and I must confess I feel dead inside.” Back to fun in track three; “Hey José,” is a traditional 12 bar Chicago Blues shuffle with great harp soloing and guitar breaks by OSee Anderson. As the story goes, José is a best-friend bartender, and the narrator is in clearly in Chicago because he keeps ordering “another Old Style® beer.” This one is headed for a fun spot in my radio show! Another must play song is the set’s real standout, a minor key chromatic workout, “Cheat Me Fair.” This slow Blues is an eight minute expose of love gone wrong featuring torturing vocals, harp solos and Anthony Palmer’s gut wrenching guitar. The narrator indulges in a curious fantasy about “driving an old Dodge Dart down to Mexico to find a Mexican girl who will follow him everywhere and always tell the truth.” Now that’s funny! My first ear-worm (song that repeats later in your head) came from the chorus on “Get Out and Walk,” written when gasoline prices were over $4.00 per gallon in 2008. The special effects harp sounds come from a low D harp muted by a coffee cup. The rhythm guitar percolates like a mountain brook on this Country Blues flavored, go green themed number.One song has Reggae flavoring, one a Bo Diddley beat, another is a rumba. There is an ode to square shouldered working folk, a “Payin’ Taxes” protest, and themes from after hours partying to both sides of love. Bottom line: every track on this CD is a winner. Put this CD in a blind listening test for Blues fans and friends, and they will agree that there is enough going on here to elevate to a national level this band that’s slowly building a following in the intensely competitive Chicago Blues market.

Big G & The Real Deal - Chicago Blues Party

Bitrate: 320K/s
Year: 2014
Time: 60:52 
Size: 140,0 MB 
Label: Toucan Cove Entertainment
Styles: Blues
Art: Front 

Tracks Listing:
 1. Can't Lose What You Ain't Never Had - 4:05
 2. Shake Your Money Maker - 4:12
 3. Mystery Train - 4:53
 4. Smokestack Lightning - 4:48
 5. It's Too Late Brother - 3:00
 6. Sweet Home Chicago - 3:49
 7. Honey Bee - 4:09
 8. Dust My Broom - 5:53
 9. Mannish Boy - 5:27
10. Feelin' Good - 3:46
11. Bring It on Home - 5:35
12. Walkin' Thru The Park - 3:59
13. Messin' with the Kid - 3:19
14. Got My Mojo Working - 3:52

Big G & the Real Deal’s 14-song Chicago Blues Party features tight ensemble playing that effectively represents the halcyon days of post-war Chicago blues. The set kicks off with “Can’t Lose What You Never Had,’ showcasing Tom Albanese’s strong harp attack. The band’s set list is comprised of blues classics, such as “It’s Too Late, Brother,” “Messin’ With the Kid,” “Bring It On Home,” and many other well-known songs from the traditional Chicago blues songbook..
There is quite a deep well of experience on this CD. Producer/keyboard player Phil Balsano was with the rock outfit Tantrum in the 70’s, while Tom Albanese has lent his considerable harp chops to Chicago’s Trouble No More, a band fronted by the late L.C. Walker, and more recently by Deb Seitz. Drummer Tim Scruggs has anchored the 101st Rock Division around the world, and he has shared the stage with Koko Taylor, Dave Mason, and a diverse range of musicians. Bassist Mickey Gentile has played with lead guitarist George “Big G” Millspaugh in the Southern blues band Pearl Handle for over 10 years, and John “Butch” Willard turns in many impressive guitar solos at this party.

Fatback Deluxe - Rat Now

Size:103,4 MB 

Tracks Listing:
 1. You Belong To Me - 3:10
 2. Mercy - 3:45
 3. Sittin' On The Boatdock - 2:47
 4. She Belongs To Me - 3:06
 5. Country Boy (Running Wild) - 2:19
 6. The Sun Shines Down - 5:25
 7. Jump With You - 2:50
 8. She Suits Me To A Tee - 3:33
 9. Rat Now - 4:02
10. Looking Back - 2:22
11. Darkness Falls - 4:50
12. Steel Blade Fan - 3:34
13. Gawjook Boogie - 2:51

