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пятница, 16 ноября 2018 г.

The King Bees - Stingin`

Bitrate: 320K/s
Year: 2008
Time: 68:00
Size: 156,4 MB
Label: Styx Records
Styles: Blues/Chicago Blues
Art: Full

Tracks Listing:
 1. Don't Look At Me This Way - 3:04
 2. Hustle Is On - 2:56
 3. High Class Woman - 3:43
 4. Getting Tired - 4:46
 5. Drifting - 2:43
 6. How Long - 3:33
 7. Jumpin' And Hollerin' - 3:27
 8. Without You - 4:39
 9. Blind As A Mole - 3:49
10. Hard Way - 3:38
11. Sweet Daddy - 3:07
12. Left Coast Boogie - 5:26
13. My Baby Done Changed - 4:07
14. Help Me Up - 3:05
15. As You Please - 4:02
16. Someday You're Gonna Pay - 3:55
17. That's Tuff - 4:04
18. When You're Not Around - 3:48

Among the many bands in the blooming European blues scene, The King Bees have earned a reputation as a top notch live act and - as this CD proves – as excellent recording artists. While being true to their roots and the Chicago and West Coast style blues  tradition, most of the eighteen songs on this recording are self penned originals that tell stories about the joy and pain we all have to face every day. That’s what the blues is all about …

Stingin'

Mike Zito - Blue Room

Bitrate: 192K/s
Year: 2018
Time: 50:58
Size: 72,0 MB
Label: Ruf Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Hollywood - 4:05
 2. Pull the Trigger - 4:54
 3. It's All Good - 3:29
 4. Gravy Jam - 5:06
 5. Lovering - 7:45
 6. Shoes Blues - 3:50
 7. Ways About You - 4:15
 8. Soundcheck - 4:17
 9. Lightening Bug - 7:56
10. Rocket Man - 5:17

It’s back. The debut album that blew up the ’90s blues scene. The songs that announced the touchdown of a major new talent. In modern times, as an established solo star and former member of the globally acclaimed Royal Southern Brotherhood, Mike Zito’s reputation precedes him. But turn back the clocks. Rewind the film reels. Slip through the wormhole to 1998, when a 27-year-old punk kid took his first shot in the studio. “Blue Room,” he reflects, “is the beginning of me becoming an artist.”
By 1998, Zito had been around the block. Raised at the sharp end in St. Louis, Missouri, he’d witnessed the lean years of the ’70s, as his father – a union employee at the local Anheuser-Busch brewery – grafted to support five kids in a cramped apartment. Music was a way out, with Zito learning his craft at a downtown guitar store, then seizing any live work that fell his way. As he told the Blues Mag: “I’ve played with country bands, dance bands, rock bands, alternative bands…”
Blue Room was the moment of clarity, when Zito realised he was burning to be more than a roadhouse-filling covers band. In 1997, he assembled a dedicated lineup and announced his new mission statement: original songs written from the heart. But artistic integrity didn’t come cheap. With just $1000 for studio bills, Zito knew he had one shot. “I have many great memories of the Blue Room sessions,” he says. “It was recorded in the basement of a house outside of St. Louis. We recorded the whole album in one day and all the tracks are live with no overdubs – except the vocals. We had played the night before until 6am at an all-night club in St. Louis and went to the studio at 9am. We brought beer with us and basically did not sleep.”
Play Blue Room today and you can still feel the urgency flood through the speakers. The scratchy funk-blues of Hollywood sets a breakneck pace. Pull The Trigger has an irresistible stop-start lick that underpins Zito’s ragged vocal. It’s All Good pairs a muscular lick with a virtuoso solo. Gravy Jam andSoundcheck are chop-flexing instrumentals, while Lovering is a slow-blues pulsing with potency.
Elsewhere, Shoes Blues is a rampant good-time anthem, offset by Ways About You’s jazzy shuffle and the glassy funk of Lightning Bug. Finally, there’s a wah-soaked cover of Elton John’s Rocket Man, closing a tracklisting that offers a signpost to the artist Zito would become. “The singing is sometimes not quite there,” he considers, “and the guitar playing is so over the top. But it’s full of honesty.”
Likewise, while Zito’s later albums would find him drilling deeper as a lyricist –to examine themes from mortality to sobriety – this opening gambit captures the worldview of a young man enjoying primal pleasures. “The vibe of Blue Room is total bravado,” he reflects. “I was so full of myself back then, and mostly the songs were about partying and sex. I was 27 years old and trying to be a rock star.”
Blue Room changed everything. As the album sold, the songs began to be requested live – displacing the Cream and Hendrix covers – and Zito was heralded as an artist of rare potential. Back then, he didn’t anticipate the bitter-sweet future about to unfold – the lost years of alcoholism in the post-millennium, the salvation offered by his wife, Laura, the plaudits of Royal Southern Brotherhood in 2012 and the rising trajectory of his solo career since he picked it back up with 2015’s Keep Coming Back. But when Zito looks back now at Blue Room, he wouldn’t change a thing: “I find such joy in listening to the young man on this recording. I’m so proud that it’s finally being released by Ruf Records after twenty years…”

Blue Room

Afrissippi - Fulani Journey

Bitrate: 320K/s
Year: 2005
Time: 47:52
Size: 109,8 MB
Label: Electric Catfish Records
Styles: Mississippi Blues/West African Music
Art: Front

Tracks Listing:
 1. Ngol Jimol - 4:45
 2. Ngoppe Kam Mi Yana - 5:36
 3. Bafal - 5:22
 4. Ayo Leele - 4:31
 5. Dono - 3:51
 6. Nduumandii / Hands Off That Girl - 6:27
 7. Njulli / Fulani Journey feat. John Sinclair - 9:17
 8. Bambangel - 6:10
 9. Nawle - 1:45

Senegalese guitarist moves to Oxford town, joins Kimbrough-Burnside crew, shows Ali Farka TourA© who can play the blues ("Dono," "Ngol Jimol").
Mississippi blues and West African music continue to be fascinated by each other, and their latest reunion is a particularly potent one. Senegalese griot (and Mississippi transplant) Guelel Kumba sings in Fulani while bluesmen from R.L. Burnside and Junior Kimbrough's bands shake Mississippi mud from their guitars. The guttural loneliness of the blues seems to find redemption in Kumba's joyous sound, and vice versa. Check out John Sinclair's cameo on "Njulli/Fulani Journey": he (perhaps unintentionally) impersonates an inebriated Tom Brokaw as he details the history of the Fulani people.

Fulani Journey

Roy Rogers & Norton Buffalo - Roots Of Our Nature

Bitrate: 320K/s
Year: 2002
Time: 56:31
Size: 131,3 MB
Label: Blind Pig Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Don't Throw Your Changes On Me - 3:49
 2. All I Want - 3:41
 3. Under The Rug - 3:23
 4. Requiem - 4:11
 5. If I Were A King - 5:34
 6. Ritmo de las Almas (Rythm Of The Souls) - 4:51
 7. Making New Love Out Of Old - 3:07
 8. Long Hard Road - 4:50
 9. Trinity - 4:09
10. Deny And Down The Distance - 5:16
11. Seven Hearts - 6:23
12. Highway Bound - 4:23
13. Happy Go Lucky - 2:49

In an intimate acoustic setting, Norton Buffalo and Roy Rogers present a set of original tunes whose flavor suggests roots much further back in time. Aside from a few tasteful string parts, Roots is all about crisp finger-picked and slide guitar, Buffalo's earthy and expressive harmonica, and each artist's agreeably unpolished vocals. Their lyrics embrace traditional imagery, from saloon balladry to ramblin' songs. On "Trinity" the words sustain an especially rustic eloquence through multiple verses dedicated to visions of salvation. If retro affectation bothers you, it's best to imagine this session transpiring on some snowy night, within the glow of an iron stove at some crossroads general store. When heard on these terms, Roots can cast a spell to remember.
As quintessentially American as corn on the cob or the rodeo, the blues-streaked music created here by slide guitarist Roy Rogers and harmonica player Norton Buffalo marks their first studio collaboration since two early-'90s releases. Buffalo, a longtime Steve Miller Band member, and Rogers, who has played with Bonnie Raitt and John Lee Hooker, are so musically in synch that all 13 of their original songs on this CD serve as engaging testimonials to their friendship. Each West Coaster is a virtuoso on his instrument, but neither engages in showiness. Instead, their phrases combine in low-key expressions of faith, longing, struggle, and triumph. Rogers and Norton aren't outstanding singers, yet they get by without disrupting the special guitar-harp rapport at the crux of the music. Buffalo does deliver his all-time best studio vocal on "If I Were a King." --Frank-John Hadley

Roots Of Our Nature

четверг, 15 ноября 2018 г.

