Dave Thomas - Bridge Street Blues

Bitrate:320K/s
Year:2026
Time:38:59 
Size:90,2 MB 
Label:Blonde On Blonde Direct Limited 
Styles:Blues/Country Blues/Singer-Songwriter 
Art:Front 

Tracks Listing:
 1. Go To Legends - 3:03
 2. City Streets - 3:16
 3. Gone For Good - 4:32
 4. Big Fast Car - 2:47
 5. Honey - 3:14
 6. Mr Moonchild - 2:51
 7. Busted - 3:24
 8. I Know You Through And Through - 6:52
 9. All Loved Up - 3:49
10. Bridge Street Blues - 5:07

He delivers one of the most personal and fully realized recordings of his career. Singer-songwriter, guitarist, and lifelong bluesman Dave Thomas stands as a direct link to the golden era of British blues. Emerging from the same 1960s explosion that produced icons like John Mayall, Eric Clapton, and Peter Green, Thomas has spent decades refining a sound rooted in tradition yet shaped by experience. From early days with progressive rock band Blonde On Blonde, his journey has been one of constant motion – and deep musical connection. With ‘Bridge Street Blues,’ Thomas delivers one of the most personal and fully realized recordings of his career. Recorded in Ireland in collaboration with master producer and multiinstrumentalist Declan Sinnott, the album is both a homecoming and a reflection – steeped in road-worn wisdom, and the enduring pull of the blues.

Bridge Street Blues

Amani Burnham - Roots & Wings

Bitrate:320K/s
Year:2026
Time:44:57 
Size:103,8 MB 
Label:Blind Pig Records 
Styles:Blues/Blues Rock 
Art:Front 

Tracks Listing:
 1. Fastlane - 3:18
 2. I Wanna Know - 3:50
 3. Roots & Wings - 3:46
 4. The Last Thing I Remember - 4:45
 5. Bluejay - 2:49
 6. You Can't Heal What You Hide - 3:55
 7. Sideways Thru Time - 3:02
 8. Waiting by the Window - 2:45
 9. Lovers Till They Die - 2:49
10. Midnight Waterfall - 3:22
11. Some Sorta Love - 2:39
12. Bleeding Heart - 7:54

It is a classic blues-rock power-trio record, largely built around a single guitar track running from beginning to end. Seventy years after its initial recording, blues-rock artist Amani Burnham posted a video of himself playing Muddy Waters’ “Hoochie Coochie Man.” It was surreal to see a 19-year-old on Instagram wielding a white Fender Stratocaster with such dexterous ferocity and sensual charisma. But there Amani was, seated on the floor in Gen Z’s standard uniform of sweatpants and a hoodie, holding the guitar like a sword between his legs and playing the hell out of it. In his hands, the Willie Dixon blues standard sounded sexy and dangerous again. At the time, Amani hadn’t been playing guitar for very long, and the post was simply a natural extension of his love for blues-rock. Yet his fluid soloing and electrifying showmanship captured the imagination of blues fans and seasoned professional musicians alike, inadvertently heralding the arrival of a new blues dynamo. “Most 20-year-olds haven’t heard of ‘Hoochie Coochie Man,’” shares the Middletown, Connecticut–based artist. “But I bring an energy and a life force to the music and people connect with it. I’d love to be the person in my age group who brings this music back.” Today, Amani is stepping out from behind the screen with his debut album, ‘Roots & Wings,’ released on acclaimed blues indie Blind Pig Records. The 12-song collection crackles with groovy blues-rock riffs, cosmic solos, lyrical phrasing, stinging vibrato, and soulful vocals. ‘Roots & Wings’ was produced by and co-written with label head Jeff Schroedl. Since starting on social media in late 2023, Amani has amassed more than 245,000 followers and nearly 30 million cumulative views on TikTok, Instagram, and Facebook. His viral videos have caught the attention of many prominent musicians including Ted Nugent, who recently had Amani open one of his shows. ​Amani is a song-oriented artist who writes tough, tuneful blues-rock with introspective, free-spirited lyrics. ‘Roots & Wings’ is a classic blues-rock power-trio record, largely built around a single guitar track running from beginning to end. Think Clapton, Hendrix, Stevie Ray Vaughan, Buddy Guy, and Robin Trower, but for a new generation. ​Throughout the album, Amani effortlessly shifts between rhythm and lead guitar. Much of his greasy fluidity comes from a unique technique: he plays using his right-hand thumb instead of a pick. Amani is able to blaze through lead runs and dig into aggressive, syncopated chordal riffing just using his thumb. The approach recalls fingerprint stylists like Jeff Beck, Wes Montgomery, and Curtis Mayfield. ​The title Roots & Wings reflects Amani’s connection to his African heritage. Born in Ethiopia, he was adopted at a young age and raised by a loving family in Connecticut. His father is a music fanatic, and some of Amani’s earliest memories include watching live footage of the Beatles and Chuck Berry—his first guitar hero—on the family computer. From there, he branched out to Jimi Hendrix, Jeff Beck, Bob Dylan, and Stevie Ray Vaughan. Amani began his musical journey on drums, inspired by Gene Krupa. Guitar was something he dabbled in on the side until the COVID lockdown, when he fully committed. He spent years hunkered down, voraciously practicing and writing songs, many of which appear on Roots & Wings. ​Ready to share his work, Amani began posting videos on Instagram of himself playing with his power trio. The “Hoochie Coochie Man” clip proved to be the turning point, earning his highest engagement to date and a flood of new followers. One of those connections led to Blind Pig’s Jeff Schroedl receiving a DM alerting him to Amani’s work. Schroedl officially signed Amani in spring 2025, and that fall the pair, along with drummer Ray Hangen and bassist Matt Raymond, headed into Carriage House Studios (Paul Simon, Gov’t Mule, Johnny Winter, Marcus King) in Stamford, Connecticut. ​The sessions were tailored around Amani’s spontaneity, resulting in recordings that feel raw and full of wonder. Roots & Wings opens with the turbo-charged Stevie Ray Vaughan–style instrumental “Fastlane.” Next comes the introspective, swampy shuffle “I Wanna Know,” where Amani’s lyrics reflect a young man’s earnest search for meaning. His vocals channel the mojo-laced cadence of Muddy Waters as he sings: I wanna know/why the stars still shine/through the darkest nights/and the hardest times/can broken hearts/still beat as one/is forgiveness found/when damage is done. ​The title track is the album’s most personal statement. It is an abstract reflection on Amani’s experience as an adopted child. “I don’t know who my birth parents are, and that plays a big part in my life,” he shares. “I know they’re out there somewhere.” “Roots & Wings” features strutting blues riffs punctuated by astonishingly liquid leads.The “Last Thing I Remember” may be the only slow blues you’ll ever hear about sleep paralysis. It barges open with a fiery solo, teeming with hallmarks of Amani’s lead playing, his thick gritty tone, ability to play fast while maintaining a laid-back groove, and his detailed phrasing, including wise-beyond-his-years vibrato. It’s fitting that Amani’s first album opens with a song called “Fastlane,” as his career has been pedal to the metal. In just a year and a half, he went from posting guitar clips on social media to landing a record deal. It’s a testament to both the resilience of the blues and the fervent passion it inspires across generations. “Blues, like nature, has to keep evolving,” Amani says. “You can trace heavy metal, prog rock, grunge, everything, back to it. I want to be a part of that evolution.”

