Sean Costello - Cuttin' In

Year: 2000
Bitrate: MP3@320K/s
Time: 49:52
Size: 115,3 MB
Styles: Electric blues
Scans: Full

1. Talk To Your Daughter (5:14)
2. Cuttin' In (2:53)
3. Cold Cold Ground (3:09)
4. Mellow Chick Swing (2:08)
5. I Want To Be Loved (2:19)
6. Who's Been Cheatin' Who (2:50)
7. Double Trouble (7:37)
8. Jumpin' Salty (2:21)
9. Goombay Rock (3:32)
10. I Got Loaded (2:51)
11. Those Lonely, Lonely Nights (2:40)
12. Close To You (4:10)
13. Rub A Dub (4:02)
14. Ah'w Baby (3:59)

This is Costello's second solo album, his first since his appearance on Susan Tedeschi's hit CD Just Won't Burn. Costello is only 20 years old, but his guitar work is in a completely different league from that of the other kid blues guitarists currently causing a fuss in bluesland. Costello comes from a remarkably well-informed place as a player. This is reflected not only in his guitar style, but also in the choice of material on Cuttin' In. He has a nice feel for jump blues, as we hear on his cover of Sonny Boy Williamson's "Mellow Chick Swing," and he can do the hard-edged Chicago blues with the requisite skill and fury - check out his Butterfield-esque original "Who's Been Cheatin' Who."

The R&B influence has not eluded Costello either - his cover of Otis Rush's "Double Trouble" is handled with a soulful feel that belies his age. And Costello's not afraid to take a flyer, either, which brings us to the calypso funkiness of "Goombay Rock," a song worthy of the Squirrel Nut Zippers' attention. Costello the guitarist has snatched the key to the blues kingdom. His playing is shockingly deep for a 20-year-old. And his vocal work is nearly a match for his guitar chops; given time, that too will become very real. Of all the young blues lions out there brandishing their electric guitars, Costello is the one who's got his head and heart into the deep blues. /Philip Van Vleck, AllMusic

(For personnel details, see artwork included.)

Cuttin' In mc
Cuttin' In zippy

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The Big House Blues Band - Live! No Room To Move

Year: 2007
Bitrate: MP3@320K/s
Time: 50:15
Size: 116,6 MB
Styles: Electric blues
Scans: Front

1. Payin' The Cost To Be The Boss (3:08)
2. Stormy Monday Blues (10:33)
3. I've Got Papers On You (2:49)
4. Walkin' By Myself (3:37)
5. Hug You, Squeeze You (3:35)
6. (I Got Everything I Need) Almost (1:57)
7. If You Love Me Like You Say (3:00)
8. The Good Life (3:31)
9. Right To Be Wrong (4:27)
10. Smokin' Gun (4:12)
11. Got My Mojo Workin' (3:17)
12. Gimme Some Lovin' (3:25)
13. Hey Bartender (2:38)

In this 13 song CD collection the Big House Blues Band performs live blues classics originally made famous by such greats as Muddy Waters, Stevie Ray Vaughan, Junior Wells and many more. The recording was made of the group's performance in front of a packed house at a Muskegon, Michigan show that took place in early 2007.

Personnel: "Big Daddy" Housemanâ (vocals, guitar, harmonica); Jimi Ray (drums, vocals); Jane Bassett (vocals, percussion); Nick "The House" Houseman (guitars, vocals); "Tzer" Tabaczka (keyboards, vocals); Jay Carr (bass, vocals); Greg Nimtz (alto sax); Mark Miller (trombone); Jim Van Bemmelen (tenor sax).

Live! No Room To Move mc
Live! No Room To Move zippy

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Among Lynx - Movement

Year: 2019
Bitrate: MP3@320K/s
Time: 48:09
Size: 111,5 MB
Styles: Blues/Roots/Rock mix
Scans: Front

1. Shameless (3:24)
2. Enable Me (3:36)
3. Blame Game (4:05)
4. Fine (4:44)
5. Time (5:02)
6. Pay & Forget (Prelude) (1:30)
7. Pay & Forget (4:17)
8. Jailbird (4:03)
9. Dog Days (4:06)
10. Skog (4:38)
11. Too Good For You (2:43)
12. Destructive Love (5:54)

Swedish Among Lynx is the Root Rock band with a musical punch-in-the face mindset. They will take you on a journey through dirty alleyways of polluted cities, to deserted back-roads on the countryside, to lush vegetation of ancient forests. They will leave you overwhelmed and inspired. They will leave you wanting more. Among Lynx’s distinct sound is cocky and confident, raw in its simplicity and true compelling.

With roots deeply engrained in blues, soul and folk they have found the perfect combination of old and new. By experimenting with rock and pop they bring about a new, fresh, blues-scented pop-genre with lyrics with a feminist agenda. Their music is characterized by Eva-Mi’s solid rock ’n’ roll voice, Elin “Luffar Lo” Öberg’s melancholic and howling harmonica, Moa Brandt’s bold slide guitar and Tove Brandt’s virtuoso and rhythmic double-bass plucking. And of course, a whole lotta fierce backing vocals.

Personnel: Eva-Mi Ringqvist (lead vocals, percussion); Moa Brandt (guitar, backing vocals); Elin Öberg (harmonica, backing vocals); Tove Brandt (bass, backing vocals); Amanda Savbrant (drums).

Movement mc
Movement zippy

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Little Mack Simmons - The Last Sessions

Year: 2000
Bitrate: MP3@320K/s
Time: 56:41
Size: 131,2 MB
Styles: Chicago blues, harmonica blues
Scans: Full

1. Mannish Boy/Hoochie Coochie Man (8:08)
2. Eyesight To The Blind (3:03)
3. No More Doggin' (2:41)
4. I Can't Stop Lovin You/Honest I Do (3:52)
5. Shake Rattle And Roll (4:32)
6. Why You Treat Me The Way You Do/Just A Feeling (5:30)
7. I Don't Know (3:21)
8. Save For The Children/Help Me (4:52)
9. Dead President (3:30)
10. La Cucaracha (2:59)
11. Never Leave My Homework Undone (3:15)
12. Driving Wheel (3:34)
13. Everything's Gonna Be Alright (3:14)
14. You Know I Love You (4:05)

Little Mack Simmons is synonym to many years of great blues, and being and living at the service of music. This man played and recorded with just about every blues star: Willie Dixon, Sunnyland Slim, Eddie Clearwater, Willie Mabon, Hubert Sumlin and many others. Through out his career he had high peaks of popularity, once even having his own club and recording studio. From his popularity he helped many others, for generosity was one of his virtues. He recorded for labels like C.J., Bea & Baby, Black & Blue, St. George, Wolf and Electro-Fi.

When he met with Adrián Flores and Mauro Diana in Chicago, he invited them to sit in, and introduced them to the public as his own Argentinian band. He also mentioned to Adrián that he was willing to go back to Argentina again. Little Mack had been here first in December 1998, when he did one of the most touching shows we have ever seen in Buenos Aires. Since we knew of his poor health, we knew it was going to be hard for him but he finally made it, doing what was then his last tour.

Due to airline problems, he was one day late and what was suppposed to be two shows was only one. He got here on a Saturday morning, after flying all night. He played that same Saturday night. Sunday morning, and after a few hours of sleep, we all went to the studio where these recordings were made. And this wonderful record is the final product. /Excerpt from the liner notes by Ricardo Muños

Personnel: Little Mack Simmons (harmonica, vocals); Omar Itcovici, Roberto Porzio (guitar); Mauro "Easy Baby" Diana (bass); Adrián Flores (drums); Lorenzo Thompson (vocals tracks 9, 14).

