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среда, 31 октября 2018 г.

Fred James - 100 Years Of The Blues

Bitrate: 320K/s
Year: 1996
Time: 47:03
Size: 108,2 MB
Label: Appaloosa Records
Styles: Blues/Blues Rock
Art: Front

 1. It's A Dirty Job - 3:48
 2. Lightning - 4:47
 3. Hot Damn - 3:37
 4. Full Moon On Main Street - 5:18
 5. Soulful - 4:04
 6. A Little Meat On The Side - 3:04
 7. The Axe - 5:24
 8. Automobile - 4:17
 9. The Danger Zone - 3:59
10. Read Between The Lies - 3:32
11. 100 Years Of The Blues - 5:06

Fred James has played guitar for Johnny Copeland, Arthur Williams, The Jelly Roll Kings, Billy Joe Shaver, Bo Diddley, The Carter Bros., The Memphis Horns, Dr. Hook, The Excello Legends, Tommy Tutone, David Houston, The International Submarine Band, The Sam Lay Blues Band, Homesick James, The Amazing Rhythm Aces, Billy C. Farlow, Townes Van Zandt, Roscoe Robinson, Orion, Kip Anderson, O.B. McClinton, Ronnie Sessions, Dickie Lee, The Delta Jukes, Black Tie, Vern Gosdin, Bobby Hebb and many, many others.
Fred has five Grammy Award nominations for songs he wrote on albums nominated in the "Best Traditional Blues Album" or "Best Contemporary Blues Album" category.
Fred was nominated for a Nashville Music Award in the "Best Producer" category. He also won a Nashville Music Award for producing the "Outstanding Blues Album".
Fred has three W.C. Handy Award nominations. One in the "Best Blues Song" category (for his composition "Full Moon On Main Street") and two for producing albums nominated for the "Best Comeback Album" category.
Fred has won the Canadian Real Blues award twice (2003 and 2004) in the catagory of "Blues Crusader" for furthering Blues music in the recording industry.
This is one HELL of a great Album with some of the 'BEST' musicians in the Business. James is a great writer and producer, and MUSICIAN.! Fantastic Guitarist, and any other instrument he puts his fingers to. He surrounds himself with the BEST musicians in the business, starting with his wife, Mary Anne Brandon, heavenly voice, writer and producer, Bob Kommersmith, Sam Lay, Jim Hoke, Waldo Latowsky, David James ,Michael Henderson, Jay Spell,, Richard Carpenter, Chucki Burke, and Johnny Winter. Some ' CRAZY FUN' songs on here. You will enjoy !!!

100 Years Of The Blues 

William Howse & Jack Pearson - William Howse & Jack Pearson

Bitrate: 320K/s
Year: 1999
Time: 49:42
Size: 114,1 MB
Label: Candlefly Songs
Styles: Blues/Delta Style
Art: Front

Tracks Listing:
 1. I Can't Stop Tumblin' - 3:28
 2. Blackbird - 4:34
 3. I Feel All Right - 3:56
 4. Minkslide Blues - 3:43
 5. Mr. Engineer - 5:14
 6. My Dog Don't Bark - 4:25
 7. Every Time It Rains - 4:43
 8. Feel Like A Stranger Here - 3:52
 9. Turn To Blue - 3:36
10. Jb Blues - 3:50
11. Waiting On Your Love - 4:03
12. It Won't Change A Thing - 4:12

Authentic acoustic blues originals: wailin' harmonica with grit and soul and hambone slide on resonator guitar.
"William Howse & Jack Pearson" is a 1999 Candlefly release showcasing the very special talents of two extraordinary musicians who have been playing together for more than 20 years.
Jack Pearson paired up with longtime friend, William Howse, to create this authentic acoustic blues collection. William is featured on the CD on harmonica and vocals. Jack provides vocals on two songs on the disc, but for the most part plays fingerstyle guitar with lots of slide in open and standard tunings.
William's harmonica playing is in the tradition of John Lee Williamson, Big Walter and Deford Bailey. And his singing is reminiscent of Muddy Waters. William is one of the few true bluesmen around today. He's played with such artists as Lonnie Mack and Tinsley Ellis. He gave a special performance at the dedication ceremony of the Tennessee Historical Marker commemorating harmonica player Deford Bailey, the first black musician to appear at the Grand Ole Opry. And William's playing was featured on the soundtrack for the TNN production of "The Life and Times of Willie Nelson."
Jack is probably best known for his blues/rock lead and slide guitar playing with The Allman Brothers Band from 1997 to 1999. But on this CD, he plays acoustic and resonator guitars. He fills the disc with solid, swinging rhythm and blistering slide using a hambone.
Through the years, the acoustic duo has shared the bill of festivals and theatres with performers such as The Fairfield Four, Johnny Shines, Yank Rachell, The Nashville Bluegrass Band and Willie Eason. They've also played for young children and teens at many schools in the South. A memorable performance for them took place at the dedication ceremony of the Tennessee Historical Marker commemorating blues harmonica legend, John Lee "Sonny Boy" Williamson.
Jack has two other CD's available on CD Baby...his first solo album, "Step Out!" on which William both played and co-wrote several songs...and the self-titled instrumental CD, "Jack Pearson" where again you will find William's playing along with a slew of other special guest musicians.
A sampling of reviews of "William Howse & Jack Pearson"...
"Two old friends, two bluesmen extraordinaire, two kindred spirits, two brothers. William Howse and Jack Pearson combine their love of the blues and their natural affinity and connection to each other to give us an outstanding look into acoustic blues songs and stylings. Twenty years or more of playing the blues together allows these fine musicians the opportunity to come up with a front porch collection of original tunes, easy to listen to, with much to say and even more to ingest...a real gem of great blues. Stripped down and very basic, the CD features only William's harp, Jack's National steel body guitar, and vocals from both men...musicians of the finest order...simply stellar and worth getting by anyone who is schooled in the blues in any way..."
Hittin' the Note Magazine
"Authentic...Gutbucket blues, complete with harmonica wuffing and bottleneck guitar. 'Old School' and proud of it."
Music Row Magazine
"fine harp playing and nuanced vocals...with interesting licks that feel right, tonally and texturally. [Howse's] playing and singing interweave seamlessly with Jack Pearson's sympathetic guitar accompaniment...his slide work on National steel has a sweet, sometimes mournful quality that works well...a solid first release."
Blues Revue Magazine

William Howse & Jack Pearson

Pete Gage - Pete Gage & Juha Takanen

Bitrate: 320K/s
Year: 2017
Time: 46:34
Size: 109,3 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Born To Roam (Gage) - 3:16
 2. If I Try (Gage) - 2:38
 3. You with Your Smile (Gage) - 3:45
 4. Born In The City (Gage) - 3:37
 5. The New Regime (Takanen/Gage) - 3:04
 6. Children And Wives (Takanen/Gage) - 5:11
 7. Clean Like a New Machine (Takanen/Gage) - 3:38
 8. Formed a Band In Tooting (Takanen/Gage) - 3:10
 9. Lover's Lament (Takanen/Gage) - 3:22
10. Magic Night (Takanen/Gage) - 4:17
11. Our Celebration (Takanen/Gage) - 3:23
12. Spark Of Hope (Takanen/Gage) - 4:04
13. A Chair & Hat (Takanen/Gage) - 3:05

Peter Gage (born 31 August 1947, Lewisham, South East London) is an English rock guitarist, pianist, composer and record producer, best known for his work with Geno Washington & the Ram Jam Band and Vinegar Joe. Tracks 1-4 written and sung by Pete, all arrangements and production by Juha Takanen in 2010/Tracks 5-13 lyrics, harmonica and vocals by Pete, all other music, arrangements and production by Juha Takanen/
There are unusual percussion sounds SNAPPY ...it ROCKS ..makes you want to dance as simple as that. Favorite track: Born to roam (Gage).

Pete Gage & Juha Takanen

Fred James & Mary-Ann Brandon - We Belong Together

Bitrate: 320K/s
Year: 2010
Time: 54:13
Size: 124,4 MB
Label: SPV/Yellow Label
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Wrong Train, Right Track - 3:23
 2. We Belong Together - 3:18
 3. We're All in it Together - 4:31
 4. No Easy Way Out - 4:34
 5. Go Ahead On - 3:38
 6. Snakin' up on You - 3:40
 7. No More One More Chance - 2:52
 8. I Do Declare - 2:53
 9. We Got a Secret - 5:32
10. Sleeping with the Devil - 3:28
11. Check Out Her Mama - 3:01
12. I Can't Do That - 5:29
13. A Fool's Advice - 4:49
14. He's Cool & She's Hot - 2:58

Fred James - vocals, guitars, electric sitar, electric piano;
Mary-Ann Brandon - vocals;
Jeff 'Stick' Davis - bass;
Billy Earheart - Hammond organ, electric piano;
Herb Shucher - drums.