Bill Grady - Nothing Runs Free

Bitrate: 320K/s
Year: 2018
Time: 48:04
Size: 110,2 MB
Label: Self Released
Styles: Ckuntry Blues
Art: Front

Tracls Listing:
 1. Don't Pray for Me - 2:26
 2. Feet Don't Fail Me Now - 3:41
 3. The Wanderer - 3:17
 4. Train Came Right on Time - 4:34
 5. Weed, Wine, & Women - 3:59
 6. Ain't Lookin' Back - 5:53
 7. Automatic Weapon - 3:35
 8. Hop on the Bus - 4:22
 9. Annie's Waltz - 3:08
10. Gypsy Girl - 4:20
11. French Quarter Mile - 4:09
12. Where I Belong - 4:34

Soul-Singing and Slide guitar come together for this legendary 12-track Americana opera.
Nothing Runs Free is a twelve-track concept album that tells the story of The Wanderer, a broken soul from Louisiana looking to find the courage to confront his past and journey back home. Each track on the record draws influences from a different flavor of acoustic music, including the bluegrass-tinged rhythms of "Feet Don't Fail Me Now," the beautiful classical melody of "Annie's Waltz," the low-down bluesy swagger of "Train Came Right on Time," or the New Orleans flavor of "French Quarter Mile." Musicians on the record include Grammy-winning violinist for the Infamous Stringdusters Jeremy Garrett, Grammy-nominated harmonica player Billy Branch, banjoist Wavy Dave of Cornmeal, as well as the amazing musicians that comprise nationally renowned Grateful Dead cover band Terrapin Flyer.

Nothing Runs Free

In Layman Terms - Strong Roots

Bitrate: 320K/s
Year: 2018
Time: 38:46
Size: 89,0 MB
Label: Endless Blues Productions
Styles: Blues/Rockin' Blues
Art: Front

Tracks Listing:
 1. Strong Roots - 4:17
 2. I'm Somebody - 5:00
 3. Make Me Yours - 4:36
 4. Ain't Gonna Fake It No More - 6:13
 5. Heartbroken - 5:14
 6. Fever - 3:52
 7. Notice Me - 4:36
 8. Way Too Far - 4:53

Soulful and gritty rocking blues, with hints of R&B, funk, and jazz.
Cole and Logan Layman have grown up making music together. In 2015 they met Hamed Barbarji, and this would be the beginning of an amazing friendship and a passionate collaboration! Nick Davidson joined the band in 2017 to complete this solid foursome. The band members are multi-instrumentalists and write original music. Their unique and diverse sound ranges from gritty, foot-stomping acoustic work, to that of an electrified big-band. There are Americana undertones and a hint of modern flair in their music. They are very excited to release this sophomore album, "Strong Roots.” In Layman Terms’ Debut album "Tangled," released in 2016, received rave reviews and has been played on radio stations all over the country and internationally.
The band may be young, but they are experienced and they are not strangers to accolades. The siblings have performed Nationally as a duo, and Hamed is an International performer. Nick has played up and down the East Coast. Logan was named Veer Magazine's Emerging Artist of the Year in 2015. She was the Sea Level Singer/Songwriter’s Emerging Artist of the year in 2014. In 2013, she was named "Blues Kid of the Year." Logan endorses Ernie Ball Music Man basses, and was featured in Bass Player magazine in 2016. Cole endorses Steve Clayton custom guitar pics. Cole and Logan both endorse Farmer Foot Drums. Cole and Logan are proud inductees into The Brotherhood of the Guitar, an elite group of young guitarists from all over the world. They appeared together in the August, 2014 issue of Guitar Player Magazine.
Cole completed two years at Berklee College of Music while majoring in Music Therapy. He is continuing his education in Virginia. Cole gives private guitar lessons and performs live music weekly at Studio South. Cole also assists with the family business, Rhythmic Bliss, which facilitates community music-making through events like drum circles. Logan is a freshman at Indiana University where she is studying at both the School of Psychology and Jacob's School of Music, to earn a degree in Music Therapy. Logan performs in an acapella group called Crimson Cadence. Hamed is a junior Trumpet Performance major at Virginia Commonwealth University. In 2017, Hamed was a soloist with the Virginia Commonwealth University Symphony Orchestra, competed as a semi-finalist in the National Trumpet Competition in Denver, Colorado, performed at the Altria Theater in Richmond, Virginia, the Teatro Adolfo Mejia in Cartagena, Columbia, the MontreauxJazz Festival in Switzerland, and the Ponte Vecchio, Arno River, and the Pitti Palace in Florence, Italy. He was a soloist with the Universidad De Cartagena at the Teatro Pepe Vibes Campo in Santa Marta, Colombia. Hamed is the leader of the “Hamed Barbarji Quartet,” a jazz combo that plays regularly in the Richmond and Hampton Roads area and is a frequent sub with professional orchestras in Virginia, including the Williamsburg Symphony and the Richmond Symphony. Nick is a graduate of Virginia Commonwealth University with a degree in Jazz Studies. A drum set player, he has played throughout the east coast playing almost every genre of music. Nick works at RBH drums where he and Bruce Hagwood make some of the best drums in the world. He teaches drumline at Princess Anne High School and other Virginia Beach City Public Schools and is currently playing in groups such as Grace Street Seven (20’s traditional jazz) and Hamed Barbarji Quartet (Jazz Funk). Nick endorses and is an artist of RBH Drums.

“With its NOLA flavored funk and soulful rocking blues ‘Strong Roots’ by In Layman Terms is strong medicine for the soul indeed. Logan Layman’s vocals belie her tender years, and Cole Layman’s guitar lines add passion and intensity with every note. Hamed Barbarji’s trumpet lifts the music up. Nick Davidson on drums joins Logan on bass to form a groove engine that is tight and tenacious. ‘Strong Roots’ is definitely a contender for Album of the Year.”
- Barry Kerzner, Music Journalist

“This young woman is a serious bassist with immense blues sensibility, along with a sultry retro-flavored voice with a hint of sandpaper that is irresistible. On top of that, creative songwriting and production, groove-heavy rhythm section work and fantastic performances from the whole ensemble establish In Layman’s Terms as one of the coolest music projects in modern blues.”
-Polly O' Keary Recording Artist/Bassist/Singer

“As the full of grace suspended step of the stork, Cole & Logan Layman (In Layman Terms) give a sound as gritty, traditional with modern twists - this music comes straight from their souls! A melting point of blues, jazz, funk, R&B with feeling coming from all over decades. The fresh beauty of faces, mind and soul reflected in music. We're really lucky, because the music world nowadays has Cole & Logan, I hope and wish to one day the band inspire more people to make a difference in the Blues world. I'm optimist again..."
-Michael Limnios Journalist, Europe - Mexico - USA

"It’s been a real personal treat to see the Layman siblings blossom and evolve musically through the years, but the addition of Hamed Barbarji (2015) and Nick Davidson (2017) to In Layman Terms was brilliant. With their combined talents, this tightly grooved team has put out one of this year’s most unique and refreshing CDs. STRONG ROOTS is not your typical blues CD. There are 7 original songs and a powerful cover of “Fever”, with the majority of tracks written by Logan Layman, with assistance from other band members. Every song is “radio ready”, providing a real challenge to radio programmers to select a single tune to highlight! This CD treats the listener with lots of blues, blues rock, jazz, and infused funk that proves this band is a musical force to be reckoned with… and continually listened to!"
-Dave “BluzNdaBlood” Harrison, The BluzNdaBlood Show

Strong Roots

среда, 14 ноября 2018 г.

Super Black Blues - T-Bone Walker - Big Joe Turner - Otis Spann

Bitrate: 320K/s
Year: 1969
Time: 37:05
Size: 85,2 MB
Label: RCA/BMG
Styles: Blues
Art: Full

Tracks Listing:
 1. Paris Blues - 14:03
 2. Here Am I Broken Hearted -  3:47
 3. Jot's Blues -  8:15
 4. Blues Jam - 10:59

Musicians:
Joe Turner - vocal;
T-Bone Walker - vocal & guitar;
Otis Span - vocal & piano$
George "Harmonica" Smith - harmonica$
Ron Brown - bass;
Arthur Right - guitar;
Ernie Watts - tenor sax;
Paul Humphrey - drums.

Bob Thiele, the former head of blues at ABC Records who founded the Flying Dutchman imprint BluesTime in the late '60s, designed the 1969 album Super Black Blues as a way to showcase the label's three recently signed blues legends, T-Bone Walker, Joe Turner, and Otis Spann. That this LP happened to follow the format of Blue Horizon's recent hit Blues Jam in Chicago -- a record that featured plenty of Chicago stalwarts, including Spann, backed by Peter Green's Fleetwood Mac -- is not incidental. Super Black Blues was a way to bring these '40s stars to the attention of '60s audiences and perhaps entice a couple of old fans to listen as well. The record was just four tracks, with the long jams "Paris Blues" and "Blues Jam" anchoring the A and B sides and balanced by "Here I Am Broken Hearted" and "Jot's Blues." The emphasis on improvisation and long grooves certainly made Super Black Blues different than the original '40s and '50s sides by Walker, Turner, and Spann -- those were restricted by technology and taste -- and it's fun to hear them stretch out with George "Harmonica" Smith, Arthur Wright, Ernie Watts, Ron Brown, and Paul Humphrey in tow. If the record isn't necessarily energetic and sometimes flirts with formlessness, chalk that up to the aftermath of psychedelia, where jams were prized over energy. This does mean Super Black Blues is a bit dated and a bit of an anomaly in the catalogs of Walker, Spann, and Turner, but time has turned this into an amiable detour: not the first record to hear by any of these three by any means, but it's fun to hear the giants find common ground.