Originally posted in 23/06/2018. Updated to FLAC by bluestender.

The Last Sessions MP3
The Last Sessions FLAC

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Ray Allen - Personally

Size: 78,4 MB
Time: 33:03
File: MP3 @ 320K/s
Released: 2019
Styles: Rockabilly
Art: Front & Back

01. Divorce (3:31)
02. Just Give Me Time (2:33)
03. Blues Please Let Me Be (3:05)
04. Girl-Crazy (1:42)
05. Don't Hold Your Breath (2:11)
06. I Feel Alright (2:18)
07. Three Little Words (2:17)
08. Kiss Me (1:55)
09. Goodbye Little Baby Of Mine (2:16)
10. Jersey Pearl (2:22)
11. Nothing At All (2:54)
12. I'm In Love Again (2:59)
13. Blue Bird (2:55)

Incredible! Wow! Three years have passed since Ray Allen and his band produced their last album Rock, Jive & Stroll with Me!, an album that still inspires Ray Allen’s fans and critics alike.
After celebrating their 10th Anniversary with Rhythm Bomb Records, now things are really shaping up. The band has been performing numerous shows, writing songs and recording in studio. They have come up with a whole new bag of great songs on the album in your hands!
Ray Allen grew up in the countryside. As a boy he would pick Tobacco leaves every day after school and he saved up 30 bucks to buy himself his first guitar. Soon afterwards he started a band, and at age 15 he was so absorbed in his music, the melody and rhythm of the rock and roll age, he just HAD to reproduce it. Today Ray is a popular international performer and still has his love and passion for music, and if he has changed at all in his career it’s a closer connection to his audience, fellow musicians, and friends. He has grown musically.
By now, people know Ray Allen’s wide musical range and can experience that range when they see him and his great band on stage, or hear one of their albums at home or in their car. You will be glad to hear that this hasn’t changed on this new record. On the contrary, the range of style in his repertoire has actually increased.
Again, back at Lightning Recorders Berlin - Germany, Ray Allen used very accomplished musicians, equipment and technicians to produce another great album.
Ray went big this time around! He added bigger arrangements, harmonies and hep studio professionals to fire up this record! You will also notice a more soulish, deeper and melancholic side of his music with a clear bright sound.
Once again, Ray shows his singing talent in a variety of music styles and different moods.
Included on this record are emotional songs like “Divorce”, “Blue Bird” and “Blues Please Let Me Be” where he sings from his soul. You can also find songs about love here such as “Kiss Me”, “Girl-Crazy”, “I’m In Love Again and the awesome duet „Three Little Words“, featuring the fantastic Carrie Lewis…and oh how they’re voices harmonize, accompanied by an acoustic Latin guitar…
Let me mention that this time around, the band used only original material. All songs are written by Mathias Arnold and Martin Wauer. The latter can also be heard here with his fab piano playing.
You’ll want to listen to this album over and over, because there is a lot to discover. Ray Allen and band hope you’ll have a blast listening to this album and dancing the night away!

Personally

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Anni Piper - Jailbait / Blow Up Doll

Album: Jailbait
Size: 77,1 MB
Time: 32:54
File: MP3 @ 320K/s
Released: 2004
Styles: Electric Blues, Blues Rock
Art: Full

01. Jailbait (3:39)
02. Live To Play (2:58)
03. Two's Company (2:45)
04. Come In My Kitchen (3:09)
05. Man's Woman (1:50)
06. Hitch-Hiker Shuffle (3:03)
07. Blow My Cares Away (3:46)
08. Real Blues Mama (2:48)
09. Ain't Nobody Watchin' (5:16)
10. I Couldn't Tell You (3:35)

Personnel:
Anni Piper - Bass & Vocals
Alan Vander Linden - Guitar
Wayne Olbrich - Harmonica
Shane Elliott - Keyboards
Trent Batchelor - Drums
Marcus Adamson - Slide Guitar
Andrew Jackson - Drums
Jeff Cripps - Percussion

Every blues collection has a couple in it that get played more than the rest. This is one of those; winning the category of ‘Best New Talent’ at the 2005 Australian Blues Music Awards and a finalist for ‘Best Female Vocal’. “Piper has the kind of voice that lulls men to their doom. It’s soft and sweet when it wants to be, scared and vulnerable a moment later, then ripping through you like a razor … Piper commands songs, utterly.” Jeremy Loome, The Edmondton Sun. Her voice sits very well with the style of music presented here and musically, there are a lot of stand out tracks on this offering. A very great debut album from a very talented lady.

Jailbait MP3
Jailbait FLAC

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Album: Blow Up Doll
Size: 105,8 MB
Time: 45:20
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Front

01. Uncrustables (4:00)
02. Get Right Church (4:21)
03. Big Bengal (2:45)
04. Pink Cadillac (7:19)
05. Blow Up Doll (3:39)
06. Two’s Company (4:17)
07. Cake Walk Into Town (2:52)
08. Built For Comfort (3:13)
09. Contagious (5:06)
10. Sailin’ Shoes (4:44)
11. 24 Guys Named Dave (2:59)

One listen will tell you why in her homeland Anni Piper is known as the First Lady of Blues. Not only is she a sultry vocalist, but an insightful composer, accomplished bass player and show stopping performer. Born and raised in Australia, her passion for blues was ignited by the sound of Stevie Ray Vaughan. Piper has called the United States home since 2014.

'Blow Up Doll' (Sugar Daddy Records 2020) is the latest release for Piper and the second on her own label. Already an internationally acclaimed recording artist, her latest achievement is becoming a semi-finalist in the 2019 International Songwriting Competition. Picking up a bass guitar at age 14, Piper completed a Bachelor of Contemporary Music degree at 19 years of age. Finding it difficult to resume her performing career following the birth of her son, Piper recorded her debut album 'Jailbait' in 2004. The all original album was meant to be a good quality demo and wasn't intended for commercial release.

To Piper's surprise, she was immediately signed to Black Market Music, Australia's most prestigious blues label and began touring throughout the country. The 'Jailbait' album won multiple awards including Best New Talent at the Australian Blues Music Awards, the ABC Radio National 'Fresh Air' contest, and 2nd place at the Australian National Songwriting Contest.

Her subsequent releases saw her placed as a finalist in the Australian Blues Music Awards (Best Female Vocal), UK Songwriting Contest, Australian Performing Rights Association Professional Development Awards, MusicOz awards and semi-finalist in the International Blues Challenge. Piper has earned a reputation as a songwriter of distinction, her work having a blues sensibility while still addressing the issues of today.

In 2008 Piper signed with Blues Leaf Records USA (Janiva Magness, Albert Castiglia) and released 'Two's Company', a compilation of her earlier releases. The album reached # 21 on the Living Blues chart even though Piper had yet to tour the USA. She quickly made up for lost time and has performed in 45 American states and Canada. Piper has performed to packed houses at premier venues such as the House of Blues and BB King's. She has earned critical acclaim from publications including Blues Revue and Blues Matters (UK).