FRED JAMES & MARY-ANN BRANDON are the real deal. If you like southern roots Americana and blue eyed soul music, you’ll love the sound these two journeyman performers conjure up. They like to call it “stew pot music”, a mix of soul, blues and country that is uniquely their own. Their new CD release on SPV Records showcases their exceptional song-writing and musicianship. Their harmony blend is all their own but harkens back to the classic duet sounds of Delaney & Bonnie, Billy Vera & Judy Clay and Bonnie Raitt & Delbert McClinton. It’s a sound that is timeless. Born in Texas and raised in Kansas, Fred James arrived in Nashville in 1973 and immediately fell in with the young, new breed of songwriters that came up in the wake of Kris Kristofferson. Fred played guitar with some of the best, including Townes Van Zandt, Guy Clark and Billy Joe Shaver. He went on to play behind many other great performers in the rock, country and blues fields. Artists like Vern Gosdin, Dr. Hook, The Amazing Rhythm Aces, The Memphis Horns Band, Frank Frost & The Jelly Roll Kings, The Sam Lay Blues Band and Tommy Tutone all have used Fred’s guitar skills to their advantage. Fred has five Grammy nominations for his song-writing on releases in the “Best Blues Album” category as well. He’s written for Johnny Winter, Koko Taylor, Charlie Musselwhite, Sonny Burgess, Son Seals, Shemekia Copeland, The Amazing Rhythm Aces and Junior Wells & Bonnie Raitt, to name but a few. He’s also an accomplished record producer and has worked in that capacity with David Olney, Tim Krekel, Tommy Tutone, Sam Lay, Frank Frost, Billy C. Farlow, Homesick James, The Burritos, Charles Walker, Stan Webb and many others. Mary-Ann Brandon is a Nashville native who got into the music business in the early 1980's. Shortly after meeting Fred James, the two began working together and recorded several single (45 RPM) releases for a small independent label. That put them out on the southern roadhouse circuit where they slogged on for a few years. The duo gained national recognition but found little appreciation within the music business for their brand of southern blue eyed soul. Unwilling to bend to the "New Wave" trend in the business at the time, they decided to change directions and abandon the duet band project.By the late 1980s Mary-Ann had started to concentrate more and more on her song-writing. She went on to have her songs recorded by C.J. Chenier, Koko Taylor, Johnny Winter, Saffire, Kenny Neal and many others. Her songs have appeared on four Grammy nominated records in the Best Blues Album category. Mary-Ann is also an accomplished backup singer, having worked with Buzz Cason, Ken Saydak, Tim Krekel, David Olney, Tommy Tutone, Billy C. Farlow, Charles Walker, Johnny Jones and Dennis Locorriere to name but a few. Mary-Ann and Fred's successes as songwriters led to them signing (separately) to Appaloosa Records in 1990. This then, in turn, led to them touring Europe extensively for the next dozen years. They went on to record for Ichiban, BMG, Taxim, Indigo and ROAD Records. By the mid 2000s they decided to reevaluate their careers and stay around Nashville to concentrate on working together on a duet project. That, along with working their extensive back catalogs, kept them plenty busy. (Fred & Mary-Ann own the classic record company catalogs of the Bullet, Champion, Delta, Rich, Spar and Rogana labels, with recordings by B.B. King, Chet Atkins, Jimmy Buffett, Ray Price, Wynonie Harris and many, many others.) After all these years together it’s hard to believe that this is the duo’s first recording together. They’ve both recorded extensively, but always separately. That is, until now. And it’s certainly been worth the wait. Their new release “We Belong Together” is fairly brimming over with great songs, all but one (the classic duet that is the album’s title tune) were written by Fred and Mary-Ann. Thankfully, trends change and the music that is so dear to their hearts has come around full circle to be embraced by people who are hungry for an authentic sound. They intend to get back out on the road and bring their music to the people, and there will be more duet material to come. Let’s hope so, because just like beans and cornbread, Fred James and Mary-Ann Brandon truly belong together.

We Belong Together

вторник, 30 октября 2018 г.

Fruteland Jackson - Tell Me What You Say

Bitrate: 320K/s
Year: 2007
Time: 52:30
Size: 120,3 MB
Label: Electro-Fi Records
Styles: Blues/Acoustic Blues
Art: Front

Tracks Listing:
 1. Tell Me What You Say - 2:17
 2. My Baby Left Me All Alone In E Minor - 4:33
 3. It's All Good - 3:58
 4. Blues Over Baghdad - 4:35
 5. I Won - 4:22
 6. You Are My Sunshine - 4:13
 7. The IRS - 5:45
 8. A Gambler's View - 6:21
 9. Sittin' On My Front Porch - 5:55
10. Happy Birthday Blues - 3:29
11. Grandfather's Blues - 6:57

When the IRS called me downtown to bring in my tax returns; I didn’t sleep a wink that night. So I wrote a song about it. Wanna hear it? Hear it goes. It’s all in how you look at at. It’s All Good deals with “backbiters and syndicators” of the world who attack reputations and attempt to negatively define others with gossip and innuendo. I say never let them see you sweat. The best form of revenge is success. Johnnie Mae Dunson – Smith, affectionately called “The Big Boss Lady”, wrote the song I Won. Johnnie Mae is a singer/songwriter whose performance career spans 60 years. Johnnie Mae played drums with the late Jimmy Reed. She is a dear friend and a living legend that has lived her testimony. Happy Birthday Blues is dedicated to baby-boomers who are growing older and are beginning to experience the disadvantages of aging. This is my second collaboration with poet, educator and restaurateur Lee Debaggia who was born to write. The lyrics for A Gamblers View were inspired from observing habitual gamblers chasing and enjoying their passion. The ragtime flavorings in the music were inspired by the artistry of Canadian acoustic blues musician Tim Williams.
Tell Me What You Say is the Blues without music. Do you think B.B. King was standing outside my window playing a few licks while my woman ripped my heart out by the strings? No sir! Oh, there was dialog. We talked about it, but she just kept saying the same thing. My Baby Left Me All Alone in E minor is an exotic Blues tune inspired by Howling Wolf. The Wolf is the causing of it all. It’s always in hindsight that we acknowledge true loss and what happens when it happens. The cello adds magic to this song. Sittin’ On My Front Porch written by Dr. Rabbit is a toast to the holistic healing powers of the Blues, which can provide repose for the soul, and serenity to a troubled mind. The Blues is the poor man’s psychologist, a private counselor, and a friend. The Blues affords a place where the raw human spirit can find refuge from distress. My Grandfather’s Blues is a song about struggle and strength. My grandfather Willie Bradley (1910 – 1998) was one of the few honorable men that I have met in my life. He gave me the best gift any grandfather could give a grandson; he loved and cherished my grandmother.

Tell Me What You Say

Fruteland Jackson - ... Is All I Crave

Bitrate: 320K/s
Year: 1995
Time: 62:11
Size: 142,8 MB
Label: It Records
Styles: Blues/Acoustic Blues
Art: Front

Tracks Listing:
 1. Cold Cold Woman - 5:27
 2. Hair Parted in the Middle...is All I Crave (New Version) - 5:26
 3. Down the Road (New Version) - 6:17
 4. How's It Goin' - 4:37
 5. All the Dady I Had - 8:35
 6. Amazing Grace - 6:58
 7. Ida B. - 7:36
 8. Worksong/Fieldholler - 6:33
 9. Changes Made - 5:15
10. Chicago Flood Song (1991) - 5:23

This REISSUE CD has nine songs on this are originals or original versions using traditional and contemporary acoustic styles to cover topics of family,marriage,parents,love and promiscuity. "Baby Boomer Blues that provides for hope and resolve.
He is an author, storyteller and oral historian, Fruteland grew up on Chicago’s West side, He is a three time Blues Music Award Nominee and a recipient of the Blues Foundation’s Keeping the Blues Alive award. Fruteland performs Americana; acoustic blues, folk traditional and singer-songwriter styles around the world. Fruteland Jackson created the award winning *All About the Blues Series- Blues in the School Programs. His program motto is “Try, Trust and Triumph”. Fruteland works to bring more music education in our schools.Fruteland plays acoustic guitar with a focus on pre-war and post-war blues ranging from Robert Johnson, Big Bill Broonzy to Elizabeth Cotton, plus his personal interpretations. His study includes ragtime, Piedmont, Delta, and other styles. He studies mandolin, lap steel and the banjo, and has published an instructional book on Delta Blues for Beginners with Alfred Publishing.