Roots & Wings
​

Alice Armstrong - Blood In The Water

Bitrate:320K/s
Year:2026
Time:34:09 
Size:78,7 MB 
Label:Independent 
Styles:Blues/Soul/Rock/Funk/Mix 
Art:Front 

Tracks Listing:
 1. Scratching Walls (Live) - 4:00
 2. Built For Comfort (Live) - 3:04
 3. Blood In The Water (Live) - 3:19
 4. Autoassassin (Live) - 7:04
 5. Good Love (Live) - 3:27
 6. Punchline (Live) - 4:22
 7. B-Side (Live) - 8:52

This brand new EP features six original tracks and a scorching Willie Dixon cover, all recorded live at sold-out European tour dates in late 2025. Armstrong’s signature blend of blues, soul, rock and funk is delivered with powerhouse vocals and electric stage presence, backed by a world-class band comprising of Kev Hickman on drums, Josh Rigal on bass and Olly Knight‑Smith on guitar. Live, enthusiastic audiences that call out for more add to the immersive energy of this stellar release. Expect the same dynamic storytelling and unique songwriting that made Armstrong a two‑time UK  Blues  Awards Contemporary Artist of the Year (2024 , 2025), European Blues Challenge Champion and a 2026 Jazz  FM Blues Act of the Year nominee between Gary Clarke Jr. and Mavis Staples.

Blood In The Water

Billy Price - Random Madness

Bitrate:320K/s
Year:2026
Time:47:31 
Size:109,3 MB 
Label:GetHip Records 
Styles:R&B/Blues/Soul 
Art:Front 

Tracks Listing:
 1. I Was A Fool - 3:24
 2. I Got That Dog In Me - 4:27
 3. Hungry Ghost - 4:45
 4. I Said What I Said - 4:39
 5. Curiosity - 4:25
 6. Rent Free - 3:39
 7. Creature of Habit - 3:33
 8. Exit Strategy - 4:03
 9. Dirty Knee Revelation - 5:14
10. Stickers On My Suitcase - 4:33
11. Random Madness - 4:44

"I just had the opportunity to review the most recent release, Random Madness, from Billy Price and it's a solid blues /R&B release. Opening with up tempo, I Was A Fool, Billy Price leads the way on vocals, backed by Tom Valentine on bass, Steve Delach on guitar, Jim Britton on keys, Dave Dodd on drums, Delana Flowers, Willa Katy Cotten, and Carmen Miller on backing vocals and with some super sax work by Eric Spaulding. Hungry Ghost has a Donald Fagen feel with nice trumpet by Joe Herndon, and a cool Latin based beat by Dodd. A clean guitar solo by Delach adds a a really nice touch to a cool radio ready track. Bluesy, Rent Free, has a great feel, with subtle keys by Britton, Tony Braunagel on drums, showcasing Price's strong vocals, and a a really nice trumpet and trombone solos by Herndon and Reggie Watkins on trombone. One of my favorite tracks on the release is Dirty Knee Revelation, with warm sax backing by Spaulding. Price really digs deep on vocals and with glistening keys by Britton and soulful guitar soloing by Ian Arthurs. Wrapping the release is title track, Random Madness with soulful vocals by Price and warm horn backing by Spaulding, Sean Jones on trumpet (who also blows a real nice solo), Watkins on trombone, solid guitar work by Delach and warm backing vocals. This is a very pleasurable release with plenty of soul" ~  Bman’s Blues Report (May 4, 2026).