There are several interpretations as to how the term "Hotlanta" became the descriptive word for the city of Atlanta, GA. Some say "The "Hot" refers to the hot summer temperatures common to Atlanta", while others say "The "Hot" in "Hotlanta" refers to the many wonderful things to do in Atlanta, especially the sexy nightlife Atlanta is famous for." My money says someone in the Blues Community gave it the name because of all the "Hot" Blues Bands in the area. FATBACK DELUXE is just one of those many "Hot" bands.FATBACK DELUXE consist of IRA MALKIN on vocals and harp, CHRIS KRAMER on guitar, BEN GETTYS on standup bass, and PETE MAIER on drums. On their CD, "RAT NOW", they are joined by MATT WAUCHOPE on piano and organ. The disc contains thirteen tracks, of which a handful were written by CHRIS.

Alvin Jett & The Phat NoiZ Blues Band - Honey Bowl

Bitrate: 320K/s
Year: 2016
Time: 62:48 
Size: 144,5 MB 
Label: The Store For Music Ltd
Styles: Blues 
Art: Front 

Tracks Listing:
 1. Make Me Smile - 4:39
 2. Lay My Burden Down - 4:07
 3. Bluesman's Hat - 4:43
 4. Honey Bowl - 5:00
 5. The Wreck - 5:17
 6. 3 Minute Man - 3:04
 7. Lucky Charms - 5:32
 8. Graveyard Shift - 5:37
 9. Zombie Land - 3:59
10. Dem Haters - 3:59
11. Alone and Drinkin' - 3:52
12. Me, You and Cyndee - 4:39
13. A Year or Two or Ten or Twenty - 4:25
14. Runnin' Like a Dog - 3:51

Albert King with a Fender Telecaster meets Robert Cray over at Otis Rush’s house. Sound good to you? It does to me. Jett’s vision sounds like a Bluesman in the 21st century. He has absorbed Hendrix, Stax, a bit of Albert Collins, and someone like Tom Principato or Mike Bloomfield. If Joe Louis Walker is to your liking, you’re going to appreciate Alvin Jett. 
“Make Me Blue“ is a good way to start the disc. Energetic song, well crafted. The lyrics are believable and convincingly delivered. Several key changes for the solos (sax and guitar) demonstrate a musical literacy that is so often missing from Blues recordings. This musical device isn’t necessary in a three-minute song, but, as featured in Z.Z.Top’s “La Grange,” or B.B.King medleys, is as potent as Bacardi 151 in longer pieces.
The next track, “Lay My Burden Down,” is in no way connected with the fantastic Gospel song, but it’s good. It’s funky and slightly aggressive. An honest lyric with a nice rocking groove.
“Bluesman’s Hat” is an admonition—As one doesn’t piss into the wind, one doesn’t presume to touch a Bluesman’s sky. This one is fine for a live performance. Maybe it will be the source for a suburban legend. The harp adds a welcome texture.
Track #4, the title cut “Honey Bowl” is not successful at being lascivious. Too bad.
The 5th track is written and sung by bassist Matt Davis. “The Wreck” is a nice idea with a good delivery. The song is well-crafted, right out of the Robert Cray playbook. I like the Montgomery-to-Cray guitar solo. The ensemble horns take the song directly to where it was intended.
Davis also composed “Three Minute Man.” This is a slow blues that summons up Jimmy Roger’s “My Last Meal,” or Rice Miller’s version of “Four Nights Drunk.” It’s wry and has the sting of the truth to it. “Three Minute Man” is the first song I’ve ever heard devoted (with an amusing pride) to substandard performance during “romantic opportunity.”
The instrumentals, “Lucky Charms” [#7], and “Dem Haters” [#10], and “Me, You, and Cyndee” [#12] are all competent, journeyman pieces. The first is somewhere between Fleetwood Mac’s “Albatross” and an early CTI Records tune. The second is very reminiscent of Tom Scott’s L.A.Express. The last, a sort of generic “Breezin’.” If you’re unfamiliar with these associations then you will probably enjoy these pieces.
The arrangement of “Graveyard Shift” uses the bass and horns in a thoughtful way. It’s a slight reference to SRV, but not one of those ‘I can do that, too’ clone things. Once again, true lyrics, well crafted.
The closing cuts, “A Year or Two or Ten or Twenty” and “Runnin’ Like a Dog” are both really good songs. The first is a nearly comprehensive account of life flying by a man who is losing the battle to survive. The final cut is very much Albert King doing “Phone Booth,” aggressive and driving. It, too, is a strong piece.