... Is All I Crave

Niall Kelly - Not Sleeping (Special Edition)

Bitrate: 320K/s
Year: 2018
Time: 101:54
Size: 234,7 MB
Label: Market Square
Styles: Blues/Americana
Art: Front

Tracks Listing:
 1. Love Light - 3:03
 2. Shelter In Your Arms - 4:23
 3. Fire In The Hole - 2:16
 4. They In Turn - 3:17
 5. When Do I Check In? - 4:31
 6. Not Sleeping - 3:25
 7. Poor 'Lias - 3:03
 8. Pourin' Rain - 3:11
 9. Pretty Horses - 3:58
10. Crowland - 3:06
11. Should Have Not Taken My Time - 4:30
12. Rosalie - 6:37
13. Lady Dancer - 6:13
14. Working For Your Pardon - 4:14
15. Lamps - 4:48
16. Seen The Dreams - 3:18
17. Road - 4:53
18. County Down - 5:56
19. Colliers Folk - 4:11
20. Little Room - 5:10
21. Tank - 4:42
22. Shed Head - 1:11
23. Hand In Fire - 6:24
24. Tuesday Night in or Out - 5:23

Immersion in the UK blues scene has helped Derry, N. Ireland's Niall Kelly establish a valued reputation in the industry, and one sufficient to secure a support slot with Paul Heaton and Jacqui Abbott on their autumn tour last year (2017).
Niall's music is a Celtic/Country/Folk/Blues fusion offering up huge cross-over appeal and enabling his being booked this year at festivals ranging from the Colne Great British R&B Festival to the Stroud Folk Festival.
As a 'Jam Host' at Ain't Nothin' But The Blues in Soho for over a decade, Niall has associated with many talented musicians including Ian Siegal and Carmen Vanderberg. Some consequently grace his album recordings including BJ Cole, Matt Holland (Van Morrison band), Martin Winning (Roger Daltrey band).
During his 'Jam Host' years, Niall wrote and recorded these two very personal, band albums and self-released them to sell at shows. Now they are packaged together for a first time official release to the wider world.
Looking ahead, Niall is stepping out with his own band for an increasing number of live shows following this year's festivals. Meanwhile, album ads are booked in Record Collector and RnR; a 2-page article is coming up in Blues in Britain; and track 'Poor 'Lias' from 'Not Sleeping' features on the next RnR covermount CD.

Not Sleeping (Special Edition)

Big Joe Turner - The Blues Boss

Bitrate: 320K/s
Year: 1996
Time: 73:51
Size: 172,5 MB
Label: Blues Encore
Styles: Blues
Art: Full

Tracks Listing:
 1. Roll 'Em Pete - 3:45
 2. Cherry Red - 3:25
 3. Morning Glories - 2:13
 4. How Long Blues - 5:50
 5. St Louis Blues - 4:22
 6. Piney Brown Blues - 4:56
 7. Ti-ri-lee - 2:56
 8. In The Evening - 5:04
 9. Midnight Cannonball - 2:31
10. Sweet Sixteen - 2:57
11. Low Down Dog - 3:41
12. Wee Baby Blues - 7:19
13. (We're Gonna) Jump For Joy - 2:07
14. Poor Lover's Blues - 2:40
15. The Chill Is On - 2:46
16. TV Mama - 2:47
17. Hollywood Bed - 2:45
18. Miss Brown Blues - 2:54
19. Chains Of Love - 3:23
20. Don't You Cry - 2:30
21. Married Woman - 2:50

He was among the first to mix R&B with boogie-woogie, resulting in jump blues—a style that presaged the birth of rock and roll. Indeed, Turner’s original recording of “Shake, Rattle and Roll,” cut for Atlantic Records in 1954, remains one of the cornerstones numbers of the rock and roll revolution. Turner’s lengthy career touched on most every significant development in popular music during this century, taking him from the big bands of the Swing Era to boogie-woogie, rhythm & blues and rock and roll. James Austin of Rhino Records noted that “[Turner’s] raucous style first blended R&B with boogie-woogie. The result was jump blues, and Joe was its foremost practitioner.”
How important was he to the development of rock and roll? “Rock and roll would have never happened without him,” opined legendary songwriter Doc Pomus.
Turner was a huge man with a husky, booming voice who could out-shout a big band without amplification while projecting clarity and control. He was born in Kansas City, and it was in that freewheeling city’s jumping nightspots that he began his career as a bartender and singer. Kansas City was, in those days, a hotbed of jazz and blues whose many clubs rocked around the proverbial clock. As a young man, Turner worked at various joints—including the Backbiter’s Club and the Sunset Cafe—as a bouncer, bartender and singer. It was here that he hooked up with pianist Pete Johnson (nominally referred to in the songs “Roll ‘Em Pete” and “Johnson & Turner Blues"). Turner also sang with the big bands of Count Basie and Benny Moten when they came through town.
Turner and Johnson helped popularize boogie-woogie and jump blues in the late Thirties and early Forties. “Everybody was singing slow blues when I was young,” Turner told Rhino’s James Austin, “and I thought I’d put a beat to it and sing it uptempo.” Crowds would clamor for Johnson to play some boogie—“Roll ‘em, Pete! Make ‘em jump!”—and he would oblige. Thus did this duo help ignite a musical trend in the nightclubs of Kansas City and beyond. The songs Turner sang (and sometimes wrote) were often risque, employing coy slang words and metaphors for sex in ways that would amuse a partying club crowd.
The duo brought their routine to New York in the late Thirties, and their appearance at the “Spirituals to Swing” concert in December 1938 proved to be a major turning point. Turner sang without a microphone, his forceful pipes carrying into the furthest reaches of the sold-out hall with ease. In New York Turner and Johnson became regulars at the Cafe Society nightclub and signed to Vocalion Records, cutting some seminal versions of “Roll ‘Em Pete” and “Cherry Red” for the label.
Turner recorded prolifically in the Forties for various labels, including Decca, National and Aladdin. He worked with Johnson as well as a number of other pianists, including such giants as Albert Ammons, Willie “the Lion” Smith and Meade Lux Lewis. In 1946 Turner had his first R&B hit, “My Gal’s a Jockey,” released on Herb Abramson’s National label. Abramson would go on to co-found Atlantic Records with Ahmet Ertegun in 1948. Meanwhile, Turner—who recorded for a bewildering variety of labels during this period—charted again in 1950 with “Still in the Dark,” issued on the Houston-based Freedom label.
In 1951 Ertegun brought Turner to Atlantic Records, where he cut a string of rhythm & blues and early rock & roll classics over the next decade. Among them were “Chains of Love,” “Sweet Sixteen,” “Honey Hush,” "Shake, Rattle and Roll,” “Flip Flop and Fly” and “Corrine Corinna.” “Shake, Rattle and Roll” and “Honey Hush” were particularly massive hits, topping the R&B charts for three and eight weeks, respectively. Pianist Fats Domino accompanied Turner on the romping “TV Mama.” For a spell Turner was a bonafide rock and roll star, cutting such songs as “Teenage Letter” for the burgeoning youth market and appearing in the teen flick Shake, Rattle and Rock (1956). No other figure straddled rock and roll and rhythm & blues with such authority as Turner. Capitalizing on his reputation as a pioneer, Turner shuttled easily between the two worlds, sharing stages with Fats Domino, the Clovers, Bo Diddley and a variety of other acts on Alan Freed’s package tours.
But Turner’s musical roots were too deep to limit him to the faddish teen market. Turner’s definitive work for Atlantic came in 1956, and the title said it all—The Boss of the Blues: Joe Turner Sings Kansas City Jazz. A sequel of sorts, Big Joe Rides Again, appeared in 1960. In the Sixties, after the first wave of rock and roll had died down, Turner returned to blues and boogie-woogie. He moved to Los Angeles, where he recorded with jazz legends like Dizzy Gillespie, Count Basie and Roy Eldridge for some well-received albums on the Pablo label. He also schooled a young backup band that eventually became the Blasters.
The 1983 album Blues Train, on which he was backed by Roomful of Blues and produced by Doc Pomus, was a late-career gem. Having outlasted trends until his sound became timeless, Big Joe Turner continued to record and perform until his death in 1985.
Inductee: Big Joe Turner (vocals; born May 18, 1911, died November 24, 1985)

The Blues Boss

Shakin' Stevens - Echoes Of Our Times

Bitrate: 320K/s
Year: 2016
Time: 33:58
Size: 78,7 MB
Label: HEC
Styles: Blues/Americana/Сlassic Кock
Art: Front

Tracks Listing:
 1. Down In The Hole - 3:15
 2. Echoes Of Our Times - 3:03
 3. Behind Those Secrets And Lies - 3:36
 4. To Spread The Word - 3:06
 5. The Fire In Her Blood - 3:23
 6. Down Into Muddy Waters - 3:20
 7. Suffer Little Children - 4:26
 8. Train Of Time - 3:01
 9. Love The World - 3:05
10. Last Man Alive - 3:39