Super Black Blues

Ken Tucker - Juke Joint Serenade

Bitrate: 320K/s
Year: 2010
Time: 44:31
Size: 102,9 MB
Label: Benevolent Blues
Styles: Blues
Art: Full

Tracks Listing:
 1. Brother Whiskey - 3:56
 2. One Stop Mind - 2:48
 3. Let it Slide - 2:47
 4. Desperately Need - 4:36
 5. Sunny - 3:28
 6. Street Walking Woman - 3:29
 7. Coal Shed - 3:48
 8. Highway 61 - 6:03
 9. Eliza - 2:31
10. Island of Lost Souls - 3:43
11. Killer's Mind - 4:27
12. Worst I Ever Felt - 2:48

Ken's music is heard worldwide on radio stations from California to Spain to Australia, he's played twice at the Arkansas Blues and Heritage Festival, winning the emerging artist award from Muzak (sponsor of the festival). His previous album spent over 40 weeks on Roots Music Report's top 40 blues charts and gained Ken a Blues Breaker Artist of the Week feature on the syndicated radio show House of Blues Radio Hour with Elwood Blues (Dan Akroyd). This new far superior set, Juke Joint Serenade, contains hard rockin' blues of the 'take-no-prisoners' variety. He mixes this thunder with some radio-friendly roots rock and rootsy, acoustic folk blues. In addition to Delbert McClinton-like rockers like Desperately Need and Brother Whiskey this album sports Stevie Ray Vaughan like blues-rockers Street Walking Woman and Let It Slide. To top it off Ken reaches emotional, storytelling heights with Killer's Mind and Worst I Ever Felt.

Juke Joint Serenade

Big Boy Bloater - That Ain't My Name

Bitrate: 320K/s
Year: 2008
Time: 36:20
Size: 83,4 MB
Label: Azan Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Matchbox - 2:54
 2. Please Don't Leave Me - 2:48
 3. That Ain't My Name - 3:55
 4. No Good Lover - 3:09
 5. Give Me What You've Got - 2:53
 6. Whammy! - 2:33
 7. I Ain't Done Nothing Wrong - 2:44
 8. Gangster Of Love - 3:05
 9. Man Or Monkey - 2:33
10. I Went Down To The River - 3:49
11. Unlock The Door - 2:39
12. Hey Little Girl - 3:12

Fabulous Rockin' and Jumpin' Rhythm and Blues with a true 1950s feel.
That Ain't My Name rocks hard, with Big Boy Bloater's powerful vocal leading over honking sax, pounding piano, rockin' guitar and express-train rhythms.  One of the greatest rockin' Rhythm & Blues bands ever to come out of the UK.
This is the acclaimed release that led to a Mark Lamarr produced single and three BBC Radio 2 sessions.

That Ain't My Name

Get The Cat - The Way to My Heart

Bitrate: 320K/s
Year: 2018
Time: 62:10
Size: 142,6 MB
Label: Timezone
Styles: Blues/Modern Electric Blues
Art: Front

Tracks Listing:
 1. My Old Pair of Boots - 6:39
 2. The Way to My Heart - 5:37
 3. When My Ship Comes In - 5:13
 4. If I Ain't Got You - 4:50
 5. I've Got a Plan - 3:32
 6. Prove Me Wrong - 5:04
 7. I Lost a Dollar In Your Kitchen - 7:20
 8. It's Not Enough - 3:58
 9. I Just Wanna Dance - 3:59
10. Walk the Extra Mile - 4:01
11. God's Got a Big Umbrella - 7:20
12. Brother's Keeper - 4:31

The Way To My Heart, so heisst das neue Album und Program von “Get the Cat”. Mit bluesiger Stimme, virtuosen Gitarrenspiel und erdigen Grooves trifft die Band direkt ins Herz. “Get the Cat” ist eine Bluesband des 21. Jahrhunderts, die viele Einflusse verarbeitet und aufgreift. Inspirationen von Little Feat, Bonnie Raitt bis zu KebMo klingen durch und werden zu einem ganz eigenen Get the Cat - Sound verarbeitet.
Pragend ist dabei die warme Stimme von Melanie Bartsch, deren Charme sich niemand entziehen kann. Getragen und begleitet, gefuhrt und geleitet wird sie von Jens Filsers magischem Gitarrenspiel. Sowohl als Begleiter als auch als Solist besticht er durch Virtuositat und Geschmack. Der Ausnahmegitarrist der deutschen Bluesszene entfaltet in dieser Band sein ganzes Konnen. Bassist Till Brandt und Schlagzeuger Bernd Oppel steuern ein solides, grooviges Fundament bei.
Die Band aus dem Rheinland spielt ein Programm das zu 100% aus Eigenkompositionen des Bassisten Till Brandt besteht. So entsteht Uberraschendes, wenn “Get The Cat” die Verwandtschaft aus Soul und Rock&Roll, unter Vorsitz von Stammvater Blues, an einem Tisch versammelt. Die Band prasentiert sich modern und gleichzeitig traditionell, voll Uberraschungen und doch auf vertraute Weise spielt sich direkt ins Herz des Liebhabers der blauen Tone.
Fur den Weg zum Herz gibt es keine Landkarte! Just get on the road and see where it takes you! Das ist die einzige Antwort, die die Band geben kann. Darum ist jedes Konzert von “Get the Cat” eine Reise. Mit Freude an der Improvisation, Virtuositat, Geschmack und viel Gefuhl erobern sie die Herzen ihrer Zuhorer.
Mit ihrem Gast Gero Korner an der Hammond B3 und dem Fender Rhodes haben sie die perfekte Erganzung gefunden. Der in Koln lebende Musiker versteht es, sich in die Musik einzufuhlen und glanzt mit eigenen Soloeinlagen. Mit seinen Sounds vervollstandigt er den wunderbaren, authentisch bluesigen Klang der Band.

The Way To My Heart

понедельник, 12 ноября 2018 г.

Tinsley Ellis - Smith's Olde Bar– Live

Bitrate: 320K/s
Year: 2001
Time: 77:07 + 81:29
Size: 177,4 MB + 186,6 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
CD1
 1. Diggin' My Own Grave -  4:16
 2. Cut You Loose -  7:37
 3. Heart Fixing Business -  7:26
 4. The Next Miss Wrong -  4:42
 5. I'll Be Loving You -  7:45
 6. Hell Or High Water -  5:03
 7. Feel So Bad -  7:20
 8. To The Devil For A Dime -  4:12
 9. A Quitter Never Wins -  7:23
10. Come Morning -  4:08
11. Double-Eyed Whammy - 10:05
12. I've Got To Use My Imagination -  7:06

CD2
 1. Panhead -  3:31
 2. Up On Cripple Creek -  3:19
 3. One Kind Favor - 11:04
 4. My Restless Heart - 11:07
 5. I Wish You Would -  8:11
 6. Real Bad Way -  6:43
 7. Leaving Here -  3:53
 8. Pawnbroker -  9:09
 9. Mystery To Me -  6:09
10. Killing Floor - 13:43
11. Johnny B. Goode -  4:40

Tinsley Ellis (born June 4, 1957) is an American blues and rock musician, who grew up in southern Florida.

Smith's Olde Bar–Live

Smiley Lewis - New Orleans Guitar

Bitrate: 320K/s
Year: 2006
Time: 64:26
Size: 150,1 MB
Label: Classics
Styles: Blues/Rhythm & Blues
Art: Front

Tracks Listing:
 1. Turn On Your Volume, Baby - 2:42
 2. Here Comes Smiley - 2:35
 3. Tee-Nah-Nah - 2:14
 4. Lowdown - 2:45
 5. Slide Me Down - 2:53
 6. Growing Old - 2:24
 7. If You Ever Loved A Woman - 2:22
 8. Dirty People - 2:20
 9. Where Were You - 2:28
10. My Baby - 2:20
11. Sad Life - 2:27
12. Bee's Boogie - 2:47
13. Don't Jive Me - 2:22
14. My Baby Was Right - 2:42
15. The Bells Are Ringing - 2:27
16. Lillie Mae - 2:16
17. You're Gonna Miss Me - 2:29
18. Gypsy Blues - 2:33
19. You're Not The One - 2:30
20. Gumbo Blues - 2:27
21. Ain't Gonna Do It - 2:17
22. It's So Peaceful - 2:26
23. Caldonia's Party - 2:12
24. Lonesome Highway - 2:17
25. Standing On The Corner - 2:37
26. Oh Baby - 2:21

Overton Amos Lemons (July 5, 1913 – October 7, 1966), known as Smiley Lewis, was an American New Orleans rhythm and blues singer and guitarist. The music journalist Tony Russell wrote that "Lewis was the unluckiest man in New Orleans." He hit on a formula for slow-rocking, small-band numbers like 'The Bells Are Ringing' and 'I Hear You Knocking' only to have Fats Domino come up behind him with similar music with a more ingratiating delivery. Lewis was practically drowned in Domino's backwash."