Jon Justice - Forget About Time

Bitrate: 320K/s
Year: 2004
Time: 41:16 
Size: 97,1 MB 
Label: Self-Released
Styles: Blues 
Art: Front 

Tracks Listing:
 1. Forget About Time - 3:17
 2. Why - 3:45
 3. Sun Shines Sometimes - 4:44
 4. Next to Me - 3:51
 5. Stay - 3:56
 6. Chains of Love - 4:26
 7. Lady Soul - 4:24
 8. Crazy Love - 4:06
 9. Don't Let This Be the One - 5:27
10. That's Alright - 3:17

The early years: Jon Justice was born in the Chicago, Illinois, area in 1982. His first formal music performance experience came as a teenager, when he toured nationally with bluegrass and Gospel groups. In 1999, he acted upon the visceral effect such music has had on him since his youth: acknowledging it's inhabiting of his soul and seeking to be among people who shared deeply felt musical sensibilities, he moved to Memphis, Tennessee. Using that musically rich city as both his inspiration and his base of operations, Justice joined with veteran pianist of Percy Sledge and Exile fame, Steven Bowen, to form The Recipe. They then toured together between 2000 and 2003, doing literally hundreds of shows and turning thousands of people onto the emerging sound of Jon Justice. His debut CD, Forget About Time: His extensive touring, combined with five years of life experience, enabled Justice to forge a truly distinctive sound. Philip Wolfe, producer of bands such as Alabama, Trick Pony, and Dickey Betts, came on board at that time to work with Justice, and joining them was Memphis Horn Wayne Jackson, contributor to the outstanding music of such industry forces as Otis Redding, Elvis, Aerosmith, and Aretha Franklin, and harmonica wiz Jason Ricci. Working in concert, they crafted the well-received debut Justice album, Forget About Time, which released in June 2004. Forget About Time is surprisingly diverse and deeply delightful, combining two hallmarks that define the Jon Justice sound: The first is the depth and breadth of musicality that can evoke many influences at the same time it is deeply original - unusual in one so young. The second is his ability to engender musical experiences that range from rousing anthem-like compositions that are rhythmically and lyrically irresistible, to honest, intimate songs that recall the private meditations and intimate moments shared between individuals. In support of the release of Forget About Time, Justice toured from state to state, doing what he loves to do best - perform for live audiences. A truly consummate performer, Justice walks from the sidewalk to the stage without breaking stride, bringing with him an authentic joy in his music that never fails to energize his shows - and his audience. With each show, Justice's easy presence and resonant musical style creates a bond with his listeners; the result is a live show experience that surpasses human-scale expectations and that is amazing and unforgettable - particularly when it emanates from one so young. In the course of his performing career thus far, Justice has opened for Derek Trucks and Indigenous and he has played with such music luminaries including Buddy Guy, the Memphis Horns, and Jerry Lee Lewis. The evolution of the Jon Justice sound: As Justice approaches the quarter-century mark in his life, his music continues to evolve as his life experiences expand. Already possessed of soulfulness that belies his youth, Justice is constantly exploring musical influences and expanding his repertoire of skills. Thus the 'Jon Justice Sound' is always pushing outward to fresh expression, reverberating as it does with Justice's singular take on the events of the day and building innovatively on the bedrock of influencers to the Justice musical juggernaut: hard rock, sensual soul, and heartfelt blues. One thing, however, always stays the same: the undeniable talent of Jon Justice and the incomparable thrill of his music. Rousing, touching, irreverent, and always exciting, the Jon Justice sound is not something you simply listen to; it's something you experience - just as Justice himself did when he wrote it and does every time he performs it. What others are saying about Jon Justice: • 'The kid can flat-out play!' - Buddy Guy, legendary blues and rock guitarist • 'I am so proud of this record. Jon is a singer, songwriter, and performer''all in one package.' - Phillip Wolfe, producer • 'Jon is such a talented kid with such a bright future. The live shows are just great!' - Wayne Jackson, The Memphis Horns • 'Terrific live performer. One of the most talented performers I've ever seen.' - Pat McManigal, critic, The Memphis Star.