"Blues, roots, Americana and classic rock take centre stage on this surprising record. A labour of love, detailing stories from his intriguing family history, Shakin’ Stevens has created a remarkable musical tribute to his once mysterious past.
Platinum-selling Shakin’ Stevens releases his 12th studio album ’Echoes Of Our Times’. Known as an entertainer and performer, with 33 hit singles and 4 UK no. 1s to his name, this new record clearly marks Shakin’ Stevens out as an artist, songwriter and storyteller.
’Echoes Of Our Times’ grew from Shaky’s realisation that, like most of us, he knew so very little about the background of his family - the stories of his ancestors’ loves and lives lost, and their struggles to survive. Research revealed tales of poverty and strife in the Cornish copper mines, of bravery and loss in war, of philanthropic preachers and stoic Salvationists, of children suffering and of family secrets and feuds.
These uncovered stories became the inspiration for many of the songs that make up this collection. Having touched on most styles of music during his career (including blues, rhythm & blues, country and Cajun), the new songs were in fact a big departure for Shaky. “I have never before written a song that is so personal.  Some of the tracks directly relate to stories and situations about my family past, while others are more of a social comment relating to the world that my ancestors, and we, live in” he explains.
The album gave Shaky the opportunity to experiment and use instruments that he has previously used on stage but never before on a recording. Each story set the scene for the music and dictated which instruments were used. 'Down in The Hole’ features harmonica, Dobro guitar and harmonium to capture the feel and provide the atmosphere - hence it has elements of folk, rock and swampy blues. Keeping the harmonica and adding banjo, flute and military snare, gave a sound that was reminiscent of the past, helping to paint a picture for the title track 'Echoes Of Our Times', by joining folk rock with delta blues.
The song ‘Behind Those Secrets And Lies’ was no exception: every family has at least one secret, or more, somewhere, and by its very nature this song dictated the need for a very dark and mysterious feel.  The cello and bottleneck guitar, coupled with the acoustic guitar figure, in a minor key, provides that haunting backdrop to guide the listener through the sadness of the lyrics. By contrast the anthemic rock of ‘Last Man Alive’, with its rousing mix of guitars, brass and piano - an infectious blend of instruments - provides a welcome lift to close the album.
“I would say that, in retrospect, in finding the origins of my family I have gone back to the roots of my music.” Shakin’ Stevens, June 2016

Echoes Of Our Times

пятница, 19 октября 2018 г.

Robert Connely Farr & The Rebeltone Boys - Dirty South Blues

Bitrate: 320K/s
Year: 2018
Time: 38:29
Size: 88,4 MB
Label: Self Released
Styles: Blues/Juke Joint Blues
Art: Front

Tracks Listing:
 1. Ode To The Lonesome - 3:44
 2. Dirty South Blues - 3:24
 3. Blue Front Cafe - 3:56
 4. Hard Time Killing Floor Blues - 3:15
 5. Magnolia - 4:07
 6. Lady Heroin - 3:31
 7. Just Jive - 3:29
 8. Cypress Tree Blues - 4:27
 9. Yes Ma'am - 3:40
10. Hey Mr. Devil - 4:52

Inspired & rooted in the haunting Bentonia style of the Mississippi blues, this album is the product of Farr's mentorship under the last of the Bentonia blues artists, Jimmy "Duck" Holmes.

Dirty South Blues

Sean Chambers - Welcome To My Blues

Bitrate: 320K/s
Year: 2018
Time: 46:17
Size: 106,1 MB
Label: American Showplace
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Welcome To My Blues - 4:50
 2. Black Eyed Susie - 4:07
 3. Cherry Red Wine - 4:33
 4. Boxcar Willie - 3:56
 5. Cry On Me - 3:23
 6. One More Night To Ride - 3:17
 7. Red Hot Mama - 3:42
 8. You Keep Me Satisfied - 3:35
 9. Keep Movin On - 5:40
10. All Night Long - 4:54
11. Riviera Blue - 4:15

Guitarist, singer, and songwriter Sean Chambers counts Jimi Hendrix and Stevie Ray Vaughan among his primary guitar influences, and their type of guitar stylings can be heard in his recordings and at his live shows. Raised on the Gulf coast of Florida, like so many others enamored with blues and blues-rock who played guitar, the younger Sean Chambers also lent his teenaged ears to recordings by Johnny Winter, Freddie King, B.B. King and Albert King, as well as Eric Clapton, Jeff Beck, and ZZ Top.
Chambers released his debut album, Strong Temptation in 1998, after 15 years of playing out in clubs and refining his vocal and guitar talents. After finishing up college, Chambers caught a break in Memphis in 1998 when he was asked to play with former Howlin' Wolf guitarist Hubert Sumlin at a Memphis blues festival. He subsequently toured with the veteran guitarist -- who recovered from cancer to get back on the road -- for the next four years. Chambers has shared stages and sat in with many of his blues and blues-rock heroes, including Derek Trucks, Gregg Allman, Kim Simmons, Tab Benoit, Jeff Healey, Leslie West, Rick Derringer, Pat Travers, Kim Wilson, Bobby "Blue" Bland, Walter Trout, Big Bill Morganfield, Koko Taylor, Ike Turner, and Robert Cray, among dozens of others who frequent the Tampa area club scene. Chambers tours mostly in Florida with the occasional foray north or to the Midwest or to Great Britain. His discography includes just two albums, but a third is in the works. They include Strong Temptation for Vestige Records and 2005's Humble Spirits for Rockview Records. In 2001, Great Britain's Guitarist magazine named Chambers one of the Fifty Greatest Guitarists of all time. ~ Richard Skelly

Welcome To My Blues

Anthony Gomes - Peace, Love & Loud Guitars

Bitrate: 320K/s
Year: 2018
Time: 50:28
Size: 117,3 MB
Label: Up 2 Zero Entertainment
Styles: Blues Rock
Art: Front

Tracks Listing:
 1. Come Down - 4:34
 2. White Trash Princess - 4:16
 3. Blues In The First Degree - 3:44
 4. Nasty Good - 3:41
 5. The Whiskey Made Me Do It - 3:01
 6. You Are Amazing - 5:42
 7. Peace, Love & Loud Guitars - 3:49
 8. Stealin' From The Devil - 4:17
 9. Your Mama Wants To Do Me (And Your Daddy Wants to Do Me In) - 3:17
10. The Only Woman I've Ever Loved - 4:20
11. Hard Road Easy - 4:07
12. Take Me Back Home - 5:35

Anthony Gomes, 2017 European Blues Award Winner, is thrilled to announce the release of the first single, Come Down, from his forthcoming album ‘Peace, Love & Loud Guitars’.
Canadian-born guitarist, singer, and songwriter Anthony Gomes is a critically acclaimed chart-topping artist who plays a style of modern electric blues that incorporates elements of rock, soul, R&B, and country. Born in 1970 in Toronto, Canada, to a Portuguese father and a Canadian mother, he began playing guitar in his early teens and moved to Chicago, IL, in the late '90s with hopes of establishing himself as a musician. After honing his craft on the Windy City club circuit, he moved to Nashville, TN, where he found a home for himself amid the city's renowned music scene.
Gomes made his recording debut in 1998 on the Urban Electric label with Blues in Technicolor, followed by Sweet Stringin' Soul in 2000. In 2002 he switched to 33rd Street Records for Unity and proceeded to win the 2003 BluesWax Artist of the Year award. This accolade elevated Gomes to the top of the blues field, and consequently he was able to draw increasingly larger crowds to his live performances, which increased in frequency and scope. Though he didn't release another album until 2006, Gomes' endless touring kept him atop the blues field, as he continued to be nominated for BluesWax Artist of the Year awards several years in a row.
Gomes' fourth album, Music Is the Medicine (2006), released on the Adrenaline Music label, was his first to chart, peaking at number four on the Billboard Top Blues Albums chart. During his supporting tour of the album, the February 27, 2007, show at the Triple Door in Seattle, WA, was recorded and subsequently released in 2008 as the album Live. It features his band, the New Soul Cowboys, comprised of David Karns (bass, vocals), Peter Lang (drums), and Dylan St. John (keyboards, vocals). The first of his albums to document his on-stage performance ability, Live was his greatest commercial success to date, reaching number one on the Billboard Top Blues Albums chart. ~ Jason Birchmeier

Peace, Love & Loud Guitars

понедельник, 8 октября 2018 г.

