Jeff Strahan - Amen To The Blues

Size: 128,1 MB
Time: 54:52
File: MP3 @ 320K/s
Released: 2008
Styles: Texas Blues, Blues Rock
Art: Front & Back

01. Southern Jeans (7:34)
02. Amen To The Blues (4:10)
03. Butterfly (5:16)
04. Living For Today (6:59)
05. Too Much Of A Good Thing (4:54)
06. Rebel By Design (3:44)
07. Give Me One Good Reason (6:24)
08. Hope And Faith (6:24)
09. New Girlfriend (3:42)
10. Take Me To Texas (5:41)

"Strahan is a fiery Texas spirit, a killer guitar player & piano pounder and singer, as wild as the high plains from which he hails, and as cool as the hill country where he lives. He’s as real & strong as lightning, I swear, and I love being around him, to hear how he's going to knock me out next." ~Walt Wilkens, Producer, Singer/Songwriter

As if growing up in Lamesa, Texas, (population 9,422 from the 2010 census, located south of Lubbock on the Llano Estacado) is not bad enough, Jeff Strahan also studied and practiced law. But he returned to his roots as a third generation garage “bandanista” and is now a full time, axe wielding, keyboard slamming,Texas blues rocking musician. The world is better off on both accounts; we have one less lawyer to deal with and one more great musician to listen to. But we almost did not have this- he first had to beat a terminal illness and regain his strength to perform, tour, write, record and compete in the IBCs. His musical style swings on both sides of the border, with flaming hot Texas guitar licks sometimes with a Mexican influence.

Strahan’s music is southern rock, blues, folk and more all rolled into one. If the Marshall Tucker Band had come from Lubbock, Texas instead of South Carolina, they might have sounded a lot like this. From the blistering guitar to the laid back lyrics, the music oozes Texas and sounds mighty fine. If you are looking for some great blues influenced rock done up hot and spicy Texas-styled, you need look no further. And if you are a fan of big guitar solos and a band that can jam with the best of them, this will make your day.

Amen To The Blues

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Elliott & The Audio Kings - Long Live The King

Size: 98,1 MB
Time: 42:05
File: MP3 @ 320K/s
Released: 2018
Styles: Electric Blues, Rockin' Blues
Art: Front

01. Zim Zam Zoom (2:43)
02. All Revved Up (3:29)
03. Shoulder The Weight (4:57)
04. Haven't Been Kind (3:39)
05. Pringles And Perrier (3:26)
06. Touch Of Your Hand (4:56)
07. Nothin' Pleases You (3:42)
08. Day Drinking (3:13)
09. Rich Girl (2:00)
10. Long Live The King (3:48)
11. Heart Attack (3:31)
12. Tin Sandwich (2:36)

Elliott and the Audio Kings, from Waterloo Ontario, are a new voice in the Blues coming at you with an old school approach.

Standing on the bedrock of the blues recorded by the post-war masters, Elliott and the Audio kings are building on that foundation, with their own brand of shuffles, boogies and swings.

After retiring Daddy Long Legs, Southern Ontario’s most infamous Maple Blues award winning garage blues band, guitarist/singer Mike Elliott is back on the blues scene with a new band and a self-titled release, Elliott and the Audio Kings.

With Jonny Sauder on Drums and Scott Fitzpatrick on doghouse bass, Elliott has taken a step closer to vintage blues. Elliott and Audio Kings’ first release captures all the crash and bang of cut-rate guitars running hot through pawn shop amps howling off a concrete floor.

Blues traditionalists at heart, Elliott and the Audio Kings tackle everything from jump blues and big shuffles to 50s style rock and roll. Their music is raucous enough to feel at home in any roadhouse or 5-star dive bar, and at times, sophisticated enough to be heard at an uptown private club.

Their traditional take on the blues focuses on bringing things down to the essential blues ingredients, - wood, wire, blood and bones, and a 60 cycle hum. Electro-fied!

Elliott and the Audio Kings are old school, not retro.

Press play. Good times will follow.

Long Live The King

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Marco Pandolfi - Ambrotype

Size: 80,8 MB
Time: 34:25
File: MP3 @ 320K/s
Released: 2019
Styles: Electric/Acoustic Blues
Art: Front

01. Lucky Man (4:24)
02. Visionary Dream #1 (2:40)
03. Over Your Shadow (2:38)
04. Skipping The Line (2:19)
05. U-Killa-Da-Chief (4:08)
06. Green And Blue (3:23)
07. Sittin' On The Corner (3:30)
08. Ain't Talking About Jesus (2:56)
09. My Rose (2:22)
10. Nothing Can Go Wrong (3:27)
11. Over Your Shadow (Acoustic Version) (2:34)

Marco Pandolfi’s presence on the Italian Blues scene goes back more than twenty years. He has been playing in the most important events on the peninsula, winning the respect of the greatest Blues Musicians in Italy and abroad.
His performances and his recordings have been reviewed by the most authoritative magazines such as: Il Blues, Blues Revue, Soul Bag, Blues Britain Magazine...
His music is played on radio programs around the world (B.B. King’s Bluesville-XM radio USA, King Biscuit Time-Helena AK, WWOZ New Orleans, WEFT Radio-Champaign, Illinois and more).
Twice at the INTERNATIONAL BLUES CHALLENGE in Memphis, TN (USA): in 2006 with his band Marco Pandolfi & the Jacknives (representing Roots and Blues Association of Parma) and in 2011 in the category solo/duo (representing MOJO STATION, Roma).
He won the italian final for the EUROPEAN BLUES CHALLENGE representing Italy on april 11&12 2014 in Riga (Latvia).
Pandolfi has performed with many notable artists such as Richard Ray Farrell, Paul Oscher, Bob Margolin, Harvey Brooks, Preston Hubbard, Enrico Crivellaro, Bob Corritore, Willie King, Tom Walbank, Roberto Morbioli, David Lee Durham, Luca Giordano, Paul Cox, Mauro Ferrarese, King Edward, Maurizio Pugno, Bill Howl-N-Madd Perry, Mickey Rogers, Umberto Porcaro, Greg Izor, Nico Duportal, Roberto Luti, Abdell B Bop among others.
Besides being a critically acclaimed harmonica player Marco is performing as a bandleader playing guitar and harmonica at the same time.

Ambrotype

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Michael Grimm - Live Tribute To Otis Redding

Size: 93,5 MB
Time: 40:10
File: MP3 @ 320K/s
Released: 2019
Styles: Soul, R&B
Art: Front

01. Dock Of The Bay (Live) (3:42)
02. Mr. Pitiful (Live) (2:36)
03. The Happy Song (Dum-Dum) [Live] (3:11)
04. Dreams To Remember (Live) (3:58)
05. Down In The Valley (Live) (2:52)
06. I've Been Loving You Too Long (To Stop Now) [Live] (3:25)
07. Hard To Handle (Live) (2:53)
08. Try A Little Tenderness (Live) (4:23)
09. Fa Fa Fa Fa Fa (Sad Song) [Live] (2:54)
10. These Arms Of Mine (Live) (2:49)
11. Love Man (Live) (2:35)
12. A Change Is Gonna Come (Live) (4:47)

This album is special to Michael as it is a collection of his favorite songs by his personal idol Otis Redding. The album was designed visually and musically to capture the 60s era and the essence of Otis. Michael Grimm succeeds without question in honoring and capturing the power of the king of soul.

With his soulful voice and earthy, Southern manner, Michael Grimm charmed millions of viewers as a contestant on Season Five of NBC’s popular “America’s Got Talent.” Parlaying his substantial singer-songwriter appeal into a first-place finish, Michael took home the $1 million prize and headlined the first-ever national “America’s Got Talent Tour.” Following that, he toured with the legendary Stevie Nicks and Heart, playing to arenas of 20,000.