New Orleans Guitar 

Mickey Baker - The Blues in Me

Bitrate: 320K/s
Year: 1974
Time: 52:09
Size: 119,6 MB
Label: Black & Blue
Styles: East Coast Blues
Art: Full

Tracks Listing:
 1. She's Dynamite - 3:18
 2. Don't Try To Play Me For Your Clown - 4:11
 3. My Playhouse - 3:00
 4. Drucilla - 3:50
 5. Hey Little Girl - 2:12
 6. Blues After Hours - 3:06
 7. My Dog - 2:29
 8. Didn't We Baby [take 1] - 2:49
 9. Battle Of The Guitars - 5:00
10. Every Day I Have The Blues - 3:06
11. Sweetie Cat - 3:47
12. Kansas City - 5:23
13. In The Evening - 5:18
14. Sweetie Cat (take 2) - 4:33

Of all the guitarists who helped transform rhythm & blues into rock & roll, Mickey Baker was one of the very most important, ranking almost on the level of Chuck Berry and Bo Diddley. The reason he wasn't nearly as well known as those legends is that a great deal of his work wasn't issued under his own name, but as a backing guitarist for many R&B and rock & roll musicians. Baker originally aspired to be a jazz musician, but turned to calypso, mambo, and then R&B, where the most work could be found.
In the early and mid-'50s, he did countless sessions for Atlantic, King, RCA, Decca, and OKeh, playing on such classics as the Drifters' "Money Honey" and "Such a Night," Joe Turner's "Shake, Rattle & Roll," Ruth Brown's "Mama, He Treats Your Daughter Mean," and Big Maybelle's "Whole Lot of Shakin' Going On." He also released a few singles under his own name, and made a Latin jazz-tinged solo album, Guitar Mambo.
Baker's best work, though, was recorded as half of the duo Mickey & Sylvia. Their hit "Love Is Strange," as well as several other unknown but nearly equally strong tracks, featured Baker's keening, bluesy guitar riffs, which were gutsier and more piercing than most anything else around in the late '50s. Mickey & Sylvia split in the late '50s (though they recorded off and on until the middle of the next decade), and Baker recorded his best solo album, the all-instrumental The Wildest Guitar. In 1961, he took the male spoken part (usually assumed to be Ike Turner) on Ike & Tina Turner's first hit, "It's Gonna Work Out Fine." Shortly afterwards he moved to France, making a few hard-to-find solo records and working with a lot of French pop and rock performers, including Ronnie Bird, the best '60s French rock singer. He recorded only sporadically after the mid-'60s. Mickey Baker died at his home in Montastruc-la-Conseillere, France on November 27, 2012, at the age of 87. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

The Blues in Me

Tim Williams - So Low

Bitrate: 320K/s
Year: 2015
Time: 32:19
Size: 74,4 MB
Label: Lowden Proud Records
Styles: Blues/Acoustic Blues
Art: Front

Tracks Listing:
 1. If You Live - 3:34
 2. More Pepper In Your Chili - 2:30
 3. My Big Money - 3:28
 4. Anywhere C/O The Blues - 3:00
 5. Pistol Snapper - 3:16
 6. The Witching Hour - 4:05
 7. The Grizzly Bear - 3:29
 8. Big River - 2:37
 9. Midnight After Midnight - 3:00
10. Lightnin' - 3:15

An excellent ten track album of traditional acoustic blues from Canada, Tim Williams simply has to be one of the finest pickers on the planet these days. A former double award winner at the International Blues Challenge in Memphis, this release highlights his captivating style and talent to full effect.
Both of Williams’ previous recent releases, ‘Blue Highway’ and ‘Evenings Among Friends’ – a re-release of an earlier effort – were wonderful bits of striking resonator and acoustic guitar-led blues work. With ‘So Low’ Williams confirms his clearly well-deserved place at the hi-end of the acoustic blues-tree.
Tracks covered include the jazz-inspired If You Live from Mose Allison; Broonzy’s My Big Money – a lesser-known gem; Blind Boy Fuller’s Pistol Slapper, here titled Pistol Snapper, with Williams’ own take on it as part of the ever-evolving folk-process; Johnny Cash’s Big River; and Tampa Red’s classic The Witching Hour. Many tracks are self-penned and showcase the guy’s deep absorption in and understanding of the music and traditional blues in general.
Closing with his own composition, Lightnin‘, a clear homage to his own personal hero, Texan Lightnin’ Hopkins, this album is a genuine revelation, filled with neat guitar chops and intricate picking in styles that range through Delta to Piedmont, Texas to Chicago and most of the USA’s notable blues-posts in between. A positive delight.

So Low

Johnson Luther - lonesome in my Bedroom

Bitrate: 320K/s
Year: 1975
Time: 49:27
Size: 114,6 MB
Label: Evidence (1992)
Styles: Blues
Art: Full

Tracks Listing:
 1. Lonesome in my Bedroom - 6:27
 2. Honey Bee - 6:16
 3. Long Distance Call - 6:26
 4. Rock Me Slow and Easy - 4:19
 5. Hush, Hush - 4:20
 6. Little Queenie - 4:11
 7. Jammin' with Willie - 4:10
 8. Please Don't Take My Baby Nowhere - 3:30
 9. She's My Babe - 3:06
10. They Call Me The Popcorn Man - 3:54
11. Please Give Me That Love - 2:43

Luther Johnson is one more of the great blues artists who recorded albums in Europe in the 1970s. This album, made in France in 1975, one year before his death, is a very good example of “guitar blues”.
Side A of the vinyl presents a kind of slow blues, similar to the work of masters as Magic Sam, Buddy Guy, Jimmy Dawkins and Otis Rush (these two last mentioned also released albums on same label that issued Lonesome in My Bedroom). This side of the record brings two classics written by Muddy Waters, whose backing band counted with Johnson for years, and they are some of his best here.
The other side is more rocking (a typical "blues rock"), including an interesting version of Chuck Berry’s “little Queenie”, and two songs by Johnson himself that prove he’s a great composer too.
It’s really sad to think about the fact of good albums by Americans like this only exist because passionate Europeans dedicated to release it. The same happened (and still happens) with talented Brazilian artists: some of them just got issue their best albums abroad, in Europe or, principally, in the United States (“a prophet is not without honor, save in his own country”; or in a good Portuguese, “santo de casa nao faz milagre!”)

Lonesome in my Bedroom

Charles Bradley - Black Velvet

Bitrate: 320K/s
Year: 2018
Time: 37:36
Size: 86,3 MB
Label: Daptone Records
Styles: Soul/R&B/Funk
Art: Front

Tracks Listing:
 1. Can't Fight the Feeling - 2:48
 2. Luv Jones - 3:51
 3. I Feel a Change - 4:26
 4. Slip Away - 3:32
 5. Black Velvet - 3:29
 6. Stay Away - 3:13
 7. Heart of Gold - 3:03
 8. (I Hope You Find) The Good Life - 5:11
 9. Fly Little Girl - 3:19
10. Victim Of Love - 4:39