Samuel Eddy - Samuel Eddy

Bitrate: 320K/s
Year: 1991
Time: 38:08
Size: 88,3 MB
Label: SPV
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Rock Me Baby - 3:24
 2. Got Me A Harley - 3:18
 3. Statetrooper - 4:58
 4. Down & Out - 4:15
 5. Waiting For The Dart - 3:08
 6. Next Time You See Me - 3:38
 7. Local Grove - 3:19
 8. She Done Me Wrong - 7:34
 9. Sake Of Rock'n Roll - 4:31

Samuel Eddy (stage name) is Eamonn McCormack.
Eamonn was born in the center of Dublin, the capital city of Ireland and was raised on a North side Suburb.
He started out on the acoustic guitar at nine years of age. Earliest influences included Slade, Cat Stevens, Neil Young and Rory Gallagher. By twelve he was singing along with his guitar and performing at church folk masses.
Soon, finding the church music somewhat restricting the young teenager acquired his first electric guitar (a Guild Starfire) progressed to lead guitar and joined a local garage cover band prior to playing his first paid gig. By now influences extending to Jimi Hendrix, Eric Clapton, Thin Lizzy and Dutch group Focus.
At sixteen Eamonn performed live on a national Irish radio show. Around this time he also won a major high school competition performing his own material.
After a short stint playing in various bands throughout Ireland, Eamonn headed off to the U.S.A. where he performed extensively. There he broadened his musical horizons, gained vital stage experience and absorbed fresh American music and cultural influences. This blended together nicely with his earlier influences.
Returning to Ireland after four years traveling and performing in the States Eamonn was by now developing a very unique sound and style all of his own. This style was solidified whilst Eamonn performed extensively under the stage name “Samuel Eddy” establishing himself across Europe, the hard way, through a grueling tour schedule. Samuel Eddy and his band were rewarded for their efforts as they garnered the reputation of Major European Music Festival Favorites.
Eamonn as Samuel Eddy signed with Universe Productions/Virgin Records and SPV records worldwide. Recorded three critically acclaimed studio albums that sold very well confirming that an exciting young up and coming World Class Guitarist was emerging out of Ireland.
Throughout the Nineties also saw a young Eamonn play, tour and record with many of his earliest guitar influences such as Rory Gallagher, Johnny Winter, Jan Akkerman (ex. Focus ) and Nils Lofgren. Another highlight of this period was Eamonn and his Bands unforgettable performance at the Parkpop festival in Holland to an audience of around a half a million people, sharing the bill with Robert Plant and more. Eamonn also got to play the prestige Rockpalast in Germany, which was televised and broadcast right across Europe.
Eamonn and his band have been described by the press as “A Modern Day Power Trio” and that is something that has not changed to this day. His performances both live and in the studio are a force to be reckoned with. Early 2002 Eamonn toured in Europe with Californian Blues-rock guitar ace Walter Trout and New York guitar slinger Popa Chubby as well as recording 8 new tracks engineered by Paul Thomas ( U2, Phil Lynott ) in Dublin before finishing the year successfully with a blinding show opening for the legendary ZZ Top in Amsterdam.
After the Amsterdam concert Eamonn decided to take a break from the road, travel the world, write some new material, jammed with various artistes in the USA and back home set up the successful Indie record label True Talent Records developing young Irish Rock talent such as Leanne Harte and Glyder.
On True Talent Records Eamonn decided to release a best of album; mainly of Samuel Eddy tracks featuring previously released re-mastered and some newer un-released songs. He also decided to drop his old stage name and revert to his real name Eamonn McCormack. Enter the surprise worldwide success of “Kindred Spirits” featuring tracks with special guests Rory Gallagher, Jan Akkerman, Herman Brood and Keith Donald.
Following the success of “Kindred Spirits” (which by 2009 had put an end to his almost eight year hiatus from the road) returned to the road full time and is fast establishing his profile as one of the finest Bluesrock performers on the Worlld bluesrock circuit. 2011 saw Eamonn, now one of Ireland’s finest guitarists sign a worldwide 4 album, 2 DVD record deal with In Akustik Records and a new album recorded live in Tool House Studios, Germany titled: “Heal My Faith” released on Feb. 17th 2012 in Europe & Japan. USA release 8th May. Yet again using the tried and tested power trio format Eamonn is backed by the top rhythm section consisting of Marc – Inti on bass and Josef Kirschgen on the drums.
Some summer festivals this year will see Eamonn joined on stage by the legendary guitarist Brian “Robbo” Robertson (Thin Lizzy, Motorhead, Wild Horses).
Eamonn is a true artiste, a master of his craft who always performs with that heart-felt passion synonymous with true Irish music legends in the making…

Samuel Eddy

Samuel Eddy - Strangers On The Run

Bitrate: 320K/s
Year: 1995
Time: 51:24
Size: 134,0 MB
Label: SPV Recordings
Styles: Blues Rock
Art: Full

Tracks Listing:
 1. Sweetest Revenge - 3:27
 2. Stranger On The Run - 4:51
 3. Snake Tattoo - 4:02
 4. Blues On Your Doorstep - 6:38
 5. Night In The Dam - 4:17
 6. Funkytown - 4:18
 7. Mystica - 6:29
 8. Get Lost - 4:07
 9. Ain`t Goin`Cheap - 3:27
10. Turn Around - 4:41
11. Falsely Accused - 5:02

Samuel Eddy -vocals and guitars;
Gerald "Sully" O'Sullivan - bass guitar;
Ger Farrell - drums and percussion.

Special guests:
Rory Gallagher - guitar and slide guitar;
Jan Akkerman - guitar;
Keith Donald - soprano sax;
Nick Hogart - piano;
Robert C. Brookes - bluesharp.

Samuel Eddy is an Irish bluesrock guitarist. This is his second album. Jan Akkerman plays guitar on two tracks.
From the album press release:
"This album confirms Sam's own fully developed sound and style largely complemented by his rock solid rhythm section, comprising of Sam's long-time experienced bassist Gerald "Sully" O'Sullivan and Ger Farrell, one of Ireland's finest young rock drummers.
Together Samuel Eddy and his band have successfully captured their live energetic feel in the studio. (...) Sam co-produced the album with veteran engineer/producer Robin Black (Black Sabbath, Jethro Tull etc.). But most importantly, this new album displays clear evidence of Sam's growing talent as a competent singer/songwriter and unique guitarist who plays with a passion and feel that is second to none.
"Strangers on the Run" also features guest appearances by the late Irish bluesrock legend Rory Gallagher, Dutch guitar virtuoso Jan Akkerman and Irish saxophone star Keith Donald of Moving Hearts".

Strangers On The Run

Steve Pryor Band - Steve Pryor Band

Bitrate: 320K/s
Year: 1991
Time: 36:19
Size: 83,7 MB
Label: Zoo
Styles: Rock/Blues Rock
Art: Full

Tracks Listing:
 1. Starin' a Hole in My Floor - 3:46
 2. Moving Me (Way Too Fast) - 4:40
 3. Atlas Blues - 3:03
 4. Did You See That Girl - 2:26
 5. After the Locust - 3:31
 6. Spellbound (Over You) - 3:29
 7. Highway of Love - 3:40
 8. Tearin' Down the Walls - 4:14
 9. Sweet Marie - 3:38
10. Last Breath - 3:47

Great album! As good if not better than Stevie Ray.
I have since done some research and found other material by this artist. Apparently a legend in Tulsa, Oklahoma area. Excellent guitar licks mixed with rock and blues tones.
Steve Pryor is one of the best guitar guitar players I've had the pleasure to see/hear...and I've seen a bunch. That said, this was his big label debut. So the label inexplicably brought in Pete Anderson to produce it...Pete having been most known for his work with Dwight Yoakam. So yeah, everyone said a big, "Huh, why him?!" when they heard that news. But despite Pete's unusual connection & production the good songwriting & guitar playing still shine through. I'm sure Steve would've strongly preferred some other producer more hip to his kind of music. But like I said, it was his major label debut & he likely had no choice.
Nonetheless, there are some real keepers on here. Great guitar playing and you gotta love Pryor's vocals. There's a reason this guy has shared the stage with the like of Muddy Waters, BB King, Buddy Guy and many others. Ck this album out!
This album is a reflection of a great time of Blues Fusion in the early 90,s that is missing now.
If you want to hear an album that you will play over and over, this is it.

Steve Pryor Band

среда, 3 октября 2018 г.

