Erin McCallum - Full Spread

Bitrate:320K/s
Year:2026
Time:31:54 
Size:73,6 MB 
Label:Self-Released 
Styles:Blues
Art:Front 

Tracks Listing:
 1. I Need A New Lover - 4:13
 2. Good, Good News - 2:42
 3. Lost Myself Loving You - 3:51
 4. The Big Shout - 3:56
 5. You Have It All - 3:20
 6. Good Intentions - 3:15
 7. Broken Lies - 3:10
 8. I'm Still Here (For Now) - 3:22
 9. Home (Acoustic) - 4:01

Full Spread is released on 1 August 2026 across all major streaming platforms. Erin McCallum has produced an album that isn’t interested in chasing trends or fitting neatly into a single genre. Instead, she draws from blues, Americana, folk, country and soul to create something warm, honest and thoroughly enjoyable. If you’re looking for polished songwriting, authentic musicianship and an album that rewards sitting back and listening, “Full Spread” is well worth your time.
“I Need a New Lover” opens proceedings with a wonderfully old-school blues groove. It’s the soundtrack to a deserted main street somewhere in the Wild West, dust blowing between the buildings while a lone harmonica player leans against the jailhouse wall. It caught me completely off guard. Catchy, confident and full of playful “take me, make me” lyrical energy, it’s a strong opening statement.
“Good Good News” follows with two-and-a-half minutes of uplifting, feel-good blues. This is the sort of song that quietly sneaks into your head after a couple of listens. Whether you’re winding down after a long day or enjoying a quiet evening in the garden, it fits the mood perfectly. It celebrates life’s brighter moments and, as A.A. Milne wisely observed, today is a present. It’s also wonderfully radio-friendly and deserves plenty of airplay.
“Lost Myself Loving You” showcases one of Erin’s strongest vocal performances on the album. There’s genuine emotion here as she explores the blindness that can accompany love, while the blues influence remains firmly rooted in both the lyrics and delivery. I particularly enjoyed the subtle harmony work in the chorus, while the instrumental break gives the song room to breathe before returning to its reflective mood.
“The Big Shout” takes me straight back to the American West. It has a wonderfully cinematic quality, the kind of song you could imagine drifting across a saloon while the regulars nurse their whiskey and the barmaid moves between the tables with a knowing wink and a smile. I particularly enjoyed the rhythm section here, with understated drums providing a slow, moody foundation. Our resident in-house drummer Ferdinand was especially taken with this one.
“You Have It All” gently lightens the mood with an easy-going rhythm that conjures images of the final slow dance after everyone else has gone home and the band is packing away for the night. It doesn’t demand attention, but it settles comfortably into the album and provides a pleasant change of pace.
“Good Intentions” is another highlight for me. There’s a little more bite in the lyrics and a touch more rock in the groove, giving the song extra momentum. It has all the ingredients of a real live favourite, one that audiences could easily clap and sing along with.
“Broken Lies” is the standout track on Full Spread. It opens with real atmosphere before settling into a weighty, deliberate rhythm that perfectly complements the song’s emotional intensity. The backing harmonies create an almost haunting quality, while Erin delivers one of her finest performances on the record. It’s blues wrapped in mystery, almost like wandering through Harlem on a rainy night with a pack of tarot cards tucked beneath your arm. At just over three minutes long, it’s three minutes of pure musical indulgence and the track I’d be adding to my own playlist.
“I’m Still Here (For Now)” introduces a welcome splash of funk into the mix. It’s blues with a seventies swagger, the sort of song that belongs on an open road with the windows down and a classic American car stretching out into the horizon.
Finally, “Home” is an acoustic closer for the album. This one is blues for the campfire, intimate, as the evening breeze moves gently through the trees. We have mountains, sunset and the morning meeting the night. Close your eyes and drift along to this one, flotsam to the bay.

Full Spread

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The Agnostic Mountain Gospel Choir - Saint Hubert

Bitrate:320K/s
Year:2003
Time:38:26 
Size:88,5 MB 
Label:S.A.P. Recordings 
Styles:Blues/Delta Blues/Dirty Blues 
Art:Front 

Tracks Listing:
 1. Saint Hubert - 2:39
 2. Cool Drink of Water - 4:59
 3. Motherless Child - 2:55
 4. Don't We All - 3:53
 5. Stop and Listen - 3:27
 6. Neighbourhood Butcher - 3:22
 7. They Can Make It Rain Bombs - 4:36
 8. Heart's Not In It - 4:08
 9. One Sin - 2:25
10. Fourteen Faces - 2:44
11. Rolling Home - 3:12

Musicians:
Bob Keelaghan - guitars and vocals;
Judd Palmer - banjo, low slide guitar, harmonica, and vocals;
Vladimir Sobolewski - upright bass;
Peter Balkwill - drums.