Black Velvet is the fourth and final studio album by American funk/soul artist Charles Bradley, released on 9 November 2018. The album release was preceded by two singles, "Can't Fight the Feeling" and "I Feel a Change".The name of the album comes from Bradley's stage name during his time as a James Brown impersonator. The album consists of songs originally recorded for Bradley's three previous studio albums, and was compiled by producer Thomas Brenneck after Bradley's death from cancer in September 2017. Included are covers of "Stay Away" by Nirvana and "Heart of Gold" by Neil Young.
Soul and R&B singer Charles Bradley definitely didn't arrive as a recording artist by taking the easy route. Born in Gainesville, Florida in 1948, but raised in Brooklyn, New York, Bradley spent a good part of his childhood living on the streets. A transformational moment came when his sister took him to see James Brown at the Apollo in 1962. Bradley was struck by Brown's energy and stage manner, and began practicing microphone tricks with a broom at home, dreaming of being a star on his own stage, and it was a dream he would never abandon in spite of all sorts of mishaps, misdirects, and general hard times.
Bradley escaped Brooklyn by joining the federal Job Corps program, which took him to Bar Harbor, Maine, where he learned to cook, a profession he was to fall back on time and time again. He also put together a band in Maine and began playing local gigs. The band didn't last long, though, and when most of its members were drafted, and with the Vietnam War hanging in the air, Bradley moved to Wassaic, New York, where he worked as a cook at a hospital for the mentally ill. Nine years later, he left that position and hitchhiked west, ending up in Alaska for a time before moving to California, again taking a job as a chef, and for the next 20 years he performed music on the side, playing whatever gigs he could find. When he was laid off from his position, though, he began to doubt his decision to live so far from where he grew up.
Bradley eventually relocated back to Brooklyn, this time working at odd jobs instead of returning to being a chef. He never let go of his musical dreams, and he began performing his James Brown-inspired routines in such local clubs as Black Velvet, attracting a loyal following and eventually capturing the attention of Gabriel Roth from Daptone Records. Roth immediately brought the fiery singer into label sessions, releasing a single, "Take It as It Comes," that showed what Bradley had to offer as a vocalist. Roth also introduced Bradley to Thomas Brenneck, then a guitarist, songwriter, and home producer for Dirt Rifle & the Bullets. The pair had an affinity for each other musically, and together they released two singles on Daptone as Charles Bradley & the Bullets before the actual group by that name disbanded (most of the members went in an Afro-beat direction with the Budos Band).
Brenneck and Bradley continued to work together, and after Bradley told him about waking up in his home one morning to discover his nephew had shot and killed his brother, Brenneck suggested they tell the story in music as a catharsis and as a cautionary tale. The result, tracked with the Menahan Street Band, was a pair of impassioned singles, "The World (Is Going Up in Flames)" and "Heartaches and Pain," which Brenneck released on his Daptone sublabel Dunham Records. These weren't songs drawn from Bradley's Black Velvet act, but were instead highly personal and striking outings that put his own emerging voice as a singer and songwriter at the center of things. A full album for Dunham, No Time for Dreaming, appeared early in 2011. Bradley received global acclaim for the album, and toured relentlessly to support it. His follow-up, Victim of Love, was released in the spring of 2013. In 2015, Bradley released a single through Daptone that featured a powerful, soul-charged reworking of the Black Sabbath number "Changes." The single and its accompanying music video became underground hits, and the song became the cornerstone of Bradley's next Dunham/Daptone album, 2016's Changes. Sadly, Bradley received a cancer diagnosis in the fall of that year, and succumbed to liver cancer in September 2017 at the age of 68. However, he remained thankful for his relatively brief time in the spotlight late in life, and was quoted as saying "I love all of you out there that made my dreams come true." ~ Steve Leggett

Black Velvet

четверг, 8 ноября 2018 г.

Orb Mellon - Love Above

Bitrate: 320K/s
Year: 2017
Time: 48:11
Size: 110,5 MB
Label: V-Hold
Styles: Blues: Acoustic Blues
Art: Front

Tracks Listing:
 1. Love Above - 4:38
 2. Heavy Water - 3:50
 3. Rolling River - 4:05
 4. Crazy Love - 4:35
 5. Aberdeen - 6:09
 6. What I'm Going To Do With You - 3:41
 7. I Think Of You - 2:37
 8. My Lover - 2:49
 9. Looking For Trouble - 2:53
10. If I Knew - 2:36
11. Coochie Coo Blues - 2:30
12. Long Way Home - 4:53
13. Cellophane Girl - 2:49

Raw, aggressive, and original acoustic house party blues.
Orb Mellon is the alter ego and roots music moniker of Mike Malone, founder and guitarist of the seminal 90s indie rock band Dirt Merchants.
As Orb Mellon, Mike mines the raw energy of pre-electric American roots music, particularly whiskey fueled house party delta blues. Influenced by the likes of Son House, Bukka White, Furry Lewis, and Charlie Patton, Orb performs pure, sonically aggressive acoustic blues, prompting one reviewer to identify Orb Mellon's work simply as "blues in all its primeval glory" (Tangled In The Roots, July 2006).
Orb Mellon’s debut album "Love Above" was produced with a commitment to preserving the directness, spontaneity, and emotional urgency inherent in the best early blues recordings. To that end, all but one of the album’s thirteen original tracks were recorded in a single day with the majority executed in only one take. The result is a raw, diverse, and exciting collection of original country blues. Enjoy!

Love Above

Miguel M. & Brachay's Blues Band - We Are In Love

Bitrate: 320K/s
Year: 1998
Time: 57:18
Size: 132,7 MB
Label: Bluesy Mind/Musea
Styles: Blues
Art: Full

Tracks Listing:
 1. Singing And Moving - 3:12
 2. I'm A Spanish Boy - 3:48
 3. We Are In Love - 5:44
 4. If You Love Me - 4:12
 5. El Pasota - 3:19
 6. The Thrill Is Gone - 5:27
 7. I've Got A Problem, Baby - 8:02
 8. B.B.B. Shuffle - 4:03
 9. Talk To Me, Baby - 3:27
10. Riviera Paradise - 8:25
11. Superstition - 6:02
12. Blues Para Mi - 1:32

Miguel M. & BRACHAY'S BLUES BAND (Guitar-vocals, bass, drums, vocals and three brass instruments) performs a kind of blues-rock with a touch of tonic and energetic rhythm n' blues. The themes on "We Are In Love" (1998) are propelled by a strong rhythm section and vigorous brass. The rough, dark and burning vocals accentuate this torrid and lively blues. The great guitarist Lorenzo SANCHEZ uses a sharp way of playing that enhances even further the band's vitality. Fresh vitality on the French blues-rock scene !

We Are In Love

Miguel M - A New Day

Bitrate: 320K/s
Year: 2005
Time: 51:05
Size: 117,0 MB
Label: Wagram/Lastcall Records
Styles: Blues/Modern Electric Blues
Art: Front

Tracks Listing:
 1. Bad Condition - 3:31
 2. My Little Home - 5:44
 3. Young Man - 4:21
 4. My Father - 5:27
 5. We Will Rock You - 4:15
 6. Spain - 5:45
 7. I'm Ready - 3:46
 8. Get up, Stand up - 6:35
 9. Indiana Blues - 4:28
10. A New Day - 7:08

Musicians:
Miguel M - guitars;
Damien Cornelis - organ, piano;
Chant Ludovic Timoteo - bass;
Olivier Pelfigues - drums.

Miguel M, chanteur-guitariste et auteur-compositeur puise son inspiration dans les musiques noires americaines. Sa musique est un cocktail revitalisant de blues, de rock, de funk et de soul. Sa voix et son gout du show font de lui un artiste original qui n’hesite pas a rendre hommage aux artistes qui l’inspirent en reprenant des titres phares et en les revisitant de facon inattendue. Il a participe a de nombreux festivals dans toute l’Europe et assure la premiere partie d’artistes de renommee aussi bien Francais qu’Americains.
Il a partage l’affiche avec de nombreux artistes tels que:
- Phil Collins Jazz Band
- ZZ TOP
- Gary MOORE
- Larry Carlton
- Christian Vander (batteur de Magma)
- The Commitments
- Lucky Peterson (nombreuses ouvertures)
- Bernard Allison
- Joe Louis Walker
- Fred Chapellier
- Louis Bertignac …
Miguel M ecrit avec Ouacila, sa femme.
Apres plusieurs albums en anglais, dont le dernier A NEW DAY (Wagram/LastcallRecords) est nomme meilleur album blues de l’annee 2005, il sort son premier album en francais, Tout mon possible.

A New Day

Joe Callicott - Ain't A Gonna Lie To You

Bitrate: 320K/s
Year: 2003
Time: 40:39
Size: 94,3 MB
Label: Fat Possum Records
Styles: Blues/Country Blues
Art: Full

Tracks Listing:
 1. Frankie And Albert - 2:43
 2. Fare Thee Well Blues - 4:02
 3. Laughing To Keep From Crying - 3:44
 4. Lonesome Katy - 3:05
 5. Come Home To Me Baby - 3:53
 6. Fare You Well Blues - 3:20
 7. France Chance - 3:19
 8. Roll And Tumble - 2:58
 9. Good Time Blues - 4:03
10. Goodbye Baby Blues - 3:41
11. Down To The River Jordan - 2:49
12. Let Your Deal Go Down - 2:55

Ain't a Gonna Lie to You contains the final sessions by bluesman Mississippi Joe Callicott, recorded in 1967 and 1968 by blues historian George Mitchell. In the '60s, Mitchell had taken a trip to the deep South to record extensively both legendary and obscure bluesmen, including Fred McDowell, Johnny Woods, and Callicott. At the time of these recordings, Callicott had all but given up playing professionally; when he did play it was for his own enjoyment. Unlike the grittier sound associated with the Mississippi Delta, Callicott played in a relaxed style that had much in common with Mississippi John Hurt. Happily, Ain't a Gonna Lie to You is the first in a series of discs Fat Possum will be releasing from Mitchell's deep archives.