Pete Spiby - Failed Magician

Bitrate: 320K/s
Year: 2018
Time: 48:32 + 40:28
Size: 111,6 MB + 93,1 MB
Label: Be Lucky
Styles: Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Lightning Bolt - 4:02
 2. Bible Studies - 4:17
 3. Friday Night (just died in Saturday morning's arms) - 6:56
 4. We Used to be Friends - 4:55
 5. Why Not Let Them Come - 4:32
 6. Wrap Me Round Your Little Finger - 4:57
 7. Guiding Light - 4:03
 8. Mary Lou's Dawg - 3:50
 9. Working for Mary Jane - 4:38
10. Thrown to the Wolves - 6:18
1. Guiding Lite Blues - 3:56
2. Mary Lou's Dawg (came back) - 2:27
3. Why Not Let Them Come Again - 5:54
4. We Used To Be friends (slight return) - 3:50
5. Thrown to the Blues - 3:45
6. Lightning Bolt Blues - 3:49
7. Mary Jane Blues - 3:53
8. Bible Study Blues - 4:54
9. Little Finger Blues - 3:45
10. Friday Night Blues - 4:10

Spiby is probably most well known for being the leader of Black Spiders - renowned for the face melting rock n roll and unmatchable swagger. Groop Dogdrill were pure, uncut, weapons grade alt.rock napalm and Future eX Wife lovingly crushed anyone and anything in their path. In April 2017, Black Spiders gave their fans one final chance to raise their middle fingers aloft and yell ‘fuck you’ at their five, grizzled faces before hanging up their riding capes for good. In the months leading up to their final shows, Spiby was undergoing rehabilitation. Not in the cliched rock n’ roll sense, dear reader, but for an operation on his left hand, which learned physicians say is an important part of the human anatomy when you’re doling out sweet riffs left, right and centre. “When we did the farewell shows, it gave me such a confidence boost that I was even able to play guitar without the pain and medication that I’d had for the last 3 years,” says Spiby. “I decided that it was time to do the only thing I've been doing since I was at school.” Please welcome, ladies and gentlemen, Failed Magician. It's the title of Spiby’s new solo release; it's not a concept album about sleight of hand tricks gone awry, accidentally sawing an assistant in half or drowning before a horrified studio audience.  “Me and Ozzy [Lister, former Spider riffologist] were working somewhere in the world,” explains Spiby, “and during a very one-sided drunken conversation, he slurred the words “I just don’t want to end up being a failed magician. It’s obviously not what he meant to say, but I kept it under my hat to use at some point in the future”. There comes a time in a man’s life when the blues become mandatory listening and this in turn has informed his new songs. “I have sorrow in my pocket and exorcising the ghosts is a way out of the darkness,” he says.
“There were a lot of deaths in rock during 2017 that made me think about mortality, depression and life. There's a thread that goes through all of this and it’s basically a collection of domestic blues songs, sometimes seen from both sides of the story. “Sabbath and Zeppelin have a lot to answer for, as I guess do the Beatles and the Stones, for embedding that feeling and influence into their music,” he continues. “Everyone that has since been influenced by them, directly or indirectly.
Spiby called upon fans to fund his solo outing via Pledgemusic and smashed his goal to bits. “That’s when shit got real, as they say,” explains Spiby. “I had a bit of a panic on, getting the songs together and finished; things started to take more of a shape I liked and could sort of understand. It started out so simple and I made it really complicated for myself and recorded 30 odd songs, which is a fuck load of time and effort.” For his next trick, he assembled a crack team of ne’er do wells to help bring his ideas to life in the studio with Matt Ellis at the production console.
“It’s quite a mixed bunch of losers really,” he says. “All solid musicians and amazing people : Luke Athiko (The Defiled, guitar), Simon Bismark (Daken guitarist, bass) and James Maiden (Future ex Wife, guitar). Then there were three drummers : Simon Smith (Wedding Present/ChaCha Cohen), Tony Arthy (The Wonder Stuff) and Richie Mills (Cable/ Imogen Heap). Danni Maibaum (Double NoNo/ Dirty Blood) recorded some vocals. Adam Thistlewaite (Massive Wagons) and Lee Storrar (Servers) guitars. And his kids too. “If it’s the last thing I ever get to do, recording wise, I’ll die a very happy man,” says Spiby of his solo debut. “The greatest success is just even getting it done in the first place. There will be live shows later this year - “It’ll be a chance exorcise those demons in the live arena,” says Spiby. “The songs have already started to take on a different meaning already and band rehearsals are going very well. World submission awaits.”

Failed Magician

The Hoodoo Hounds - The Hoodoo Hounds

Bitrate: 320K/s
Year: 2012
Time: 54:51
Size: 125,8 MB
Label: Self Released
Styles: Blues/Swamp Blues
Art: Front

Tracks Listing:
 1. Crossroad Blues - 4:15
 2. Picayune Moon - 3:42
 3. Millennium Blues - 3:49
 4. Fire on the Water - 3:55
 5. Jail Bait Blues - 4:12
 6. Got the Blues This Morning - 6:03
 7. Rita - 5:02
 8. Move When You Got the Blues - 2:57
 9. Sheepnose - 6:18
10. Daisy May Blues - 6:12
11. Let Me be Good to You - 5:02
12. The Singing Bowl - 3:20

This debut album serves up a mess of South Carolina blues with a dose of Louisiana swamp hoodoo, a helping of Kentucky mountain twang and a touch of Chicago wind.
From the winds of Chicago, the swamps of Louisiana, and the mountains of Kentucky to the foothills of Clemson, SC the Hounds serve up their unique blend of blues with just a hint of Hoodoo. The Hoodoo Hounds are a group of professors from Clemson, SC who play the blues mostly because they just like to. They play in bars, at festivals, in back yards, and in living rooms. When they play, people come to listen, dance, drink, and share in the blues.
This album includes 12 original tracks written over the space of several years, and recorded one summer during 3 sessions. "Crossroad Blues" is a song about a blues man selling his soul to the devil for the ability to play the blues. This is a timeless story from the blues tradition inspired by Tommy Johnson, who claimed to have done exactly that. There are many references to traditional Hoodoo magic. "Picayune Moon" is a wistful song of love lost, set in the deep South of Mississippi. "Millennium Blues" is a more modern lament with a touch of jazz. "Fire In The Water" speaks directly to the Gulf oil spill and its effects on those who lived through it.
"Jail Bait Blues" is a fun little boogie about band groupies, while "Got The Blues This Morning" is traditional blues about depression. "Rita" is a song about a hurricane that rocks up the collection. "Sheepnose" is a mountain jam tune about man working on a railroad. "Daisy Mae Blues" is a rocking blues number inspired by Muddy Waters. "Let Me Be Good To You" is a sad blues song about troubled relationships. Finally, "The Singing Bowl" is about a man who doesn't trust his lover and turns to hoodoo magic only to have it backfire. It is the first known recording to use an electrified bowl to make a haunting, howling tone.
The Hoodoo Hounds are :
Andrew "Dr. D" Duchowski - drums
Matt Huddleston - guitar, vocals
David Jacobs - harmonica, keyboard, singing bowl
Walt "Hoodoo Man" Ligon - guitar, vocals
Radar Martin - bass, vocals

The Hoodoo Hounds

Johnny Nocturne Band - Good To The Damn Bone

Bitrate: 320K/s
Year: 2007
Time: 41:33
Size: 95,3 MB
Label: Blue Bucket
Styles: Jazz/Blues/R&B
Art: Front

Tracks Listing:
 1. Harlem Nocture (instrumental) - 4:23
 2. Slippin' & Slidin' (Featuring Brenda Boykin) - 2:54
 3. You're Nobody Till Somebody Loves You (Featuring Miss Dee) - 3:15
 4. The Stuff You Gotta Watch (Featuring Kim Nalley) - 4:11
 5. Good to the Damn Bone (instrumental) - 5:07
 6. When Did You Leave Heaven (Featuring Brenda Boykin) - 3:04
 7. I Can't Stop It (Featuring Brenda Boykin) - 2:53
 8. Down in the Flats (instrumental) - 4:06
 9. You Don't Know (Featuring Miss Dee) - 3:12
10. That Cat's Evil (Featuring Kim Nalley) - 3:51
11. The Driver (instrumental) - 4:31

Saxophonist, producer, and bandleader John Firmin (aka Johnny Nocturne) formed the Johnny Nocturne Band -- so named for his famous take on "Harlem Nocturne" -- in 1989 to perform at and help out the owner of a blues club in Berkeley, California, with the idea of playing some soul-jazz, or heavily blues-based instrumental jazz. The band has gone on to be a club and festival favorite with a discography extending through the 1990s and into the new millennium.
Raised in Anchorage, Alaska, Firmin grew up in a household full of jazz and blues music, as his father also played saxophones. His earliest musical experiences included playing tenor saxophone in small groups, backing up exotic dancers. In his teens, he learned tunes by Stanley Turrentine, King Curtis, Hank Crawford, and David "Fathead" Newman; Curtis, Crawford, and Newman -- as well as Leroy "Hog" Cooper -- would be among his wide-ranging influences, and he seems to incorporate these artists' styles into his playing effortlessly, while still having his own distinctive sound. Firmin later formed his own eight-piece band that included four horns and four rhythm players. His first big break was the chance to join David Bromberg's then phenomenally popular touring band in 1975. Like any good saxophonist working the club and festival circuit for years, Firmin's sessionography is extensive and includes dozens of recordings. He has recorded and/or toured with the likes of Bromberg, Paula Lockheart, Joe Louis Walker, Rusty Zinn, Bob Dylan, Little Charlie & the Nightcats, Dave Myers, Mark Hummel, and Mitch Woods.
After the formation of the Johnny Nocturne Band in 1989, the group garnered a positive review in the local press and was asked to play at the legendary (now sadly defunct) San Francisco Blues Festival that same year. Hot on the heels of their appearance at the prestigious festival, Firmin and his band began an ongoing series of shows at Slim's in San Francisco, a blues and jazz club partly owned by Dallas-raised vocalist and songwriter Boz Scaggs. At Slim's, the Johnny Nocturne Band had their chance to expand their already vast repertoire, backing up the likes of Johnny Adams, Laverne Baker, Earl King, Johnny "Clyde" Copeland, and Otis Clay. The band performed several years in a row at the Umbria Jazz Festival in Italy and also toured other parts of Europe as well as Japan.
The band landed a deal with Rounder Records in the 1990s and has issued a bevy of fine recordings for that label. Most recently, they released Million Dollar Secret with vocalist Kim Nalley for the label, but other good 1990s releases for Rounder include Wild and Cool, Shake ‘Em Up, and Wailin' Daddy. More recently, Firmin and his band have issued recordings on Blue Bucket Records. They include Good to the Damn Bone and Blues Volume. The former includes vocal contributions from three distinguished female vocalists, Brenda Boykin, Kim Nalley, and Miss Dee. Miss Dee was formerly the featured vocalist with the Johnny Otis Band. Blues Volume showcases the wide-ranging talents of Miss Dee exclusively. ~ Richard Skelly