Live Tribute To Otis Redding

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Rudi Protrudi - Unfuzzed (Live)

Size: 129.0 MB
Time: 54:26
File: MP3 @ 320K/s
Released: 2014
Styles: Blues/Rock
Art: Front

1. Want Ad Blues [2:34]
2. Down In The Bottom [3:04]
3. Made Up My Mind [2:16]
4. Big Legs Tight Skirt [4:23]
5. Bad Like Jesse James [5:15]
6. Black Gal [3:57]
7. Evil [3:13]
8. Boom Boom [5:24]
9. Rock Me Baby [5:48]
10. Bloodstains On The Wall [5:03]
11. Dirty Motherfucker [4:12]
12. Hootchie Cootchie Man [3:59]
13. What'd I Say [5:10]

Although known primarily for founding and fronting the legendary garage “revivalists”, THE FUZZTONES, Rudi has actually been performing since 1966, when he formed his first Rock & Roll band, KING ARTHUR'S QUART. Rudi spent his teen years in Harrisburg, Pennsylvania, playing in local bands. After seeing a particularly inspired show by the DEAD BOY Sat NYC’s CBGB in 1976 , Rudi convinced Dead Boys frontman STIV BATORS to let him audition as bassist. Although Rudi did actually play one show with The Dead Boys (on the same bill as DAVID JOHANSEN, PATTI SMITH, BLONDIE, RICHARD HELL and SUICIDE!), a future with the band was not his fate. He returned to Harrisburg and formed TINA PEEL, Harrisburg’s (and possibly the World’s) only Bubblegum-Punk band. Heavily influenced by The Monkees, Cryan’ Shames, 1910 Fruitgum Company and Dave Clark 5, TINA PEEL eventually moved to NYC where they became a popular attraction, often headlining the major clubs of the time (Hurrah, Irving Plaza, Ritz, CBGB), as well as appearing on several television shows, including the cult favorite, THE UNCLE FLOYD SHOW. Although the band was courted by major labels, and enjoyed frequent press, TINA PEEL broke up in 1980, when founding members RUDI and DEB O’ NAIR went on to form THE FUZZTONES. Generally regarded as the most important, if not the most notorious, of the 80’s garage pioneers, THE FUZZTONES were among the first to release vinyl (their first two LPs, “LEAVE YOUR MIND AT HOME” and “LYSERGIC EMANATIONS” are considered classics). They also performed and recorded with legendary 50’s R&B shouter, SCREAMIN’ JAY HAWKINS. Perhaps the most important contribution the band made, however, was to be the first of the revivalists to introduce the 60’s garage/ psych sound to a European audience. In 1985, the band endured a grueling 3 month tour where they opened for THE DAMNED. Although THE FUZZTONES headlined several shows of their own as well, it was the shows with the English bad boys of Goth Punk that brought them to the attention of the European masses. Considering how popular THE FUZZTONES became soon after, it’s hard to believe that at the time a typical show would consist of the punk audience pelting the band with beer bottles and showering them with “gob” ( a punk term for spit). The ‘TONES performed 28 days a month for three months, and eventually won over the DAMNED’s fans. That was not to imply that it was ever smooth sailing for THE FUZZTONES. Rudi was actually shot at during a show in Lyon, France, and Deb was sucker-punched unconscious by The Damned’s drummer, RAT SCABIES (in front of Jimmy Page, so less), during an offstage argument. After returning to the States, The Fuzztones broke up, right at the height of their popularity. In 1986 Rudi formed LINK PROTRUDI & THE JAYMEN, originally an instrumental tribute to LINK WRAY (back when very few knew who he was!). The band soon advanced to writing many of their own songs, and recorded several albums. They succesfully toured Europe and Canada, and still pop up occasionally to back burlesque legends such as TEMPEST STORM and KITTEN NATIVIDAD. At one point in his career, LINK WRAY himself used Protrudi’s Jaymen as his own backing band!

Unfuzzed Live

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Carolyn Gaines - The Thrill Is Gone

Size: 89.1 MB
Time: 38:46
File: MP3 @ 320K/s
Released: 2019
Styles: Blues
Art: Front

1. Damn Right, I Got the Blues [3:32]
2. Deep Moanin' Blues [2:47]
3. I Got Dreams to Remember [3:30]
4. God Bless the Child [2:47]
5. Guess What [2:50]
6. Hey, Joe [3:32]
7. I Got My Mojo Working [2:32]
8. I'd Rather Go Blind [3:16]
9. Red House [3:31]
10. Stormy Monday [3:54]
11. Sweet Home Chicago [2:41]
12. The Thrill Is Gone [3:48]

''The Thrill Is Gone'' CD dedicated to Grady Gaines Sr. Grady Gaines Jr. Roy Gaines, Buddy Guy, Jimi Hendrix, B.B. King, Billie Holiday, Ma' Rainey, Etta James, Bobby Blue Bland, T-Bone Walker: whom paved the way for Carolyn Gaines to heal & sing the Blues.

"Thank God for the gift of music and the ability to contribute to this project. The honor of performing with my family members will always be remembered. Thanks you Carolyn for inviting me to be apart of this special project. Much love to you always'' said, Grady Gaines Jr.
''I will do anything for you, and your music makes your uncle feel good,'' said Blues-Saxophonist-Rock n' Roll-Grady Gaines Sr.

Blues singer Carolyn Gaines said, ''I always Dreamt from the age of 16 to record Billie Holiday's ''God Bless The Child'' with grace of Diana Ross through my hearing and believable vocals''.

The Thrill Is Gone

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Steve Hackett - At The Edge Of Light

Size: 126.9 MB
Time: 54:27
File: MP3 @ 320K/s
Released: 2019
Styles: Rock
Art: Front

1. Fallen Walls and Pedestals [ 2:17]
2. Beasts in Our Time [ 6:21]
3. Under the Eye of the Sun [ 7:07]
4. Underground Railroad [ 6:22]
5. Those Golden Wings [11:19]
6. Shadow and Flame [ 4:24]
7. Hungry Years [ 4:34]
8. Descent [ 4:20]
9. Conflict [ 2:36]
10. Peace [ 5:03]

Take a look at Steve Hackett’s output over the last 10 years: six “rock” studio albums, one classical studio album, five live albums (actually six if you count the DVD that didn’t have a companion CD release), a collaboration with Chris Squire, and two expertly curated box sets focusing on earlier periods on his career. That excludes many guest appearances and collaborations, and doesn’t even mention the number of tours he has undertaken. For someone you could mistakenly class as a “heritage artist”, he is very much in the present. 2019 brings this new album, 160 tour dates (mixing the “Selling England by the Pound” album, his iconic “Spectral Mornings” album plus new music)… and who knows what else.

‘At The Edge Of The Light’ shows that Hackett is still an explorer and, unlike many of his peers, the stream of new music has not stopped. His global touring brings with it the fulfillment that musicians enjoying bringing their work to adoring crowds, but also exposes Steve to the countries and locations that provide inspiration to this continually creative artist. So in keeping with a lot of his back catalogue, the album is not stuck with a single genre or style or line up – Hackett populates his audio canvas with the sounds and players who bring his vision to life. A glance at the credits show instruments such as sitar, didgeridoo, violin, tar, duduk, door and flute woven in along with the traditional rock instruments. While Hackett’s core touring band members (Roger King, Jonas Reingold, Rob Townsend and Gary O’Toole) feature, you also have appearances by Nick D’Virgilio, Simon Phillips, the McBroom sister, and his brother John amongst the cast – the album is cast like a movie with the best person for the job being employed for that moment.

At The Edge Of Light

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Svein Grostad Band - Good For You

Size: 65.4 MB
Time: 28:04
File: MP3 @ 320K/s
Released: 2019
Styles: Blues, Rock
Art: Front

1. From the Ashes [5:53]
2. Good for You [4:01]
3. Nothing [2:41]
4. One Eye Left for You [2:31]
5. Out There [4:33]
6. Roaming Around [4:21]
7. Spinning My Wheel [4:01]

Svein Grostad Band is a powertrio from Trondheim, Norway built around the music and lyrics of guitarist, vocalist and songwriter Svein Grostad. He first appeared as a guitarist and contributing composer in the Norwegian hardrock band Hardline who issued their first and selftitulated album in 1984. In the 90s he formed the band Valhalla who's first lineup toured England including the legendary Marquee Club in London. Valhalla issued their debut album "Rush" in 1995, an album often compared to the music of King's X, Soundgarden and early Black Sabbath. Metal Hammer described it as "unusual, challenging and surprisingly good". Later in the 90s he also joined the countryrockers Scarecrows where he in addition to guitars also contributed with fiddle, mandolin and banjo on the albums "Crowman" and "Rattlesnake Law". In the 00s Hardline reunited for a periode and issued their second album "Monumental" in 2011. He has also since 2010 gained reputation for his Hendrix-style guitarskills in the tribute-band Haze of Hendrix. Now he is here with his own powertrio playing his own music with bandmates Sverre Dæhli, bass and Ketil Klæboe, drums.