Bobby G Blues Band - Bitter Cup

Bitrate: 320K/s
Year: 2008
Time: 51:34 
Size: 118,6 MB 
Styles: Blues/Harmonica Blues
Art: Front 

Tracks Listing:
 1. Went out last Night - 6:26
 2. Ain\'t my Fault - 7:32
 3. Bitter Cup - 7:15
 4. Handy Man - 4:39
 5. Born in Mississippi - 5:09
 6. Lovely night for Romance - 5:00
 7. Hole in the Wall - 3:50
 8. Miracle - 5:38
 9. They call it the Blues - 6:02

Bobby G’s CD features nine original songs, and it kicks off with a firey “Went Out Last Night” that showcases a very talented six-piece blues band. This long, introductory jam sets the stage with fine harp work from Tony Medina, the choice lead guitar chops of Al Spear, followed by some nice touches on rhythm guitar from Orpheus Golden.While there’s some pretty hard-charging blues on Bitter Cup, Bobby G and the guys slow it down a bit on two romantic ballads tailor-made for the dance floor: “Miracle” and “Lovely Night for Romance.” Bobby G’s working to promote live blues music in the far Western Suburbs of Chicagoland, and I recommend this outfit highly. Live, they mix up the set lists with some inspired versions of classic covers, and I enjoyed “Papa Was a Rolling Stone” the night I first discovered this band. I was pleasantly surprised at Tony Medina on congas, and the twin keybards, too, that contributed to the band’s big sound.

Rod Piazza & The Mighty Flyers Blues Quartet - Soul Monster

Size:124,6 MB 
Label:Delta Groove Music, Inc.
Styles:Blues/Harmonica Blues

Tracks Listing:
 1. Soul Monster - 3:54
 2. Can't Stand To See You Go - 3:36
 3. Cheap Wine - 5:16
 4. Key to the Highway - 4:27
 5. Sunbird - 4:02
 6. That's What's Knockin' Me Out - 3:21
 7. Tell Me About It Sam - 5:37
 8. Queen Bee - 4:08
 9. Expression Session - 2:54
10. Ko Ko Mo (I Love You So) - 4:24
11. Talk To Me - 4:36
12. You Better Watch Yourself - 3:28
13. Hey, Mrs. Jones - 4:15

From the passionate, fat-toned honks of the opening instrumental, to the remaining dozen cuts, this four-piece ensemble of Mighty Flyers have produced a solid, harp-fueled CD. Soul Monster is Rod Piazza’s 24th recording in a career that has spanned four and a half decades, and it features a nice mixture of covers and originals. Big Bill Broonzy’s “Key to the Highway” is slowed down just a touch, and “Sunbird” takes me right back to the classic harp lines of Rod’s mentor, George “Harmonica” Smith. “You Better Watch Yourself” honors the work of Little Walter just fine, too, and “Queen Bee” sets up Rod for some tasty solos. Standout cuts on Soul Monster for me are the originals: “Cheap Wine” (co-written with Honey Piazza, the title cut, and “Expression Session.” Rod’s got Miss Honey on piano and bass guitar, Henry Caraval on guitar and vocals, and Dave Kida behind the drum kit. Henry’s vocals on “Talk to Me” and “Ko Ko Mo” are spot-on, and from beginning to end, Soul Monster is a CD worth celebrating. “Talk to Me” reminds me of classic AM radio hits of the 1960’s – a departure of sorts from more traditional blues, but it shows the versatility of the band. While it’s more Bill Haley than Big Big Broonzy, it’s a nice change of pace. This summer, Rod Piazza and the Mighty Flyers Blues Quartet will play Buddy Guy’s Legends in Chicago Independence Day weekend, followed by a show at the Mississippi Valley Blues Festival prior to crossing the pond for a couple of European festivals, including the aptly-named Piazza Blues Festival in Switzerland. 
Reviewer Eric Steiner is the President of the Washington Blues Society, a proud recipient of a Keeping the Blues Alive Award from the Blues Foundation. Please visit www.wablues.org  for more information on the Washington Blues Society/

