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четверг, 30 августа 2018 г.

Main Street Blues - Live

Bitrate: 320K/s
Year: 2013
Time: 46:07
Size: 106,1 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Prison of Love - 4:47
 2. Hard Luck Woman - 4:10
 3. Change My Ways - 6:25
 4. Lost Without You - 4:43
 5. Fade to Blue - 6:45
 6. Woman Across the River - 4:45
 7. 39 Days - 4:43
 8. Peace of Mind - 5:49
 9. Too Tired - 3:57

Main Street are one of the top electric blues/rock bands to emerge from the East of Scotland in the last six years. The band plays up-tempo electric blues with a broad range of R 'n B and funk influences. The band has also added acoustic blues and roots numbers to it's popular shows. The band regularly performs around the Scottish and North of England Blues festival circuit, and has played sell out shows at the Edinburgh international Jazz and Blues festival every year since 2012 as well as playing the Main Stage at the Tartan Heart Festival at Belladrum in 2014 and having part of their set broadcast by BBC Alba. Main Street have an excellent reputation for putting on a top class, exciting and energetic live show and have supported many international touring bands, such as Wishbone Ash, Caravan, Paul Jones and the Blues Band, Hot Chocolate, King King, Stan Webb and many more.
'A masterclass in musicianship. Simply First Class' Press & Journal
 'So tight, you couldn't slide a Rizla between them - great gig' - Author Ian Rankin
 'A wonderful range of influences, Walter Trout to Robert Cray, all beautifully delivered and backed by a bass player and drummer most front men/women would kill for!' - Mike 'Dr Blues' McKeon


Mal Eastick - Spirit

Bitrate: 320K/s
Year: 2000
Time: 48:04
Size: 111,2 MB
Label: Bluefish Records
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Jungle Funk - 3:23
 2. Heavy Heart - 3:47
 3. Another Man - 3:54
 4. The E St Shuffle - 2:36
 5. Talkin Bout My Baby - 3:26
 6. Love So Strong - 3:56
 7. The Gringo Swing - 3:29
 8. Lost In The City - 4:59
 9. Blues For Aaron - 2:39
10. Bye Bye Baby - 4:25
11. I'll Never Be Back - 4:29
12. Swept Away - 6:56

Mal Eastick is Australia's premier electric blues guitarist and one of Australia's finest blues-rock guitarists.
He has a passionate, explosive and soulful style that has been featured with some of Australia's biggest recording and performing acts for over 30 years.
Mal Eastick is widely considered to be Australia's finest musical protagonist of the blues. Playing guitar since his mid-teens, Mal has achieved a standard of playing that is, at once, both envied and admired. He has played with Robert Cray, Los Lobos, Buddy Guy, George Thorogood & The Destroyers, Tommy Emmanuel, Jimmy Barnes and Kevin Borich, just to name a few. Mal's early career was epitomised by his time with legendary band, The Stars, and his work on the Andy Durant Memorial concert and album. In the 1980s Mal played in the Jimmy Barnes Band and also formed his own touring outfit. Two critically acclaimed albums, Southern Line and Spirit have followed.
In 1993, after experiencing two seizures, Mal was diagnosed with an abnormal tangle of arteries and veins (known as an "AVM") in the left temporal lobe of his brain, but it was not until 2001 that surgery became possible. After several major neurosurgeries, as well as six carpal tunnel surgeries, major rehabilitation and almost 4 years away from the stage, Mal returned to playing live.
He returned to the stage at the 2004 Longview Concert as a special guest of old friend and inspiration, Kevin Borich. Mal's performance at that event was both emotional and powerful. He jammed that night with Kevin and Longview headliner, Joe Walsh. This event has already become part of Australian musical folklore - a Fender Stratocaster onslaught for the ages.
Mal has now crafted a dynamic new show which draws on some of the highlights of his 30 year career as one of Australia's leading guitar players. He is making up for the lost years with a vengeance. Mal has been widening his musical horizons, through honky-tonk and rock. He has created an acoustic duo with vocalist John Makey and has been performing in select gigs around NSW. He has resumed promotion of the re-released 'Spirit' album and is passing on his talents and experience to guitar students of all abilities.
Mal has had significant festival appearances since 2006 and has appeared in various shows as a guest with Bluezone at the Basement, as well as a guitar show featuring Kevin Borich, Phil Emmanuel, Phil Manning and others.
Mal Eastick was also a headliner for the "Experience" shows with Kevin Borich & Steve Edmonds in March 2007. These shows celebrated the music of Jimi Hendrix and Stevie Ray Vaughan. They were incredible events for blues and guitar lovers around the southern nation.
Mal has played a great show with Dutch Tilders at Warners on the Bay and is regularly playing in areas like Canberra and Newcastle with great success and an excellent response from the audiences.
Mal Eastick sure knows the blues, but his musical ascendancy and versatility make his live shows, as they ever were, the stuff of legend. If you like your music tight, and you love the blues, move heaven and earth to catch him in Goulburn in 2008.
CDs include:
Spirit (2000)
The Southern Line (1995)


Mal Eastick - The Southern Line

Bitrate: 320K/s
Year: 1995
Time: 45:37
Size: 105,5 MB
Label: Exile
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Goin' Home Tonight - 3:42
 2. Don't Take Advantage of Me - 3:54
 3. Ocean Deep - 4:46
 4. Jumpin' With Stevie - 3:42
 5. My Life Story - 4:51
 6. Boundary Rider - 6:31
 7. Two Loves - 4:32
 8. Louise - 3:16
 9. The Double 'EE' Boogie - 2:21
10. Gone, Gone, Gone - 5:12
11. Times Like These (I Feel Like Goin' Home) - 2:44

Guitarist & song writer Mal Eastick hails from Australia. To my knowledge, he has not toured the US, nor is his music available outside of Australia. Too bad, because I'm sure his music would be well received here, or anywhere there is interest in blues-rock, blues, and rock ballad type music. Mal is a very talented guitarist, and singer John 'Choc' Eriwata does a fine job on vocals. The entire band is tight and well balanced.
The Southern Line is composed of about half blues-rock, half ballads & light rock tunes, and one slow blues intrumental. Mal wrote or co-wrote ten of the eleven songs. The ballads are well done and enjoyable, but there are a few too many. My favorite songs from the CD are the blues-rock and slow blues tunes.
Don't Take Advantage Of Me is upbeat blues, and the only cover song on the CD. You've probably heard this song covered by a few others. On Jumpin' With Stevie Mal tips his guitar to SRV. This is a blues-rock instrumental with Stevie overtones, including some nice work with wah-wah effects.
Two Loves is a soulful blues intrumental, with some very nice guitar and piano solos. Hearing this song on the internet motivated me to go through the effort of locating and ordering this CD from an Australian online music store. In the quick paced instrumental, The Double 'EE' Boogie, Mal trades licks with fellow Aussie guitarist Tommy Emmanuel. Of the ballads, I like Boundry Rider
the best, it's played and sung with a fair amount of emotion. In my view, if there were a couple less ballads, and a couple more blues tunes, The Southern Line would be an outstanding CD. As it is, it is still very good, and I recommend it to anyone who likes a blend of ballads and blues.

The Southern Line

среда, 29 августа 2018 г.

Michael Quest - 168 Blues

Bitrate: 320K/s
Year: 2008
Time: 35:55
Size: 82,4 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. 168 Blues - 4:07
 2. The Better of My Friends - 4:22
 3. Fixation (Instrumental) - 3:42
 4. 24-7-365 (2008) - 3:28
 5. Zero In - 4:07
 6. L.O.V.E. Me - 3:23
 7. Smoother (Instrumental) - 3:47
 8. Foreverly - 3:33
 9. Siroon Acher Ooness (Armenian) - 2:32
10. I Just Did (Duet) - 2:50

Michael continues his Journey through the world of music and song with his unique blending of Rock, Blues, and Country along with cool guitar driven instrumentals, guest appearances and some eclectic surprises.

168 Blues

Big Daddy Wilson - Songs From The Road

Bitrate: 320K/s
Year: 2018
Time: 77:19
Size: 177,1 MB
Label: Ruf Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Wake Up -  3:17
 2. Drop Down Here -  6:42
 3. Miss Dorothy Lee -  5:47
 4. Texas Boogie -  9:56
 5. Ain't No Slave -  7:50
 6. Anna Mae -  6:38
 7. Walk A Mile In My Shoes - 10:22
 8. Cross Creek Road -  3:39
 9. Neckbone Stew -  5:40
10. 7 Years -  4:48
11. Baby Don't Like -  9:20
12. I Just Need A Smile -  3:14

Big Daddy Wilson - Vocals, Dobro, Diddley Bow;
Cesare Nolli - Guitar, Back Vocals;
Paolo Legramandi - Bass, Back Vocals;
Nik Taccori - Drums, Back Vocals;
Enzo Messina - Keyboard, Piano.