Good For You

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Doobie Twisters - Rocket Pocket

Year: 1991
Bitrate: MP3@320K/s
Time: 50:11
Size: 116,4 MB
Styles: Electric blues, rocking blues
Scans: Full

1. Too Many Cooks (3:35)
2. Easy Money (4:15)
3. Find Out (2:54)
4. My Bucket's Got A Hole In It (2:37)
5. Never Forget You (3:51)
6. Take Me Home (3:57)
7. All I Want (3:48)
8. Rocket Pocket (2:31)
9. Boogie Thing (3:31)
10. Wine Head Woman (Feat. Lurrie Bell & Pepe Ahlqvist) (4:19)
11. Coolest Band (3:35)
12. Re Born Lover (3:43)
13. Do Me A Favour (3:32)
14. I Don't Want No Woman (3:58)

Little Bit of Blues, Little Bit of Rock 'n' Roll! That's right, and together they are more than the sum of their parts!!! Blues-based swing from the Doobie Twisters in Tampere became familiar to those in the industry back in the 1980s. The Rissanen brothers Jarmo (guitar, harmonica and vocals) and Aarno (bass), who moved from Lahti, had previously toured with gigs such as The Road and Full House. An EP was also released for the Blues News label. However, in the name of Doobie Twisters, doors began to open more widely among the bailout people.

The band built their work with their excellent live performances. In 1989, Rissaset and Timo Hautamäki (guitar, vocals) and Ari Pensomaa (drums) recorded a single for All I Want/Find Out on Bluelight Records. A beautiful slovak on the a-side would shoot the top of the local radio playlist, while the b-side would showcase the rock 'n' roll. Doobie Twisters released their first album a couple of years later. Rocket Pocket, a long-standing play, introduced the band to the brink of style. It included basic blues as well as soul and sheer rock.

An interesting side story to the band's story was brought by Woody Garrett, a young black-skinned natural talent playing while playing at Austin's South-By-Southwest. The soulful singer was offered a trip to Finland, and to the surprise of all this was accomplished. With Garrett, the twisters threw in four hilarious, successful Finnish rounds, most of which included sold out gigs. There were also two great collaborative albums with Woody.

In the 90s, Doobie Twisters did the aforementioned couple of weeks in addition to the Austin, Texas tour, and in -97 a three-week tour in Toronto, Canada. They also toured in Sweden and Estonia, and also toured several times across Finland. The latest Doobie Twisters recording so far is Black Or White, released in 1998. (Translated from Finnish.)

(For personnel details, see artwork included.)

Rocket Pocket mc
Rocket Pocket zippy

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Kat Riggins - Blues Revival

Year: 2016
Bitrate: MP3@320K/s
Time: 45:47
Size: 105,8 MB
Styles: Electric blues
Scans: Front, back

1. Now I See (Ooh Wee) (3:17)
2. Good Girl Blues (4:14)
3. Wail Away (5:33)
4. Queen Bee (3:41)
5. Murphy's Law (5:02)
6. Music Fiend (4:19)
7. Change Is Gonna Come (7:58)
8. Blues Is My Business (4:02)
9. The Devil Is A Liar (4:57)
10. Blues Is The New Black (2:42)

On occasion, a surprise artist stands out amongst the records which arrive for review consideration. Kat Riggins is a blues singer whose Blues Revival had a tendency to beckon for an encore after the first few tracks were played, to reaffirm what was being heard. As most recordings today employ an array of studio musicians, rare is the working band where such a gifted vocalist as Riggins is paired with an expressive guitarist as Darrell Raines, who shines brightly on this production. Rounded out by drummer Doc Allison and George Caldwell on bass, this is an exceptional group that knows how to play the blues.

Kat Riggins, hails from Miami, and has steadily paid her dues, while building an audience around South Florida, even taking her music around the world. She released her first EP "Seoul Music", a compilation of blues covers, during a 2011 Asian tour; delved more into writing on "Lily Rose" released in 2014, and penned all but two on this current release.

They open the set with the up-tempo burner "Now I See (Ooh Wee)" Riggins defining her turf from the onset, augmented by a honking tenor sax courtesy of Stephen Lombardelli. The pace drops dramatically on "Good Girl Blues," allowing ample room to stretch her vocal character. Raines comes in nice and easy on this track, showing impeccable tone and technique. He returns with enthusiasm on the suave intro of "Wail Away," and displays flashes of brilliance in the solo. This song is the perfect vehicle for Raines, as it is about a woman digging on the guitarist at a steamy juke joint. The fascination with the blues scene continues on the autobiographical "Music Fiend."

"Queen Bee", is a hard driving shuffle, Riggins singing about who she is, and then reworks Etta James' "Blues Is My Business" with determined authority. The other cover is the perpetual Sam Cooke classic "Change Is Gonna Come", a song recognized as a singers song, for one has to have the pipes to interpret accurately. Riggins not only passes the test, but takes us to church and back along the way. The vocal and guitar interaction on "The Devil Is A Liar" is as good as it gets, the moans and wails spiraling into whirlpool of lamentation.

Halfway through the record is the strategically placed "Murphy's Law", a powerful southern fried chord attack where Riggins bares her soul, testifying about taking back her freedom, and picking up the pieces. This is where she slips it into that special sanctuary where only truthful singers need venture, genuine talent required, something Kat Riggins and Blues Revival has in spades. /James Nadal, All About Jazz

Personnel: Kat Riggins (vocals); Darrell Raines (guitars, keyboards, backing vocals); George Caldwell (bass); Doc Allison (drums); Stephen Hooper Lombardelli (saxophone track 1).

Blues Revival mc
Blues Revival zippy

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King Of The World - Connected

Year: 2019
Bitrate: MP3@320K/s
Time: 47:18
Size: 109,2 MB
Styles: Electric blues, blues-rock
Scans: Front

1. Love Don't Come From You (3:58)
2. Connected (3:12)
3. Give Me Back My Heart (5:08)
4. Future Man (4:56)
5. Saving Grace (5:24)
6. Eyes Wide Open (4:21)
7. Money (4:19)
8. Life After You (9:17)
9. I Can't Help Myself (3:10)
10. Space Captain (Feat. Simone Roerade) (3:29)

It has been over two years since we introduced the fourth CD of King of the World in this section. The collective around the singing bassist Ruud Weber, organist Govert van der Kolm and guitarist Erwin Java confirmed with Cincinnati their reputation as one of the better bands in the blues rock landscape dominated by guitars. The guitarist, of course, stepped on, Erwin Java with a past at White Honey and later reincarnations of Herman Brood's Wild Romance and Cuby's Blizzards and co-founder of KOTW. The waning musical interaction and activities in projects such as Pioniers of the Nederpop and Keeping The Blue Alive accelerated Java's decision, as well as plans for a second solo album.

The departure of Java seems quite digested, the newcomer Stef Delbaere learned the trade in the Belgian blues and rock circuit. As a young man, the Ghent guitarist figured with primordial smokers The Vipers and graduated successfully from the Rotterdam Conservatory. Despite his young age, Delbaere does not only have the right technical baggage, in about half of the tracks, including the title song, he is mentioned together with the other group members as a co-author of Weber.

The hurried, rocking title track, just like the rhythmic opener, draws attention. The powerful vocals of Weber supported by tight rhythms developed by Weber and Fokke with young swinging organ lines by van der Kolm provide the familiar sound. Delbaere's flowing expressive sparse string play is a perfect fit with this, as illustrated in the harmonious background vocals Give Me Back My Heart, Saving Grace is also such a sharpener with thin string spins.

The life-long ballad Life After You comes closest to the blues with a lot of room for Delbaere's elaborate escapades that will especially appeal to the string chords. Personally, I feel more connected to the somewhat more compact, rhythmic work in which input from the Hammond organ and other keyboard work prevails, such as Eyes Wide Open and especially the interpretation and cover of Matthew Moore's Space Captain known by Joe Cocker. /Cis van Looy (Translated from Dutch.)