They loved the blues, but hated its popular, generic practitioners. It was the motivating factor for the Agnostic Mountain Gospel Choir. That, and Judd Palmer’s and drummer Pete Balkwill’s acceptance of an opening slot for Canadian bluesman Lester Quitzau despite not having a band. You see, Palmer played slide guitar in Calgary country-folk band Great Uncle Bull. They would have made a good opener, but they broke up. He talked bassist and fellow Bullsman Vladimir Sobolewski into doing the gig. Sobolewski, in turn, called hotshot guitarist Bob Keelaghan from punk-blues-unsane-abilly combo The Puritans, knowing he shared Palmer’s love for early blues and country. Keelaghan wasn’t busy because The Puritans just broke up, too. Sobolewski knew this because he also played in The Puritans. In one week with three rehearsals, they put together a set and played the gig in January of 2001. Then people kept asking them to play.
The Agnostic Mountain Gospel Choir’s raucous, firebrand interpretations of pre-WW II acoustic blues and country struck a chord with Calgarian audiences. The roots crowd liked them for their reverence for the musical sources minus the obvious cliches of many modern interpreters. But rock audiences ate up their sets, too. The Agnostics managed to translate and amplify the energy of early Skip James and Son House, transcending the lo-fidelity of a scratchy 78, and reminding young listeners why this music mutated into rock’n’roll.
Balkwill left the band in the first year of its existence and was replaced by Jason Woolley. In 2003 that line-up recorded the Agnostic Mountain Gospel Choir debut, St. Hubert, in a friend’s house in Canmore. It was cut, mostly, live off the floor. The ingredients were fierce and striking: Palmer’s gutteral vocals, vicious, downtuned, slide guitar, and ragged-but-right banjo; Keelaghan’s equally gravelly vocals, frenetic finger-picking, and cutting lead guitar; Sobolewski’s pounding upright bass; and Woolley’s clanging drum and scrap metal kit. The band was taken by surprise when the disc started getting airplay across Canada on campus radio stations and the first pressing sold out. Gig offers started coming in from festivals across Canada. The Agnostics were no longer Calgary’s secret.

Saint Hubert

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Peppe O Blues & Hell's Cobra - Stargate

Bitrate:320K/s
Year:2019
Time:43:20 
Size:103,8 MB 
Label:1412373 Records DK 
Styles:Blues/Blues Rock 

Art:Front 
Tracks Listing:
 1. Mantra For Maat - 5:17
 2. Stargate - 7:07
 3. Mr. President - 5:18
 4. Love Only Love (Mytakuye Oyasin) - 5:00
 5. Tell Me Why - 3:48
 6. Love Only Love (Studio Version) - 3:29
 7. Little Moon - 4:31
 8. Last Reflection In Atlantis - 8:46

Music has guided me since I was a young boy.I remember working as a manual laborer and harvesting potatoes for two months at the age of 13 so I could afford my first electric guitar and finally start learning to play. Back then, albums by American bluesmen were extremely rare, and I had to hunt them down all over Italy. That passion gave rise to what would become my stage name: Peppe o Blues. At 16, while working manual jobs, I began taking lessons in jazz guitar and improvisation. Then, in 1984, I was invited to attend the Umbria Jazz seminars and played with Curtis Fuller; the following year, I was selected to play in the festival's Big Band, opening for Art Blakey and The Jazz Messengers and Stevie Ray Vaughan. I trained at the Berklee College of Music in Boston (USA), having won a scholarship there in 1985. I studied with prominent musicians such as Kevin Eubanks, Jim Kelly, Al Defino, Larry Monroe, and Orville Wright, mastering music theory and technique. It was during this time that I came to understand that music is an expression of the mind and soul.In 1987, I moved to New York, where I continued my studies with Kevin Eubanks. I lived in the Bronx and played in jazz clubs where white musicians were rarely accepted. It was a very tough year, but one that helped me grow both as a man and as a musician. Over the course of my nearly 35-year career, I have had the honor and pleasure of performing with genuine stars such as Buddy Miles (Jimi Hendrix’s drummer and vocalist for Carlos Santana), Otis Rush (Eric Clapton), Michael Coleman (Muddy Waters’ guitarist), Junior Wells, Curtis Fuller, George Adams, Dannie Richmond, Sugar Blue (harmonica player on the Rolling Stones’ “Miss You”), Shirley King (B.B. King’s daughter), Sammy Fender, Sharon Clarke (backing vocalist for Albert King and Tina Turner), Dave Ball (Procol Harum), Mick Underwood (Ian Gillan, Deep Purple), and Mac Pole (Jimmy Page, Ritchie Blackmore, Gong); I have also opened for acts such as Art Blakey and The Jazz Messengers, Stevie Ray Vaughan, Miriam Makeba, Bobby Watson, Canned Heat, Charlie Musselwhite, Tommy Castro, Chris Wilson (lead singer of the Flamin’ Groovies), and, more recently, Fabrizio Moro.

Stargate

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Empty Can Band - Beautiful Man

Bitrate:320K/s
Year:2012
Time:32:28 
Size:74,7 MB 
Label:Self-Released 
Styles:Rock/Blues/Folk/Roots/Americana 
Art:Front 

Tracks Listing:
 1. The Studio Song - 3:09
 2. Taking This Pain - 2:50
 3. All I Got - 2:16
 4. The Ocean - 3:37
 5. The Bitter End - 4:21
 6. New Country Woman - 4:28
 7. Gemini Girl - 3:45
 8. Slam 'em Down - 3:16
 9. Beautiful Man - 4:43

Empty Can is led by Dave Glynn—an excellent songwriter, vocalist, and rhythm guitarist. After nearly four years away from the studio, they return with an album featuring fourteen tracks full of good vibes and a wide range of influences, spanning folk, roots-Americana, rock and roll, and, naturally, the blues. Rounding out the lineup alongside Glynn are Johnny Mack on lead guitar and organ, JD Klatt on bass, Rich Van Ham on harmonica and percussion, and Paul Wegman on drums. It is music designed for anyone looking to have a good time and get moving, free from harshness or pretensions that aim for anything beyond the sheer enjoyment of the music itself.

Beautiful Man

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