Blow Up Doll MP3
Blow Up Doll FLAC

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Sheba Potts-Wright - So Damn Good

Size: 120,5 MB
Time: 51:49
File: MP3 @ 320K/s
Released: 2020
Styles: Blues Soul, Southern Soul
Art: Front

01. Operate On Me (4:00)
02. Because Of You (5:17)
03. I Don't Give It Away (4:31)
04. One Lover To Another (4:54)
05. So Damn Good (4:28)
06. I'd Rather Go Blind (4:16)
07. Lifetime Man (4:54)
08. I'm A Cougar (5:19)
09. You Did The Right Thing (5:02)
10. Just Be Yourself (4:17)
11. One Freak To Another (4:47)

Ms. Sheba Delight Potts was born the 30th day of January and lived her younger days in Chicago, Il, Detroit, MI and Greenwood, MS. She now resides in Memphis,TN.

During high school, Sheba joined a singing group named the 21st Century Band under the direction of Mr. Russell Baxter. They traveled all over the Mid-south doing opening acts for various artist. She moved further and started performing with her father, Mr. Robert "Dr. Feelgood" Potts who has been recording since 1970. With him, she opened and shared the stage with artist such as Willie Clayton, Pat Brown, Vickie Baker, Jessie Grahman, Shirley Brown, and Marvin Sease.

There after, she started performing with Quinn Golden of Memphis, TN. Sheba can proudly say that she met with Wolf Stevenson in 1987 and was able to do some voice backgrounds with Harrison Calloway at Malaco Studio for the late great Johnnie Taylor. She signed in her contract with Ecko Records and has released three Southern Soul/dance cds thus far with hits like "Slow Roll It", "I Can Bagg It Up" and "I Can Hear Your Macaroni".

So Damn Good

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Johnny Shines - Takin' The Blues Back South (Blues Reference)

Size: 120,6 MB
Time: 51:26
File: MP3 @ 320K/s
Released: 2000
Styles: Delta Blues
Art: Full

01. I Believe I'll Make A Change (3:56)
02. Nobody's Fault But Mine (4:45)
03. The Devil's Daughter (3:08)
04. Back To The Steel Mill (3:45)
05. Blood Ran Like Wine (3:37)
06. Abide My Wish (4:33)
07. Mean Black Gobbler (4:47)
08. Lost Letter Blues (2:39)
09. Freight Train (4:50)
10. My Best Friend (3:04)
11. The Blue Horizon (5:42)
12. Mean Black Gobbler (Unissued Version) (6:35)

Guitar – Luther Johnson (tracks: 7, 9, 11 & 12); Vocals, Guitar – Johnny Shines. Recorded December 4, 1972 in Bordeaux, France except #7 and #9 recorded November 14, 1972 in Gan, France.

This album and "Standing At The Crossroads" are Johnny Shines' two best works. I'm not sure why his work with Walter Horton is considered to be better than his solo efforts. On Shines' solo outings, his vocals are much stronger, his lyrics are more developed, and his guitar playing is superb. This particular album really shows off his vocal power. You might find yourself backing away from your speaker in order to not bust an eardrum. The two versions of "Mean Black Gobbler" are great! I'm not a musician, but it sounds like one of the versions of the song is performed in a Hill Country fashion. In other words, the guitar accompaniment sounds closer to Hill Country Blues or perhaps just diddley bow playing than it does to the typical Johnny Shines or Robert Johnson guitar work. "Back To The Steel Mill" is simply ferocious. The second guitarist on this album works very well with Johnny. It's a shame that this album isn't better known, and that it keeps going out of print. I waited over two years to purchase this, and it was most definitely worth the wait. The packaging is also very nice. You certainly can't go wrong with any of Johnny's albums. ~DB Pepper

Originally posted by Mat Tiggas June 4, 2018. Updated with full covers and FLAC file.

Takin' The Blues Back South MP3
Takin' The Blues Back South FLAC

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Luther Badman Keith - Working Bluesman

Time: 62:23
File: MP3 @ 320K/s
Released: 2019
Styles: Detroit Blues
Art: Front & Back

01. Working Bluesman (4:01)
02. Blame Game (5:09)
03. Home To The Blues (5:39)
04. Blue House (4:37)
05. When Luther Came To Town (4:08)
06. When The Sun Burns Out (3:48)
07. Rocking 'n' The D (3:35)
08. My Treasure (5:04)
09. One Of Those Things (3:11)
10. Put Me In The Coffin (4:04)
11. Party By Myself (2:59)
12. Too Much Information (4:19)
13. Blues Caravan (6:12)
14. Damon's Justice (5:36)

Journalist Luther Alton Keith was born on October 9, 1950 in Detroit, Michigan to Mittie Savella Ashworth and Luther Caesar Keith. Keith’s father was a postal employee who founded the United Committee on Negro History. Keith attended Sampson and St. Agnes elementary schools. He graduated from Cathedral High School in 1968. He then studied at the University of Detroit, where he was mentored by Mary Helen Washington and graduated with a B.A. degree in journalism in 1972.

Hired by The Detroit News in 1972, Keith served as a general assignment reporter before becoming a sportswriter in 1973. In 1979, Keith worked as the state capital bureau correspondent specializing in economic and budget issues and writing periodic columns on state legislative issues. He was also a frequent commentator on the “Off The Record” television program. Keith was appointed assistant city editor in 1982 where he directed local coverage in the criminal courts and directed a five-person news team.

Taking a two year leave of absence, Keith served as founding director of Wayne State University’s Journalism Institute for Minorities from 1985 to 1987. He returned to The Detroit News as Assistant City Editor in 1987 and Night City Editor in 1988. From 1988 to 2005, Keith worked in a number of positions for The Detroit News, including features writer, copy editor, business editor, assistant managing editor, public editor, senior editor and columnist. Keith was the recipient of the Distinguished Faculty Award from Wayne State University in 1987 and the Ameritech Living the Dream Trailblazer Award in 1999, Keith became the youngest person ever to be inducted into the Michigan Journalism Hall of Fame in 1995. In 1993, Keith created On Detroit, a weekly grassroots mini newspaper that ran until 2003. He was honored with the Excellence in Urban Media Award from the Detroit Chapter of the National Association of Black Journalists in 2001 and Wayne State’s Helen Thomas Diversity in Journalism Award in 2005.

Keith, inspired by Luther Allison and mentored by James Soberg of the Luther Allison Band, started playing the blues guitar in 1981. He now performs internationally as Luther “Badman” Keith. Keith has produced several CD’s including, Badman and Thunder in My Blues. In 2006, he founded and served as executive director of Arise Detroit, a broad-based volunteer coalition that addresses illiteracy, high school dropout rates, crime, youth violence, drug abuse, domestic abuse, neighborhood blight and unemployment.

Working Bluesman MP3
Working Bluesman FLAC

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One Dime Band - Hoodoo & Holy Water

Size: 130,3 MB
Time: 55:57
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Front

01. Hoodoo & Holy Water (5:00)
02. Something Good (Feat. Johnny Blue Horn) (5:07)
03. Facing Yourself (6:51)
04. Hard Luck Daddy (4:02)
05. Nobody's Dog (5:38)
06. Call It Home (4:09)
07. Witch Child (3:44)
08. Mama's Chair (5:26)
09. Weak Back Man (5:10)
10. Salaryman (5:25)
11. Little Time (5:19)

One Dime Band embraces a modern take on the blues with the giddy “Hoodoo & Holy Water”. Sung with true fire the whole of the album has a massive, all-consuming tact to them. By embracing such an incredible swinging rhythm, the collection positively teems with life. Instrumentally rich they incorporate a wide variety of sounds into the mix, from the fanfare of the horns to the rustic harmonica right down to the limber guitar lines. Full of such passion, they burn through these tracks with the utmost of power. Best taken in as a singular whole the songs work together to create a vast narrative one that feels so real.