Random Madness

Jason Ricci and The Bad Kind - 13 Hours

Bitrate:320K/s
Year:2026
Time:57:46 
Size:133,0 MB 
Label:Gulf Coast Records 
Styles:Blues/Modern Electric Blues/Blues Rock 
Art:Front 

Tracks Listing:
 1. Sick Of This Shit -  8:29
 2. Tired Of Tryin’ -  4:18
 3. The Big DisEasey -  7:07
 4. Leo Watkins Rag -  4:27
 5. Long Twisted Night -  4:24
 6. Bubble Gum Pop -  4:26
 7. River’s Invitation -  5:49
 8. Renegade -  3:54
 9. Nuit Waltz -  2:51
10. 13 Hours - 11:56

On 13 Hours, Jason Ricci strips his music down to the nerve. Released on May 29, 2026 via Gulf Coast Records, the album captures exhaustion, defiance, and survival with brutal honesty. Backed by The Bad Kind and featuring vocalist Kaitlin Dibble, Ricci delivers a record that confronts burnout, addiction, and modern chaos without searching for easy answers. 13 Hours is not an album that tries to impress. Instead, it confronts. Released on May 29, 2026 via Gulf Coast Records, Jason Ricci & The Bad Kind deliver a record that feels more like an unfiltered confession than a polished artistic statement.
Ricci places the listener in the uneasy space between exhaustion and defiance. Frustration with the world, the music business, relationships, and oneself collide throughout the album. There is no search for comfort here—only an honest documentation of what it means to stay present when optimism wears thin and survival itself becomes an act of resistance. Endurance as a Central Theme.
At its core, 13 Hours is about endurance—emotional, physical, and spiritual. The songs move between fury and fatigue, between dark humor and brutal self-reflection. Sharp social commentary sits comfortably alongside deeply personal moments, capturing the pressure of modern life without softening the edges.
The album confronts burnout, addiction, grief, and the absurdity of the systems that shape our daily lives. Rather than offering solutions, Ricci chooses truth over resolution and tension over release.
Moments of Grace Amid the Tension.
Despite its raw nature, 13 Hours is not a hopeless record. Moments of intimacy and clarity emerge, enhanced by the interplay between Ricci, The Bad Kind, and featured vocalist Kaitlin Dibble. These passages provide breathing room without breaking the album’s emotional honesty. Ultimately, 13 Hours asks a simple but unsettling question: how long can you keep going—and what does it mean to keep going anyway? It is a record about staying awake, staying alive, and telling the truth while the clock keeps ticking. This album is dedicated to the memory of John Perkins.

13 Hours

JP Soars feat. Anne Harris - Gypsy Blue Revue

Bitrate:320K/s
Year:2026
Time:55:19 
Size:127,5 MB 
Label:Forty Below Records
Styles:Blues 
Art:Front 

Tracks Listing:
 1. Jessie Mae -  4:13
 2. Go With The Flow -  5:19
 3. Viper -  4:55
 4. Paradise -  2:51
 5. Goin' To South Carolina -  4:32
 6. May Mountain Waltz -  2:23
 7. Old Silver Bridge -  6:13
 8. Minor Blues -  6:22
 9. Cigar Box Jam - 18:27