No matter where Big Daddy Wilson travels on this big, beautiful, mixed-up planet of ours, he takes the South with him.
Listening to the soulful storytelling of the man born Wilson Blount in a small town in the Inner Banks region of North Carolina, it's impossible not to conjure images of dusty back roads, cypress groves, a Saturday night juke joint or Sunday morning revival meeting. It's a nostalgic and – some might say – glorified image of rural America. Yet in an age of ruthless demagogues and divisive politics, Big Daddy Wilson chooses to celebrate the simple things that bond us as human beings – a smile, a shared meal, a helping hand – along with cherished values like faith, perseverance and devotion to family. For more than two decades, he has been carrying his message of hope and unity to each and every show, whether in New York, Paris, Auckland or – in the case of his new live album Songs From The Road – the village of Rubigen in central Switzerland.
The concert recorded at the Muhle Hunziken exemplifies Wilson's uncanny ability to connect with an audience. The key ingredients are honesty, his natural charisma and the sheer power of his voice. This performance from the fall of 2017 is a testament to just how far the American ex-pat and former soldier has come since answering a newspaper ad and summoning the courage to sing "Stormy Monday" for a group of young German blues musicians way back in the 1980s. He's ably supported by a tight and versatile four-piece unit comprising Cesare "Smokestack" Nolli (g), Paolo Legramandi (b), Nik Taccori (dr) and Enzo Messina (k). A band that backs Big Daddy Wilson always has to be at the top of its game, because his music isn't any one thing. From song to song, it may transform into something hard-driving or laid-back, funky or bluesy, joyful or brooding, stripped down or supercharged.
"I tried to give my listener a small view of the journey, the good, the bad, the highs and the lows," explains Wilson in the liner notes to the album. He and the band open the set sounding figuratively uptown: "Wake Up" is a steady grooving call to action, "Drop Down Here" a reggae-tinged plea for help from the man upstairs, "Miss Dorothy Lee" a guitar-fueled tribute transported on a Bo Diddley-like rhythm. The bawdy blues of "Texas Boogie" gives way to the dead serious testifying of "Ain't No Slave." Then it's time for a little side trip to the countryside: "Anna Mae" and, later, "Cross Creek Road," are sun-drenched and pastoral. The band picks up steam again on "Neckbone Stew," ultimately climaxing with the earthy "Baby Don't Like." The twelve-song live CD closes with the eloquent simplicity of "I Just Need A Smile."
Some years ago, Big Daddy Wilson told an interviewer that the main reason he wears sunglasses onstage is his inherently shy nature. "I'm no entertainer," he claimed at the time. Songs From The Road delivers some pretty strong evidence to the contrary. And yet, in a certain way, he's right. Wilson's music – like Wilson himself – is real. It's honest. At no point is this man ever putting on a show. "I’m just interested in singing, getting my message out and feeling the people – and hoping I can make them feel me."

Songs From The Road

вторник, 28 августа 2018 г.

Lachy Doley - S.O.S.(Singer Organ Soul)

Bitrate: 320K/s
Year: 2013
Time: 55:06
Size: 126,2 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Love Blinded Fool - 3:43
 2. The Walking Dead - 4:43
 3. Jemima Jane - 6:13
 4. Six Feet Under (featuring Simon Meli) - 4:02
 5. Still In Love - 7:35
 6. Paper Plane - 5:01
 7. If Looks Could Kill - 6:38
 8. The Underground - 3:58
 9. Not Mistaken - 6:39
10. I Don't Want To Be Forgot - 6:29

Lachlan R "Lachy" Doley (born ca. 1977) is an Australian musician, singer and songwriter best known for playing the Hammond Organ and Whammy Clavinet. Doley has recorded and/or toured with Jimmy Barnes, Glenn Hughes, Billy Thorpe, Joe Bonamassa and Powderfinger. Doley has issued two albums as a solo artist, Typically Individual Conforming Anti-Social (2011) and S.O.S (Singer Organ Soul) (2013); and two albums fronting Lachy Doley Group, Conviction (2015) and Lovelight (2017). The latter album peaked at No. 40 on the ARIA Albums Chart.
Lachy Doley grew up in Adelaide, where he started a course at university. In the early 1990s his older brother, Clayton Doley, was a member of Sydney-based blues and roots group, Bondi Cigars, before turning to session work. During a break from his uni Doley joined Clayton in Sydney in the mid-1990s also as a session musician, "once I got here I thought, 'This is fantastic,' I dropped out of uni and stayed." In 1999 Clayton travelled to New York while Doley continued his local session work.
In 2002 the brothers reunited in Sydney and formed a classic rock and soul band, the Hands, with Doley on a Hohner clavinet and Clayton on a Hammond organ. They issued two albums, Live and Breathe (2004) and Everything Is Wonderful (2008). Brett Winterford of The Sydney Morning Herald observed the first album was "sung by guest soul vocalists Jade MacRae, Kara Grainger and Mahalia Barnes. The band struggled to afford to tour with guest vocalists and so narrowed their act to a four-piece (the brothers backed by drums and bass). By necessity, the brothers took to singing themselves."
Doley provided piano and Hammond organ for Powderfinger's fifth studio album, Vulture Street (July 2003), as a recording session musician. Subsequently the group used him as their touring keyboardist from mid-2007 to 2010. As a solo artist Doley released two studio albums, Typically Individual Conforming Anti-Social (2011) and S.O.S (Singer Organ Soul) (2013).
He has recorded with English rock musician, Glenn Hughes, on the artist's solo album, Resonate (2016), and on a cover version of "Highway Star" for the Deep Purple tribute album, Re-Machined: A Tribute to Deep Purple's Machine Head (2012). For the latter he also worked with Steve Vai and Chad Smith.
Doley fronted the eponymous Lachy Doley Group from 2014, which issued two albums, Conviction (2015) and Lovelight (January 2017). The latter debuted at No. 40 on the ARIA Albums Chart. Other recording sessions include with Mahalia Barnes and Joe Bonamassa on Ooh Yeah! – The Betty Davis Songbook Album (2015). Doley is a regular member of Jimmy Barnes live shows including, Barnes' brief Australia Day set aboard a ship on Sydney Harbour in 2017.

S.O.S.(Singer Organ Soul)

Big Monti Amundson - Big Monti - Live!

Bitrate: 320K/s
Year: 1998
Time: 42:46
Size: 99,8 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Still Alive And Well - 3:42
 2. Mean Old World - 6:02
 3. Man On The Floor - 4:46
 4. Pilgrim - 3:15
 5. Begging For Your Arms - 5:06
 6. Mazzacco Walk - 6:01
 7. In Over My Head - 3:51
 8. Rock Treatment - 3:54
 9. Poor Jimi's Father - 6:06

Guitar and vocals - Monti Amundson
Bass - John Mazzacco
Drums - Jeff Minnieweather

"Big Monti - Live!" wasn't really a bona-fide release. More of a demo showing just how good a rhythm section can be. We recorded two shows in two nights in Portland - I think it was "The Gemini" on Friday and "The Candlelight" on Saturday. We'd been performing a lot and unfortunately, my voice is a little rough here. Rod Stewart talks about taking care of his voice by eating cucumber sandwiches and drinking green tea while the rest of the band parties in the room next door. Probably the only reason I'm still alive is that, as a singer, I had to take a little better care of myself. For those of you who have seen me in a different state and beg to differ - I acknowledge you.
If you're lucky enough to find yourself making music with these guys, you will also find yourself being pushed to the absolute outside of Your abilities. John used to mess with me on-stage. Let's say I'm soloing over a basic 1-4-5. At some point in my solo John would just hang on the 4 for like an hour and build all this tension. I think he's going to resolve it any second so I'm playing the same lick over and over until I'm starting to get pissed off. And then I think, is this what jazzers do for fun? And just then John would resolve it and the crowd would go crazy. Ha-ha, very funny guys.
But for real - the music was expansive. On a good night I felt like I was in Cream. John Foyston of The Oregonian called it "Music that breathes."
Jeff Minnieweather? Best drummer I ever worked with. We used to shoot pool and hang out. Listen to music. He was an easy guy to be around. A lot of musicians wear you out after a while. But we continued to play together through a couple of line-up changes. He eventually moved to The Bay Area and works with whoever he wants to. Just listen to his solo on "Pilgrim". Holy shit! Is that a 7/8 time signature he's playing over?  - Big Monti

Big Monti - Live!

Franck Ash - This Must Be Love

Bitrate: 320K/s
Year: 1998
Time: 44:05
Size: 101,2 MB
Label: Blues Power
Styles: Blues/Modern Electric Blues
Art: Full

Tracks Listing:
 1. Things - 2:54
 2. Doggone - 4:20
 3. Day After Day - 3:52
 4. De L'Eau Sous Les Ponts - 4:19
 5. Somebody New - 4:55
 6. Enfer - 3:54
 7. Get Out - 3:53
 8. I Wanna Live My Own Life - 3:59
 9. This Must Be Love - 4:33
10. Sexy Boozy Lady - 4:00
11. On Cherche Tous - 3:21

Immergé dans la musique noire et la langue américaine dès l'enfance, c'est à l'âge de douze ans que Franck Ash se passionne pour le chant et la guitare.
C'est à partir de 1985 qu'il commencera à jouer dans les clubs et montera plusieurs formations.
En 1988, Franck fait trois passages remarqués à l'Appollo Theater de New-York, joue dans un festival à Harlem et reçoit des propositions pour se produire dans les clubs. Deux interviews télévisées pour NBC New-York et pour ABC en Californie (Channel 7) seront enregistrées à cette occasion.
Dès lors Franck Ash se produit régulièrement dans les clubs et les festivals en France, tourne souvent en Suisse et en Espagne, et explore la scène de Montréal.
Il signera en 1993 deux titres pour un film. C'est aussi l'année où il commencera à s'investir dans la composition, écrivant en anglais et en français.
En 1994, Franck enregistre un concert en public au New Morning à Genève qui est depuis régulièrement diffusé sur les chaînes de télévision MCM et MUZZIK, apparaîtra lors de l'émission live pour la clôture des jeux Olympiques de 1996 sur la chaîne France Supervision et enregistrera un concert et des interviews pour la même production.
Parallèlement à ses engagements avec son groupe le Devils Band, Franck Ash est appelé en 1995 aux côtés de Screaming Jay Hawkins qu'il accompagne encore aujourd'hui dans ses tournées européennes ainsi qu'à Chicago pour clore le 13ème festival de Blues en mai 1996 et à Memphis Tennessee en juillet 1997 pour enregistrer l'album ''At last''.
En 1998, Franck Ash enregistre son propre album''This must be love'' produit par Big Bang Records et Midilive que Night & Day distribue en mars 1999.
Dans cet album, Franck propose 11 titres originaux qui s'inscrivent dans la mouvance actuelle du Blues international.
Le répertoire est étendu... Au coeur de cette passion pour le Blues qui constitue un véritable héritage, sans souci d'étiquettes et dans son style, Franck ASH se situe aux frontières de la Soul et du Funk, ouvert à toutes les sources d'inspirations.
Il aime la scène, y consume une étonnante énergie, invite le public à découvrir ses compositions et rend hommage aux musiciens et au Blues qui l'ont forgé.