Setting the tone for what follows is the peppy approach of the title track and opener “Hoodoo & Holy Water”. The sprawling ambitious atmospherics of “Facing Yourself” have a shadowy, noir spirit to them with the sound seemingly wafting up into the infinite. An air of defiance emerges with “Nobody’s Dog” where a playful disposition dominates. Beautiful “Mama’s Chair” looks back on one’s upbringing with such delicacy and decency, full of love. Dreaminess follows through the whole of the surrealist scope of “Salaryman” where the dub-influences roll through with ease. Effortlessly bringing the album to a close is the intimacy of the finale “Little Time”.

“Hoodoo & Holy Water” reveals One Dime Band to be true masters of their craft taking a classic sound and bringing it into the present.

Hoodoo & Holy Water

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Son House - In Seattle 1968

Size: 145,6+108,0 MB
Time: 62:45+46:14
File: MP3 @ 320K/s
Released: 2011
Styles: Delta Blues
Art: Full

CD 1:
01. Intro Son House Talking ( 5:09)
02. Death Letter ( 4:50)
03. Son House Talking ( 3:23)
04. Government Fleet Blues ( 9:13)
05. Son House Talking ( 4:52)
06. Empire State Express ( 3:38)
07. Son House Talking ( 1:12)
08. I Want to Live So God Can Use Me ( 3:16)
09. Son House Talking ( 8:35)
10. Preachin' Blues ( 5:36)
11. Son House Talking ( 1:16)
12. Louise McGhee (11:38)

CD 2:
02. Interview (1:22)
03. All Night Long Blues (Louise Johnson) (3:10)
04. Interview (5:10)
05. Mississippi Bo Weevil Blues (Charlie Patton) (3:05)
06. Interview (1:45)
07. M & O Blues (Willie Brown) (3:04)
08. Interview (3:55)
09. Ham Hound Crave (Rube Lacy) (2:53)
10. Interview (5:57)
11. Terraplane Blues (Robert Johnson) (3:01)
12. Interview (6:50)
13. My Black Mama Pt. 2 (3:15)

Jack White of the White Stripes says, Eddie 'Son' House was his favorite blues singer. House was born in 1902 in Mississippi. He was an influential slide, or bottleneck stylist and a great storyteller, his songs might be five, ten, or even 15 minutes. And he told stories on stage. This great set is presenting thirteen songs, plus interviews, and stage talk, plus a 24-page booklet with his biography and newly researched facts.

Eddie James Jr. - everybody knows him as Son House – was born March 21, 1902 in Riverton, Mississippi . After working as a preacher for several years, he turned to playing the blues during the late 1920s. His highly rhytmic and percussive style influenced contemporaries like Robert Johnson and Muddy Waters.
Although he recorded for Paramount (alongside Charlie Patton), he remained unknown outside the local Coahoma County region in Mississippi.
In the early 1940s he was recorded by researcher and archivist Alan Lomax for the Library of Congress – and gave up music for the next two decades after moving permanently to Rochester, New York.
In the early 1960s a group of folk and blues enthusiasts, students and record collectors developed a strong interest in the pre-war blues originators. Son House was still suspected in Mississippi, and the young folks were surprised to finally discover him not far from their universities on the east coast in the state of New York.

With the support of his discoverers, the second career of Son House began. He played for mostly white students at universities and in coffee shops, recorded a new album for Columbia and toured the world, also as a member of the American Folk Blues Festival. Son House died October 19, 1988 in Detroit, Michigan.
During a career spanning over more than 60 years, Son House inspired Robert Johnson, Muddy Waters and John Mooney, Bonnie Raitt, The White Stripes, John Hammond a.m.o.

In Seattle 1968 MP3
In Seattle 1968 FLAC

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Erhard Wollmann & Ralph Brauner - Wollmann & Brauner (Feat. The Blue Drive)

Size: 114,1 MB
Time: 48:49
File: MP3 @ 320K/s
Released: 2019
Styles: Electric/Acoustic Blues, Blues Rock
Art: Front

01. Help Me (3:35)
02. Riot In Cell Block #9 (3:21)
03. Little Wing (2:41)
04. Wildcat Tamer (3:27)
05. You Keep Sayin’ That You’re Leavin’ (5:14)
06. Out Of Your Line (3:25)
07. Your Love To Stay (3:49)
08. Stranger (4:42)
09. Killing Floor (3:23)
10. Brown Eyes Blue (2:32)
11. She Caught The Katy (3:13)
12. Suzie Q (3:47)
13. Crosscut Saw (2:52)
14. Over The Rainbow (2:44)

Erhard Wollmann and Ralph Brauner have been working together on various music projects for 20 years. The resulting duo can be seen at public and private events since 2009.

Double bass, acoustic guitar and voices are the basis for her music . The instruments play solo and accompanying harmonic and percussive. Wollmann & Brauner offer blues, jazz, country and rock songs from different musical periods. The setlist ranges from Muddy Waters to Chuck Berry, from the Beatles to James Taylor or Neil Young.
The proportion of own songs has increased in the stage programs. This led to the CD production Wrong Side Of Fifty in 2014 , a mixture of own titles and songs.

The latest production is currently available: Wollmann & Brauner feat. The Blue Drive. In addition to the acoustic duo performances, there are some songs in the classic blues rock trio line-up guitar-bass-drums = The Blue Drive -, with some titles expanded to include musical guests on saxophones and keyboards: own interpretations of classics and unknown works

Wollmann & Brauner

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Sue Moreno & Chris Casello - City By Night

Size: 91,5 MB
Time: 38:51
File: MP3 @ 320K/s
Released: 2018
Styles: Blues Rockabilly
Art: Front & Back

01. How High The Moon (2:05)
02. Broken Hearted Melody (2:58)
03. Man Of Many Promises (3:30)
04. I'm Looking Out The Window (2:31)
05. City By Night (2:31)
06. Polynesian Blues (3:16)
07. I'm Confession' (That I Love You) (2:58)
08. My Love Has Gone (2:32)
09. He's Evil (3:45)
10. Mr Sandman (2:58)
11. Fever (4:06)
12. Dream A Little Dream (3:16)
13. I'll Never Be The Same (2:19)