It’s the perfect time to release an album that invokes the happy, lazy days of summer. And Gypsy Blue Revue plans on doing just that on May 29. JP Soars and the Red Hots is one of the tightest, most talented trios on the music scene today. As a follow-up to last year’s Brick By Brick, the group set their sights on a new project this spring.Soars is a guitar virtuoso, excelling in a number of instruments. On this album he contributes electric guitars, Merlin Stick Dulcimer, two-string Cigar Box guitar, acoustic guitars, Cavaquinho, dobro, lap steel, slide guitar, cowbell, shekere, whistle and vocals. ‘Underrated’ is not descriptive enough of his seemingly unlimited artistry.Drummer Chris Peet and bassist Cleveland Frederick both possess timing and talent that rival any rhythm section in the business today.Although they have been teaming up in live performances for a number of years, this is their first recording with Anne Harris, an accomplished violin and mandolin player. All four are critically acclaimed for their ability to blend gypsy jazz, blues, and southern rock.Harris is a much-in-demand performer who appears solo and with groups Cracker and Halo Rider. Harris also just finished a tour accompanying legends Keb’ Mo’ and Taj Mahal (TajMo). A second tour has just been announced. She also spent some time touring with Otis Taylor, among others.The collaboration, known as the Gypsy Blue Revue, creates a sizzling, jaw-dropping live show and this self-titled recording was inevitable.The album, Gypsy Blue Revue, includes five exceptional instrumental pieces laying bare the raw talent of these five remarkable musicians. (Mixed and mastered by Jeremy Staska, he also contributes shakers and tambourine.) Seven of the pieces were written by Soars. For “Jessie Mae,” he provided music for lyrics by Rev. Billy C Wirtz.Soars told Blues Rock Review (BRR), “We approached it (the album) exactly like a show. We wanted it to sound like we do live. We recorded all together in the same room with very minimal overdubs and no click track.”Harris added, “We’re excited about this new album; to finally record together. JP is one of my favorite people on the planet and an amazing artist.”
The opener “Jessie Mae” is a swampy, southern example of Soars’s ability to combine storytelling with highlighted solos as his slide guitar yields to Harris’s fiddle, and back again. An accompanying release explains, “’Jessie Mae’ transforms a real-life encounter with Hill Country blues legend Jessie Mae Hemphill into a tale of strength, humor, and authenticity.” Soars added, “I was lucky enough to meet her, and this song is for her.”
“Go With The Flow,” the first instrumental, begins with the attention-getting, driving tom-toms of Peet. Soars delivers a clean virtuoso guitar passage before Harris seamlessly joins in on fiddle with a brief rendition of “It Don’t Mean a Thing If It Ain’t Got That Swing” deftly inserted. It is a brilliant and bright piece, aided considerably by Frederick’s solid bouncy rhythms driving it forward.
“Viper” is a live-show favorite that effectively conjures up the image of a couple engaged in a tango in a smoke-filled night club in some exotic land. It is filled with attitude and drama. The release notes offer; “Viper is a cautionary narrative inspired by a friend’s romantic misadventure, warning against getting involved with someone who’s nothing but trouble.”
“Paradise” is another instrumental showcase as Soars demonstrates his versatility with some sensational work on the Cavaquinho (a four-stringed Portuguese instrument) and, once again, Harris matches his contribution on fiddle in this Latin-influenced piece.
“Goin’ to South Carolina” is tinted with the hue of bluegrass and is a perfect lazy, summertime piece. With a nostalgic nod to Arkansas, where Soars grew up, it mentions apple pie, Saturday night dances and porch swings, conjuring the carefree image of man who knows what’s important.
Harris has a background in dance and during live performances it’s obvious her body is a conduit, transforming fluid cosmic energy into her distinctive music. Classically trained as a youngster, Harris told BRR, “I knew that wasn’t going to work because they wanted me to stand still and I just can’t do that.”
Her own composition “May Mountain,” offering a Celtic feel, is a beautiful, stunning piece of violin work, providing a transcendently uplifting showcase for Harris and she contributes with mandolin on this one as well.
“Old Silver Bridge” features Soars playing Merlin Stick Dulcimer, married perfectly to Harris’s sweet fiddle. This song shifts to autumn recollections. Soars, an avid fisherman, is able to impart to the listener — with remarkable acuity — the joy he experiences lazing by a tranquil river. During these unsettled times, the lyrics and music here impart warmth and hope. There’s a line that says, ‘Everything’s going to be just fine,’ and, at least for the 58-minute duration of the 9-track album, you believe they just might be.
“Minor Blues,” a Django Reinhardt original, best showcases Soars’s remarkable guitar abilities as he presents a bold and innovative arrangement. Starting with a sweet, slow duet between Soars and Harris, the piece shifts gears and launches into brilliant guitar and fiddle virtuosity. Frederick displays his mastery of jazz and he and Peet provide a sharp and memorable bridge to the final few bars.
“Cigar Box Jam” features an opening that builds suspense like a well-crafted movie. It is a rousing, high-energy instrumental that often closes their live performances. And, as in any live closer, it includes a featured section for each artist, including a superb performance from Peet.
Overall, this is a great recording, best served by a listener who provides a quiet respite to give it the attention it deserves and to welcome the restorative elements it returns.

Gypsy Blue Revue

Russ Green - Stone Cold

Bitrate:320K/s
Year:2026
Time:50:01 
Size:114,9 MB 
Label:Overton Music 
Styles:Blues/Electric Blues/Harmonica Blues 
Art:Front 

Tracks Listing:
 1. Lint Redux - 6:38
 2. Stone Cold - 4:08
 3. 12 Feet Of Water - 5:35
 4. Hey Man - 3:39
 5. Waitin' On You - 4:40
 6. Nobody Knows - 4:41
 7. Need You So Bad - 5:20
 8. I Believe - 6:12
 9. Troubled World - 5:27
10. Boogie Joint - 3:38

Russ Green was born in Chicago and grew up on the city’s west side. After being discharged from the Army, Russ attended Southern Illinois University at Carbondale, where he studied film. Being an admirer of Jimi Hendrix, he wanted to recreate Hendrix’s sounds but chose to recreate them not with a guitar, but with a harmonica. When he got back to Chicago, he checked out Sugar Blue, who played the Rolling Stones’ “Miss You,” and he was hooked. Green considers Sugar Blue and Billy Branch to be his mentors. Working in film production and television, Green got to meet many actors and even joined fellow harmonica player Bruce Willis on stage. Green has played, recorded, and toured with both John Primer and Lurrie Bell. His production credits include a recording for Big Llou Johnson and playing on the album Chicago Blues Harmonica Project. Green’s acclaimed 2018 debut album, City Soul, was named one of that year’s best blues albums by DownBeat Magazine: “Green’s well-above-average singing succeeds in its balance between allegiance to tradition and his aim to reinvigorate the music in a discernible way.” Green has also played at many blues festivals including the Chicago Blues Festival, the Burnley Mechanics Blues Festival in England, the Gloucester Blues Festival, also in England, and the San Francisco Blues Festival.
Russ Green, on harmonica and vocals, is joined by guitarists Giles Corey on all but one track and Vince Agwada, who plays on three tracks; keyboardist Joe Munroe, who plays on six tracks; bassist Vic Jackson; and drummer Felix “D-Kat” Pollard. The album is produced by Green and recorded, mixed, and mastered by Rick Barnes at Rax Trax Recording in Chicago. The album is dedicated to the memory of Sam Clayton Jr. (Little Feat).