Jimmy Sweetwater - Food, Sex and Music

Size:56,7 MB 

Tracks Listing:
 1. Say Goodbye - 2:55
 2. Pawn Ticket - 3:04
 3. She Walks in a Funky Way - 4:09
 4. Got to Go - 2:42
 5. Un-Affordable Housing Blues - 3:00
 6. Slim Slamity Slew - 2:37
 7. Seafood Deep Fried - 2:23
 8. That's the Guy - 3:40

It could be argued that The Band created Americana music. Certainly one of the first popular acts to bring a multi-genre approach to their music which is at the heart of Americana. Unlike The Byrds Folk focus or The Flying Burrito Brothers Country focus, The Band used R&B and Blues as their anchor. I consider The Band to be Blues.
It’s in this vein that one can look at Jimmy Sweetwater. A harmonica wielding, washboard scraping singer/songwriter with a distinctive Levon Helm style of singing, Sweetwater has a Robbie Robertson indebted genre defying writing style. On his new record Food, Sex and Magic, Sweetwater lays out 8 diverse takes on Roots based Blues.
This record was cut in 3 different areas all with different personnel. In St. Louis, Cree Rider is on guitar, Simon Chervitz bass, and Scotti Iman drums. In the Catskills, Mike Batthany plays keyboards and bass, John Condon drums and John Botten guitar. And finally in Richmond, VA, Scott Martin offers “guitar and Spiritual Guidance.” Although each song doesn’t have personnel listings, one can infer from the sets of musicians who played on what.
Album opener “Say Goodbye” sets the stage well. A duet presumably between Martin on guitar and Sweetwater on percussion and harp this is a showcase for Sweetwater’s raspy croak. “It’s easier to say goodbye when there’s no time to say hello,” is a fun way to start an album. The looping “Pawn Ticket,” presumably featuring Batthany’s electric piano, is a hard luck hobo’s stroll. Then comes the tough funk of “She Walks In A Funky Way.” These three tunes push the listeners buttons. Quirky acoustic folk, shambling hard luck and a funky come on. Clever turns of phrase are also abundant. The “Un-Affordable Housing Blues” and the nonsense of “Slim Slamity Slew” pair nicely with songs about “Seafood Deep Fried.”
Jimmy Sweetwater is talented. His web site boasts participation in over 100 albums while his discography stretches back to 1990. Sweetwater’s playing, writing and singing bears this out. Food, Sex and Music is a cool record and a fun listen. Sadly it is not available on streaming services and hasn’t been pressed into a physical format. You can go to Sweetwater’s web site and listen song by song for free. Although not strictly Blues, Jimmy Sweetwater certainly has the Blues in him and it comes out in a unique and creative way.

Bob Levis - Barstool Blues

Bitrate: 320K/s
Year: 2008
Time: 73:33 
Size: 169,0 MB 
Label: Big Paw Records
Styles: Blues/Electric Blues
Art: Front 

Tracks Listing:
 1. It Takes Time - 5:50
 2. Why Are People Like That? - 4:24
 3. Can't Hold Out Much Longer - 5:38
 4. Mystery Train - 5:06
 5. Double Trouble - 8:38
 6. Barstool Breakdown - 6:11
 7. I'm Coming Down With the Blues - 6:20
 8. Three Times a Fool - 5:13
 9. Just to Be With You - 4:52
10. Shuffle-isko - 4:49
11. Now I'm Good - 4:39
12. Blues Before Sunrise - 7:24
13. Gettin' Out of Town - 4:22