This Must Be Love

Franc Robert & The Boxcar Tourists - Mulligan Stew

Bitrate: 320K/s
Year: 2012
Time: 40:59
Size: 94,1 MB
Label: Self Released
Styles: Swamp Blues/Guitar Blues
Art: Front

Tracks Listing:
 1. Let's Go Jukin - 4:06
 2. Coal Burnin Locomotive - 4:05
 3. Beale Street Memories - 3:49
 4. Why Can't I Be Your Man - 4:24
 5. Mulligan Stew - 2:43
 6. Lay My Body Down - 2:42
 7. Ohh Baby - 3:26
 8. Your Crying Eyes - 2:52
 9. The Devil At Your Door - 3:09
10. Ya Can't Have Nothin - 3:58
11. You Worry Me - 2:56
12. It's Morning Time - 2:43

Franc Robert & The Boxcar Tourists return to the scene in 2012 with their new release “Mulligan Stew”, 12 songs that stylistically cover a lot of territory within the blues genre. Opening with the party anthem “Let’s Go Jukin”, the band kicks in high gear with“Coal Burnin Locomotive” a driving blues-rock lap steel workout with power to spare! Traditional Memphis-style blues is served up with “Beale Street Memories” ,“Why Can’t I Be Your Man” and “Your Crying Eyes”. Acoustic fans will love “The Devil At Your Door”, “Lay My Body Down” and the forward looking “It’s Morning Time”, while slide fans will dig the Elmore James stylings of “Ya Can’t Have Nothin” and “You Worry Me”. “Ohh Baby” will get you off your chair and on the dance floor, and the title track is a jazzy, swinging affair sure to put a smile on your face! Throw all these styles together on one CD, and the result is a musical mix worthy of the name “Mulligan Stew”. Enjoy!

Mulligan Stew

Roy Mette - Vibralism

Bitrate: 320K/s
Year: 2014
Time: 62:51
Size: 147,7 MB
Label: Blues/Rock/Rockin' Blues
Styles: Self Released
Art: Front

Tracks Listing:
 1. Like A Ball And Chain - 3:57
 2. Just Because - 5:07
 3. Love In The First Degree - 4:58
 4. Heartbreak Time - 7:46
 5. Vibralism - 3:32
 6. The Drop Below (Song For John) - 2:41
 7. Paranoia - 3:14
 8. Big Daddy C - 5:15
 9. Honey Trap - 4:06
10. Big In That - 3:44
11. Electric Grass - 4:13
12. Easy Money - 4:55
13. Blue Surf Shadows - 4:08
14. White Men Sing The Greens - 5:07

Roy Mette - Guitar/vocals
Andy Bostock - Bass
David George Allen - Drums

Roy Mette is an experienced musician from Essex in the UK and this is the sixteenth album of his career.  He has always mixed things up and has recorded in both blues and folk idioms.  Live he plays solo acoustic as well as in an electric band where live he often mixes original numbers and Rory Gallagher covers, keeping true to British blues/rock roots.  This album is something of a departure as the all original music ranges quite widely across styles.  The band is Roy on all guitars and vocals, Andy Bostock on bass and Dave McCarthy on drums; Dave Woodcock adds piano to three tracks. The album opens with “Like A Ball And Chain”, Roy on both acoustic and electric guitars playing a menacing riff, well supported by the rhythm section, on a song about a solitary guy with a drink problem who ends up talking to his whisky bottle.  “Just Because” harks back to some of the gentler work of the original Fleetwood Mac with Roy’s guitar and Andy’s bass producing a lilting tune enhanced by Dave’s piano.  “Love In The First Degree” is a solid shuffle with an interesting lyric; Roy wants to enter a plea to the court that he is suffering…. from the title of the song!  An extended ballad of lost love “Heartbreak Time” offers plenty of scope for Roy to play some classic guitar licks, at times double-tracked against himself and with Dave’s piano again adding depth to the arrangement. The title track “Vibralism” is an instrumental that pounds along on top of a core riff from Roy and plenty of guitar flourishes on top.  There is a Rory Gallagher feel to this one, hardly surprising as Roy is clearly a fan of the late Irish guitarist.  A tragic tale of an alcohol-dependent friend is played with minimal drum accompaniment to Roy’s vocals in “The Drop Below (Song For John)” – “All the time we were flying we did not see the drop below”.  Roy is worrying about what others think in “Paranoia”; the rhythm section plays some great jazzy stuff here and Roy does some Al Stewart style picking in another interesting change of style;  “Big Daddy C” has something of the same feel at a slightly faster pace. Some deep chords propel Roy into the moody “Honey Trap”: “Something is out of place, something has moved, someone has left a trace.  Now you know how it is to be an open case, now you face the honey trap”. Roy shows us his sense of humor in the rockabilly “Big In That” which is great fun both lyrically and musically.  The title “Electric Grass” gets our attention and it is certainly a strange song which includes references to Vietnam, surveillance and 1960’s fashions!  The rhythm section sits this one out as Roy accompanies himself on electric guitar.
The whole band is back for the catchy groove of “Easy Money”, a tale of a girl who wants “it all now, paid for by easy money”, Roy taking a solid solo before Dave returns to assist on the instrumental track “Blue Surf Shadows”.  Now, those who know the English climate and the area of Essex will be aware that surfing is not a common occurrence there but The Shadows were once as influential an instrumental band in 1960’s Britain as The Ventures were in the USA which probably explains the title as Roy finds his inner Hank Marvin on this one!  Another odd title “White Men Sing The Greens” closes the album with a piece of late night jazzy blues and a comical lyric spoken by Roy in an exaggerated English accent which may be provide an interesting challenge for American listeners! This album shows that Roy is a talented writer and guitarist who has several strings to his bow.  As a consequence this CD is not all blues but there is plenty of good material to enjoy across the range of style presented.


Al Grigg - Blues and Other Things

Bitrate: 320K/s
Year: 2015
Time: 29:52
Size: 68,5 MB
Label: Jovian Records
Styles: Blues/R&B
Art: Front

Tracks Listing:
 1. All the Way Home - 2:49
 2. Your Meal Ticket (I Ain't Gonna Be) - 3:05
 3. It Just Don't Have to Be That Way - 3:47
 4. Dead End Boogie - 5:33
 5. I'm Gonna Jump Right Into the Fire - 3:26
 6. In Cecilia's Garden - 3:55
 7. American Dream - 7:14

Al Grigg has enjoyed a pretty cool music career since his 1975 debut album with one of the pioneer indie bands, The Flying Dogs of Jupiter. Since then he has done a little bit of everything, from playing with a 50s/60s tribute band, to traveling to three continents while living overseas for a decade. Al returned to the United States in 2010 and formed The Fine Line, who he still plays with in the New York / New Jersey area. He gets out on his own too, with an upcoming tour abroad and a new solo CD to entertain his fans.  Blues and Other Things is the latest self-produced album from Grigg, and he did all of the heavy lifting on this one. Al wrote all seven of the songs (some of them from Flying Dogs of Jupiter albums), took the lead on all of the vocals, and played all of the guitar and drum parts. Guest artists Greta Tristram (harmonica) and Frank Kaiser (rhythm guitar) joined him on this project. Looking at the sleeve for this disc, it appears that Al Grigg is a bit of tone junkie, as he made notes of the different guitars and amplifiers that he used to get the desired sounds in the studio. It certainly worked out well, as you will hear in the opener, “All the Way Home.” This is a country rocker with hard and crunchy overdriven guitars, and Al’s voice goes all the way from smooth to jagged — he can really howl out the lyrics! This is followed up by a more straight-up blues tune, “Your Meal Ticket (I Ain’t Gonna Be),” which uses two or three layers of guitars to achieve a fun and bouncy beat under Griggs smorgasbord of double entendres. Keeping thing moving, the next tune is “It Just Don’t Have to Be That Way,” which provides a healthy dose of smooth rhythm and blues to accompany the heavy lyrics. Grigg lays down a very tasteful guitar solo on this one, and he has a wonderful feel for the instrument. Then the mood turns to country blues with “Dead End Boogie” which has some well-placed harp from Tristam and plenty of catchy guitar licks. There are a also a three rock (or maybe even pop) tracks. “I’m Gonna Jump Right Into the Fire” and “In Cecelia’s Garden” are well constructed, as their lush instrumentation and vocal harmonies go well with the lyrics which are thoughtful with good imagery. Finally, the set finishes up with seven minutes of “American Dream,” a hard-hitting Flying Dogs of Jupiter rocking jam where Grigg and Tristam get to finally cut loose with everything they’ve got. So, after listening to the whole thing it turns out that the album title is true: this CD really is full of blues and other things!

Blues and Other Things

Geoff Carne - One To One

Bitrate: 320K/s
Year: 2014
Time: 43:12
Size: 100,1 MB
Label: Advision Uk
Styles: British Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Back On the Road Again - 3:42
 2. Crazy Blues (I Wait for You) - 3:08
 3. It's The Not Knowing (That Hurts the Most) - 3:36
 4. When Communication Breaks Down - 3:52
 5. Carry Our Soul - 3:10
 6. For You - 3:38
 7. One To One - 4:16
 8. Deep & Dirty - 3:57
 9. Baby Blues (All Roads Lead to You) - 5:46
10. One To One (Acoustic Version) - 4:16
11. Deep & Dirty (Acoustic Version) - 3:46

Geoff Carne - Vocals/Guitar;
Paul Mex - Bass/Keyboards/Drums/Guitar;
Mick Armstrong - Drums/Percussiona (guest).