Connected mc
Connected zippy

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Anthony Gomes Band - Blues In Technicolor

Size: 121.7 MB
Time: 53:08
File: MP3 @ 320K/s
Released: 1998
Styles: Blues
Art: Full

1. Blues In Technicolor [4:09]
2. Gonna Have A Party [3:13]
3. Bad Luck Child [4:42]
4. Outta The Cathouse [4:11]
5. Misery For Company [6:01]
6. Love's Got The Power [4:17]
7. Hard Year For The Blues [3:50]
8. Wolf In My Henhouse [4:48]
9. Shame On You [3:25]
10. Brand New Day [5:38]
11. High Calorie Woman [4:30]
12. Monday Kinda Tuesday [4:19]

I think the only word to describe this album is, “Wow!”. This man is simply amazing.... It’s been hit and miss, but this one was definitely a keeper.
Anthony Gomes is quite the funk/jump-blues player. His guitar rhythms will keep you bouncing around as you listen to him, and his solos will blow you away. A little more flashy (almost every song has a really big finish) than I normally like, but his playing is tasteful all the way. From his opening groove on the title track he’ll hook you, and then spend the rest of the album playing with you before he reels you in. Gomes doesn’t let the music build to excitement; he just starts it off that way. The intro solo to “Gonna Have a Party” will hook you with the first measure. You’ll be energized after the first two songs on this album, and Gomes just keeps going. Don’t think that everything is fast paced here. He slows it down for his tribute to fallen blues musicians with a slow acoustical “Hard Year for the Blues”, and “Monday Kinda Tuesday”.

Blues In Technicolor

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Blackmore And Blackmore - Coyote

Size: 95.1 MB
Time: 41:05
File: MP3 @ 320K/s
Released: 2019
Styles: Blues
Art: Front

1. Heads Up [5:02]
2. Changeling [5:43]
3. Blue Diamonds [5:14]
4. Cactus Jam on Toast [3:51]
5. Coyote [5:38]
6. Nowhere Blues [4:37]
7. Myth [4:18]
8. Mr. Bad Lucky [6:38]

This is an instrumental album recorded during real time live looping sessions. Instruments used in the making of this album were an acoustic guitar and a djembe drum. Songs are in the acoustic blues genre with some eclectic leanings.

Blackmore and Blackmore is the stage name use by Mike Blackmore when performing using live looping. The only instruments used are an acoustic guitar and a djembe drum but the resulting mix is of a full acoustic group. Song styles range from acoustic blues to blues rock to eclectic. Mike Blackmore has been performing in southern Ontario, Canada, for the past twenty five years, leading several groups some up to six members. In the last two years he has latched on to the live looping phenomenon and has been busy performing at events, festivals and music venues.

Coyote

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Cass Clayton - Play Nice

Size: 113.7 MB
Time: 49:00
File: MP3 @ 320K/s
Released: 2019
Styles: Blues, Rock, Soul
Art: Front

1. Dawes County [4:54]
2. Little Things [4:18]
3. Play Nice [3:59]
4. B Side [3:32]
5. No Use in Crying [4:38]
6. Tattered and Torn [4:19]
7. You'll See [4:23]
8. The Most Beautiful [4:19]
9. Doesn't Make Sense [4:49]
10. Flowers at My Feet [4:50]
11. Slow Kiss [1:15]
12. Strange Conversation [3:38]

Cass Clayton is a product of the Colorado music scene and combines rock, soul, blues, funk and R&B into a smooth and cohesive package. Each song tells a story and Clayton and company are up to the task. There are 11 new songs here and one cover.

Clayton hails from the Mountain State and her 2018 album was selected as the Colorado Blues Society Members Choice Album of the Year. It was reviewed in Blues Blast Magazine a year ago in 2018 by me and I liked it a lot. This album takes us on a more positive path and continues to showcase the songwriting and musicianship of Clayton and her band. Taylor Scott is a fine guitar player whose skills are evident in each track. Tom Amend and Jon Wirtz share the duties on organ and keys. Chris Harris is on bass except for one track with Loren Phillips (track 7). On drums, Brian Claxton and Larry Thompson share the duties except on tracks 5 and 6 where Steve Saviano plays.

The album opens with “Dawes County,” a biographical cut about Claytons’ home where her family farmed and she has graduated from to move on to bogger and better things. Nic Clark adds some cool harp to the cut as Clayton sings with a country flair and Scott lays out some nice licks. Up next is “Little Things;” its got a good groove to it and Clayton delivers a a performance with emotion. Darryl Gott on tenor sax and Gabe Mervine on trumpet are a sweet horn section backing Cass and the band. “Play Nice” is next, a restrained and subdued cut with the organ setting a mood as Clayton sings. Scott has a short but poignant solo here, too. “B Side” is a tune about a relationship where the A side is a lot of fun but the B side may have some issues that are lacking. A big, driving, mid tempo cut with heavy guitar and organ where Clayton asks her man to see his whole persona while telling him she, too, may have some secrets. Interesting stuff. “No Use In Crying” moves along with a driving beat and we get to hear the horn section again. Clayton sings stridently and the guitar and organ both showcase themselves well. “Tattered and Torn” is a darker ballad with some well done piano Amend added to his organ work. The song builds and Clayton delivers the goods with emotion.

“You’ll See” is a funky and driving cut with a great groove. Lots of heady organ work by Wirtz and Scott adds to the mix with his guitar. We get another ballad in “The Most Beautiful Girl” about a set of Siamese twins and other people from life’s freak show that Clayton sings are just people like us. Scott gives a thoughtful solo to add to the mood. We get “Doesn’t Make Sense Next,” another funky cut with an interesting guitar lead and paced vocals by Clayton. “Flowers At My Feet” has some more funkiness going on with a big guitar intro and lots of bass and organ for fun, too. Clayton builds here vocals throughout with some nice backing vocals. Organ and guitar solos are forthright and cool. “Slow Kiss” is a short, somber instrumental that comes out of “Play Nice;” Clayton sings about not dismissing a slow kiss in that song and we get that slow kiss in this cut. The album ends with “Strange Conversation,” a 1994 song by Ted Hawkins. It was s a cool cut originally and Clayton gives it her own angst filled cover; nicely done!

Much of the topics for the songs remain a little dark (as in her prior album) but Clayton is able to make those songs enjoyable and interesting for the listener. She delivers emotion and she and the band are together and tight. Scott had a hand in writing many of the songs with Clayton and on one Wirtz was involved. The songs are solid musically and lyrically and the arrangements are really spot on. This is a great effort that is more rock and funk than blues, but that does not diminish the fact that it is all really good music!

Play Nice

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The Terry Hanck Band & Friends - Gotta Bring It On Home To You

Size: 117,4 MB
Time: 51:11
File: MP3 @ 320K/s
Released: 2014
Styles: Electric Blues
Art: Full

01. Right Now Is The Hour (4:54)
02. Whole Lotta Lovin' (6:11)
03. Pins And Needles (3:36)
04. Peace Of Mind (5:06)
05. T's Groove (6:06)
06. My Last Teardrop (5:35)
07. There's No Gettin' Over Me (4:04)
08. Jam Up (4:55)
09. Gotta Bring It On Home To You (3:35)
10. One Horse Town (7:04)

Terry Hanck’s prior Delta Groove release Look Out! proved that sax and soul are still the rage. Terry swept both the Blues Music Awards and the Living Blues Award for ‘Best Horn’ in 2012, and was nominated in the ‘Best Song’ category too. He is nominated again for 2014 BMAs ‘Best Horn’ and this brand new record brings it on home one more time. Terry and ace guitarist/2014 Grammy nominee Kid Andersen produced this ten song package brimming with classic New Orleans R&B, steamy strolls, gorgeous soul ballads and West Coast jump blues. In addition to his regular band mates, guests include Debbie Davies, Kid Andersen, Jim Pugh, Bob Welsh, Lorenzo Farrell and more.

Recording information: Greaseland.

Terry Hanck (tenor saxophone); Butch Cousins (drums). Audio Mixer: Chris "Kid" Andersen.