The CD spine says that Barstool Blues is an album by Bob Levis, but the liner notes tell a different story.  Big Paw Records executive producer Mark Thompson of the Crossroads Blues Society wanted to showcase Bob Levis’s lead guitar playing, and he’s succeeded here by bringing in a whole stable of credentialed sidemen. Levis himself is considered to be the ultimate rhythm guitarist, having held that position in the Kingston Mines house band for 17 years; he has also worked and recorded with Otis Rush and Lonnie Brooks. On Barstool Blues he plays lead guitar on all 13 tracks, and you can tell that those years in the background have payed off in a powerful, fluid, distinctive style all his own.Everything on the album was recorded live in the studio—The Fuse in Rockford—giving the album an authentic sound. And the performances do sound fine, infused with the gritty energy of Chicago blues.Levis’s tasteful guitar is joined by the guitars of his compatriot in the Barstool Bob Band Dave Wood on 5 tracks, Larry Pendleton on 1 track, and Steve Ditzell—alumnus of the Koko Taylor and Junior Wells/Buddy Guy bands—on 4 cuts.  Lonnie Brooks himself plays and sings on Little Walters’ “Can’t hold out Much Longer.”
Keeping the beats nice and tight are Marty Binder (ex-Albert Collins sideman) or Dennis “Link” Leary on drums and Brother Dave Kaye, bass. Providing the fills are Jimmy Voegeli on piano and organ—the piano is especially impressive and adds that Otis Spann touch to those cuts—and Westside Andy Linderman, Ted Lawrence, and Big Jim Johnson on harmonica.With the exception of an instrumental penned by Levis and the final number, the jumpin’  “Getting’ Out of Town” by Big Jim Johnson, Barstool Blues is an album of covers, with three by Levis’s mentor Otis Rush (including an appropriately heavy version of “Double Trouble” and the up tempo opener featuring Levis’s searing licks, “It Takes Time”).  The standards “Mystery Train” and “Blues Before Sunrise” get interesting treatment here.While the instrumentation—especially Levis’s playing—and choice of material is outstanding on Barstool Blues, the vocals are weak throughout, whether sung by Voegeli, Ditzell, Johnson, or Pendleton.  That makes it hard for me to pick a favorite cut or one number that stands out from the rest.  Another drawback is that too often the lead and rhythm guitars are both mixed up front, taking away from the producer’s stated purpose that Levis as a lead guitarist deserves “an opportunity to display his prodigious talent to a wider audience.”Despite these minor flaws, the deep feeling is there in the music on Barstool Blues. Producer Thompson also notes that he and Levis agreed that “things could be a little ragged but the music always had to be right—had to have that deep feeling, that honest approach that is the hallmark of the finest blues performances.”  Reviewer Karen McFarland is a former officer and long time board member of the Mississippi Valley Blues Society. She is also a member of the board of directors of the Blues Foundation.Reviewer Ben Cox is a Blues Songwriter, Musician, DJ and Journalist.

воскресенье, 25 февраля 2024 г.

Roger "Hurricane" Wilson & The Hurricane Homeboys - Live At The Blue Note Grill

Bitrate: 320K/s
Year: 2016
Time: 58:05 
Size: 133,3 MB 
Label: Self-Released
Styles: Electric Blues 
Art: Front 

Tracks Listing:
 1. This Crazy World (Live) -  6:06
 2. Talking Heads (Live) -  7:45
 3. If This Is Love (Live) -  5:25
 4. Tribute to Danny (Live) -  6:35
 5. One More White Boy Singing the Blues (Live) -  7:25
 6. You Never Know Who Your Friends Are (Live) -  4:27
 7. You Do Your Job (Live) -  9:08
 8. All Along the Watchtower (Live) - 11:11

Roger "Hurricane" Wilson (born July 27, 1953) is an American electric blues guitarist, singer and songwriter. He has also worked as a music educator, radio DJ, music journalist and broadcaster. In addition he is an advisory board member of the Georgia Music Industry Association, and an International Blues Challenge judge. To date he has released over a dozen albums. Wilson started playing professionally in 1972, and he has jammed with Les Paul, Hubert Sumlin, Stevie Ray Vaughan, Albert Collins, Roy Buchanan, Savoy Brown, Magic Slim, Michael Burks, and Charlie Musselwhite. He has also shared the stage with B.B. King, Buddy Guy, Little Milton, John Mayall, Marcia Ball, Delbert McClinton, Taj Mahal, Leon Russell, and Edgar Winter.Les Paul once commented about Wilson, "this guy plays some great blues!"