Geoff Carne can best be described as a British rock/blues guitarist and vocalist. Major influences include musicians Paul Rodgers, David Coverdale, and Don Henley. This CD has 9 originally written rocking tracks with the last two songs being acoustic versions of the aforementioned originals.
Carne started out gigging in the early 80’s doing the pub scene prior to locating to his home base of London in 1987. Near the end of 1988, Geoff teamed with West London rockers, Dream State City.  He continued playing locally with a few breaks until 1994 where he toured mainly as an acoustic artist in United Kingdom pubs and bars. In 1998, Geoff joined with producer/musician Paul Mex and that helped broaden his musical abilities. “One to One” showcases the artists rocking roots, flair for guitar driven tunes, and blues roots background.
Highlights from the record include:
Song 7: “One to One”-This one is sexy song about connecting and passion. The upbeat musical arrangement makes for a feel good experience for the ears. The lyrics are about two people being attracted to each other and the journey that follows when everything is hitting on all cylinders. Carne’s web site notes the record One to One as being an album for the ladies. This track highlights that description.  This tune is also featured at the end of the CD as a bonus acoustic version. The passion really shines though on this song.
Song 8: “Deep and Dirty”-This tune is grooving from the opening note. Erotic lyrics and steady guitar help this song along nicely. “Take me down deep and dirty with you” leaves nothing to the imagination as to what is on the artists mind! Here again Geoff has decided to make this tune a bonus track at the end of the disc with the acoustic version. There is something to be said for the rawness and feelings of acoustic music.
Song 2: “Crazy Blues”-A track about love, lust, and longing. We have all had twisting, confusing, uncontrollable feelings in a relationship; these songs lyrics tell of just that. “Holding on to what I cannot control, without reason we win and we lose, still I wait for you…

One To One

Franck Ash - Beyond The Clouds

Bitrate: 320K/s
Year: 2003
Time: 46:46
Size: 107,6 MB
Label: Mosaic Music Distribution
Styles: Blues/Modern Electric Blues
Art: Front

Tracks Listing:
 1. Be my lighthouse - 4:25
 2. Packing up - 4:37
 3. Keep on - 3:48
 4. I'm talkin' to u - 4:11
 5. Poison - 3:44
 6. Beyond the clouds - 4:21
 7. We'd better - 3:55
 8. Ain't no fool - 4:25
 9. Love me - 5:02
10. Hey man - 4:04
11. Heaven - 4:08

Immersed in Black American music from a very young age, Franck developed a passion for singing and playing guitar. A prizewinner at New York’s famous Apollo Theatre amateur night show, he subsequently become a frequent guest at the show. Franck’s debut album, “This Must Be Love” was released to critical acclaim across the international Blues scene, resulting in an award from the French Academy Of Jazz and best European artist in 2000. In his own inimitably style, Franck continued to develop a unique and versatile repertoire with a fusion of Soul, R’nB and Funk on a solid Blues ground and released “Beyond The Clouds” in 2003. Alongside the work with his own band, Franck was also invited to become band leader and guitar player for the great Screamin’ Jay Hawkins. They toured Europe and USA and recorded two albums “ At Last" in Memphis Sam Phillips studio, and “Live At The Olympia” in Paris. He has also played with the likes of Luther Allison, Dr. John, Robert Cray, Magic Slim and Taj Mahal. With regular appearances on TV and even a movie soundtrack under his belt, Franck Ash is best known for his cracking live performances.

Beyond The Clouds

понедельник, 27 августа 2018 г.

The Apocalypse Blues Revue - The Shape Of Blues To Come

Bitrate: 320K/s
Year: 2018
Time: 45:26
Size: 106,3 MB
Label: Provogue/Mascot Label Group
Styles: Blues Rock
Art: Full

Tracks Listing:
 1. Open Spaces - 5:01
 2. We Are One - 8:32
 3. Hell To Pay - 4:23
 4. Have You Heard - 4:04
 5. To Hell With You - 4:45
 6. Nobody Rides For Free - 3:46
 7. Sincere - 4:32
 8. What A Way To Go - 8:12
 9. Noumenal Blues - 2:07

The Apocalypse Blues Revue are back with their new album, The Shape Of Blues To Come, out on July 20th 2018 via Provogue/Mascot Label Group.
Following 2016s self-titled debut, Godsmack’s Shannon Larkin (Drums) and Tony Rombola (Guitar) return with some more bone-shaking blues with Brian Carpenter (Bass) and the shamanistic frontmanRay “Rafer John” Cerbone.
Shannon Larkin discovered Ray Cerbone at a biker bar. The singer had no idea that he was speaking to the drummer from Godsmack, it was just a couple of guys hanging out. “It wasn’t a recruitment at all,” Larkin says. Just two guys who liked to ride, and enjoy music. “It wasn’t like I was a guy in a big band, and he was star struck at all. I went over to Ray’s house with my wife to have dinner, and I happened to see his guitar sitting in the corner. I didn’t know what he did, so I asked him to play a song, and I really loved his voice.”
Grizzled “Rafer John” may be no spring chicken, but the truth is that this is his first band, though he has for years worked as an acoustic blues troubadour. He picks up the story, “Next thing you know, Shannon calls and says that he and Tony are down the road in a recording studio working on a blues song, and they needed someone to sing it. I said, ‘Yeah, I know a few guys who could sing that for you, and he said, ‘no, I want you to sing it! I got in there, sang that song, and the rest is history.”
This is more than a side project, “We’re very excited about this second record. I’ve never seen four wills join so strongly with one intent as I have in this band. That’s something special,” affirms Larkin.
Larkin tells of a pre-production meeting with producer Dave Fortman (Godsmack, Evanescence, Anthrax). at The Vibe Recording Studios in Southwest Florida (Fort Myers), in which the two settled into the control room, ingested certain mind-expanding compounds, and they then proceeded to listen to many hours of the records they loved the most. The phrase Larkin comes back to again and again are, “it has to be real, it has to be genuine.” This record is exactly that. It drips with the existential stew of four guys playing together in a small room, in fact, that is exactly much of what we are hearing—the band laid the basic tracks in just one long day, but they captured it all with the cinematic vision and clarity of a great filmmaker.
Larkin continues, “Our mission is to see if Apocalypse can reshape the shape of blues to come. We’re a different shade of blue. Our approach is to write and play as a traditional blues band. Our original influences came from Zeppelin, Johnny Winter, Stevie Ray Vaughan, we came to the blues later in life, and we’ve found our groove and sound, and it sounds unique and original to us. We don’t try to hide our rock influences, it comes through creating a new shade of blue.”
The band again wrote together for this record, but in a strange twist of coincidence, the tracks selected were all lyrically from the pen of Shannon Larkin. In terms of lyrical content, he reveals that his lyrics are often spiritual in nature, but he hesitates to define his meanings as he defers to the imaginations of the listener to find their own meanings.
Somewhere there is a kid who has been listening to Godsmack, who will now come to know The Apocalypse Blue Revue, and from this revelation of the blues they will back pedal to discover the long and honorably trod path that leads to Robert Johnson, the Kings (B.B., Albert, and Freddie), all the way forward to The Doors and the British blues rock boom, which finally leads straight to today.
Rombola provides the six string fireworks with tight, tough riffs and incendiary solos, while Larkin brought a sheaf of lyrics that are straight ahead reflections of the biker’s blues life. As close as they get to metal mythology is on the sultry, “Sincere”, in which Cerbone intones, “Some say I worship the devil, I say he worships me.” These songs are about walking the walk of life. Somewhere between Larkin’s metal alter-ego and Cerbone’s Americana roots there lies a place where passion, the roots of the blues, and the combined experience of everyone in the room work together to create a tantalizing path.
Sonically, The Shape Of Blues To Come covers a lot of ground, from the traditional blues changes of “Sincere” to the more cerebral textures found on the Floydian “What A Way To Go” with Rombolo’s evocative late night Strat tones, Larkin’s soft, musical touch on the drums, sweet background choirs, and Cerbone’s sung-spoken recitation of “What a way to go, when the wind’s never at your back.” “Open Spaces”, which opens the album with a nod to Jimi’s blues, then gradually ups the ante as the band’s rock blood begins to boil and cast about with heavily flanged guitars and vocals is an ideal way to get a panoramic view of what is to come. The beauty lies in the fact that this band has been six years in the making, and while the album lies rooted in very traditional blues structures and sounds, Rombola, Larkin, and Carpenter’s rock roots do shine through. The album’s closing number, “Noumenal Blues” finds Cerbone duet with Nancy Koerner, whose silky tones match Ray’s earthy baritone alongside Carpenter’s languidly loping bass line and some fingerpicked acoustic guitar before Larkin, Carpenter, and Rombola put the record to sleep with a bit of unabashed rock.
There is a healthy dose of psychedelia that infuses the record, filtered through the blues of Jimi Hendrix, David Gilmour, and Billy F. Gibbons, and guitarist Tony Rombola runs the gamut from earthy comping to explosive shards of metallic but no less bluesy slide guitar on “We Are One.” Rombola’s riffing, writing, and soloing is a beautiful blend of chops and taste. This is a great guitar record, and Rombola displays a lifetime of woodshedding, listening, learning, and his playing is a thrill from beginning to end. Another important piece of the puzzle here is the rhythm section of Larkin and bassist Brian Carpenter—Carpenter’s huge, gritty tones are a perfect complement to the dynamic drum work, and together they have the feel and sound of a classic blues rock engine room.
Six years in, and it feels like The Apocalypse Blues Revue is just getting started….