The basis for the collaboration of the Dutch Sue Moreno with the American guitarist Chris Casello was laid a few years ago during a European tour with musicians from the band of Elvis Presley. Shortly before one of these shows, the singer received the sad news that Stanley, also known as 'papa Moreno' had died completely unexpectedly. That evening the performance was dedicated to her father, who always proved to have had a great inspiring role on his daughter's music. It can even be assumed that City By Night would never have been born without him, which is why this collection, consisting of both self-written material and self-interpreted classics, is dedicated to him. Moreno and Casello decided to join forces at the Fry Pharmacy Studio in Nashville,the place where the guitarist settled earlier. This analog studio contains equipment that was previously found in world famous studios such as RCA's Studio B / Nashville. In addition, microphones, amplifiers, tape machines and equipment were used with which big names such as Elvis Presley, Patsy Cline and Les Paul have worked. The album's opener, How High The Moon, takes the listener back sixty years and shows how Les Paul & Mary Ford would have sounded if it were recorded now. This version is close to the original, partly due to Casello's thin tinkling guitar sound, which gives off his business card here. That the guitarist is not the first is evident from an impressive list of previous musical contributions in which we come across names such as Raul Malo (Mavericks), Kid Rock, Martha Reeves and Bo Diddley. Almost ten years later, Sarah Vaughan was to announce Broken Hearted Melody. Moreno cleverly succeeds in giving her 'corny' jazz vocals an honest character. The same goes for I'm Lookin 'Out The Window, with which Cliff Richard made a nice addition in 1962, and Peggy Lee. A track in which the warmth of the studio and associated materials seem to be optimally used. The temperature rises by another ten degrees during Polynesian Blues in which Casello puts an exotic steal party. It must have evoked special feelings in bassist Dave Roe. The bass player who grew up in Hawaii adds Johnny Sue Moreno to his musical collaborations after Johnny Cash and Chet Atkins.Moreno then proves in the Man Of Many Promises composed with him that he is also very good in the related styles.When the dazzling singer whispers sensually Confessin '(That I Love You), there is really no one left think of Perry Como or Doris Day. There has also been a collaboration with pianist Al Hill, known from Bettye LaVette, who adds a fair dose of honky tonk to My Love Has Gone. We 'unmask' Jimmy Lester behind his drum kit. This time not in Los Straitjackets but as a companion of Sue Moreno and Chris Casello. Although traditionals like Fever and Dream A Little Dream sung by Moreno do not sound unfamiliar, it was just as easy to choose your own work here. The temptation to tackle these classics with these musicians is understandable. Special mention also deserves the stunning artwork of the album. It is none other than Govert de Roos who has taken care of the stylish cover photos of Sue Moreno in this musical 'film noir'.Fortunately, the information on the inlay betrays that it concerns recent recordings, because otherwise the listener would have assumed that it was authentic material. ~Jeroen Bakker

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George 'Harmonica' Smith - Pick Your Choice

Year: 1982/2015
Bitrate: MP3@320K/s
Time: 39:04
Size: 90,2 MB
Styles: Blues, harmonica blues
Scans: Full

1. Stockholm Swing (4:29)
2. Trouble, Trouble (Feat. Long Gone Miles) (4:51)
3. Think I'll Go Out Drinkin' (Feat. Doug MacLeod) (3:25)
4. Baby Please (Feat. Evans Walker) (5:27)
5. Misty (8:31)
6. Bad Luck At My Door (4:55)
7. Don't Be Nobody's Fool (Feat. Blind Joe Hill) (4:00)
8. 52 Cards In The Deck (Feat. William Clarke & The NightOwls) (3:24)

"Pick Your Choice with George 'Harmonica' Smith" is an unusual blues LP from the early 1980’s that features an interesting assortment of blues harmonica players starting with George "Harmonica" Smith who played in Muddy Water’s band in the mid 1950’s and again in the mid 1960’s before joining forces with Big Mama Thornton in the 1970’s. George leads the proceedings here and is featured on 3 tracks in the Chicago blues vein; Lightnin’ Hopkins’ sideman Luke "Long Gone Miles" demonstrates his country blues style; while one man band Blind Joe Hill plays guitar, harmonica and drums at the same time.

Three protégés of George "Harmonica" Smith also appear with one track apiece – William Clarke, who is featured with his band The NightOwls; the New York bluesman Doug MacLeod; and Evans Walker rounds out the set. Sidemen include Lloyd Glenn, Dennis Walker, Bernie Pearl, and J.D. Nicholson. All selections have been newly remastered. /Amazon

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Bill Wyman's Rhythm Kings - Let The Good Times Roll

Year: 2004/2019
Bitrate: MP3@320K/s
Time: 111:03
Size: 255,7 MB
Styles: R&B
Scans: Front

1. I Got A Woman (5:55)
2. Jitterbug Boogie (3:57)
3. Jump, Jive And Wail (4:24)
4. Baby Workout (3:21)
5. Kiddio (4:11)
6. Down In The Bottom (3:48)
7. Comin' Home Baby (4:43)
8. Flatfoot Sam (4:38)
9. Real Wild Child (3:04)
10. Lights Out (2:28)
11. Tear It Up (4:31)
12. You Never Can Tell (5:19)
13. Mule Skinner Blues (5:32)
14. Days Like This (4:55)
15. Jump Back (5:45)
16. I'll Be Satisfied (3:25)
17. Race With The Devil (2:32)
18. Hit The Road Jack (6:12)
19. Pink Champagne (4:56)
20. I Put A Spell On You (6:58)
21. Tell You A Secret (13:57)
22. Chicken Shack Boogie (6:22)

In 2004, Bill Wyman’s Rhythm Kings went on tour with their acclaimed Let The Good Times Roll tour – delighting fans with stellar performances and sets that captured the spirit of Bill’s ensemble of musicians. This film captures Bill Wyman's Rhythm Kings on the road, in the studio and onstage during their 2004 European tour, performing 'roots' music by some of the greatest artists of all time including Nina Simone, Ray Charles and Chuck Berry.

Featuring a host of talented musicians, today's Rhythm Kings line-up perform some of the greatest songs of the last 50 years alongside original material, accomplishing exactly what Bill set out to do - create an evening of fun and enjoyment for all.

Personnel: Bill Wyman (bass, vocals); Terry Taylor (guitar, vocals); Albert Lee (guitar, vocals); Beverley Skeete (vocals); Georgie Fame (organ, vocals); Mike Sanchez (piano, vocals); Graham Broad (drums); Frank Mead (saxophone, harmonica); Nick Payne (saxophone, flute, harmonica).

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Arthur Gunter - Baby Let’s Play House: The Complete Excello Singles 1954-1961

Size: 149,4 MB
Time: 62:10
File: MP3 @ 320K/s
Released: 2016
Styles: Blues, R&B
Art: Front & Back

01. Baby Let's Play House (2:47)
02. Blues After Hours (2:31)
03. She's Mine All Mine (2:25)
04. You Are Doing Me Wrong (2:46)
05. Honey Babe (2:35)
06. No Happy Home (2:38)
07. Trouble With My Baby (2:40)
08. Baby You Better Listen (2:38)
09. Hear My Plea Baby (2:37)
10. Love Has Got Me (2:47)
11. Baby Can't You See (3:04)
12. You're Always On My Mind (2:39)
13. Ludella (2:57)
14. We're Gonna Shake (1:56)
15. Don't Leave Me Now (2:33)
16. Crazy Me (2:47)
17. No Naggin', No Draggin' (2:45)
18. I Want Her Back (2:40)
19. Little Blue Jeans Woman (2:29)
20. Mind You Own Business Babe (2:20)
21. My Hearts Always Lonesome (2:30)
22. I'm Fallin', Love's Got Me (2:20)
23. Who Will Ever Move Me From You (2:17)
24. Workin' For My Baby (2:19)

Arthur Gunter, a seemingly obscure blues singer will never be forgotten because he holds a unique place in American pop history. His first recording, 'Baby Let's Play House' in 1954 for Excello Records of Nashville became one of the first recordings by Elvis Presley. This is the first time both sides of his Excello singles have been collected together in chronological order and the quality of these sessions are all exciting and typical of the kind of blues popular in the south. Listen to the sounds of Arthur Gunter and wonder at the impression it must have had on the young Elvis Presley - stunning by all accounts. This collection is a must for blues and R&B fans.