Good To The Damn Bone

Paul Orta - Cruisin' for a Bruising

Bitrate: 320K/s
Year: 1991
Time: 58:28
Size: 135,0 MB
Label: New Rose Records
Styles: Blues/Harmonica Blues
Art: Full

Tracks Listing:
 1. Tear Drops - 5:12
 2. Hey Hey Little Monkey - 2:01
 3. Cruisin' for a Bruising - 3:58
 4. Buenos Noches - 3:50
 5. Your Driving Me Crazy - 3:47
 6. A Nickel is a Nickel - 4:24
 7. You Better Believe It - 3:37
 8. Harmonica Convergance - 4:04
 9. She's So Fine - 3:21
10. The Moon is Rising - 3:50
11. Love Me Or Leave Me - 4:00
12. Love Bird - 6:35
13. Let's Make Love Again - 2:43
14. Your My Hoochie Coochie Girl - 3:47
15. Phone on the Wall - 3:12

Paul Orta - harmonica
Gary Primich - second harmonica (8,9)
John McVey - guitar
Hash Brown - second guitar (10,11)
Eddie Stout - bass
Fredde"Pharaoh"Walden - drums
Mike Kindred - piano, organ
Bill Eden - sax

Paul Orta has fronted his band The Kingpins (a.k.a. The International Playboys) and various other groups around the world. He has played in the U.S.A., Spain, England, Ireland, France, Norway, Germany, Belgium, Italy, Austria, Russia, Portugal, Poland, Brazil, Sweden, Switzerland, Denmark & The Netherlands. He has opened for B.B. King, John Lee Hooker, Stevie Ray Vaughn, Van Morrison, The Fabulous Thunderbirds, Junior Walker, James Cotton, Buckwheat Zydeco, Dennis Quaid band with Huey Lewis to name a few.

Cruisin' for a Bruising

Paul Orta - Don't mess with Mezcal

Bitrate: 320K/s
Year: 1990
Time: 51:53
Size: 119,6 MB
Label: Red Lightnin'
Styles: Blues/Harmonica Blues/Texas Blues
Art: Full

Tracks Listing:
 1. Jump the Boogie - 3:21
 2. Underall - 3:44
 3. Shake Your Moneymaker - 2:32
 4. Sittin' Here Wondering - 3:07
 5. Your Were Wrong - 3:58
 6. Looking Good - 3:15
 7. Babe - 2:21
 8. Loan Me a Helping Hand - 3:37
 9. Don't Start Me to Talking - 3:19
10. Love Me Baby - 4:21
11. Keep What I Got - 4:25
12. Up the Line - 2:51
13. Most Beautiful Woman - 3:41
14. Get Out Of My Life - 3:36
15. Your Not Getting No Younger - 3:40

Paul Orta is a great find for blues enthusiasts. He has the chops of a guy who has studied the giants, Sonny Boy One and Two, Big Walter, Little Walter, George Smith and so on, but he adds his own Tex-Mex flair and has clearly developed his own voice and style. Like Rick Estrin or William Clarke he is who he is and it comes out in his music through humor and Individual style, ala the Tex-Mex aspect of the title, and Paul is the real deal. Hard to find his stuff sometimes, but he is special and deserves a wider audience. Give him a listen, if you love any of the guys I mentioned above you won't be disappointed.

Don't mess with Mezcal

Barry Levenson & Jake Sampson Band - Closer To The Blues

Bitrate: 320K/s
Year: 2000
Time: 45:13
Size: 103,6 MB
Label: Storyville Records
Styles: Blues/Electric Blues
Art: Full

Tracks Listing:
 1. Miss Lucky's - 3:36
 2. Shadows At Midnight - 4:21
 3. Closer To The Blues - 4:49
 4. Reap What You Sow - 5:40
 5. Party Boy - 4:32
 6. Don't Be Afraid - 4:43
 7. Hard Pill To Swallow - 4:15
 8. Every Saturday Night - 6:21
 9. Handyman - 2:57
10. Holding The Blues - 3:54

Pittsburgh native Barry Levenson's lifelong love affair with the blues began at an early age. At fourteen, an older friend played him some of Buddy Guy's Vanguard records and Levenson immediately fell hopelessly and passionately in love with this great American art form.
After playing in numerous blues bands in his home town, Levenson landed a job doing studio work, which he still does to this day. He then moved to Boston to study arranging at the Berklee School of Music. While in Boston, he became the house guitarist at Boston's premier rhythm and blues hot spot, the Sugar Shack, backing up numerous R&B and soul greats. Looking for a better climate, both musically and weather-wise, Levenson next moved to the sunny climes of Southern California, where he immediately began working with such blues greats as Big Mama Thornton, Pee Wee Crayton, Percy Mayfield, Lowell Fulson and J.D. Nicholson. The guitarist's next step was to land a deal with the prestigious European jazz and blues label, Storyville Records under his own name. "Hard Times Won" earned him a Handy Award nomination for Blues Song of the Year. He was also included on 2 Delta Laserlight compilations, Blues Guitar Heaven along with Muddy Waters, T-Bone Walker and Mike Bloomfield to name a few; and Blues for a Rainy Day with T-Bone Walker, Buddy Guy and Bobby Bland. Other highlights of Levenson's career include work on William Clarke's Groove Time CD, numerous blues festivals in Europe and the United States.
"Closer To The Blues" was recorded at Pacifica Studios, Los Angeles, California with Jake Sampson (vocals, bass), Dave Melton (guitar), Johnny Dyer (harp), Chris Jennings, Elliott Chavers, Phil Krawzak (saxophone), Mike Thompson (piano), Dave Kida (drums).

Closer To The Blues 

вторник, 2 октября 2018 г.

Valerie Wellington - Million Dollar $ecret

Bitrate: 320K/s
Year: 1984
Time: 45:19
Size: 104,5 MB
Label: Rooster Blues (1995)
Styles: Blues/Chicago Blues/Electric Blues
Art: Full

Tracks Listing:
 1. Down In The Dumps - 2:52
 2. Million Dollar Secret - 4:03
 3. Independent Blues - 2:47
 4. Cold, Cold Feeling - 5:35
 5. Smokestack Lightning - 3:37
 6. Dirty No-Gooder's Blues - 3:56
 7. My Baby Treats Me Like A Stepchild - 3:52
 8. You Can't Have My Monkey - 2:49
 9. Bad Avenue - 4:43
10. Love Don't Love Nobody - 2:27
11. Wild About You - 3:04
12. Voodoo Blues - 5:28

Valerie Wellington (November 14, 1959 – January 2, 1993) was an African-American singer who, in her short career, switched from singing opera to singing Chicago blues and electric blues.On her 1984 album, Million Dollar $ecret, she worked with Sunnyland Slim, Billy Branch, and Magic Slim. She also worked with Lee "Shot" Williams.She was born Valerie Eileen Hall in Chicago, Illinois. She was trained as an opera singer and graduated from the American Conservatory of Music, but in 1982 she took up singing the blues in Chicago clubs.She also worked in theater, playing roles portraying earlier blues singers, such as Ma Rainey and Bessie Smith. Her opera training enabled her to project her voice to theater audiences. She appeared at the 1984 San Francisco Blues Festival, on a bill with Marcia Ball and Katie Webster.
Her recorded work blended a traditional vaudeville approach with a contemporary Chicago blues format. Wellington made few recordings, but her voice was used in advertisements on television and radio.Her recording of "Whole Lotta Shakin' Goin' On" was used on the soundtrack of the 1989 film Great Balls of Fire!, in which she briefly appeared, depicting Big Maybelle. In the same year, she toured Japan with Carlos Johnson. Wellington died of a cerebral aneurysm in Maywood, Illinois, in January 1993, at the age of 33. She was interred at the Restvale Cemetery, in Alsip, Illinois.Million Dollar $ecret was reissued by Rooster Blues in 1995.