The Shape Of Blues To Come

Chad Elliott - Rest Heavy

Bitrate: 320K/s
Year: 2018
Time: 51:29
Size: 118,4 MB
Label: Self Released
Styles: Roots/Blues/Soul
Art: Front

Tracks Listing:
 1. Rest Heavy - 3:12
 2. Shy of Shameless - 5:22
 3. Hills of Tennessee - 3:28
 4. Shining Stars - 4:02
 5. Cadillac Problems, Buick Times - 4:56
 6. Alberta - 4:19
 7. Slow Again - 3:47
 8. Dirty River (Catfish Blues) - 3:45
 9. Embarcadero Street - 5:07
10. Water Under the Bridge - 7:06
11. St. James Infirmary - 6:20

Recorded live in the famed Sun Studio of Memphis, TN, this album is full of roots-infused blues and soul songs.
Chad Elliott traveled to Memphis, TN to record these songs with his band, The Redemptions. They set up in Sun Studio, where legends such as Johnny Cash, Elvis, Jerry Lee Lewis and BB King, among others, recorded. The eleven tracks on the album demonstrate the soulful energy of the players and the room.

Rest Heavy

Alastair Greene - Live From The 805

Bitrate: 192K/s
Year: 2018
Time: 100:31
Size: 140,8 MB
Label: Rip Cat Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. The Sweetest Honey - 3:47
 2. Big Bad Wolf - 6:12
 3. Trouble at Your Door - 4:11
 4. 3 Bullets - 4:33
 5. Red Wine Woman - 4:22
 6. Say What You Want - 4:45
 7. Love so Strong - 5:47
 8. Down to Memphis - 5:43
 9. Lawdy Mama - 4:38
10. Lucky 13 - 3:40
11. Dream Train - 4:36
12. Back Where I Belong - 4:10
13. T'other Way - 6:30
14. Last Train Around the Sun - 5:50
15. Love You so Bad - 4:16
16. Rain Stomp - 3:21
17. Big Boss Man - 6:46
18. First Born Son - 4:11
19. Shoe on the Other Foot - 9:03
20. Walking in Circles - 4:01

Recorded in front of a sold-out hometown crowd in Santa Barbara, California, this album celebrates 20 years of Greene's blues rock power trio with 20 tracks, including original songs drawn from all 5 of his studio records as well as a few choice covers. Alastair Greene has been hailed as one of the best blues rock guitarists of his generation with his band drawing comparisons to Gov’t Mule, ZZ Top, and Cream. Live From The 805 will appeal to fans of Rockin’ Blues, Southern Rock, Jam Bands, and more. “Live From The 805 is a milestone live celebration of twenty years of rocking the blues for Alastair Greene and his cohorts. It's also another installment in his re-commitment to his own music after stepping down from seven years of adding a blues tinge to the Alan Parsons Live Project, continuing the story told in his most recent studio outing, Dream Train. While Alastair and the band have strong, obvious and impressive roots in the rock world, the twenty songs here, mostly bluesified updates and reprises from Alastair's accumulated discography, reflect Alastair's love and affinity for the blues and its offshoots with equal vigor and authority. Shadows of Albert Collins, Albert King, Howlin' Wolf and many other blues icons run through the music. Alastair's mastery of traditional blues tunings, slide, string bending and grooves are as much a part of the foundation as the hard driving, rocking energy. As numerous greats have shown, blues and rock don't always have to be "either/or." Blues has always reflected the other musics of its time. Happily for we listeners, Alastair is a master of rocking blues (or is it the other way around?), and it will be joyous finding out over the coming decades where the blend takes him - and us.”
Dick Shurman - Blues producer and historian

Live From The 805

пятница, 24 августа 2018 г.

Jay Owens - Movin' On

Bitrate: 320K/s
Year: 1995
Time: 50:34
Size: 116,9 MB
Label: Blues Paradise Records
Styles: Blues/Modern Electric Blues
Art: Full

Tracks Listing:
 1. Movin' On - 4:18
 2. Who is in Control - 4:28
 3. Workin' Man - 4:13
 4. I'm Come - 5:15
 5. Don't Make Me Wait - 5:19
 6. Gonna Send for My Baby - 2:59
 7. Caught in My Woman's Change - 4:52
 8. I'm Addicted to You - 4:18
 9. I Heard You Love - 2:56
10. The Blues Hurry Home - 3:38
11. Don't Walk Away - 3:39
12. Where There's Love - 4:34

The production may be a little too clean and the playing may be a little too pat, but there's no denying that Moving On is the work of a fine blues craftsman. Jay Owens has written a set of strong songs in the soul-blues tradition, spiking his straightahead foundation with flourishes of funk and Chicago blues. Owens delivers his songs with passion, which make the weaker moments sound convincing, thereby elevating Moving On to the status of his best latter-day effort.

Movin' On

Junkyardmen - Keep On Workin'

Bitrate: 320K/s
Year: 1999
Time: 55:50
Size: 131,8 MB
Label: Inside Sounds
Styles: Modern Electric Blues/Harmonica Blues
Art: Front+Back

Tracks Listing:
 1. Keep On Workin' - 3:50
 2. Tearsss - 3:46
 3. Cadillac - 4:15
 4. Arkansas Razorback - 4:16
 5. High And Dry - 4:51
 6. What Is Love? - 2:55
 7. Love Bug - 4:23
 8. (Oh No) Caught You In A Lie - 4:00
 9. Hard As A Rock - 4:11
10. It's Gonna Be Alright - 4:47
11. Work It Out - 6:52
12. I Ain't Found Out Yet (Bonus Track-Live Studio Cut) - 7:39

Junkyardmen have risen to the top of the Memphis blues heap, synergizing their Delta region roots in the city known as the apex of the blues world. Keep On Workin' features twelve songs and more of the acrobatic harmonica virtuosity of Billy Gibson; more meaty guitar and vocals from Jesse Hoggard; still more fine vocals and potent songwriting from drummer John Scalici, and the smooth, solid bass playing of Kevin Sheahan. Produced by Jim Gaines, this blues-rock recording has energy and chemistry.

Keep On Working'

среда, 22 августа 2018 г.

Blue Attitude - Paperback

Bitrate: 320K/s
Year: 2017
Time: 44:19
Size: 101,8 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Deep Down In Me - 4:02
 2. Ghost Town - 4:02
 3. Man In The Moon - 3:41
 4. Counting Hours - 3:52
 5. 99 Degrees - 3:54
 6. Paperback - 4:45
 7. Take It Easy On Me - 4:11
 8. Fool For You - 2:58
 9. Armed Angels - 4:07
10. The Bullet - 3:46
11. Lift Me Up - 2:21
12. Just A Touch - 2:32

Blues, blues based rock, and ballads featuring a female vocalist with strong lyrical content and complimentary lead guitar.
Christiane and I have been writing music together since 2015 and bring out the best in each other. Our music is a little different from the typical blues and blues rock you may be used to hearing, lyrically it is much stronger than your typical blues lyric.
Some of the comments we have received for our music :
"Beautiful compositions with wonderful guitar playing by Dave Bell. The sultry voice of Chris Spruit completes everything, a nice album to get through these dark days."
"Love the interaction, musically between the guitar craftsmanship (well done Dave!) and Chris (again: what a voice!).. I enjoyed that 'dialog' that's sometimes in the instruments (and licks) and the other time in the 'singing'. Very, very well done, respect! Mar T."
"I love the expression you two achieved on this, just the right sound, guitars and vocals are fabulous!"
"Smoking and very powerful !!! Killer job Chris !!! Love your guitar on this Dave !!!"
"Wow! This one is great!! Both of you are more powerful than ever. Your emotion touches my soul!"
"...and up go the goosebumps ... mesmerizing guitar ... and, Chris. your voice goes up and down my spine <3"
"Another cool collab from ya'll! Super tasty playing, Dave. And yeah, Chris' outro vamping was sweet!"


вторник, 21 августа 2018 г.

Mike Griffin & The Unknown Blues Band - Gimme What I Got Comin'

Bitrate: 320K/s
Year: 1993
Time: 41:31
Size: 95,7 MB
Label: WalDoxy
Styles: Blues
Art: Full

Tracks Listing:
 1. Give Me What I Got Comin' - 3:16
 2. Been There, Done That - 4:13
 3. Blues Will Never Die - 5:20
 4. I Just Can't Get Enough - 4:14
 5. Fifth of Whiskey, Case of the Blues - 4:42
 6. Queen of New Orleans - 3:31
 7. T.V. Mama - 3:24
 8. Black Cat Scratchin' - 5:38
 9. You Got the Best Thing - 3:59
10. Stretched Out - 3:10

Gimme What I Got Comin' (1993) brought the band further acclaim as a solid force on the blues scene. The album grabbed the attention of blues fans, critics, and DJs and snagged a high-ranking spot on Living Blues Magazine's national radio chart.
Fifth of Whiskey, Case of the Blues, a song from the album, was nominated as Song Of The Year for the 1994 W.C. Handy Awards.
Major touring dates on both U.S. coasts and Canada, as well as Europe, served as a catalyst to broaden the fan base for the band. Griffin also played on the month-long "Malaco Europe '93" musical extravaganza, where he shared the stage with legends like Little Milton, Denise LaSalle, and Latimore. He then worked with Artie "Blues Boy" White, laying down tracks for his "Different Shades of Blue" release, as well as providing explosive guitar work on James Peterson's "Don't Let The Devil Ride" album.