Updated by Bluestender: CD Rip with full covers.
Originally posted on 4/May/2014

Gotta Bring It On Home To You

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Nine Below Zero - On The Road Again (Live)

Size: 264,1 MB
Time: 112:53
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Rock
Art: Front

01. Money Or The Man (Live) (3:55)
02. Cinnamon Man (Live) (3:54)
03. Watch Yourself (Live) (3:37)
04. Rocket (Instrumental) [Live] (4:35)
05. Jump Back Baby (Live) (4:09)
06. Walking By Myself (Live) (3:02)
07. Mama Talk To Your Daughter (Live) (2:03)
08. Wild Kickin' Horse (Live) (5:19)
09. One Way Street (Live) (4:11)
10. Three Times Enough (Live) (2:26)
11. Don't Point Your Finger At The Guitarman (Live) (2:56)
12. Sugar Mama (Live) (5:48)
13. Why Don't You Try Me Tonight (Live) (5:18)
14. Cold Cool Heart (Live) (4:18)
15. No More The Blues (Live) (3:27)
16. Tell Me Why I Just Can't Be Like You (Live) (9:19)
17. Riding On The L&N (Live) (5:33)
18. I Can't Help Myself (Live) (2:55)
19. Hoochie Coochie Coo (Live) (2:58)
20. Pack Fair And Square (Live) (2:19)
21. Homework (Live) (2:54)
22. Hit The Road Jack (Live) (1:46)
23. We Rock The House Again (Live) (2:20)
24. Stone Fox (The Whistle Test Theme) [Live] (2:45)
25. On The Road Again (Live) (5:26)
26. King Bee (Live) (2:10)
27. Eleven + Eleven (Live) (3:44)
28. Down In The Dirt Again (Live) (5:27)
29. Loaded Gun (Live) (4:04)

Nine Below Zero started life in South London during 1977, in the midst of the punk rock boom in England -- but their sound and inspiration were so totally counterintuitive to what was going on in punk rock that they scarcely seemed to be part of that movement, apart from their extremely energetic attack on their instruments. Rather than noise for its own sake or auto-destruction, their inspiration lay in classic Chicago blues (though John Mayall's early music and that of the Who and the Kinks from early in their careers also figured into their sound). Dennis Greaves (lead vocals, guitar), Peter Clark (bass), and Kenny Bradley (drums) -- soon joined by Mark Feltham (who actually replaced a teacher of theirs who had sat in on the early gigs) on vocals and harmonica -- were schoolmates and friends who shared a love of blues; all had all come into the world in the early '60s, and might well have resigned themselves to having missed the boat for the British blues revival by virtue of having been born in the midst of it. Instead, they reached back to that era and found themselves pegged as part of the "mod revival" in the midst of the punk era.

Originally billed as Stan's Blues Band, they made a name for themselves locally in South London, sounding a lot like the Who from their "maximum R&B" days and the Kinks from their early days, and arrived as younger rivals to Dr. Feelgood. A couple of years later, they acquired a manager and a new name, taken from a song by Sonny Boy Williamson II, and cut a debut record on their own label. By 1980, they'd been signed to A&M Records' British division and took the bold step of making their major-label debut a live album from the Marquee Club in London -- to judge from the results, one heartily wished that some of the earlier bands that inspired them had displayed similar daring. Live at the Marquee, recorded on June 16, 1980 -- by which time Stix Burkey had replaced Bradley on the drums -- was a success and led to their follow-up album. For their sophomore effort, Don't Point Your Finger, they were determined to translate their live energy into the studio and turned to no less a producer than Glyn Johns, who had worked with the Rolling Stones and the Who in their respective best years. The resulting record reached number 56 on the British charts.

The band's upward momentum was slowed in the years that followed, with Clark's departure (replaced by Brian Berhall), though a third album, Third Degree, followed -- but it seemed as though the moment had passed, as that record never got the attention or recognition it deserved from the press or the public. Greaves' involvement with an outfit called the Truth, who coalesced as a full-time band in 1984, seemed to bring an end to Nine Below Zero, and that might have been as far as the group got. But a 1990 reunion got them playing before sell-out audiences, and the group has been working ever since, with Greaves on lead guitar and Mark Feltham even returning to the fold in 2001. ~Bruce Eder

On The Road Again (Live) MP3
On The Road Again (Live) FLAC

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Vince Agwada - Light Of Day

Size: 182,0 MB
Time: 78:36
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Rock
Art: Front

01. Two Tons Of Fun (5:14)
02. Hard Headed Woman (4:57)
03. Blues 99 (5:23)
04. I Wanna Fly (6:10)
05. Awakening (0:49)
06. Blue Moon Call (7:23)
07. Friend (5:07)
08. Quicksand (5:04)
09. Mustafa's Lament (6:00)
10. Angelina (4:31)
11. Southbound 69 (6:54)
12. Spirit (4:31)
13. King Of The Night (4:13)
14. Credit Card (3:07)
15. Find My Baby (5:32)
16. Light Of Day (3:36)

Fun fact: Did you know that the words “monster” and “demonstrate” come from the same root? Monsters show us what we’re afraid of – hence the connection. Vince Agwada, who cut his teeth in the blues clubs of Chicago’s South Side, is the Godzilla of guitar monsters. No one can play faster, louder, and with more incendiary energy than he. His new album, Light of Day, might as well have been called Sunburn. The only thing listeners have to fear is that their delirious party mood might wane before the 78 minutes of this CD are over. Sixteen original songs run the gamut from celebratory (“Two Tons of Fun”) to heartwarming (“Friend”) to tongue-in-cheek (“Credit Card”). Vocally, Vince is clear and concise. Above all, his shredder sings, screams, rages, roars, and reveals what lyrics alone cannot. It’s his instrumental alter-ego.

On his website, Agwada reminisces about his formative years in the blues: “That was a magical period in my life; on any given night you might find the likes of Buddy Guy, Junior Wells, Magic Slim, Son Seals, Otis Rush, Little Milton, Hubert Sumlin, Sammy Lawhorn, Lefty Dizz and just a slew of other greats all in the same room, drinking, playing cards, taking turns on stage; it was an incredible time for me, and I learned more about music from these giants than any college ever could have taught me. As I got better, I eventually wound up having the privilege of being in the house bands of both Theresa’s and the Checkerboard simultaneously—not many people living today can say that!”

Joining Vince (guitar, bass, vocals) are drummers/percussionists Brian Jones, Brady Williams, Steven Gillis, Billy Blaylock, Kwame Steve Cobb, Clyde Davis, and Terence Higgins. On bass are Andre Howard, Orlando Wright, John C. Hall Jr., Bill Dickens, and Jim Spears. On keyboards, piano and organ are Roosevelt Purifoy, Tim Gant, Joe Munroe, and Lionel Haas. Terri Lane and Neda Homayoon provide background vocals. The Game Changer Horns and sax soloist Edwin Daugherty round out the list of stellar co-musicians.

The following song is one to which anyone who’s ever used a certain piece of plastic can relate.

Track 14: “Credit Card” – With a terrific bassline by Vince and crisp drums by Steven Gillis, this tale is a familiar one. When “two fine women with uptown taste” get a hold of our narrator, so does the instrument of his demise. At the end, he issues a warning to anyone and everyone who will listen: “Minimum payments, just take your time. You’ll still be paying when you’re ninety-nine. Slave to the money, you sure can bet – you’ll never get ahead once the hook gets set.”

Other blues artists play the guitar. Vince Agwada IS the guitar on Light of Day! ~Rainey Wetnight

Light Of Day

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The Royal Hounds - Low Class Songs For High Class People

Size: 83,8 MB
Time: 35:36
File: MP3 @ 320K/s
Released: 2019
Styles: Rockabilly
Art: Front

01. The Walk (3:28)
02. Whackity Do (2:50)
03. The Parthenon (4:46)
04. Pororoca (2:47)
05. Tweakers From Outer Space (4:26)
06. Pizza Party (1:51)
07. Road Scholar (2:40)
08. Manteiga Braganca (1:42)
09. Herbie The Butterfly (3:47)
10. Chinese Buffet (2:06)
11. Ghost Riders In The Sky (5:07)

There’s nothing wrong with listening to songs with serious themes. You certainly have a lot of options for that. However, sometimes it’s nice to listen to some music just because it’s fun. If you had to describe Low Class Songs for High Class People by The Royal Hounds with just one word, fun would be an excellent choice.

You get the fun vibe right away with the opener “Chinese Buffet”. Scott Hinds plays a rockabilly bass line as he sings about all the items on the Chinese buffet (including crab legs if you’re lucky enough). Meanwhile, the pedal steel gives it a honky-tonk sound. It’s a fun song about dinner that will get you singing along.

Between the driving beat by Scott “Bramble” Billingsley, the bass line, and the clean guitar picking, It’s hard not to think about Reverend Horton Heat when you hear the melody of “Pizza Party”. This is a short song that will get you dancing as you listen to the lyrics which are suggestive in the same way as “Guacamole” by Texas Tornadoes.

While it’s clear that the band doesn’t take itself too seriously, the guys do show off their chops with two instrumental tunes. “Manteiga Braganca” is a real foot-stomper with some lightning-fast guitar picking by Matheus Canteri as well as a rhythm that makes it impossible to remain still. “Pororoca” isn’t quite as uptempo, but it’s still fun to listen to. With its twangy surf sound, this song brings Southern Culture on the Skids to mind.

If you like old-fashioned truckin’ songs, you’re in luck because this album includes “Road Scholar”. This is a song about a guy who drops out of school to become a truck driver who knows “every street in the U.S.A.” The pedal steel player gets to show off a bit in the instrumental break while the tempo of the song is pretty well suited to the subject matter. If you were a trucker, this would be a pretty good tune to hear while you drive.