Aint A Gonna Lie To You

The Nighthawks - Trouble

Bitrate: 320K/s
Year: 1991
Time: 42:22
Size: 97,5 MB
Label: Ruf Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Blind Love - 4:20
 2. 99 Pounds - 3:59
 3. T.R.O.U.B.L.E. - 3:59
 4. Hard Hearted Woman - 3:03
 5. Why Why Baby - 2:15
 6. I Would't Treat A Dog (The Way You Treated Me) - 5:24
 7. One Rock At A Time - 3:18
 8. Leave My Woman Alone - 2:52
 9. The Chicken And The Hawk (Up, Up, And Away) - 3:45
10. Most Likely You Go Your Way (And I'll Go Mine) - 3:50
11. Ride And Roll - 2:49
12. Tryin' To Get To You - 2:43

Over the years, the Nighthawks have done their share of label-hopping. 1991 found them briefly recording for Powerhouse, a small Florida label that Ichiban was distributing at the time. Trouble, which the Nighthawks dedicated to Doc Pomus, was their only album for Powerhouse -- and it is a solid blues-rock outing that sometimes detours into blue-eyed soul and early rock & roll. Whatever the style, the Nighthawks bring a lot of grit and enthusiasm to the material, which ranges from Lieber and Stoller's "The Chicken and the Hawk" to Bobby "Blue" Bland's "(I Wouldn't) Treat a Dog." The band also turns its attention to Sonny Terry & Brownie McGhee's "Ride and Roll," a song that blues lovers associate with the Piedmont, GA, school of Southern country blues. But in the Nighthawks' hands, "Ride and Roll" doesn't sound like Georgia blues -- they give the tune an electric blues-rock makeover, and their version is closer to Chicago than Georgia. Another highlight of the album is Bob Dylan's "You Go Your Way"; the Nighthawks haven't recorded many songs by the folk-rock icon, but this one works well for them. On many of their albums, the DC residents have been totally self-contained; but on Trouble, they have a few guests. One of them is "Steady Rollin'" Bob Margolin, who recorded for Powerhouse as a solo artist in the early '90s. Margolin is best known for his years as Muddy Waters' guitarist, which makes him a perfect guest for the Nighthawks -- both of them both worship anything having to do with Chess Records. Trouble falls short of essential, but even so, it is an enjoyable (if overlooked) footnote in the Nighthawks' history.

Trouble

Professor Bottleneck & Frank Born - Rolling Bones

Bitrate: 320K/s
Year: 2001
Time: 55:13
Size: 127,6 MB
Label: Self Released
Styles: Country blues/Americana/Harp Blues
Art: Front+Back

Tracks Listing:
 1. Mail Box Blues - 2:54
 2. Flagged Down - 3:04
 3. Medicine Man - 4:23
 4. Red Tombstone Blues - 4:19
 5. Life Don't Care About Color - 2:51
 6. Ok You Win - 6:09
 7. Harp Throb - 3:05
 8. Blue Steel - 2:03
 9. Bald-Headed Woman - 3:20
10. Get Out  Of My Dreams - 2:26
11. White Boy Singing - 6:01
12. Redeemed - 3:33
13. Advice To My Sons - 3:07
14. Hellhound On My Trail - 5:47
15. Glas Noz - 2:05

If you hear echoes of Sonny Terry and Brownie McGhee in this show you might not be too wrong - but mind PROFESSOR BOTTLENECK AND FRANK BORN play their very own "shades of blues". The programme combines surprising interpretations of well-known traditionals and classics of the genre with original compositions.
Defying the coming and going of fabricated "blues-revivals" and the omnipresent attacks of "digitalization" on the human ear, here are two down to earth musicians who play truly hand-made music to move your hearts and your feet.
ROLF HEIMANN (guitars, vocals, kazoo and the like) and FRANK BORN (harmonicas) have learnt their trade in diverse blues groups. But it is the duo-formula that has made them discover an even more direct and more spontaneous way of expression.

Rolling Bones

Joe Turner & Jimmy Witherspoon - Patcha, Patcha, All Night Long

Bitrate: 320K/s
Year: 1985
Time: 42:38
Size: 98,0 MB
Label: Pablo Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Patcha, Patcha -  7:31
 2. Blues Lament - 12:07
 3. You got Me Runnin' -  3:36
 4. Kansas City On My Mind -  7:55
 5. The Chicken and the Hawk -  5:40
 6. I Want a Little Girl -  5:47

This CD reissue, which is subtitled "Joe Turner Meets Jimmy Witherspoon," does not quite deliver on its promise. Turner (who would pass away within a year) and Witherspoon only actually meet up on the first two numbers and, other than some interplay on "Patcha, Patcha," the matchup generates few sparks. However the individual features (two songs apiece) are excellent, particularly Witherspoon's "You Got Me Runnin"' and Turner's "The Chicken and the Hawk." In addition there are many fine solos from altoist Red Holloway, Lee Allen on tenor and guitarist Gary Bell. This is a worthwhile and obviously historic set, recommended as much to blues as jazz collectors.

Patcha, Patcha, All Night Long

Louis Tillett & Charlie Owen - The Ugly Truth

Bitrate: 320K/s
Year: 1993
Time: 48:02
Size: 110,1 MB
Label: Return To Sender
Styles: Acoustic/Folk Rock/Blues
Art: Front

Tracks Listing:
 1. Trip To Kalu-Ki-Bar - 3:45
 2. Sailor's Dream - 5:12
 3. Wilt - 3:08
 4. Swimming In The Mirror - 5:56
 5. The Rational One - 1:46
 6. From Me To You - 7:24
 7. One Kind Favour - 4:13
 8. The Ugly Truth - 4:07
 9. Liferaft - 4:07
10. Condemned To Live - 4:59
11. Ode To A Falling Star - 3:19

A CD release on the german limited-edition series Return To Sender, (sub-label of Normal Records and distributed via mail only), "The Ugly Truth" can work, for newcomers, as a very good and finely performed introduction to the lyrical, bluesy world of Louis Tillett. Oldcomers though, or ones who have missed some earlier episodes will find here interesting new material along with refreshing alternate versions of tracks from his first works.
The album was recorded in Australia in 1993 with Louis on piano, hammond, voice, percussion and Charlie  Owen (guitarist in Beasts Of Burbon, New Christs and others) on production, guitar and percussion. Tillett is a little known, perhaps, in Greece, Germany and, i guess, Australia, but the ugly truth is he generally remains an unjustly neglected  artist.

The Ugly Truth

Albert Collins - Charly Blues Legends Vol. 7, Live

Bitrate: 320K/s
Year: 1995
Time: 75:31
Size: 173,0 MB
Label: Charly Records
Styles: Blues/Electric Blues/Texas Blues
Art: Full

Tracks Listing:
 1. You're So High -  6:28
 2. You Accuse Me -  8:24
 3. I Get the Feeling -  9:18
 4. Angel of Mercy -  9:39
 5. Icy Blue, Instrumental -  5:47
 6. The Trouble Was Money - 10:57
 7. Playing with My Mind -  8:03
 8. Too Many Dirty Dishes -  4:25
 9. The Things I Used to Do -  5:51
10. Black Cat Bone -  6:32