Million Dollar $ecret

Jimbo Ross - Driven By The Blues

Bitrate: 320K/s
Year: 1999
Time: 50:03
Size: 114,9 MB
Label: Bodacious Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Driven By The Blues - 4:51
 2. Walkin' By Myself - 4:52
 3. Messin' With The Kid - 5:07
 4. Bogie Man - 4:08
 5. It Hurts Me Too - 4:36
 6. I'm Tore Down - 3:54
 7. Just A Little Bit - 3:25
 8. You Can't Judge A Book - 3:39
 9. I've Got News For You - 4:03
10. Help Me Through The Day - 6:32
11. You Don't Have To Go - 4:51

He is a man driven by the blues. He eats the blues for breakfast. He dreams the blues at night. And when he speaks, he speaks the language of the blues. But what sets Jimbo Ross apart from other seasoned bluesmen
is that he speaks this language not through the usual tools of the blues, such as a harmonica or guitar.He speaks the blues on the Viola. But before you make up your mind whether a viola player can be a true messenger of the blues,
listen to his music. Because Jimbo Ross is living proof that, as Willie Dixon famously explained, the blues speaks in many languages and in many voices. Though Jimbo uses an instrument that's more frequently linked with classical
European music, the music that he plays on it is the down home bedrock classical music of America, a music that connects the Delta Blues from Texas to New Orleans with the industrial urban blues of Chicago,
and the rhythmic blues of Detroit and Philly and beyond. I's the true essence of R & B - Rhythm and Blues - and when you hear Jimbo play and sing it, you know it's coming from his soul.
Some people think the blues is a down thing. But to quote Willie Dixon again "All blues are happy blues.' Willie would be proud to hear Jimbo Ross sing and play the blues, because wen Jimbo plays , people listen.
He's the embodiment of the happy blues - seven in the deepest and darkest of songs, he finds the shinning silver lining in the dark clouds, the joy inside the blues. Jimbo spent a lot of time playing guitar growing up, and it's in his unprecedented translation of guitar style blues to the Viola
that he has found a sound entirely his own. A virtuoso Violist who has long been in great demand as a studio musician for his uncanny chameleonic ability to adapt the Viola to any musical genre, he's played everything form Blues to Gospel, Swing to Salsa,
Baroque to Bulgarian, Be-Bop to Hip-Hop, Turkish to Techno, and everywhere in between. He's played on classic album such as The Band,s "The Last Waltz" and with legendary artists ranging from Ray Charles,
Roy Orbison, Aretha Franklin, Etta James, and Jimmy Scott, to Frank sinatra, Barbra Streisand, Ros Stewart, and Bob Dylan. He's played in Orchestras and in Rock, Jazz, and Fusion bands and for years co-led the great band Swingstreet.
But regardless of what kind of music he plays, the blues is always the backbone of his work, the dynamic that propels him through all forms of music. He's a powerful singer, belting out songs new and old with a voice that is "One part Chicago, one part New Orleans,
and with a dash of Cayenne and a shot of Whiskey tossed in". Being one of the most sought after musicians in Hollywood, he has worked with many of the greats, and so when it came time to make this album, he enlisted their support.
Besides showcasing Jimbo's own singing and playing, the album also features the fine musicianship of many seasoned pros, each of whom have extensive credentials of their own. Recorded live, the album captures the live energy of great musicians playing off of each other . . .
Alan Steinberger cooks up a lot of heat on the keyboards, while Tim Emmons provides wonderfully funky bass lines throughut. Two fine guitarists, John Goux and Miles Joseph, trade leads with Jimbo in an interchange so effortlessy organic that it's often hard
to hear where the Viola ends and the guitar begins. And the entire album is Driven by the combined power of Willie Ornelas on Drum an Al Salas on percussion. Even Van Dyke Parks, one of America's most iconoclastic musical geniuses, shows up here,
collaborating with Jimbo on the string arrangement to the haunting Leon Russell ballad "Help Me Through The Day," which Jimbo dedicates, on this album and in concert, to his wife Nika.
If you had any doubts as to whether an authentic blues groove can be created with a viola, that doubt flies out the window instantly as the opening song, Jimbo's own "Driven By The Blues" charges out of the gate, and kickstarts this album into high-gear from the first measure of that ripping opening riff,
Jimbo flies on the Viola, he burns, he shreds, he does some things guitarists usually do and others guitarists only dream about. When he sings about being "Possessed by the Blues and there ain't no cure around," there's no question that he's singing the truth.
He creates full horn sections by overdubbing many tracks of his own Viola, as in "Walkin' By Myself," and then plays a burning solo over the top of it. This is happy, feel-good music - If you a sceptic before hearing this, you'll soon be a believer. A believer in the power of the blues.
There's much here to believe in . . . Besides Jimbo's own classic "Driven By The Blues" there's also a great mix of old classics such as Junior Wells' "Messin' With Ki," Jimmy Reeds "You Don't Have To Go," "It Hurts Me Too" by Elmore James, "I'm Tore Down" by Freddie King,
and Willie Dixon's own "You Can't Judge a Book" and much more. It's like getting a great driving tour of the old and new neighborhoods of the blues, driven by a man who has been driven by the blues his whole life. Take a Blues Ride with JIMBO ROSS.
He knows exactly where to go and how to get you there. It's a ride you'll never forget. PAUL ZOLLO - Songwriter/Author

Driven By The Blues

Kirk "Eli" Fletcher - I'm Here And I'm Gone

Bitrate: 320K/s
Year: 2009
Time: 75:01
Size: 172,7 MB
Label:JSP Records
Styles: Modern Electric Blues/West Coast Blues
Art: Full

Tracks Listing:
 1. I Ain't Doing Nothing Wrong -  5:23
 2. What is Going On -  5:02
 3. Church Street Boogie -  4:36
 4. I'm not Your Fool -  7:51
 5. What Heppened to You -  5:03
 6. Shool Street Shuffle -  3:08
 7. Silver Spoon - 10:32
 8. You Went Back on Your Word -  5:28
 9. Mr. Mann -  3:19
10. Bye Bye So Long -  2:49
11. Watsonized -  5:21
12. Worried all the Time -  4:05
13. I Smell Trouble -  4:49
14. Next Time You See Me -  3:25
15. Watsonized -  4:02

Kirk 'Eli' Fletcher - lead guitar;
Troy Jennings - rhythm guitar (2, 4, 7, 8), 1st lead (11);
Rick Reed - acoustic and electric bass (1-11);
Jeff Turmuis - bass (12-15);
Jonny Viau -tenor saxophone (1-11);
Al Blake - harmonica (12-15);
Tom Mahon - piano (1-11);
Fred Kaplan - piano (12-15);
Jackie Payne - vocals (2, 4, 7, 8);
John Marx - vocals (1, 5, 10);
Roosevelt Caldwell - vocals (12-15);
Paul Fasulo - drum.

West Coast blues guitarist Kirk Fletcher has logged time with everyone from the Fabulous Thunderbirds to Charlie Musselwhite, but in 1999 he kicked off his solo career with I'M HERE AND I'M GONE. Given a 10th-anniversary reissue complete with bonus tracks, the album shows a guitarist who has assimilated the innovations of artists like B.B. King and Buddy Guy and channeled them into something contemporary, with traces of funk and R&B adding some extra groove juice.

I'm Here And I'm Gone

Scarecrow Sideshow - An Exit Strategy

Bitrate: 320K/s
Year: 2018
Time: 35:43
Size: 82,4 MB
Label: Self Released
Styles: Rock/90's Rock/Heavy Blues Rock
Art: Front

Tracks Listing:
 1. Curbside - 3:46
 2. Mystic Mama - 4:08
 3. The Swarm - 2:54
 4. Mary Go Round - 3:06
 5. Can't Get Enough - 2:31
 6. Outlaw Blues - 3:04
 7. Slow Dancing in the Quicksand - 4:36
 8. Save the Truth - 2:32
 9. Monster - 4:18
10. An Exit Strategy - 3:39
11. The Exit - 1:02

Good old fashioned rock and roll. Heavy guitar riffs that can get dark and take you down a rabbit hole. Catchy lyrics that will be stuck in your head all day and a whole lot of energy. Play at loud volumes!
Coming from a small town in Ohio, Scarecrow Sideshow packs a heavy punch. Guitar solos, screaming vocals, drum fills and planned lyrics are what they're about. Bringing in influences from The Doors, Metallica, Black Sabbath and White Stripes. People have tried to describe what Scarecrow Sideshow sound like and all they can come up with is "a lot of different bands into one". Priding ourselves on having music that doesn't sound the same. You can hear the energy Scarecrow Sideshow bring from song to song.

An Exit Strategy