From surf to honky-tonk to psychobilly (“Tweakers from Outer Space”), this album takes you on a bit of a musical journey. No matter the style, it’s hard not to smile when you put this album. The Royal Hounds forgo gravity for fun, and they do it very well. ~Gary Schwind

Low Class Songs For High Class People

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Memphis Slim - The World's Foremost Blues Singer + Alone With My Friends (Remastered)

Size: 164,8 MB
Time: 71:10
File: MP3 @ 320K/s
Released: 2019
Styles: Piano Blues, Electric Blues
Art: Front

01. Lonesome (Blue Blues) (2:31)
02. Cold Blooded Woman (3:39)
03. One Man's Mad (2:54)
04. Good Time Roll Creole (2:39)
05. What Is Mare-Back (3:02)
06. Pigalle Love (2:24)
07. Four Walls (2:47)
08. It's Been Too Long (2:45)
09. Big Bertha (2:10)
10. I'm Lost Without You (2:20)
11. I'll Just Keep Singing The Blues (2:41)
12. True Love (2:54)
13. Highway 51 Blues (4:17)
14. I Feel So Bad (2:49)
15. Rock Me, Momma (3:53)
16. Goin' Down Slow (3:44)
17. Sittin' On Top Of The World (3:39)
18. Sunnyland Train (3:58)
19. Goin' Down The River (3:04)
20. I Just Want To Make Love To You (3:59)
21. I Can Hear My Name A-Ringin' (4:07)
22. Going Back To My Plow (4:44)

An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman -- better known as Memphis Slim -- assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

As befits his stage name, John "Peter" Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late '30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy's invaluable accompanist for a few years, Slim emerged as his own man in 1944.

After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."

The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."

Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).

Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty. ~

An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman -- better known as Memphis Slim -- assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

As befits his stage name, John "Peter" Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late '30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy's invaluable accompanist for a few years, Slim emerged as his own man in 1944.

After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."

The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."

Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).

Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty.

The World's Foremost Blues Singer + Alone With My Friends (Remastered)

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Sunday Wilde & Reno Jack - Two

Size: 76,4 MB
Time: 32:37
File: MP3 @ 320K/s
Released: 2017
Styles: Blues Rock, Blues Vocals
Art: Front

01. Howling For My Darling (2:43)
02. Love Contest (3:25)
03. Van Horne (1:59)
04. Moonlight Rising (3:11)
05. 5-10-15 Hours (3:13)
06. Back Lane Man (5:47)
07. Rome Wasn't Built In A Day (3:29)
08. No Matter How Far (3:55)
09. I Wanna Do More (2:47)
10. Leaving On Your Mind (2:04)

Sunday Wilde plus Reno Jack equals Two. The first (hopefully of many) collaborations.
Hwy 11 records has been sharing Sunday Wilde and her many talents for a while and she has always been sassy, sultry, bluesy and without apology talented. Now we have "Two".

Welcome to the duet party Mr. Reno Jack. His deep bass playing can only be out shined by his voice which vibrates your very bones. His solo on this CD " Moonlight Rising" which is an original Reno production, shows his unique talent. I don't like to compare but Johnny Cash is the only other voice that could woefully reach the heart and soul like Reno.

Sunday sounds perfect as always, but I noticed something different this time. There is a story in the collection. A love story. Not romance, not sex, but real passion and joy. I found myself wanting to get up and dance to "Howling for My Darling" and "Van Horne" both of which have been rising in the music charts already. The duo of "Love Contest" left a smile on my face for quite sometime, a song whos ending makes me laugh out loud.

The whole kit and kaboddle is a well balanced blend of each artist indivdually and as a duo. These "Two" were meant to be. Like pecans and pie, like grits and butter, they are great by themselves but better together. ~Lynda Jelinek

Two

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Tri-Continental - Dust Dance

Size: 100,7 MB
Time: 43:58
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Folk, Blues Rock
Art: Front

01. Look Up (5:13)
02. Azafady (4:50)
03. Dust (6:05)
04. Lakalaka (4:15)
05. Stackerlee (3:53)
06. Love Is (5:22)
07. Tononkira (4:17)
08. In The Silence (7:00)
09. Dancing In Old Crow (2:59)

“Always leave ‘em wanting more,” they say.

I think it’s fair to say that that’s exactly what Tri-Continental did around 2010 when, after four albums and a Juno victory for their self-titled debut, the members each quietly returned to their formidable solo careers.

But well over a decade after their last recording, more has finally arrived in the form of Dust Dance, an album that picks up where 2004’s Drifting left off, seemingly without missing a beat.

The trio of Bill Bourne, Lester Quitzau and Madagascar Slim has always miraculously managed to sound even greater than the sum of its parts, despite the fact that its parts are among Canada’s leading roots artists; Bill and Slim are both Juno winners in their own right, and Lester, a Juno nominee, is widely regarded as a top-tier blues-roots act.

There’s just something about the blend of Bill’s weathered folk sound, Slim’s Malagasy blues and Lester’s soulful roots that goes together like, say, water biscuits, brie and raspberry compote – or some other sophisticated flavor combo – and it sounds as fresh today as it did when they debuted 18 years ago.

Dust Dance opens with “Look Up,” a gentle number with a spiritual vibe, which is marked by easygoing harmonies and features Slim’s guitar at the forefront.

“Dust” starts off as a two-minute jagged electric guitar-driven instrumental that morphs into a Malagasy blues number featuring vocals distorted to the point of sounding like mere vocalizations.

That is, until the final lines.

“Listen you,” a voice speaks over the final bars. “Enjoy your time. You really don’t have very long. You were born just a moment ago. And in another moment, you’ll be gone.”

Woah.

“Stackerlee” is a rocker, featuring Bill on lead vocals, which sounds as if it was inspired by “Stagger Lee” – given the nod to its “Please don’t take me life” lines. But this ain’t no cover.

And “Dancing in Old Crow,” the album’s closer, is an out and out upbeat, vintage-sounding country song about music and good times in the Yukon.

For all of the diverse influences that one can point to in the music, though, the thing that makes Tri-Continental so ceaselessly compelling is just how damn cohesive the band sounds no matter how many musical genres and influences it’s pulling into its brew.

That and the originality that runs throughout their records.

“Love Is,” for example, opens with a twangy “Get along little doggy, get along,” which morphs into “Why can’t we all just get along,” which morphs again into a stripped down slow song about the need for human connection.

Clever stuff guys.

Anyone who’s missed this trio’s spacious, soulful, globally-infused bluesy roots is going to delight in Dust Dance.

There’s no “reunion jinx” here; this is as good a record as Tri-Continental has ever made. ~Heather Kitching

Dust Dance

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Courtney Hunter - Courtney Hunter

Size: 39,6 MB
Time: 16:52
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Rock
Art: Front & Back

01. Tell It Like It Is (2:43)
02. 3:30 Am Blues (2:52)
03. Down To The River (2:31)
04. I Got What I Need (3:05)
05. One Step At A Time (2:58)
06. Supper Time (Feat. Nathan Walker & Cory Burke) (2:40)

Courtney Hunter is a vocalist and bassist from Northern California. She has experience performing at local festivals, wineries, county fairs, and private events in California, Nevada, Oregon, and Washington State. Courtney just released her debut album with guitarist, Nathan Walker.

Nathan Walker is a guitarist and lap steel player from Washington state. He has 20 years of band experience under his belt and a A.A. degree in Audio Production from The Art Institute of Seattle. Nathan has performed at many different venues and festivals with several different bands on the West Coast.

Courtney Hunter

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Janiva Magness - Change In The Weather: Janiva Magness Sings John Fogerty

Size: 112,0 MB
Time: 47:49
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Rock, Rock
Art: Full

01. Change In The Weather (4:39)
02. Lodi (Feat. Sam Morrow) (3:50)
03. Someday Never Comes (4:02)
04. Wrote A Song For Everyone (3:53)
05. Don't You Wish It Was True (Feat. Taj Mahal) (4:22)
06. Have You Ever Seen The Rain (4:27)
07. Bad Moon Rising (4:06)
08. Blueboy (3:47)
09. Fortunate Son (3:13)
10. Deja Vu (All Over Again) (4:06)
11. A Hundred And Ten In The Shade (4:39)
12. Lookin’ Out My Back Door (2:39)

Change In The Weather: Janiva Magness Sings John Fogerty brings Janiva's blues-oriented, soulful style to 12 classic Fogerty and Creedence Clearwater Revival tunes. Featuring guests Sam Morrow on the swampy "Lodi" and Blues legend Taj Mahal on "Don't You Wish It Was True," the album reflects the timeless quality of Fogerty's work, cutting a broad swath through rock, blues, and country, and trailblazing the eclectic, roots-based Americana genre.