Gimme What I Got Comin'

Bobby Parker - Bent Out of Shape

Bitrate: 320K/s
Year: 1993
Time: 52:57
Size: 121,9 MB
Label: Blsck Top Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Fast Train - 4:22
 2. It's Hard But It's Fair - 3:59
 3. Bent Out of Shape - 4:14
 4. So Glad i Found You - 5:49
 5. I Call Her Baby - 5:30
 6. Watch Your Step - 3:33
 7. Break it Up - 4:37
 8. Let That be the Reason - 4:47
 9. I've Got a Way with Women - 6:02
10. Bobby-A-Go-Go - 5:06
11. Blues Get Off My Shoulder - 4:53

Though guitarist Bobby Parker's success is recent, he's been a driving behind-the-scenes force in the blues for a long time. Listening to his Black Top Records debut, 1993's Bent Out of Shape, it's easy to hear why. Parker has the sure skill of the veteran, so that even when his solos are at their most elaborate, he never sounds like he's showing off. He works with bassist Lee Allen Zeno to a degree rarely heard among blues guitarists; listen to how the lines play off of each other on "Bobby-A-Go-Go." In fact, the bass work is strong throughout, coming to the fore on "Break It Up" and the album's scorching closer, "Blues Get Off My Shoulder." Parker's a more than capable vocalist as well, whispering, shouting, and wailing with never a wrong note. Bent Out of Shape has the feel of a best-kept secret. Hopefully, that won't be so for long. --Genevieve Williams

Bent Out of Shape

Spencer MacKenzie - Cold November

Bitrate: 320K/s
Year: 2018
Time: 45:22
Size: 104,5 MB
Label: Fontana North
Styles: Blues
Art: Front

Tracks Listing:
 1. Fine Place to Start - 4:12
 2. Move on Down the Track - 4:42
 3. Shut the Door (Baby Don't Look Back) - 3:58
 4. Cold November - 4:14
 5. Voices Echoing - 4:28
 6. Haunt Me - 5:05
 7. Your Mama's Crying - 5:32
 8. She Don't Care - 4:57
 9. You Move Me - 4:13
10. Next Door Neighbor Blues - 3:56

Spencer MacKenzie - Gitaar en zang
Brant Parker - Slide gitaar op1,2 en 10
Miles Davis - Keyboards en Hammond
Al Duffy - Bas
Sean O’Grady - Drums
Dave Dunlop - Trompet
Peter Hysen - trombone
Jay Davidson - saxofoon
Sharon Riley - backing vocals
Rochelle Harrison - backing vocals
Camille Harrison - backing vocals

Spencer MacKenzie is een jonge blues sensatie uit Canada. Deze zanger/gitarist is nog maar achttien jaar, maar iedereen in Canada voorspelt deze jongen een gouden toekomst. In 2013 won Spencer de Niagara Music Rising Award en in 2016 werd hij geselecteerd om op te treden op de 2016 Youth Showcase op het International Blues Challenge in Memphis. Tevens ontving hij dat jaar een studiebeurs van de Blues Foundation zodat hij in de zomer naar het Fernando Jones Blues Camp kon in Chicago. In mei 2016 verscheen zijn debuutalbum ‘Infected With The Blues‘, waarmee hij meerdere onderscheidingen won. Zo was hij derde op de International Songwriting Competition 2016 in de categorie blues, won hij de Blues Artist Of The Year Award 2017 op de Niagara Music Awards en won hij de New Artist Of The Year 2017 Award op de Maple Blues Awards. Twee jaar na zijn debuutalbum heeft Spencer met ‘Cold November’ een opvolger klaar. Op dit nieuwe album staan tien songs, waarvan er acht geschreven zijn door Spencer MacKenzie en zijn vader Richard MacKenzie. De twee overige songs zijn covers van Robert Cray en van Gary Clark Jr..
De jonge talentrijke blues belofte Spencer MacKenzie opent zijn tweede album met Fine Place To Start, een toepasselijke titel voor een openingsnummer. Fine Place To Start is een mooie mix van funk, blues en soul, waarin meteen opvalt dat Spencer zich voor dit album heeft weten te omringen met een uitstekende en uitgebreide band en dat komt de muziek alleen maar ten goede. Spencer zijn jonge stem is nog niet helemaal top, maar dit is een kwestie van tijd, dat komt wel met de jaren. Dat hij weet hoe hij zijn gitaar moet bespelen hoorden we al op zijn debuutalbum en ook in deze openingstrack pakt Spencer meteen uit met pittig en fijn snarenwerk.
De bonkende bas van bassist Al Duffy en het strakke slagwerk van drummer Sean O’Grady zorgen voor de knappe groove, waarop niet alleen Spencer zijn instrumentale kwaliteiten kan etaleren. Ook toetsenist Miles Davis en de blazerssectie met Dave Dunlop op trompet, Peter Hysen op trombone en Jay Davidson op saxofoon zijn uitdrukkelijk en op een uitstekende manier aanwezig. Daarna volgt het geweldige Move On Down The Track, dat start met een fantastische slide intro van Brant Parker. Het nummer start rauw en sloom, maar na een minuut volgt er een erg mooie tempoversnelling en is de trein definitief vertrokken. De ritmesectie zorgt voor een verschroeiend ritme en zowel Spencer op gitaar als Brant Parker met slide werk blijven schitteren met rauwe riffs, terwijl de stem van Spencer wat aan Elvis Presley doet denken. Move On Down The Track is een van de hoogtepunten op dit knappe album. Er staat niet alleen een cover van Robert Cray op het album, ook in het zelf geschreven Shut The Door (Baby Don’t Look Back) zitten heel wat Robert Cray invloeden. Dit vloeiende blues nummer dat gekruid is met een snuifje funk wordt op een prachtige wijze gezongen door de soulvolle stem van Spencer. Dat deze jongeman ook met de wereld en zijn problemen bezig is horen we in de titeltrack Cold November, een song die Spencer speciaal opdraagt aan de slachtoffers en de nabestaanden van de laffe terroristische aanslagen in Parijs op 13 november 2015, waarbij 129 doden en meer dan 350 gewonden vielen. Cold November is een heel mooi opgebouwd nummer met een hartverscheurende tekst die met veel emotie wordt gezongen door Spencer MacKenzie. Het nummer heeft een mooie melodie en instrumentaal is het genieten van het uitstekend toetsenwerk van Miles Davis maar vooral van het intense en gevoelvolle snarenwerk van de jonge Canadees.
Deze twee laatst genoemde muzikanten schitteren nogmaals op toetsen en gitaar in het funky Voices Echoing. Al Duffy zorgt voor de funky baslijn en Sean O’Grady voor de heerlijke groove van dit aantrekkelijke nummer. Het blijft funky al gaat het tempo wel iets omhoog in Haunt Me, waarin Spencer zingt dat alcohol hem niet kan helpen om zijn liefdesverdiet op te lossen. Hij haalt fel uit met vlijmscherpe en zinderende gitaar riffs die de pijn en het verdriet nog meer benadrukken. De prachtige, soulvolle stemmen van backing zangeressen Sharon Riley, Rochelle Harrison en Camille Harrison zorgen voor een grote meerwaarde en toetsenist Miles Davis laat horen dat hij ook op het Hammond schitterende klanken uit zijn instrument kan toveren. Met strak en dwingend slagwerk zorgt Sean O’Grady voor de stevige en aanstekelige groove in Your Mama’s Crying. De jonge gitaarvirtuoos uit Canada trekt alle registers open en pakt uit met vette en rauwe gitaar riffs die snijden tot op het bot. Het laatste eigen nummer is het swingende en jazzy She Don’t Care dat instrumentaal erg knap gevuld wordt met frisse en korte piano riffjes en ook de uitstekende blazers doen meer dan hun duit in de zak in deze She Don’t Care.
Het nummer kent verscheidene tempo en sfeer wisselingen en dat geeft deze song nog meer cachet. Afsluiten doet de jonge Spencer MacKenzie met twee covers, te beginnen met You Move On van Robert Cray. De jonge muzikant blijft zo dicht mogelijk bij het origineel en daar is niets mis mee. Zijn soulvolle stem komt volledig tot zijn recht in dit nummer en ook zijn gitaarwerk is weer om van te snoepen. Verder is het ook weer genieten van het sublieme werk van Miles Davis op het Hammond. Ook in Gary Clark Jr. zijn Next Door Neighbour Blues wijkt Spencer niet ver af van het origineel. In deze rauwe stompende bluesrocker leren we weer een andere kant kennen van Spencer MacKenzie. Het is duidelijk te horen dat hij zich in zijn sas voelt in dit stevigere en  rauwere werk. Zowel gitarist Spencer MacKenzie als slide gitarist Brant Parker trekken al de registers open en dat levert verschroeiend en scheurend gitaar werk op.
‘Cold November’ van Spencer MacKenzie is een uitstekend en gevarieerd album. Deze jonge muzikant heeft nog heel wat groei mogelijkheden en als hij op deze weg verder gaat ligt een mooie internationale toekomst open. Hopelijk komt Spencer ook in Europa zijn album ‘Cold November’ promoten, want ook in Belgie en Nederland zal de muziek van deze jonge gitarist veel aanhangers kennen.

Cold November

Big Willy - All In

Bitrate: 320K/s
Year: 2018
Time: 48:13
Size: 111,0 MB
Label: Self Released
Styles: Rocking/Funky/Blues/Americana
Art: Front

Tracks Listing:
 1. Somethin' New - 5:28
 2. All In - 4:43
 3. Spend My Days With You - 5:18
 4. So Bad at Being Good - 4:20
 5. Drowned - 5:26
 6. What I'm Tryin' to Say - 3:04
 7. Down to the River - 6:08
 8. Well Metered - 3:55
 9. Ride a Wild Horse - 4:55
10. Home - 4:51

Big Willy, the band is one of the Mid Wests most original bands with elements of, blues, rock, funk, and second line. Influenced by Stax, Motown, Muscle Shoals and various Blues and Rock studios, blending it all into an Americana mix of original songs, with catchy riffs and thought provoking lyrics. Tracks include a couple instrumentals inspired by our trip to Memphis to compete in the International Blues Competition and a tour of Stax, as well as vocal selections from guitarist, singer, songwriter, Will Rideout. Ride outs guitar playing is energetic to soulful and featuring a lot of slide guitar on this album. His lyrics are self reflecting, from pensive to joyful to declarations of adoration. The band features, Mike Smally on bass, funky, powerful when needed, delicate when needed and most of all tasty; Will Metz on saxaphone, sonorous, rhythmic and knows how to make a moment in the song; Eric Payne aka (the doctor) on drums, at home with rock, funk, jazz, and blues, brings a dynamic punch to the songs. That's the core of the band. On several tunes we had our honorary member, Mike Lynch on keyboards join us, bringing a wall of sound behind us on the Hammond B3 or rhythmically funky on the Wurlitzer. On two tracks we felt we absolutely needed some horns and had Shawn Bell on trombone and Brad Fowler on trumpet , come in to punch those tunes up. This is Big Willys third album and we think the best to date. Enjoy! .............. The other two albums , King without a Crown and out for trouble, also available.