Albert Collins, "The Master of the Telecaster," "The Iceman," and "The Razor Blade" was robbed of his best years as a blues performer by a bout with liver cancer that ended with his premature death on November 24, 1993. He was just 61 years old. The highly influential, totally original Collins, like the late John Campbell, was on the cusp of a much wider worldwide following via his deal with Virgin Records' Pointblank subsidiary. However, unlike Campbell, Collins had performed for many more years, in obscurity, before finally finding a following in the mid-'80s.
Collins was born October 1, 1932, in Leona, TX. His family moved to Houston when he was seven. Growing up in the city's Third Ward area with the likes of Johnny "Guitar" Watson and Johnny "Clyde" Copeland, Collins started out taking keyboard lessons. His idol when he was a teen was Hammond B-3 organist Jimmy McGriff. But by the time he was 18 years old, he switched to guitar, and hung out and heard his heroes, Clarence "Gatemouth" Brown, John Lee Hooker, T-Bone Walker and Lightnin' Hopkins (his cousin) in Houston-area nightclubs. Collins began performing in these same clubs, going after his own style, characterized by his use of minor tunings and a capo, by the mid-'50s. It was also at this point that he began his "guitar walks" through the audience, which made him wildly popular with the younger white audiences he played for years later in the 1980s. He led a ten-piece band, the Rhythm Rockers, and cut his first single in 1958 for the Houston-based Kangaroo label, "The Freeze." The single was followed by a slew of other instrumental singles with catchy titles, including "Sno-Cone," "Icy Blue" and "Don't Lose Your Cool." All of these singles brought Collins a regional following. After recording "De-Frost" b/w "Albert's Alley" for Hall-Way Records of Beaumont, TX, he hit it big in 1962 with "Frosty," a million-selling single. Teenagers Janis Joplin and Johnny Winter, both raised in Beaumont, were in the studio when he recorded the song. According to Collins, Joplin correctly predicted that the single would become a hit. The tune quickly became part of his ongoing repertoire, and was still part of his live shows more than 30 years later, in the mid-'80s. Collins' percussive, ringing guitar style became his trademark, as he would use his right hand to pluck the strings. Blues-rock guitarist Jimi Hendrix cited Collins as an influence in any number of interviews he gave.
Through the rest of the 1960s, Collins continued to work day jobs while pursuing his music with short regional tours and on weekends. He recorded for other small Texas labels, including Great Scott, Brylen and TFC. In 1968, Bob "The Bear" Hite from the blues-rock group Canned Heat took an interest in the guitarist's music, traveling to Houston to hear him live. Hite took Collins to California, where he was immediately signed to Imperial Records. By later 1968 and 1969, the '60s blues revival was still going on, and Collins got wider exposure opening for groups like the Allman Brothers at the Fillmore West in San Francisco. Collins based his operations for many years in Los Angeles before moving to Las Vegas in the late '80s.
He recorded three albums for the Imperial label before jumping to Tumbleweed Records. There, several singles were produced by Joe Walsh, since the label was owned by the Eagles' producer Bill Szymczyk. The label folded in 1973. Despite the fact that he didn't record much through the 1970s and into the early '80s, he had gotten sufficient airplay around the U.S. with his singles to be able to continue touring, and so he did, piloting his own bus from gig to gig until at least 1988, when he and his backing band were finally able to use a driver. Collins' big break came about in 1977, when he was signed to the Chicago-based Alligator Records, and he released his brilliant debut for the label in 1978, Ice Pickin'. Collins recorded six more albums for the label, culminating in 1986's Cold Snap, on which organist Jimmy McGriff performs. It was at Alligator Records that Collins began to realize that he could sing adequately, and working with his wife Gwen, he co-wrote many of his classic songs, including items like "Mastercharge," and "Conversation With Collins."
His other albums for Alligator include Live in Japan, Don't Lose Your Cool, Frozen Alive! and Frostbite. An album he recorded with fellow guitarists Robert Cray and Johnny "Clyde" Copeland for Alligator in 1985, Showdown! brought a Grammy award for all three musicians. His Cold Snap, released in 1986, was nominated for a Grammy award.
In 1989, Collins signed with the Pointblank subsidiary of major label Virgin Records, and his debut, Iceman, was released in 1991. The label released the compilation Collins Mix in 1993. Other compact-disc reissues of his early recordings were produced by other record companies who saw Collins' newfound popularity on the festival and theater circuit, and they include Complete Imperial Recordings on EMI Records (1991) and Truckin' With Albert Collins (1992) on MCA Records. Collins' sessionography is also quite extensive. The albums he performs on include David Bowie's Labyrinth, John Zorn's Spillane, Jack Bruce's A Question of Time, John Mayall's Wake Up Call, B.B. King's Blues Summit, Robert Cray's Shame and a Sin, and Branford Marsalis' Super Models in Deep Conversation.
Although he'd spent far too much time in the 1970s without recording, Collins could sense that the blues were coming back stronger in the mid-'80s, with interest in Stevie Ray Vaughan at an all-time high. Collins enjoyed some media celebrity in the last few years of his life, via concert appearances at Carnegie Hall, on Late Night with David Letterman, in the Touchstone film, Adventures in Babysitting, and in a classy Seagram's Wine Cooler commercial with Bruce Willis. The blues revival that Collins, Vaughan and the Fabulous Thunderbirds helped bring about in the mid-'80s has continued into the mid-'90s. But sadly, Collins has not been able to take part in the ongoing evolution of the music.
~ Richard Skelly, All Music

Charly Blues Legends Vol. 7, Live

Cub Koda & The Points - Noise Monkeys

Bitrate: 320K/s
Year: 2000
Time: 43:33
Size: 100,7 MB
Label: J-Bird Records
Styles: Blues Rock
Art: Full

Tracks Listing:
 1. Fast Food-Slow Death - 3:13
 2. Look At That White Girl Dance - 2:50
 3. Pusherman Of Love - 3:52
 4. Next Time - 2:42
 5. He Couldn't Say No - 2:46
 6. Forty Days - 3:14
 7. Spit It On The Floor - 3:50
 8. Yommo Yommo ... Yow! - 3:46
 9. Nicotine & Caffeine - 4:07
10. The Fang - 2:56
11. Intro to Double Mirror - 0:30
12. Double Mirror Wraparound Shades - 3:23
13. Fire & Brimstone - 6:19

Arriving on the heels of the introspective, acoustic Box Lunch, Noise Monkeys -- Cub Koda's reunion album with the Points, his first band after the demise of Brownsville Station -- may come as a bit of a surprise. Make no mistake about it, the title of the record tells you what this album is all about: this is loud, dumb, fun, hard-driving rock & roll, the kind that sounds like it was cut by a bunch of noise monkeys. Some fans may have forgotten that Koda can rock hard when he wants to, and that's what he does with the Points on Noise Monkeys. The bulk of the album was recorded live in the studio in one day in June 1999; the final two songs were recorded live in concert, the following day. Not surprisingly, the album is a bracing, immediate, and above all, loud record, filled with guitars, guitars, and guitars. He hasn't rocked this hard or this intensely since the first Points album. But this record is a better one on many levels, due to the fact that the band members have matured as musicians. They can now knock off these songs in one take and sound totally convincing and energetic. But don't think that this is sophisticated music -- this is dumb rock & roll, and proudly so -- and it's all the better for it. Koda and the Points pound away, sounding stronger and better at the turn of the millennium than they did at the turn of the '70s. Sure, some of the songs are silly, but that's the point. The end result is a satisfying hard rock album with humor and character -- something like that doesn't come along every day.

Noise Monkeys

Freddie Pate - I Got the Blues

Bitrate: 320K/s
Year: 2017
Time: 41:27
Size: 95,7 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Let the Juke Joint Jump - 5:22
 2. Sho Nuff - 3:28
 3. Have You Ever Loved a Woman - 4:04
 4. Hey Good Lookin' - 3:18
 5. Nothing Takes the Place of You - 4:40
 6. I Got the Blues - 3:13
 7. Hello Josephine - 3:46
 8. My Babe - 3:55
 9. Jolie Bond - 2:20
10. Dance With Me Baby - 3:12
11. Beer Drinkin' Dog - 4:07

Freddie Pate grew up in Los Angeles and learned guitar while still a child. As a youngster he played with some of Country Music’s greatest including Buck Owens, Johnny Paycheck, Lefty Frizzell, and Merle Haggard. In 1974 he moved to Texas where he played both as a sideman and as a bandleader. He often opened for Ronny Milsap, Willie Nelson, George Jones, Johnny Cash and others at clubs like Gilley’s in Pasadena, TX.
In 1990 Pate moved to Louisiana where he worked with Wayne Toups & Zydecajun and he appears on their 1991 album “Fish Out of Water” on Mercury Records. Pate’s last album was 2015’s “Crossroads” on his own Independent label. In support of that album Pate wound up playing some of Houston’s best blues clubs and found himself welcome by the local Blues community.
Pate met co-producer Mike Zito while on Delbert McClinton’s Sunny Beaches Cruise. The band includes Pate, guitar and vocals; Lewis Stephens (who played with Freddie King and Benny Turner), keyboards; Terry Dry, bass; Matt Johnson, drums; and Zito, rhythm guitar. The album was recorded at the brand new Marz Studio in Nederland, Texas.
Pate opens with “Let The Juke Joint Jump” written by Vasti Jackson and recorded by Koko Taylor on her 1993 album “Force of Nature” on Alligator Records. He also covers blues classics such as Elmore James’ “Sho-Nuff I Do”; Fats Domino’s “Hello Josephine”; Willie Dixon’s “My Babe”, and B.B. King’s “Dance With Me Baby”.
Pate includes two of his own songs, the title track and “Have You Ever Loved A Woman”. He touches on his Country experiences by including a blues version of Hank Williams’ “Hey Good Lookin’”. Included also is the Cajun tune “Jolie Blond” written by Amede Breaux and first recorded in 1929.
My favorite track however has to be Pate’s version of Allen Toussaint’s “Nothing Takes The Place of You”. Co-producer Zito says it best “Freddie Pate is such a soulful dude, a master guitarist and a heartfelt vocalist. His Blues album is long overdue…Are you ready for Freddie???”
Richard Ludmerer

I Got the Blues

Greg Zlap - Road Movie(s)

Bitrate: 320K/s
Year: 2008
Time: 41:42
Size: 95,7 MB
Label: Le souffle du blues
Styles: Harmonica Blues
Art: Front