"STONE COLD":
The album opens with a hard-luck tale, “Lint Redux,” with slide guitar from Corey and a fiery harp from Green as he sings, “I got a funny feeling, I think its here to stay, woke up this morning with worries on my mind…nothin’ but lint in my pocket, It’s more than I can stand, that lint got so lonely, it’s gone and left me too.”
On the title track, “Stone Cold,” with some boiling organ from Munroe, Green soulfully cries, “Early one Sunday morning, I went down to the river to see what I could see, I heard my baby tell the preacher man that she loves everybody but me…you know she’s stone cold.”
“12 Feet of Water” opens with some organ from Munroe and orchestration around a lengthy harmonica moan with mystical overtones, as Green chants, “There’s 12 feet of water in her living room, there’s 12 feet of water in her living room, she called 911 and there’s nothing they can do, ’cause you know the rest of the house is just bone dry.”
On the funky “Hey Man,” Green plays his high-caliber harp as he belts, “They say hey man, look at what you did, got yourself a gun and became the stickup kid, hey man look what you done, got yourself a gun, and now you’re on the run.”
“Waitin’ on You” is the tale of a frustrated lover, as Green chirps out a sweet vocal: “Waitin’ on you girl is the hardest thing to do, like waitin’ for a freight train to run me down…but there is nothin in this whole world I’d rather do, you told me you love me, you love me so damn hard, all you really wanted, was my brand new credit card.”
On “Nobody Knows,” an easy-rolling blues love poem with some melodic guitar and harmonica, Green bursts, “Nobody knows the story of me and my baby, nobody knows the story about me and my baby, they don’t know what its all about, the truth is they don’t have a clue, about the sweet love between me and you.”
“Need You So Bad” features some great piano, harp, and percussion from “D-Kat” Pollard, and some jazzy harp work as Green confides, “your always in my mind…my hearts on fire, the world is wrong, don’t know what to do, it’s all about you, if you call in the middle of the night, I’ll be right there, cause I need you baby, I need you so bad…I try to play it cool, but I am just your fool, your wish is my command, nothing I can do…you got control of me…I want the world to know, I’m your only man…’cause I need you baby, I need you so bad…I’m insecure, I need you to know, I love you more than the air I breathe…’cause I need you so bad…I want you baby.”
On “I Believe,” with a mournful harmonica intro, Green soulfully pleads for renewal: “Just another day, the tears roll from my eyes, another day I need to hold your hand, but it’s another thing that I just can’t do, now I’m afraid my mind won’t ever go blind…I gotta believe that I will see you again, and I gotta believe that I will love you once more, and I gotta believe that your standing by my side.”
The traditional shuffle “Troubled World” features Green as he howls, “Trouble oh lord, is all in my head, in the mirror I can’t believe what I see, I hope and I pray, some girl will come my way, what do you do when your mojo let you down, you gotta live, live the life you love, you gotta love, love the life you live, ’cause that’s what you do, when you live in the blues.”
The closer, “Boogie Joint,” features a furious harmonica workout paying tribute to the blues, as Green croons, “You got to boogie baby, gonna boogie all night long, down in the bars up on Beale, gotta boogie baby gonna boogie all night long, thinking about how blues used to be, seven nights a week, and all night long.”
Russ Green may have taken a while to travel that long and winding path to the blues highway, but once he got there, the results are perfect. Green strives to write songs that relate to the trials, tribulations, and triumphs of everyday life. Green hopes that these Stone Cold songs will touch you as much as they touched him  ~ Richard Ludmerer/

Stone Cold

Judy Wallace Group - Early Recordings

Bitrate:320K/s
Year:2005
Time:44:47 
Size:103,1 MB 
Label:Tune Unit Records 
Styles:Blues/R&B/Jazzy Blues 
Art:Front 

Tracks Listing:
 1. You Better Stop - 3:05
 2. A Feeling Called the Blues - 3:21
 3. Coming Around - 4:14
 4. He Makes Me Feel Good - 4:20
 5. Not That Kind of Woman - 3:37
 6. See That Train - 3:29
 7. Misery Loves Company - 3:14
 8. Suburban Wife - 2:38
 9. You'll Never Know - 3:22
10. Smoked Under - 3:03
11. It's Ok With Me - 3:36
12. Too Commercial - 2:45
13. Somethin' for Nothin' - 3:56

Judy has performed on Cape Cod stages both as a solo performer, singing and accompanying herself on guitar and harmonica, and as the leader of her band--The Judy Wallace Group. As a solo, she opened shows for such well-known folk and blues artists as Shawn Colvin, John Hammond Jr., Ellen MacIllwaine, Louden Wainwright III, and old time bluesman Moses Rascoe. She has also shared the stage with blues masters Rory Block and Paul Geremia, as well as jazz trumpeter Lou Colombo and song stylist, guitarist Patty Larkin. With her band, Ms. Wallace opened concerts for Roomful of Blues, Ronnie Earl and the Broadcasters, Jerry Portnoy and The Eddie Higgins Band. Judy has produced four recordings with the Judy Wallace Group, the most recent with husband co-producer David Gries. Strongly influenced by grammy winner Lucinda Williams, a musician Judy met in the San Francisco Bay area back in the early 70's, Judy is a seasoned performer who has entertained Cape Codders for more than twenty-five years to wide acclaim: 'Ms. Wallace belts out hard-drivin' rhythm and blues...throaty on the lower end and wailing on the high, breaking out just long enough to coo the sweet notes.' --Glenda Bendure, The Cape Cod Times. 'Judy Wallace's voice is her own, with clear allusions to the girlishness of Billie Holiday, and the anger of Janis Joplin...the pained look on her face when she sings the blues is obviously real.' --Tom Augello, The Register. 'Asking her to explain her musical roots calls forth a list of American musical legends...Ella Fitzgerald, Billie Holiday and Bessie Smith. But her contemporaries have also received a sympathetic hearing...'--David Coleman, The Wellfleet Oracle. 'The Judy Wallace Group plays across the generations...the high gloss professionalism of the group has a broad reach.'--John Ullman,The Cape Codder. 'She catches her audience by surprise with intelligent humor and heartfelt musical interpretations.'--Karyn Bober Kuhn, The Cape Cod Times. 'Having Judy Wallace and her music on Cape Cod is why Cape Codders don't have to live in Berkeley or Cambridge or New York.' --Molly Benjamin, The Cape Cod Times.