All In

четверг, 16 августа 2018 г.

Blues Karloff - Light and Shade

Bitrate: 320K/s
Year: 2015
Time: 43:58
Size: 101,6 MB
Label: Blues Boulevard Records
Styles: Blues Rock
Art: Full

Tracks Listing:
 1. Light and Shade - 3:12
 2. Complicated Love - 2:54
 3. The Blues Ain't Never Fun - 3:08
 4. Dance Like This - 4:44
 5. 02:00 a.m. - 3:02
 6. Drink My Wine - 3:33
 7. Down By the Sea - 3:48
 8. Birra for Lira - 2:40
 9. No Longer - 2:34
10. Hello Me - 3:56
11. Nonna Rina - 4:04
12. Triple Espresso - 3:16
13. Roadhouse Blues - 3:07

Unapologetically rooted in the British Blues-Rock boom of the late 60's and 70s, steeped in the tradition of Leslie West's Mountain, The Jeff Beck Group and early Led Zeppelin, Blues Karloff explore the outer reaches of the sounds that shaped this musical era. On their debut album Ready For Judgement Day, which was released in October 2014, the band saluted some of the Blues legends that every member of Blues Karloff had been listening to since childhood. The album featured songs by Robert Johnson, Jimmy Reed, John Lee Hooker, Albert King, Howlin' Wolf, and Muddy Waters; vintage Blues gems revisited, like the British Blues-Rock greats such The Yardbirds, The Pretty Things, Savoy Brown, John Mayall and his Bluesbreakers and Fleetwood Mac did back in the sixties and seventies; blistering interpretations of classic Blues anthems reinterpreted in their own distinctive fashion, introducing a contemporary flavour to the genre. The album was all about the influences; Black and White, British and American, that shaped the musical tastes of the band members in their youth. Blues Karloff then road-tested material for their second album, which they started recording in February, and finished early September 2015. The band again revisited and remodelled both classic and lesser-known tracks by the likes of Willie Dixon, Jimmy Reed, Bobby Womack, and Tom Hambridge (who has been referred to as The White Willie Dixon by Rock and Roll Hall of Fame Inductee Buddy Guy). They also recorded their version of Looking Tired a great Jagger-Richards Blues number which the Rolling Stones originally recorded in 1965 during the sessions for the Out of Our Heads album at RCA Studios in Hollywood, but which until today remains officially unreleased. The remainder of the tracks on Light And Shade are songs written by various members of the band themselves, sensing the need to gradually carve out their own identity as well as demonstrating their developing skills as tunesmiths.

Light and Shade

понедельник, 13 августа 2018 г.

The Magpie Salute - High Water I

Bitrate: 320K/s
Year: 2018
Time: 48:14
Size: 110,6 MB
Label: Eagle Rock Entertainment
Styles: Southern Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Mary The Gypsy - 3:08
 2. High Water - 5:44
 3. Send Me An Omen - 3:54
 4. For The Wind - 5:03
 5. Sister Moon - 3:47
 6. Color Blind - 3:45
 7. Take It All - 3:24
 8. Walk On Water - 4:07
 9. Hand In Hand - 3:22
10. You Found Me - 4:49
11. Can You See - 3:10
12. Open Up - 3:56

John Hogg - vocals;
Rich Robinson - guitar, vocals;
Marc Ford - guitar, vocals;
Sven Pipien - bass, vocals;
Matt Slocum – keyboards;
Joe Magistro – drums, percussion.
Additional Musicians:
Byron House - stand-up bass;
Dan Wistrom - pedal steel

This is the story of The Magpie Salute. As much as the group represents a musical union of swaggering rock ‘n’ roll, psychedelic blues, and campfire-worthy storytelling, it also marks a reunion of musicians whose paths twisted and turned right back to each other. Pulled together by guitarist Rich Robinson, it continued a storyline he began in the Black Crowes with guitarist Marc Ford and bassist Sven Pipien. Meanwhile, vocalist John Hogg shared Hookah Brown with Robinson as keyboardist Matt Slocum and drummer Joe Magistro both joined him for solo records and tours over the years.
Now, these six individuals conjure magic on their full-length debut of original material, High Water I for 2018 with High Water II to come in 2019. “It’s the recontextualization of playing with one another,” Robinson states. “When I was putting this thing together, I was thinking about how even though we may not have played for almost a decade, it just comes back immediately. The chemistry is unexplainable. Of course, I’m the same guy who played with the Black Crowes and wrote all of those songs, but this is a different context for myself, Marc, and Sven. It’s the convergence of three different worlds and eras for me. We’re all here together in this one place. Simultaneously, it’s amazing for Marc and Sven to play with Joe and Matt and John to be in the middle of it all. This is what I wanted to do.” Ford reveals “This is probably the best band I’ve ever been in. As a player, it challenges me. There’s something beyond us that we’re agreeing with. This music wants us to be a part of it.”
As those roads converged, the Magpie Salute first took flight in 2016 when Robinson assembled the original ten-piece incarnation for a now seminal Woodstock gig. The group went on to sell out four consecutive nights at The Gramercy in January 2017. By the beginning of 2018, the band delivered a total of 77 seismic sets worldwide comprised of a 170-song repertoire of covers, Crowes’ tunes, and solo material. Acclaim came from Guitar World, Relix, and more, while Rolling Stone summed it up succinctly as “Explosive.” By the time they retreated to Dark Horse Studios in Nashville with Robinson in the producer’s chair, the vision crystallized with the six-person lineup. “The core was really important and needed to shine as a strong six-piece. It was great to build something new last year. Now, we’re working towards something as a tight unit.”
“We bashed out all of the framework on tour,” continues Ford. “When we got off the road, we focused and let it really shine.”
The Magpie Salute are launching High Water I with “Send Me An Omen.” The twang of a hummable riff roars under Hogg’s towering delivery before spiraling into an entrancing melody punctuated by gang harmonies and butter smooth solos.
In many ways, the name reflects the spirit of The Magpie Salute. “Magpies are revered by ancient and indigenous cultures around the world, because they walk that bridge between dark and light. A magpie is also a cousin to a crow. This band was a cousin to the Crowes last year. Now, there’s a superstition where you salute a magpie if you see him. It supposedly wards off bad spirits. A salute means, ‘We come in peace.’ That’s our goal. We just want to play together. It made sense.” In the end, The Magpie Salute’s story is just beginning to get good. Baptized by High Water, these friends start anew.

High Water I

вторник, 7 августа 2018 г.

Dirty Dave Osti - Voodoo Guitar

Bitrate: 320K/s
Year: 2010
Time: 44:51
Size: 102,9 MB
Label: Grooveyard
Styles: Blues Rock
Art: Full

Tracks Listing:
 1. Play What the Man Can't Say - 4:37
 2. Lit Again - 4:43
 3. LIps of A Liar - 5:44
 4. Wild Side - 3:45
 5. Delusion As Usual - 3:55
 6. Flatline - 4:44
 7. Water To Wine - 4:56
 8. Light On Right On - 3:07
 9. Rusty Rose - 4:18
10. Voodoo Guitar - 4:58

Dirty Dave Osti - Voodoo Guitar CD. Bonafide blues/rock guitar hero who can rip it hard with the best of them. The man gets down to serious six string business and rocks the blues with wild abandon as the Dirty One cuts loose and goes for the throat nailing down each muscular riff with sheer force and relentless groove. Osti knows when to jam hard and when to kick back @ the shack for an unforgettable, dynamic, blues/rock guitar ride. Fierce and powerful blues-based heavy guitar riffage rules in the world of Dirty Dave Osti. Best known for playing and contributing the bulk of the riffage on the Gentlemen's Blues Club discs, "Voodoo Guitar" is pure, unadultered Dirty Dave Osti strat-slingin' "mojo" to the bluesy core.

Voodoo Guitar

понедельник, 6 августа 2018 г.

Teresa James and The Rhythm Tramps - The Rhythm Method

Bitrate: 320K/s
Year: 2005
Time: 57:33
Size: 133,9 MB
Label: JesiLu Records
Styles: Blues/Texas Blues
Art: Front

Tracks Listing:
 1. Nobody Rings My Bell - 3:46
 2. Can't Say No - 4:11
 3. Sure Gonna Make You Feel Good - 2:23
 4. Louisiana Moon - 3:54
 5. That Cat's In The Doghouse - 3:49
 6. Better Off With The Blues - 4:40
 7. Back Into Her Heart - 4:21
 8. Just When I Thought - 4:08
 9. That Good Man's Gone - 3:22
10. Something's Broke - 4:14
11. Going With The Flo - 4:24
12. The Same Man - 3:35
13. I Love You More Than You'll Ever Know - 6:22
14. Big Top Hat - 4:17

Teresa and her band, The Rhythm Tramps, join up with some legendary guest players to have fun exploring the grease and bluesy roots of Texas, New Orleans & Memphis featuring songs by Delbert McClinton, Jerry Williams, Al Kooper, Terry Wilson and others.
With her fourth CD, Teresa James and Terry Wilson have crafted an album that covers an amazing amount of ground - from the rocking Texas style "Nobody Rings My Bell", to a soulful cover of Al Kooper's " I Love You More Than You'll Ever Know" and then take you to Memphis with "A Good Man's Gone" onto a New Orleans Old Quarter visit with the haunting "Louisiana Moon".
Along with her band The Rhythm Tramps, Teresa calls in some of her musician friends from L.A.'s finest and some legendary players.....(Johnny Lee Schell and Dean Parks on guitars and Tony Braunagel, Tom Fillman and David Raven on drums along with Danny Timms on piano and Lee Thornberg (on some horn arrangements as well as trumpet) to join her and have some fun........Then they go on and recuit internationally with their pals John Rabbit Bundrick on B-3 organ (from The Who)...Delbert McClinton's horn section, Terry Townson and Don Wise join her on several tunes along with Delbert's keyboardist, Kevin McKendrie on piano and Big & Rich's James Pennebaker on guitar.
"I haven't heard pipes of this caliber in a long time..........I think this is an amazing body of work.....this lady has star written all over her!"
James "Blues-Hound" Kagel - Producer/Programmer KPFT Houston