Tracks Listing:
 1. Wedding Theme (Opening) - 4:28
 2. Who's Gonna Take My Damn' Soul? - 3:59
 3. Paris, Texas - 3:51
 4. Sleepless Night / Calling You - 4:12
 5. The Right Spot - 5:43
 6. Knocking on Devil's Door - 0:42
 7. Mo's Better Blues - 2:14
 8. Moon, River - 2:20
 9. The Harmonica, the Devil & the Chaplin Piano - 1:49
10. Ascenseur Pour l'Echafaud / Night Road - 4:02
11. Now i am the Blues - 3:45
12. Long Way Home - 3:05
13. Wedding Theme (Closing) - 1:26

Born in 1971 in Warsaw, Greg Zlap arrived in Paris in the late 80s, a little harmonica in his pocket. In search of new sounds, he perfected his art as an autodidact, and quickly became a sought after studio musician. \"\"You find Greg’s harmonica in French Chanson, in the Slam movement, or on film soundtracks. Untiring ambassador of his instrument, Greg Zlap created in 1998 a harmonica school in Paris. Then, convinced that music can do much more than nourish the soul, he launched harmonica workshops for asthmatic children in hospitals.
Greg has a parallel solo career; he writes, composes and performs the music that inspires him, taking roots in the blues, never forgetting his Slavic soul. He has formed his group as a leader and already produced 5 albums under his name. Singer with a captivating clear tone, Greg Zlap surprises, seduces and conquers audiences wherever he goes! In 2009, French mega-star Johnny Hallyday chose Greg to accompany him on “Tour 66”.

Road Movie(s)

четверг, 1 ноября 2018 г.

Seth Walker - Seth Walker

Bitrate: 320K/s
Year: 2006
Time: 39:36
Size: 90,8 MB
Label: Pacific Blues
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Change My Way - 3:44
 2. Kick It Around - 2:29
 3. Steady - 4:38
 4. Miss Ann - 3:21
 5. By The Water - 3:49
 6. 2' Left To The Ceiling - 3:44
 7. I Know It's A Sin - 2:30
 8. Gone Before I Knew It - 3:10
 9. Sun Down - 4:00
10. So Far Gone - 3:16
11. Picture In A Frame - 4:51

Seth Walker is a different point of blue in American music. His songwriting draws on the entire spectrum of the roots canon and infuses it with a wellspring of deep Southern soul. It would feel just right hearing Seth Walker between Ollabelle on one side and James Hunter on the other. Based out of Austin, Texas where he s become a shining light in an already plentiful local scene, Walker joins HYENA Records for his first ever national release. The self-titled album oozes with down home grit and feeling. Tunes like Change My Way and Gone Before I Knew It are steeped in Texas-soaked guitar boogie. Simultaneously, he can turn around and deliver authentic rhythm and blues on songs like Steady, 2 Feet Left From The Ceiling and Sun Down. But just when you think you get the idea, Walker offers a gorgeous piano-vocal rendition of Tom Waits Picture In A Frame. To quite simply sum it up, Seth Walker is an artist who is here to stay. He ll be making records, touring the country and singing his songs with as much conviction and heart as there is to give now and always. Count on it. This young man is pure talent, a masterful blues guitarist, a singer with some swing in his voice and a writer whose originals such as "Gone Before I Knew It" and "2' Left to the Ceiling" sound less composed than unleashed. --Austin American Statesman
Walker knows how to turn volume knobs both ways while kicking out music based on sharp lyrics, dynamics, and emotion. --San Antonio Express News
Seth Walker swings, rocks, boogies, and plays low down blues all in one set, all on one record. He's a great singer, and authentic performer of real American music, and he's writing new classics. Don't miss a chance to hear Seth. In person or on record, he's the real deal. --Marcia Ball

Seth Walker 

Seth Walker - On the Outside

Bitrate: 320K/s
Year: 2004
Time: 42:26
Size: 97,3 MB
Label: Self Released
Styles: Blues/Electric Blues/Rhythm & Blues
Art: Front

Tracks Listing:
 1. Never is Not Enough - 4:29
 2. Let it Roll - 3:33
 3. Need You to Run - 3:38
 4. Lay Down - 3:26
 5. One More Thing - 4:18
 6. On the Outside - 4:08
 7. Just Passing By - 3:07
 8. Fingers to the Bone - 3:24
 9. Is This Real? - 4:32
10. Stay - 3:52
11. Landon Davies - 3:53

Creative and adventurous, the band breaks new ground breeding a sound that is deeply rooted in traditions from all over the world. Blues, soul, rock, and folk all describe this melting pot. The CD was recorded at Dangerous Studios in New York City
Music has coursed through Seth's blood from birth: raised by musician parents in rural North Carolina, Walker held his first instrument at the age of three. By 1995, Seth migrated from the Tar Heel motherland to the music mecca of Austin, Texas. where he honed his chops along side world-class musicians and begun performing in a variety of venues throughout the Lone Star State. The year of 1997 saw the release of Seth's first album, "When it Rains, It Pours," an homage to the cornerstones of his influence: blues and jazz. His second offering, "Meet Me in the Middle," is a testament to an impassioned urgency to explore uncharted territory, combining eclectic styles in the album's 12 original songs. Seth Walker's musical journey continued on his third album, "restless," a collection of songs that prove to fans and critics alike that Seth is more than a Texas guitar slinger. Of "Restless," John Taylor from Blues on Stage writes, "Seth's prett much left the blues behind on this one (at least according to dictionary definition), instead of favoring a relaxed rootsy sound that nonetheless retains a bluesy sensibility, with a heaping helping of southern soul for flavoring".
Through eight years of dedication to his creative muse, Seth has crisscrossed the country to the delight of music-loving throngs in venues both big and small. Aside from fulfilling his mission to spread his gospel state to state, Seth continues to write new material to further mold, shape, and sharpen his craft.

On the Outside

Jawbone - Jawbone

Bitrate: 320K/s
Year: 2018
Time: 44:18
Size: 102,3 MB
Label: Self Released
Styles: Rock/Roots Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Leave No Traces - 4:29
 2. Get What You Deserve - 4:27
 3. When Your Gun Is Loaded - 3:32
 4. Family Man - 4:39
 5. Bet on Yesterday - 5:11
 6. Rolling on the Underground - 3:41
 7. Big Old Smoke - 3:07
 8. Sit Round the Table - 5:46
 9. Two Billion Heartbeats - 4:54
10. The Years Used to Mean So Much - 4:27

Jawbone are a new and exciting London-based four-piece band. They self-release their eponymous debut album on Friday 9th November 2018. Beginning as a collaboration between established solo artists Paddy Milner (keyboards, vocals) and Marcus Bonfanti (guitar, vocals), the band was soon joined by the renowned rhythm section of Rex Horan (bass, vocals) and Evan Jenkins (drums, percussion), Jawbone has quickly become a band with a unique sound focused on delivering strong songs.
Each member of Jawbone is a respected musician in the industry. They have played with everyone from Tom Jones, Eric Clapton, Jack Bruce, Ten Years After, Van Morrison Robert Plant, Dave Gilmour, Seth Lakeman, Cliff Richard, Ginger Baker, Ronnie Wood, Shuggie Otis, Laura Marling, James Hunter, Phil Manzanera, Garth Hudson, Jimmy Carl Black and many more.
In January 2018, Jawbone were chosen to back Eric Clapton, Van Morrison & Tom Jones at Paul Jones’ legendary charity show at G-Live in Guildford, gaining rave reviews from the artists involved and the sell-out audience alike.
Having all met each other in and around the thriving London music scene, Bonfanti and Milner first crossed paths in a North London house share in 2008 forming a close musical bond through a shared love of Blues and Roots music. Rex and Evan shared a similar experience halfway across the world in Perth, Australia before moving to the UK to pursue new musical endeavors.
Jawbone pride themselves in their lack of compromise, from the writing and recording processes, through to album artwork. The initial writing sessions between Bonfanti and Milner took place at Paddy’s house in North London where the two forged the songs that would eventually make up this debut album.
Named after a song taken from The Band’s self-titled 1969 second album, Jawbone tracked all the songs live as a four piece with minimal overdubs at London’s State of The Ark Studio using the famous EMI desk originally installed in the Pathe Marconi studios in Paris. Final touches were added at Marcus’ brothers North London studio where his collection of vintage synthesisers and microphones helped the band finalise their ideas.
The record was mixed in New Zealand by Nick Portman and mastered in Devon by Star Delta with a final bounce to tape to add that warmth that is missing from so many records today. The album was additionally mastered for vinyl to ensure both the digital and analog versions sounded as good as possible.
The distinctive voices of Paddy Milner and Marcus Bonfanti compliment and contrast throughout the songs as they share lead vocal duties on the album. Rex Horan’s searing falsetto vocals create the three-part harmony that has become a hallmark of the Jawbone sound.Taking influences from Little Feat, The Band, The Rolling Stones and Crosby, Stills Nash & Young but also mixing it with the eclectic musical backgrounds that each member brings, allows Jawbone to create a very fresh take on rock’n’roll.

Jawbone