Early Recordings

WES The Power Trio - ...on This Road

Bitrate:320K/s
Year:2000
Time:62:26 
Size:143,6 MB 
Label:Self-Released 
Styles:Louisiana Blues/Funky Blues/Funk 
Art:Front 

Tracks Listing:
 1. Love Sickness -  4:31
 2. House Daddy -  5:01
 3. Waitin' -  3:40
 4. ...on this road - 12:56
 5. No Mor -  5:16
 6. Oh No Not Now! -  2:22
 7. Happy Live -  6:30
 8. Paulie -  1:56
 9. Girl Name Anne -  3:37
10. Messin' Round On Me -  8:30
11. Shake -  8:03

Louisiana Blues trio whose music is a mix of classic rock, R & B, blues, reggae and funk.
Wes The Power Trio' is 'Louisiana Blues' Every audience that sees them leaves with an experience to remember. Their music blends the free roaming technology of the milleninum with a creative mix of classic rock,rock, R & B, traditional & comtemporary blues, reggae and funk styles. The electricity Ron Wesley (bass/vocal), Vc (guitar/vocal) and Paul Benko (drums/vocal) transmit is felt by everyone in the audience. The original appeal of the group needs no translation as they excite audiences world wide with their music. This ability to burst onto stage and take control of their audiences in any country comes with the unique blend of musical experiences each member brings with them. These three guys are bound together with the common thread that Ron, Vc and Paul has each been successfully brought up in the rigorous no nonsense 'school' of their south Louisiana music scene. Their technical proficiency and ability to perform has allowed them to share the stage with Johnny Winters, James Cotton, David Bromberg, Tab Benoit and Lonnie Brooks. The world-wide appeal of Wes the Power Trio is not lost in the USA as the demand for their entertaining ability is high in Colorado's world renowned ski resorts. Individually,they have played with Lou Rawl, Peter Tork, The Drifters, Wolf Man, Jack, Joe Tex, James 'Thunderbird'Davis, Larry Garner, Charles Brown.

 ...on This Road

Rocky Zharp - Happy Divorce

Bitrate:320K/s
Year:2025
Time:51:16 
Size:151,0 MB 
Label:King Hudd Records 
Styles:Blues/Harp Blues 
Art:Front 

Tracks Listing:
 1. You Know It's True - 2:51
 2. Junky - 4:03
 3. She Be Lovin' Somebody Else - 3:33
 4. Sexy Mama No More (Ode to Nikki) - 3:33
 5. I Can't Let You Go - 2:34
 6. Gonna Buy Me a Mustang. - 3:22
 7. I'm Tired - 2:56
 8. Blue Eyed Angel - 2:48
 9. Honkey Tonk - 2:33
10. Deep Depression Blues - 3:01
11. Nikki's Boogie - 2:46
12. Love Song Number 21,423 - 4:11
13. No Hard Times - 4:43
14. Don't Tell Nobody - 3:14
15. Happy Divorce - 2:39
16. Parchment Farm - 2:24

Rocky Zharp, born in Indiana, was given his first musical instrument, a harmonica, by his great grandmother when he was a toddler.  By age 15, Rocky was working as a bass player in a three-piece rock band. Rocky won a local talent contest, before joining the army, playing guitar, harmonica and singing original songs. After moving to California, Rocky began playing harmonica with Bodie Mountain Express, a blue grass/country band, which had recorded on RCA Records and worked with Col. Tom Parker (Elvis’ manager). They performed at county fairs and festivals throughout southern California. This is when Rocky started his recording career. Before recording his own songs, Rocky did harmonica work for other recording artist. Rocky now has 7 cds out.
Rocky won the Inland Theater League Award for his part in the theater production of “The World of Carl Sandberg” and had rave reviews while performing in “Hard Travelin’ a Tribute to Woody Guthrie”. Rocky has done some stand up comedy and has been a comedy traffic violator school instructor for thirteen years. Rocky has hosted a weekly blues radio show, “The Great Blues Mix” on KHPY radio out of Moreno Valley, Ca.  Rocky has played harmonica with such jazz/blues greats as; Eric Burdon, The Mighty Flyers, The Toller Brothers, Jerry Van Blair, Bill Shields, and Big “J” McNelly. Rocky has played with other well-known artist such as: Don Ho, Freddy Fender, Rosie & the Originals, Randy Fuller, and Buddy Merrill.

Happy Divorce

The Ralph Woodson Trio - The Ralph Woodson Trio

Bitrate:320K/s
Year:2004
Time:31:59 
Size:73,8 MB 
Label:Woodson Records 
Styles:Blues Rock 
Art:Front 

Tracks Listing:
 1. Take Your Time Leaving - 5:39
 2. Fire In My Soul - 5:41
 3. Misery - 6:09
 4. Warm Up the Coffee - 3:51
 5. Impossible Triangle - 5:28
 6. When Is Love Going to Come - 5:08

Musicians:
Guitars,Vocals - Ralph Woodson;
Bass - Chris Rybitski;
Drums - Dan Cueva.