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The Reverend Shawn Amos & The Brotherhood - Blue Sky

Size: 75,9 MB
Time: 32:30
File: MP3 @ 320K/s
Released: 2020
Styles: Blues
Art: Full

01. Stranger Than Today (3:52)
02. Troubled Man (3:35)
03. Her Letter (3:11)
04. Counting Down The Days (3:14)
05. Hold Back (1:38)
06. The Job Is Never Done (2:24)
07. The Pity And The Pain (3:18)
08. Albion Blues (4:18)
09. 27 Dollars (2:50)
10. Keep The Faith, Have Some Fun (4:06)

The Reverend Shawn Amos’ swampy new album, “Blue Sky,” released under the moniker The Reverend Shawn Amos & The Brotherhood, is a collaboration between the Rev and some old friends: drummer Brady Blade (Buddy & Julie Miller, Indigo Girls), bassist Christopher Thomas (Norah Jones, Macy Gray), and longtime Rev guitarist Chris “Doctor” Roberts.

Friends of The Brotherhood are:
Piper Amos - voice
Sharlotte Gibson - voice
Kenya Hathaway - voice
Matt Hubbard - piano, Wurlitzer, Hammond
Ben Peeler - lap steel, pedal steel, dobro, mandolin

Since 2018’s acclaimed, politically charged Breaks it Down, the Rev has been on the road nonstop. 2019 saw him alighting in Texas, where the South begins, the West ends, and something else is taking shape – a world away, geographically and culturally, from his native Los Angeles. Here, he gathered the Brotherhood, creating a sense of home in his rootlessness. Blade, Thomas, and Roberts provide not only musical, but also spiritual and emotional support for embracing new territory, artistically and otherwise.

Unlike past Shawn Amos collaborations with Matthew Sweet and Solomon Burke, the Brotherhood is in it for the long haul. “Everybody feels pride of ownership,” the Rev says of Blue Sky. The band has already hit the road and will tour through 2020. “These songs are really special to Shawn,” says Brady Blade, who previously hosted the Rev’s debut album at his Shreveport studio, and laid down drums. “It’s up to us whether we’re ready to jump in and contribute 150%. If we’re not, it’s not a brotherhood.”

Clearly, from the barn-burning blues stomp of “Counting Down the Days” to the smoky R & B of “Albion Blues” to the rollicking “27 Dollars,” the Brotherhood is, indeed, down. The material showcases Shawn Amos’s songwriting like no previous Rev outing; here furious, there vulnerable; here gadabout and crazy, there forlorn and tender; all buoyed by musicians emboldening a beloved family member. “When I first played blues,” the Rev says, “I had no interest in writing. I put up a firewall between the Rev and my Americana past.” Meaning his three Shawn Amos albums, lauded singer-songwriter offerings featuring Ray Parker, Jr., Solomon Burke, and the Jayhawks’ Mark Olson. “But I slowly got the bug again. This is the first time I’ve had the space to try to be more of a singersongwriter within the confines of the blues.”

Brady Blade says, “Brotherhood, to me, means togetherness, being able to interact with each other in a more personal way because it’s not like ‘Oh, he's my boss. I'm just the side guy.’ The Brotherhood, in this context with Shawn, helps drive the music. Because the tension must be there. Also, the happiness must be there. For all of us, the happiness has definitely come out on this record.”

Happiness due in part to a creative spirit fully immersed in the work, able to access and manifest the nitty-gritty because his brothers have his back. “My whole artistic life has been a process of: how do I get all of me to show up?” the Rev says. “I fought hard to be here, so I’m gonna make sure all of me shows up.” ~Robert Burke Warren

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Tom Gilberts - Old School

Size: 90,6 MB
Time: 38:25
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues
Art: Full

01. Lady Luck (5:04)
02. Zoot Suite Shuffle (1:59)
03. Ass, Gas Or Grass (2:53)
04. Sun Vibe (4:03)
05. Old School (2:40)
06. Dark Clouds (2:41)
07. My Paper Bag (2:33)
08. The North Folk (2:49)
09. You Missed Me (3:22)
10. Brown's Camp (3:10)
11. Nighttime (3:54)
12. The Fuzz (3:12)

Be prepared to be blown away by masterful guitarist, singer songwriter Tom Gilberts’ Old School, an all-original 12-track album of contemporary blues, roots and rock. It was produced by the legendary guitar virtuoso Terry Robb.

This is what I hear on Old School: soulful, beautiful melodies and songs, a guitar maestro who has blues, rock and roots music running through his veins, and an expert trio. Gilberts is so immersed in these 12 tracks, that you’d be hard pressed to separate the man from his guitar playing, and performing with his tremendous musicians–drummer Brian Foxworth and bass player Dave Captein. Trios have to have it down and Gilberts’ trio does, and then some.

All about expressive phrasing and tone, Tom Gilberts is one of the best guitar players I’ve heard. Old School, Gilberts’ follow up to his 2018 release, Grit, is a joy to listen to, start to finish. This is not in-your-face blues, roots, and rock music. This is a musical feast for those who truly appreciate melodic tracks with a trio of musicians that sound so fresh, yet deeply seasoned.

Old School is for a Sunday afternoon, lying on your couch, your headphones on or speakers turned up, and your focus on the album and nothing else. That kind of focused listening might be old school but the album is not. It’s pristine, with outstanding songs, killer and soulful guitar playing. Gilberts’ guitar speaks to you not by banging you over the head with a 1000 notes but with beautiful tone and feel with space between the notes.

Who can get away with opening a record with a slow blues tune? Tom Gilberts does and he pulls it off with “Lady Luck” and his stunning guitar. Gilberts’ vocals have lovely tone and deep-seated soul that complement the tune but don’t override it. It’s a laid back track in theory but nothing about it is laid back except the tempo. Using different textures and tones, Gilberts conveys such emotion through his guitar–his playing is a master lesson in contemporary blues. Let’s not forget about the lyrics—plenty of bluesmen have written songs about luck or the lack of it, but this songwriter does it with novel phrasing and verse.

“Sun Vibe” is a beautiful roots-rock instrumental with melodic guitar, that to my ears, puts Gilberts right up with some of the current greats. Put those headphones on for this—it’s a knockout song with artful drumming and bass from Foxworth and Captein. You can hear that Gilberts is at one with the music. Each time I listened to it, I had to look at the time when it ended—at 4 minutes it was too short.

This is a musician with confidence from years of dedication to his craft. There’s zero showing off on this album—this trio is locked down tight—and I’d be willing to bet that the songs were created out of sheer love of the music.

On an album of standouts, “Dark Clouds” is one of my favorites. Opening with expert drumming, the acoustic guitar floats in, followed by an overlay of more acoustic guitar. Absolutely beautiful roots-rock. With a jazzy feel, Gilberts’ playing is soulful, moving, transcendent. You can’t beat hearing the spirit of the musician in a song that’s performed with such skill.

There’s more versions of blues and rock genres to be savored on Old School, including “My Paper Bag”. With a Texas blues rock feel, this instrumental has great groove. “You Missed Me,” about a relationship gone wrong but the object of affection returns, also has great groove plus interesting, jazzy chord changes. Gilberts’ voice has shades of older, bluesy Steve Miller on this one. In keeping with the rest of the album, his guitar tone and phrasing are again, stunning. But this is what you get with Tom Gilberts.