Updated: CD Rip with full covers.
Originally posted on 12/Set/2019.

Change In The Weather

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Lurrie Bell & The Vampin' Blues Band - Cuttin' Heads

Year: 2004
Bitrate: MP3@320K/s
Time: 57:44
Size: 132,9 MB
Styles: Electric blues
Scans: Full

1. I've Got A Watch On You (4:41)
2. A Man And The Blues (9:37)
3. One Day (5:15)
4. I'll Be Your 44 (6:00)
5. Leaning Tree (9:52)
6. Call Me On The Phone (4:53)
7. Smoke Stack Lightning (1:48)
8. I'll Play The Blues For You (7:25)
9. I Ain't Nobody (4:01)
10. 4:59 Am (4:07)

Lurrie Bell was born on December 13, 1958, in Chicago. His famous father, harpist Carey Bell, had him working out on guitar as a wee lad. By 1977, he was recording with his dad and playing behind a variety of established stars, tabbed by many observers at the time as a sure star on the rise. But personal problems took their toll on his great potential; Bell's recorded output and live performances were inconsistent in the '80s and early '90s. Among the highlights of Bell's discography are three tracks in tandem with harpist Billy Branch under the Sons of Blues banner (Bell was a founding member of the band) from Alligator's first batch of 1978 Living Chicago Blues anthologies and 1984's Son of a Gun, a collaboration with his old man for Rooster Blues.

Then there's his 1995 Delmark set Mercurial Son, as bizarre a contemporary blues album as you're likely to encounter. Bell followed Mercurial Son with the more straightforward 700 Blues in spring 1997; The Blues Had a Baby appeared two years later. Let's Talk About Love (2007) and The Devil Ain't Got No Music (2012) both appeared on Bell's own record label, Aria B.G. In 2013, he returned to Delmark with the release of Blues in My Soul, which celebrated the guitarist's straight-ahead Chicago blues roots. Three years later came Can't Shake This Feeling, also released on Delmark. /Biography by Bill Dahl, AllMusic

(For personnel details, see artwork included.)

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Michael Coleman & The Delmark All-Stars - Blues Brunch At The Mart

Year: 2006
Bitrate: MP3@320K/s
Time: 69:16
Size: 160,1 MB
Styles: Electric blues
Scans: Full

1. Little Arthur Duncan - Knockin' On Your Door (4:34)
2. Michael Coleman - The Sky Is Crying (6:48)
3. Lurrie Bell - I Need You So Bad (4:20)
4. Lurrie Bell - Reconsider Baby (6:51)
5. Willie Kent - Something New (4:35)
6. Bonnie Lee - Sad & Evil Woman (6:06)
7. Steve Freund - My Little Playhouse (4:31)
8. Zora Young - Toxic (6:50)
9. Steve Behr - Memories Of Albert Ammons (4:53)
10. Shirley Johnson - As The Years Go Passing By (6:23)
11. Tail Dragger - Be Careful (5:22)
12. Aaron Moore - Wading In Deep Water (3:34)
13. Michael Coleman - You're Going To Miss Me (4:22)

More than 50-years-old and still going strong, Delmark records is Chicago's oldest jazz and blues label and arguably the most important one still operating. They've released stone-cold classics in both genres over the years and currently maintain one of the best rosters of Chicago talent in the field. You can thank Bob Koester for that; a nominee for "Patron Saint of Chicago Jazz and Blues" if ever there was one. He also heads up the world's largest blues and jazz retail store: Chicago's Jazz Record Mart. Every year during the Chicago Blues Festival, Jazz Record Mart hosts the blues brunch, where members of the Delmark blues family put on a free show (and brunch!) inside the store.

In 2005, Michael Coleman & the Backbreakers acted as house band, backing a variety of other Delmark artists in a great informal setting, and Blues Brunch at the Mart was recorded for posterity. Aside from the two solo piano numbers (Steve Behr and Aaron Moore), the Backbreakers back all performers giving the album a unified sound, even as the lead performers come and go. But don't think this all sounds the same.

You go from an updated version of "The Sky Is Crying" by Michael Coleman to the gritty blues of Lurrie Bell to the gospel-informed sounds of Shirley Johnson to the growling, extroverted Tail Dragger. The late, great Willie Kent takes a final bow as well. From the between-song patter, one gets the sense that this isn't just a group of musicians united by their label; this is the Delmark blues family, and the patriarch is Bob Koester (who turns in a couple of priceless introductions). Part label roster sampler and part historical souvenir, Blues Brunch at the Mart is a fine snapshot of Delmark blues circa 2005. /Sean Westergaard, AllMusic

(For personnel details, see artwork included.)

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Lurrie Bell - Blues Had A Baby

Year: 1999
Bitrate: MP3@320K/s
Time: 66:04
Size: 153,1 MB
Styles: Electric blues, Chicago blues
Scans: Full

1. Givin' Me A Hard Time (5:09)
2. Got My Eyes On You (4:02)
3. You're The One (2:58)
4. Rapid Transit (3:07)
5. Mean Black Spider (4:37)
6. Blues Had A Baby (4:30)
7. Lurrie's Walk (6:30)
8. Mean Old Frisco (3:26)
9. Five Long Years (5:23)
10. Who Do You Love (4:10)
11. Raised On The Blues (3:25)
12. I'll Be Your 44 (4:04)
13. If I Had A Hammer (6:39)
14. Mary Had A Little Lamb (3:18)
15. Rollin' & Tumblin' (4:41)

The blues of Lurrie Bell comes from a turbulent place, but there's no denying the man can play. This album brings together tracks from three different sessions, the bulk being held in 1997. Supported by a spartan rhythm section, Bell sprays kamikaze guitar licks over a bevy of old standards like "Five Long Years," "Who Do You Love," "Mean Old Frisco," and "You're the One." The last four songs on the album are the real treat; cut in 1995 at the Mercurial Son sessions, this is just Lurrie and his electric guitar running through raw, soulful, and sometimes whacked-out versions of everything from "Rollin' and Tumblin'" to "If I Had a Hammer." If you've wondered what all the fuss is about, grab this CD and turn on to the blues world of Lurrie Bell. /Cub Koda, AllMusic

(For personnel details, see artwork included.)

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Sugar Blue - Another Man Done Gone

Year: 2007
Bitrate: MP3@320K/s
Time: 72:19
Size: 166,9 MB
Styles: Electric blues, harmonica blues
Scans: Front

1. Cold Blooded Man (4:43)
2. Another Man Done Gone (2:18)
3. Don't Start Me Talkin (3:53)
4. Pontiac Blues (3:24)
5. Devil Woman (9:49)
6. Help Me (5:09)
7. Key To The Highway (4:02)
8. That's Allright (4:25)
9. Shed No Tears (3:10)
10. Begging The Girl To Go (6:21)
11. Dark And Hungry (6:53)
12. War Zone (4:39)
13. Who's Been Talking (6:54)
14. Secret Lover (6:33)

One of the foremost electric blues harpists of the modern era, Sugar Blue was born James Whiting in New York City in 1950. The son of a singer/dancer who regularly performed at the legendary Apollo Theater, he was given his first harmonica at the age of ten, and by his mid-teens had already performed in the company of Muddy Waters; in the early '70s he made his first recordings, sitting in on sessions by the likes of Johnny Shines and Louisiana Red.

Sugar Blue relocated to Paris in 1976, where he was introduced to the Rolling Stones; he went on to play on the group's LPs Some Girls, Emotional Rescue, and Tattoo You, lending his skills to such hits as "Miss You." He also played on jazz dates for Stan Getz and Paul Horn, and in 1979 cut the solo efforts Crossroads (1979) and From Paris to Chicago (1982). In 1985, Blue won a Grammy Award for his participation on the Atlantic compilation Blues Explosion. Upon returning to the U.S. in the mid-'80s, Sugar Blue settled in Chicago, and after signing to Alligator, he cut Blue Blazes in 1994, followed a year later by In Your Eyes.