Blues rock that taps into Hendrix, Stevie Ray Vaughan and Santana. Woodson is a veteran East Bay guitarist who has played in rock, soul, blues and reggae bands. His band the Ralph Woodson Trio played original music and Hendrix covers, among others. When he and his band mates about a half-dozen years ago donned psychedelic ’60s clothes and made a full tribute group called the Ralph Woodson Experience, it became more popular. Eventually, the name changed to Purple Haze, and, like many rising groups, it moved from Crystal Bay Casino’s Red Room to the larger Crown Room.
Woodson mixes some of his originals in a Purple Haze set, and last year released an album, “Incredible Dreamer.” Woodson proved what those who have heard him before already know: he’s a virtuoso on the guitar. In fact, he a played all of the instruments on his album. Some jazz tracks on “Incredible Dreamer” give a hint, we surmise, as to his greatest passion, save for his appreciation of Hendrix.
“Jimi  would pull stuff out of the air,” Woodson said. “That was, ‘Wow! Where did that come from? I understood when he was doing Albert King licks but now, what is this?’ His creativeness was way out there.”

The Ralph Woodson Trio

Kelly Bell Band - I'm Just Sayin'

Bitrate:320K/s
Year:2008
Time:50:19 
Size:116,6 MB 
Label:Phat Blues Records 
Styles:Blues/Funk/Soul 
Art:Front 

Tracks Listing:
 1. More Than a Moment - 4:33
 2. Hey Babe - 4:10
 3. Movin' On (feat. Wordslave) - 4:23
 4. Reincarnated - 3:58
 5. Can't Take That Back - 3:52
 6. Missin' You - 0:50
 7. Lock Me Up - 4:31
 8. Down in the Bottom - 4:48
 9. Homegrown - 5:14
10. Must've Bumped My Head - 1:49
11. Ain't Like It Used to Be (Go-go Version) - 5:06
12. Hush - 3:39
13. Spinnin' - 3:19

Biography: Singer/songwriter Kelly Bell is emerging as one of the hottest artists on the east coast contemporary blues & alternative music scenes. In fact, Kelly has fronted Baltimore/Washington's most successful blues band for nearly five years, garnering Music Monthly Readers' Poll Awards as Best Blues Band, Best New Artist, and Best Male Vocalist for the mid-Atlantic region. As well as Best Groove Band from the City Paper The Kelly Bell Band plays a combination of funk and blues that Kelly calls PHAT blues. Explains the singer: "PHAT blues combines a real nice pocket groove, funky bass lines, traditional guitar licks, fiery piano parts, and my own 'soulful scream.' It's Muddy Waters meets Parliament Funkadelic with shades of D.C. Go-Go." The Kelly Bell Band -- comprised of Kelly on lead vocals (and percussion), Ira Mayfield on guitar, Brett Sharbaugh on bass, Kirk Myers on keyboard, and Eric True on drums, electrifies each and every audience with Kelly's powerful and soulful vocal style, accompanied by critically-acclaimed, solid musicianship. They perform more than 200 shows per year, often opening for such prestigious acts as Bo Diddley, Bobby "Blue" Bland, James Cotton, Buckwheat Zydeco, Better Than Ezra, Clarence "Gatemouth" Brown, and longtime Kelly Bell colleague and friend G. Love. "My audience spans all generations and backgrounds," Kelly sums up. "Age, race, class...all that goes out the window at a Kelly Bell show. PHAT blues speaks directly to the soul."  ~ Geoffrey Himes, The Washington Post

I'm Just Sayin'

Tom Mcguinness - Tom Mcguinness

Bitrate:320K/s
Year:2001
Time:42:20 
Size:97,6 MB 
Label:Self-Released 
Styles:Blues 
Art:Front 

Tracks Listing:
 1. Long Gone - 0:38
 2. Momma Tried to Tell Me - 3:12
 3. I Got My Eye on You - 3:24
 4. Standing by My Window - 3:44
 5. The Line to Heaven - 2:57
 6. Till I Fall Down - 2:19
 7. The Wrong Woman - 3:52
 8. When Love Comes Calling - 3:18
 9. Make up Your Mind - 2:43
10. Odd Job Man - 3:39
11. Losing You Put the Blues in Me - 4:21
12. Laura Lee - 3:56
13. That's the Blues - 4:11

"So i finally sat down and gave tom mcguinness's self-titled album a proper listen. yeah, the name might not ring bells for everyone, but this dude's got history-man was in manfred mann back in the 60s, part of that british invasion wave. and honestly? it shows. this record dropped in 2001 (or 2002? whatever, close enough), and it's one of those low-key releases that doesn't scream for attention. no flashy production, no guest stars. just tom, his guitar, and a bunch of songs that feel like they've been sitting in a drawer waiting to be played. what i liked? the vibe. it's warm, lived-in. you can tell he's not trying to impress anyone-he's just doing his thing. tracks like  "the wrong woman" have this smooth, bluesy rock feel. nothing groundbreaking, but it's honest. his voice is kinda rough around the edges, which works. feels real, y'know? marcus cliffe did pretty much everything else-bass, keys, drums, even produced it. dude's a beast. the instrumentation's tight but not overdone. it leaves space for tom's guitar to breathe. and that harmonica on "momma tried to tell me"? chef's kiss. gives me blues-rock chills. but... not all of it hits. some tracks blend together after a while. "make up your mind" is solid, but it doesn't stick. and there's a reprise of "that's the blues" later that feels unnecessary. like, we get it, you like the blues. cool. move on. also, the pacing's a bit off. throws in a 38-second track called "long gone" ? what even is that? a joke? an accident? felt more like a placeholder than a song. still, i kept coming back to "losing you put the blues in me." man, that one aches in the best way. raw, slow burn, with lyrics that don't try too hard. same with "laura lee"-simple story, nice melody, sticks with you. overall? it's not a masterpiece. probably why it's rated 2.0 on discogs. but i kinda love that about it. it's the kind of album no one expected, made by someone who didn't need to prove anything. no pressure, no hype. and here's the weird part-i think that's exactly why it works. not because it's perfect, but because it's not. feels like something you'd find in a dusty record shop, play once, forget, then rediscover years later and go "wait, this is actually good." so yeah. give it a spin if you're into under-the-radar brit rock with soul. just don't expect fireworks. sometimes a quiet flame burns longer" ~ bandcamp.com.