Closing the album is a bang-up rock tune, “The Fuzz” and you guessed it, the guitar has fuzz distortion—think Hendrix. What a way to end a record with a song like this—a gritty rocker with some kind of rhythm. Gilberts, Foxworth and Captein just kill it.

Highly recommended. Old School is going in my permanent collection. ~Martine Ehrenclou

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Kirk Fletcher - Live At The Baked Potato

Size: 167,9 MB
Time: 73:01
File: MP3 @ 320K/s
Released: 2014
Styles: Modern Electric Blues, Blues Rock
Art: Full

01. Funnybone (6:05)
02. Rockwithme (5:02)
03. El Medio Stomp (7:13)
04. Lenny (6:17)
05. I'm In Love (8:45)
06. Blues For Kleopatra (4:55)
07. Congo Square (8:35)
08. Natural Anthem (5:35)
09. Found Love (5:10)
10. Blues For Robben & Larry (5:38)
11. Ain't No Way (9:41)

Blues gets a bad rap because of a preponderance of mediocre imposters who lack the magic. The great stuff will stir you and mesmerize. Two-time WC Handy Award nominee Kirk Fletcher has the magic, and this album is Exhibit A.

Recorded on separate nights at the legendary Baked Potato in Studio City, California, Fletcher is joined by drummer Lemar Carter and bassist Travis Carlton on the first night. The second night consists of Carter, bassist Calvin Turner, and Jeff Babko on organ.

Supplementing fresh arrangements to crowd favorites “Funnybone,” “El Medio Stomp,” and “Congo Square,” Fletcher’s sultry vocabulary adds even more brilliance to Stevie Ray Vaughan’s “Lenny.” He swings hellaciously on “Blues For Kleopatra,” and explores lowdown love on Jimmy Reed’s “Found Love.”

Fletcher’s playing is a synthesis of the best qualities of contemporary electric blues, but he isn’t confined by it. On “Blues For Robben & Larry,” Fletcher displays a limitless flow of concepts in a slow-blues context.

His exceptional band swings hard on “Ain’t No Way” with Fletcher nodding to B.B. King and Robben Ford with juicy virtuosity and zeal.

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Mick Clarke - Big Wheel

Size: 133,2 MB
Time: 56:52
File: MP3 @ 320K/s
Released: 2020
Styles: Blues Rock
Art: Front

01. Knocking At Your Door (3:47)
02. Trouble Trouble (4:14)
03. Snappin' At Your Heel (3:59)
04. Full Circle (3:24)
05. Just To Get Me By (3:50)
06. I Stay In The Mood (3:53)
07. Dog And Bone (4:13)
08. Everything's Gonna Be Alright (4:42)
09. Mick's Guitar Boogie (2:56)
10. Heard It All Before (5:23)
11. Dead Leg Boogie (3:57)
12. Flyin' Lo (3:45)
13. Down At The Bridge (3:59)
14. Big Wheel (4:42)

"Big Wheel" is my new album for 2020. 10 new tracks and I've added 3 tracks which were released last year on EPs or compilations... I thought I'd road test a few things, and these three came through. They've all been remixed, remastered or mucked about with in some way for this release. Everything else is brand new.

As usual I've enjoyed putting this stuff together - always an adventure. I have a few new toys to play with - generally things that cost very little but make an interesting noise.. such as a new pickup on my 9.99 Oxfam acoustic, and notably a new pick-up on my very first guitar, which has waited patiently in the attic for 56 years for its chance to shine.

There's a bit of an Elmore James theme running through this album, for reasons mentioned below. (And just because he was so damn good). I remember my Mum going up to Dobells Record Shop in the West End to buy me the "Elmore James Memorial Album" for a Christmas present (1965 I think) - she'd love to know I was still drawing inspiration from it.

Anyway - I hope you enjoy the music. There's blues and rock, instrumentals and songs with words.. both kinds. Guitars, drums, a bit of joanna.. all kinds of stuff going on.. have fun.

Big Wheel

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A-Beat Combo - My Baby Wants To Kill Me

Size: 72,9 MB
Time: 31:02
File: MP3 @ 320K/s
Released: 2020
Styles: Blues, Rockabilly
Art: Front

01. Sometimes (It Makes Me Mad) (2:43)
02. My Baby Wants To Kill Me (3:05)
03. The Last Race In Monaco (2:07)
04. I'm Just Shakin' (2:54)
05. What Else Do You Want (2:59)
06. Twangin' Across The Universe (2:40)
07. I'm Gonna Leave This Town (2:26)
08. Bad Girl (3:18)
09. Don't Say You Love Me (2:57)
10. My Train Is Comin' (2:49)
11. Three Minutes Before (3:00)

A-Beat Combo is the project of Moscow musician Andrey Bitulev, who is the author of all songs of the band.

Debut album from this Russian rock'n'roll band. Includes three instrumental tracks.

My Baby Wants To Kill Me

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Steve Howell, Dan Sumner & Jason Weinheimer - Long Ago

Size: 106,0 MB
Time: 45:20
File: MP3 @ 320K/s
Released: 2020
Styles: Acoustic Blues
Art: Full

01. Singin' The Blues (3:59)
02. Angel Eyes (4:33)
03. Please Send Me Someone To Love (4:24)
04. Do Nothing 'Til You Hear From Me (4:09)
05. Song For My Father (4:33)
06. Dindi (2:52)
07. Nothin' But The Blues (4:09)
08. Z's (3:44)
09. Bei Mir Bist Du Schoen (3:46)
10. I'll Remember April (5:01)
11. I Thought About You (4:04)

On his ninth album, “Long Ago,” Texas guitarist and vocalist, Steve Howell, continues a remarkable creative run that has lasted over a decade exploring the depths of the great American songbook. “I am a lover of American music from the first half of the 20th century. I like it rural, urban, country blues, traditional jazz, Appalachian music, R&B and rock ‘n’ roll. I love it all, “says Howell about his mission to play as much music as he can.

This new release finds Howell collaborating once again with bassist Jason Weinheimer and jazz guitar journeyman Dan Sumner, joining him on arch top and flat top acoustic guitars, to produce a trio recording that is absolutely the definition of easy listening. The eleven tracks include timeless jazz standards and hidden gems from the past, which Howell brings to fresh light by adding vocals and singing lyrics that time may have forgotten. His velvety baritone and soothing delivery bring the listener up close and personal to the experience, allowing us to drink in every emotional detail and pause to ponder the significance of every word, as only a master storyteller can do.

The sweet swinging tune from the 1920’s, ‘Singing The Blues,’ opens the album and sets the tone for things to come with Howell and Weinheimer melding together as the rhythm section, while Sumner adds tasteful leads that support the vocal melody. Howell takes cues from Ella Fitzgerald and Frank Sinatra on his spacious reading of ‘Angel Eyes.’ He then pays tribute to fellow red dirt poet Percy Mayfield on ‘Please Send Me Someone To Love,’ written for Ray Charles by the Louisiana native in 1950. The lover’s plea, ‘Do Nothing ‘Til You Hear From Me,’ is modeled after the 1959 Mose Allison version and features a spry solo from Sumner. With Howell’s take on the well-known Horace Silver jazz standard, ‘Song For My Father,’ he creates his own loving homage to his dad. The fellas show off their skills on those beautiful arch topped guitars on the bossa nova standard ‘Dindi’ and get back to basics on a soulful reading of ‘Nothing But The Blues.’