Over the coming years he continued to perform and tour, though it would be 12 years before his next album, 2007's Code Blue, was released. Threshold appeared in 2010 followed two years later by the live album Raw Sugar. 2016 would prove to be a banner year for the veteran bluesman, with the release of a new studio album called Voyage, a world tour, and an appearance in the documentary film Sidemen, A Long Road to Glory. /Biography by Jason Ankeny, AllMusic

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Lucky Peterson - 50: Just Warming Up!

Year: 2019
Bitrate: MP3@320K/s
Time: 73:48
Size: 170,4 MB
Styles: Electric blues
Scans: Full

1. 50 Years (4:11)
2. Pack It Up (3:57)
3. Dreamin' About You (4:59)
4. Don't Want Nobody But You (Feat. Tamara Tramell) (4:43)
5. Repossess Your Love (4:29)
6. I Will Die 4 U (Feat. Tamara Tramell) (3:55)
7. Never Make Your Move Too Soon (5:03)
8. Clickety Click (4:54)
9. The Blues Is Driving Me (3:57)
10. Angel Of Mercy (6:33)
11. Going Where My Roots Come From (5:17)
12. Takin Care Of Mine (Feat. Aelpéacha) (5:42)
13. Let The Good Time Party Begin (Feat. Danielia Cotton & Sugar Blue) (4:31)
14. Kissin' On My Lips (Feat. Jakk Jo) (2:46)
15. Amazing Grace/Precious Lord (Feat. Sharon Riley) (8:43)

A fifty-year career is cause for celebration and Lucky Peterson has decided to celebrate it with a grand tour to remind us all that the blues is the eternal foundation stone of today’s music genres – the blues which has watched over him since he was tiny. He is returning to that soundtrack which enabled him to survey scenes from all over the world, as he always does and as he has never done, leading a group which knows its business.

(For personnel details, see artwork included.)

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Billy Jones - Prime Suspect For The Blues

Size: 163,4 MB
Time: 69:59
File: MP3 @ 320K/s
Released: 1998
Styles: Blues, Soul, Funk
Art: Full

01. Breakdown (3:50)
02. Marry My Mother-In-Law (7:44)
03. Slip Away (4:24)
04. Come Back Tonight (3:37)
05. Doin' Alright Again (5:12)
06. Let's Straighten It Out (6:51)
07. Ain't Good Lookin' (4:36)
08. Her Daddy's Alligator Farm (5:32)
09. The One For Me (3:31)
10. Be Your Man (3:54)
11. Don't Answer The Door (4:35)
12. Anything You Say (3:37)
13. The Rumor (3:43)
14. Make Love Tonight (3:07)
15. Barnyard Love (5:39)

This blues bandleader, who sings and plays guitar and calls his music "bluez," began releasing his own compact discs in 2001. When Billy Jones substituted a "z" for an "s," he was not trying to make the name of his beloved genre closer to the way a drunken bar patron might pronounce it at the end of the night. Rather, "bluez" is all about being independent from the big-time music business, a stance more often taken by indie rockers. While in reality even the biggest blues labels are nothing but small independents, these firms still represent too big a clique for Jones, who prefers issuing material on his own Cyborg-Blue imprint.

Though apparently not documented on many available recordings, Jones' involvement with blues goes back to his childhood. He was supposedly considered something of a prodigy, studying with artists such as Little Johnny Taylor, Rufus Thomas, and Larry Davis, among others. When he became a teenager he hit the road, musically hitting a variety of styles in the bands of the beautiful Chaka Khan, the tasty Chocolate Milk, and the rhythmically astute Bar-Kays. This background certainly ought to supply him with the goods to create a contemporary vision of roots music. He sees himself as part of a new movement in this genre, described colorfully as follows in his own promotional material: "...it ain't your grampa's music, or that same ol' predictable stuff that you may find at big corporate labels...But then...what do these 'fat cat' record company guys know about what's happening on the streets right now?"

The first Jones release on his own, Prime Suspect for the Blues, was nonetheless well received by the so-called blues establishment of magazines, distributors, and underground radio shows, proving how much they might know after all. Based out of the Bay Area, Jones has put together a touring band whose membership draws from veterans of that area's blues scene, such as bassist Palmalee Byrd as well as keyboardist Corey Bray, who might just make a place for the synthesizer in this genre, or maybe that's why they call it the "bluez." ~Eugene Chadbourne

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Paul Gabriel - Man Of Many Blues (Feat. Duke Robillard, Christine Ohlman & Sugar Ray Norcia)

Size: 152,8 MB
Time: 65:45
File: MP3 @ 320K/s
Released: 2019
Styles: Electric Blues
Art: Front

01. I Feel Good (4:32)
02. Maybe We Can Talk Awhile (4:27)
03. Cold, Cold, Cold (6:06)
04. It Be That Way Sometimes (6:10)
05. No Finance, No Romance (5:08)
06. Blues For Georgia (4:48)
07. Second Story Man (3:54)
08. Man Of Many Blues (5:10)
09. Face Full Of Frown (3:34)
10. On That Train (4:51)
11. Just A Bitterness (6:03)
12. Angel (5:23)
13. Dear John Letter (5:33)

“This is one of the most special recordings I have ever done,” Gabriel says about the new album. “It’s being dedicated to my dear friend, Georgia Louis, the great 1960s Gospel and Blues singer; and it’s also special in that this is my sophomore recording with Duke Robillard producing.”

Man of Many Blues contains 13 all-original songs featuring Gabriel backed by an all-star cast of musicians, including Duke Robillard (acoustic archtop guitar, electric guitar); Scott Spray (a veteran of both Edgar and Johnny Winter bands), long-time Gabriel friend and band member Frank Davis and Paul Opalach (bass); Mark Teixeira (drums); Sugar Ray Norcia (harmonica); Bruce Bears (piano and Hammond organ; Lonnie Gasperini (Hammond organ); Howard Eldridge (vocals); Christine Ohlman (backing vocals); Mark Earley (tenor and baritone sax); and Doug James (baritone sax).

“One of the most interesting things for me while recording this record,” Gabriel remembers, “was using a very special Les Paul Guitar and Fender Super Reverb Amp exclusively that delivers a very inspiring tone, (in my opinion) somewhat reminiscent of the late Michael Bloomfield, my favorite guitarist.”

Both Bruce Bears and Mark Texeira are long-time members of the Duke Robillard Band. “Many other special musical guests appear on the album, as well,” adds Gabriel, “ including vocalist Howard Eldridge, an alumni of Matt 'Guitar' Murphy and The Blues Brothers Band; Mark Earley from Roomful of Blues; and Doug James from Roomful and The Jimmie Vaughan Band. Sugar Ray Norcia supplied magnificent harmonica, and the Beehive Queen, herself, Christine Ohlman delivered soulful backing vocals.

About Paul Gabriel:
Paul Gabriel is a Blues Music Award-nominated guitarist, singer and songwriter. In March, 2018, Gabriel was presented with the Lifetime Achievement Award from the Connecticut Blues Society for excellence in guitar playing, singing and songwriting; and in July of that year, he was also inducted into the Connecticut Blues Hall of Fame as a Master Blues Artist.

Over the years, he has shared the stage with B.B. King, Buddy Guy, Albert Collins, Muddy Waters Band, Mick Taylor, James Cotton, Robert Cray, Jaimoe, Gatemouth Brown, Buckwheat Zydeco, Matt Murphy, Johnny Winter, Delbert McClinton, Duke Robillard, Ronnie Earl, Toy Caldwell, Roomful Of Blues, The Fabulous Thunderbirds, The Band, Lonnie Mack, Sugar Ray and The Bluetones, Mark Naftalin, Arthur Neilson, Shemekia Copeland, Bonnie Bramlett, Susan Tedeschi, Christine Ohlman, Sue Foley, Debbie Davies, Candye Kane, Tommy Castro, Joe Bonamassa, James Montgomery, Gov't Mule, Orleans, Tower Of Power, Rick Derringer, Issac Hayes and many more.

He appeared on three Harry Chapin albums, played slide guitar on Rory Block’s Grammy- nominated album, Mama’s Blues, and toured with Michael Bolotin (Bolton). His last release, Paul Gabriel - What’s The Chance, was produced by Duke Robillard for Shining Stone Records and was nominated for a Blues Music Award in 2014. It charted on The Roots Music Report (for 22 week)s, plus the Living Blues, Blues Debut and Cashbox charts, reaching #8 nationally.

While almost always performing with a blues band under his own name, Gabriel has also been a member of several other groups that have made an impact; most notably Blue In The Face, The Mojomatics and HooDoo Band.

Man Of Many Blues

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