Tom Mcguinness

C C Bronson - MY Soul/My Blues

Bitrate:320K/s
Year:2004
Time:35:46 
Size:82,3 MB 
Label:Self-Released 
Styles:Blues/Soul/R&B 
Art:Front 

Tracks Listing:
 1. You Sho' Look Like Love To Me - 3:46
 2. Lay It On Me - 4:37
 3. Roll With It - 4:05
 4. Love Me Down Man - 2:54
 5. Must Be Somethin' Going On - 4:01
 6. I'm Gonna Run On - 4:24
 7. Just When You Think You Know - 4:08
 8. So Much Better - 4:42
 9. Ruby Lee (Mom's Song) - 3:04

C.C. Bronson hails from Florida, where she grew up on gospel music and learned the blues from her great-uncle Dave, with whom she spent many a childhood summer dancing in his living room at Bobby Blue Bland or B.B. King in Bradenton, Florida. While C.C. has many musical influences at the top of her list, her mother, Ruby Lee, is a lifelong church musician. Consequently, you will always hear gospel influence in her music. C.C.'s diverse career includes stints with world-renowned acts like Monroe Powell touring the US, Japan, and Canada; she was a featured artist with the Golden Gospel Singers of Harlem on tour in Germany; she studied and performed under the late Phil Osterman (Broadway director); and she opened for the talented Sue Foley. At the end of the day, C.C. feels that the blues is truly the root of American music; it's where her heart and soul are anchored. "I would like to thank all of you who took some time out of your busy day to listen to each other." C.C. Bronson/

MY Soul/My Blues

Cheryl Arena - Blues Got Me

Bitrate:320K/s
Year:2003
Time:49:51 
Size:116,6 MB 
Label:Self-Released 
Styles:Blues/Harmonica Blues/Jazzy Blues/Jazz 
Art:Front+Back 

Tracks Listing:
 1. Blow My Blues Away - 4:20
 2. Love Gone Wrong - 3:43
 3. Shave It - 2:54
 4. Listen To What I Say - 4:42
 5. Blues Got Me - 6:27
 6. It Aint Right - 4:53
 7. About To Break My Heart - 2:47
 8. Living In The Moment - 3:07
 9. Baby - 2:59
10. Any Day Now - 2:24
11. He Aint No Prince - 4:27
12. You Better Change - 3:04
13. Grazing In The Grass - 3:58 

It’s been about 23 years since Cheryl Arena released her debut CD Blues Got Me. After all of this time, the disc still serves as a fine document of her abilities and she can still use it as a calling card to get into all kinds of venues. Her songs range from inventive originals clever of arrangements of timeless classics, from basic, assertive guitar driven blues songs to more elaborate horn laden material for big bands. Produced by the legendary Duke Robillard, Arena’s talents on vocals and harmonica manage to standout among her impressive song craft and imaginative arrangements. Arena really gets her harmonica groove on during her cover of Little Walter’s “Baby.” She rides the classic harmonica line well, keeping it flinty, emotive, and tasteful while making those notes spiral off in a pleasant direction. It’s uncanny how her smooth, pretty vocal sounds so natural and empowered next to her horn section’s thrusting tuft of musical muscle.Arena gets into more witty writing with “He Ain’t No Prince,” turning the fairy tale metaphor around to make a point about disappointment and disillusionment. Her sultry approach makes one realize this lady just elevated her taste and will be on the prowl for a finer gentleman. Matt McCabe’s piano here is another highlight, a classy series of notes that makes one imagine Arena wearing a long black dress and white velvet gloves and pearls as the lights come up over her in the city’s finest establishment.Arena gets to showcase more of her harmonica zeal on Charles Grossley‘s “You Better Change.” This time around, Arena commits herself to a fierce line, one she blows out with melodic precision and emphatic boom. She has to. She’s blowing alongside ace guitarist Matt Woodburn and over bassist Ted Bukowski and her CD drummer Michael Dunford. This one is just a spinning top of excitement.Arena closes out her incredible album with an arrangement of Philemon Hou’s “Grazing In The Grass.” Her lilting harmonica line wafts beautifully over a rhythmic piano line and peppy percussion. It’s a fine farewell for now song and the harmonica player leaves us with a sweet desert to remember the main courses of her CD.Arena had much to be proud of with this Blues Got Me masterwork and to this day it helps her win over new fans as much as her live shows, live performances that run the gamut from classy chanteuse to high energy aggression. We can only hope that Ms. Arena is around the scene for a long, long time.

Blues Got Me