Howell lightens the mood with a snappy number, ‘Z’s,’ and takes the swing era hit ‘Bei Mir Bist Du Schoen,’ back to its Yiddish roots with an oom-pah beat underpinning. The lovely melodic instrumental track, ‘I’ll Remember April,’ has a lilting Spanish guitar feel, and the Johnny Mercer ballad, ‘I Thought About You,’ is another great composition that Howell saves from obscurity. The lyrics were originally written as a breakup song, but here he is singing more about his love for all the songs of yesteryear that seem to have been left by the wayside. This collection of songs; “Long Ago,” are lovingly brought back to life to remind us that they were once popular songs of the day, heard on the radio, in film and in dance halls; music that was and still is sophisticated and timeless. Howell, Sumner and Weinheimer have capitalized on that magic once again. ~Rick J Bowen

Long Ago MP3
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David Bromberg - Big Road

Size: 136,5 MB
Time: 58:25
File: MP3 @ 320K/s
Released: 2020
Styles: Blues, Country, Folk, Americana
Art: Front

01. Big Road ( 4:24)
02. Lovin' Of The Game ( 3:36)
03. Just Because You Didn't Answer ( 5:28)
04. George, Merle & Conway ( 4:47)
05. Mary Jane ( 2:16)
06. Standing In The Need Of Prayer ( 1:51)
07. The Hills Of Isle Au Haut ( 4:27)
08. Medley: Maiden's Prayer - Blackberry Blossom - Katy Hill ( 5:50)
09. Diamond Lil (10:43)
10. Who Will The Next Fool Be? ( 4:31)
11. Take This Hammer ( 4:11)
12. Roll On John ( 6:14)

One would think an album with the implicit theme about being a road band would be a live release. However, Big Road isn't despite it being recorded by David Bromberg and his touring group. That's not exactly true as Big Road is more than just a single record. It's a self-proclaimed project that not only includes 12 new tracks, but also five high-definition performance videos and a mini-documentary detailing the album's creation. Big Road will be issued in three formats: traditional CD, a gatefold vinyl album, and a deluxe CD/DVD combo pack. This review focuses on the single CD release.

Bromberg's Americana music is steeped in the nostalgia for a simpler past with an awareness that some topics like heartbreak, prayer, and having a good time, are timeless. The album does a good job of mixing things up stylistically while maintaining a consistent vibe. The songs run together without ever sounding repetitive. So even when Bromberg and company go from twangily praising past country music greats ("George, Merle & Conway") to joyfully celebrating marijuana ("Mary Jane") to offering a capella gospel tributes to the Lord ("Standing in the Need of Prayer"), the transitions are smooth.

Much of this is due, no doubt, to Bromberg's talented band members. The core group consists of multi-instrumentalist and lead singer Bromberg, Mark Cosgrove (guitar, mandolin, vocals), Nate Grower (fiddle, mandolin, guitar, vocals), Josh Kanusky (drums, vocals), and Suavek Zaniesienko (bass, vocals). They are joined on this album by Dan Walker (piano, organ, and accordion), Birch Johnson (trombone), Jon-Erik Kellso (trumpet), Matt Koza (tenor sax) and Bob Stewart (tuba,) and Larry Campbell (mandolin and pedal steel). It's a big ensemble, but the individual songs come off as intimate productions because the whole group rarely play all at the same time but usually play solos and duets as needed.

Take the 10-plus-minute centerpiece, the self-penned "Diamond Lil". Bromberg's vocals are at the forefront. He sings in a slow, drawn-out drawl, repeating, "A man should never gamble / more than he can lose" as if it was a Buddhist mantra. The individual players emerge and disappear from the proceedings like the ghosts of bad hands that haunt the gambler. Who knows what the next number will be until the dice are thrown? The song captures that feeling of patiently waiting for more than anticipation. Fate can be a cruel mistress or a lucky lady.

Big Road contains elements of old-time country, folk, bluegrass, gospel, blues and more. The title track is an old Tommy Johnson Delta blues number that allows Bromberg to utilize his vocal range. He has an especially soulful growl in his voice that can zip into a high pitched "ah" as if he can't control his emotions. He successfully twists lines like "The blues ain't nothing but an achin' heart" into a soliloquy of love and pain.

Bromberg's singing is infectiously good, but it's his (and his bandmates) playing that makes the disc such a pleasure to hear. The instrumental trilogy "Maiden's Prayer / Blackberry Blossom / Katy Hill" serves as a great example of simple but elegant playing. The trilogy begins with a beautiful lilting melody and ends with a three-mandolin breakdown. The fingers may be flying, but the track comes off as quietly gentle as natural as a babbling brook. That is true even of the story songs. Bromberg lets the instruments speak as much as his singing. He's a captivating presence, whether he's vocalizing, playing, or leading his bandmates forward.

The Big Road of the title song refers to the journey of life. For Bromberg, music represents the experience of living. His latest album reveals how intertwined the two are. ~Steve Horowitz

Big Road

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Adrian Flores - Blues From The Deep South

Year: 2001
Bitrate: MP3@320K/s
Time: 70:25
Size: 162,4 MB
Styles: Electric blues
Scans: Front

1. Dust My Broom (3:47)
2. Rollin' And Tumblin' (5:09)
3. Troubles In Mind (5:20)
4. Living In My Neighbourhood (4:19)
5. Going Upside Your Head (4:02)
6. Nine Below Zero (3:35)
7. Hoochie Coochie Man (5:58)
8. Everyday I Have The Blues (Feat. Lurrie Bell) (3:01)
9. Got To Move (3:20)
10. Cold Cold Feeling (Feat. Lurrie Bell) (7:59)
11. I Got The Blues (Now I Know) (4:09)
12. Stormy Monday Blues (4:36)
13. Don't Want No Woman-Good Morning Blues (5:20)
14. Who's Been Talking (4:38)
15. I'm In The Mood (5:06)

Adrian Flores never considered himself to be a producer, nor a musician or a journalist, but in 1981, after listening to Elmore James, his life changed. He started to collect and explore the blues, and liked it so much he wanted to spread it wherever he could and has dedicated his life to the blues ever since. From 1992, Adrian Flores has been involved in bringing the best international blues to South America.

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Smitty & The JumpStarters - Smitty & The JumpStarters

Year: 2016
Bitrate: MP3@320K/s
Time: 19:50
Size: 46,0 MB
Styles: Electric blues, R&B
Scans: Front

1. Caldonia (3:26)
2. Oh What A Thrill (4:23)
3. Learn To Treat Me Right (3:33)
4. Rock This House (4:02)
5. Don't Come Knocking (4:25)

This jumpin', swingin' blues quartet is playing songs made to get your feet moving. The JumpStarters feature upbeat songs that pull styles from West Coast Swing, Chicago Blues, Memphis Rockabilly and a big dose of Chuck Berry. This style of music was rock-n-roll before it had a name. These music veterans are ready to introduce this style to a whole new group of people. So bring your dancing shoes and be prepared to shake yo' shimmy.

Some call it dancing blues, blues with a beat, jumpin' blues, roots rock or rockabilly. This music hides under many different styles and formats of American music. The common thread is it makes you move. It could be shuffling your feet at a concert or full on swing dancing, this music makes you move. The #1 purpose of this band is to play a style of blues that encourages this behavior.

Personnel: Bryan Smith (guitar, vocals); Steve Blake (saxophone, backing vocals); Doug Dennis (bass, backing vocals); Roy Brown (drums).

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