The Rhythm Method

Syl Johnson - The a Sides

Bitrate: 320K/s
Year: 1994
Time: 46:02
Size: 107,1 MB
Label: Cream/Hi-Records
Styles: Funk/Soul/Blues
Art: Front

Tracks Listing:
 1. The Love You Left Behind - 2:47
 2. I Wanna Satisfy Your Every Need - 2:46
 3. We Did It - 2:36
 4. Back for a Taste of Your Love - 2:35
 5. I'm Yours - 2:53
 6. Let Yourself Go - 3:11
 7. I Want to Take You Home (To See Mama) - 2:38
 8. Take Me to the River - 3:07
 9. I Only Have Love - 3:04
10. Star Bright, Star Lite - 2:54
11. 'Bout to Make Me Leave Home - 4:12
12. Fonk You - 3:58
13. Stand By Me - 3:18
14. Mystery Lady - 5:56

Syl Johnson is an American funk, soul, and blues institution. He recorded for Vee Jay Records in the very late 1950s before debuting as a solo artist in 1959 on Federal Records. The early part of the 1960s saw a cascade of Syl Johnson releases on 45, on labels including Zachron, Cha Cha, and Ember. In the decade's latter half, Johnson worked tirelessly for Chicago's Twinight record label. Dresses Too Short, Johnson's debut LP, was released by Twinight in 1968; Syl followed that up with 1970's Is It Because I'm Black?, the apex of his artistry and social consciousness to that point. Syl spent the bulk of the 1970s as a labelmate to Al Green, recording a deluge of 45s and LPs for Memphis's Hi Records.
American funk/soul/blues singer and music producer.
Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, Junior Wells and Howlin' Wolf in the 1950s, before recording with Jimmy Reed for Vee Jay Records in 1959. He made his solo debut that same year with Federal Records (2), a subsidiary of King Records (3) of Cincinnati, backed by Freddie King on guitar.
He then began recording for Twinight Records of Chicago in the mid 1960s. Beginning with his first hit, Come On Sock It to Me in 1967, Johnson dominated the label as both a hitmaker and producer.
Like other black songwriters of the period, several of his records at this time explored themes of African-American identity and social problems in songs including Is It Because I’m Black, which reached Number 11 in the R&B charts in 1969.
In 1971, Willie Mitchell brought Johnson to Hi Records, for whom he recorded three albums and a number of singles. Produced in Memphis with the Hi house band, these yielded music of power and enduring value, including the hits We Did It, Back for a Taste of Your Love and Take Me to the River, his biggest success, reaching Number 7 on the R&B charts in 1975. However, at Hi Johnson was always to some extent in Al Green’s shadow commercially, if not artistically.
After the Hi years ended, Johnson produced two LPs for his own label Shama, the latter of which (Ms. Fine Brown Frame, 1982) was picked up for distribution by Boardwalk Records, Inc. and produced Johnson’s last hit record, the title cut.
Around the mid-eighies, Johnson started a fast-food fish restaurant business, and became semi-retired from performing, only making occasional appearances at blues club gigs.
In 1992, Johnson found out that his classic song Different Strokes have been sampled by number of rappers including Wu-Tang Clan, MC Hammer, and Geto Boys. Stimulated by this fact, he decided to make a come back in the music business. In 1994, he released the album Back in the Game on Delmark Records. The album featured the the Hi rhythm section and his youngest daughter Syleena Johnson.
Blues guitarist and singer Jimmy Johnson (8), and bassist Mack Thompson are his brothers.

The a Sides

Andreas Diehlmann Band - Your Blues Ain't Mine

Bitrate: 320K/s
Year: 2018
Time: 46:22
Size: 106,3 MB
Label: Mountain Meadow Studio
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Come on Into My Kitchen - 3:12
 2. Your Blues Ain't Mine - 3:46
 3. I Don't Wanna Lose You - 6:57
 4. I Don't Know - 4:15
 5. Head Down Low - 3:43
 6. Little Wing - 6:12
 7. Going Home - 3:29
 8. Soulshine - 6:47
 9. Fucking Happy Blues - 7:58

Andreas Diehlmann - guitar, vocals, organ;
Volker Zeller - bass;
Tom Bonn - drums.
Special Guest:
Thomas Feldmann - Harmonica(#1)

Verdammt, seit ADB ist schon wieder so ungefahr ein Jahr vergangen.
Songs von diesem Album wie "Come On And Get It", "Hard Times", damals ein Anspieltipp oder der Opener "Way Down South" liegen doch noch so gut im Ohr.
Der Sommer 2018 befindet sich mit seinen Hitzegraden auf einem sehr hohen Temperaturniveau und unter dem naturlichen Schatten des Walnussbaums lasst es sich gut aushalten. Ein Hoch ist auch der Nachfolger von "ADB", dem man den Namen "Your Blues Ain’t Mine" gegeben hat.
Abermals hat die Andreas Dielmann Band eine sehr gute Mischung, ein ausgewogenes Gleichgewicht aus Eigenkompositionen sowie Coversongs gefunden. Die Kunstler, bei denen sich die Formation bedient, sind Robert Johnson, Jimi Hendrix, Warren Haynes beziehungsweise Oliver Hehemann.
Wie bei "ADB" zupft Volker Zeller die dicken Saiten und Tom Bonn trommelt. Als Special Guest tritt der Harp-Spieler Thomas Feldmann (auch Gregor Hilden, Kai Strauss) auf. Er ist gleich im ersten Track "Come On Into My Kitchen" mit von der Partie.
Der Delta Blues eines Andreas Diehlmann geht schwer rockend an den Start. Im Gesang, der tieftonenden Gitarre, dem Walking-Rhythmus-Groove und Thomas Feldmann liegen die Feinheiten des Songs. Der Horer meint, die Nummer klingt aus, aber dann setzt die Andreas Diehlmann Band in Kooperation mit Thomas Feldmann zum gro?en Finale an. Fur rund eine Minute geht es ab auf die linke Spur des Boogie-Highways und gelenkt wird der Groove vom Bottleneck. Der Opener ist schon ein Highlight.
Bei der tollen Interpretation der Robert Johnson-Nummer muss das Titelstuck "Your Blues Ain’t Mine" fast schon ein wenig warten.
Dann ist es aber soweit. Mit knackig-heftigen Riffs geht das Lied danach gleich in die Vollen. Der Frontmann singt davon, nie zufrieden zu sein, niemals genug zu bekommen und »[…] oh baby you gotta play it rough […]«
Genauso kommt der Blues Rock in dieser Nummer ruber. Die Rhythmus-Mannschaft zapft das Fass des Groove an und mit seinem Wah Wah-Gitarren-Solo trifft der Bandleader genau den Horer-Nerv. Hier ist in den vier Wanden Beifall angesagt. Zum Ende hin stampft das Stuck durchs Baumwollfeld. Toll!
Eine Vermisstenmeldung muss Andreas Diehlmann nicht aufgeben, denn bei der emotionsgeladenen Ballade "I Don’t Wanna Lose You" denkt definitiv niemand ans Abhauen. Der Slow Blues zeigt seine Wirkung, geht unter die Haut und vaporisiert Gedanken der Trennung. Abermals haut der Gitarrist ein feines Solo raus und die angebetete Person schwebt sozusagen auf dem fein inszenierten Orgel-Teppich. Noch Fragen? Die Andreas Diehlmann Band zaubert gro?e Gefuhle in authentischer Weise. Klasse!
Im Boogie-Format geht bei "Head Down Low" die Post ab. Dazu zupft Volker Zeller einen staubtrockenen Bass und Drummer Tom Bonn fullt den Beat-Tank mit druckvollem Trommeln. Mit einem kurzen Luftholen zwischendrin wirkt die Wiederaufnahme des Song-Themas noch intensiver. Super!
"Little Wing" bringt dann erst einmal eine verdiente Abkuhlung der Aggregate. Relativ schnell wird diese Nummer auf eigene, ideenreiche Fu?e gestellt. Der Bandvorsteher schmuckt die Freiraume fantasievoll aus und mit einer ausdauernden Gitarren-Fahrt gewinnt er dem Jimi Hendrix-Klassiker eine neue Seite ab. Dem Ende der Nummer sollte man besondere Aufmerksamkeit schenken.
Der straighte Blues-Rocker "Going Home" ist ein machtiges Pfund und mit den Gov’t Mule-Dauerbrenner "Soulshine" lassen Andreas Diehlmann & Co. im individuellen Licht strahlen. Richtig viel Zeit nimmt man sich fur "F#cking Happy Blues". Knapp acht Minuten Chicago-Blues Rock-Stimmung stehen auf dem Zeiteisen, die allerdings nach fast vier Minuten am Ende angekommen sind. Nach so funfzehn Sekunden Stille serviert uns das Trio sozusagen noch eine Zugabe in Form eines Instrumentals eines sehr bekannten Songs, den schon sehr viele Kunstler unter ihre Fittiche nahmen: "Amazing Grace".
So klingt "Your Blues Ain’t Mine" uberraschend aus und begann schon mit einem Highlight. Mit diesem Album setzt die Andreas Diehlmann Band ihren Erfolgskurs konsequent fort und das Trio kann sich gegenseitig abklatschen und daruber freuen, dass gerade die so kritische Hurde der zweiten Platte ohne einzufadeln ubersprungen wurde.

Your Blues Ain’t Mine