Blues The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://theblues-thatjazz.com/en/blues.html Sat, 19 Jan 2019 20:18:02 +0000 Joomla! 1.5 - Open Source Content Management en-gb Oscar Benton Blues Band ‎– The Blues Is Gonna Wreck My Life (1969) http://theblues-thatjazz.com/en/blues/3487-oscar-benton/24698-oscar-benton-blues-band--the-blues-is-gonna-wreck-my-life-1969.html http://theblues-thatjazz.com/en/blues/3487-oscar-benton/24698-oscar-benton-blues-band--the-blues-is-gonna-wreck-my-life-1969.html Oscar Benton Blues Band ‎– The Blues Is Gonna Wreck My Life (1969)

Image could not be displayed. Check browser for compatibility.


A1 	I Ain't Got The Feeling 	2:43
A2 	Five Long Years 	4:59
A3 	How The Blues Got Me 	6:54
A4 	Five Hundred Miles 	2:50
B1 	Have You Seen My Wife 	2:28
B2 	I'm A Blue Blues Singer 	2:25
B3 	The Blues Is Gonna Wreck My Life 	4:51
B4 	Dedicated To Lofton (Part II) 	2:28
B5 	My Sweet Angel 	4:56

Oscar Benton (Ferdinand van Eif) — guitar, vocals
Barrelhouse Bailey (Hans van Dam) — piano
H.J.B. Hawkins (Peter van Kouteren) — bass
Lonesome Tanny Lant (Herman Souverein) — drums

 

Oscar Benton (born Ferdinand van Eis, 3 February 1949 in Haarlem ) is a Dutch vocalist. He is also the founder of the Oscar Benton Blues Band in 1967. The band rose to fame in 1968 by being a runner up in the Jazz Festival, Loosdrecht, the Netherlands.

In 1968, the Oscar Benton Blues Band released its first album, Feel so good. In 1969, they released the album The Blues Is Gonna Wreck My Life. In 1971, they released Benton ‘71.

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Oscar Benton Sat, 19 Jan 2019 14:35:04 +0000
Henry Townsend - My Story (2001) http://theblues-thatjazz.com/en/blues/6482-henry-townsend/24693-henry-townsend-my-story-2001.html http://theblues-thatjazz.com/en/blues/6482-henry-townsend/24693-henry-townsend-my-story-2001.html Henry Townsend - My Story (2001)

Image could not be displayed. Check browser for compatibility.


1 	Less Than A Man 	4:38
2 	Tell me 	5:39
3 	World Full Of People 	3:59
4 	No Fuss And Fight 	3:52
5 	Dreaming 	4:01
6 	You Should've Told Me 	4:21
7 	My Story 	5:36
8 	Help Me Darling 	5:18
9 	Screaming And Crying 	4:33
10 	Put Me On Hold 	4:09
11 	Goodbye 	2:31
12 	Repentance Blues 	4:48

Acoustic Bass – Sho Komiya
Guitar [Dobro] – Jimmy D. Lane (tracks: 8,12)
Guitar [Slide] – Ron Edwards
Piano, Guitar, Vocals, Written By – Henry Townsend 

 

Analogue Productions touts the fact that, with his latest CD, My Story, blues singer Henry Townsend has now released a recording, in one form or another, in every decade since the late 1920s. To me, the more impressive point is that Townsend has been singing the blues for over 70 years, so his many recordings over that time span would reveal someone who can not only sing the blues, but understands them and has most probably lived them too. Now, that’s something to crow about.

I hadn’t heard of Henry Townsend prior to listening to My Story. A quick perusal of my All Music Guide To The Blues informed me that he was born in Selby, Mississippi in 1909, which would make him about 90 when this disc was recorded. After traveling to St. Louis in the mid '20s, he began to record for Columbia, among others, and has been in and out of the studios ever since. (Unfortunately, his body of work is still rather sparse, a fact that I hope this CD will go a long way toward ameliorating.) Townsend’s not just a singer, but a very talented songwriter too, as evidenced by the fact that all of the tunes on My Life are self-penned. (After all those long years of banging along, trying to eke out a living singing the blues, can you think of a better title for this album?) With the aid of musicians Sho Komiya on bass, Ron Edwards on slide guitar, and, on two songs, Jimmie D. Lane on dobro, Townsend, who plays both piano and guitar here, lays out a vivid tutorial of just what singing the blues is all about.

For example, give a listen to the title song to hear how deeply Townsend feels the blues. When he sings the line, "Well, there’s a story I’ve always wanted to tell/Some people think my life’s been beautiful/Oh, it ain’t been nothing but hell" you can hear the autobiographical nature to the words. Townsend's not singing in the third person here. And if you don’t think that that makes a difference, try listening a little harder. These are the blues.

As has become the norm for APO, the sound on My Story is as real as the music. From the vocals, which make it seem as if Townsend is in your listening room singing to you personally, to the tonal accuracy of the guitar, bass and piano, to the soundstage, which is wide and deep, you’ll hear everything captured on the master tape (within the limits of current Red Book CD sound, of course).

Pick up a copy of My Story and revel in the blues as they can only be performed by a true original. If the name Henry Townsend is as foreign to you as it was to me, there's no better introduction to his vision of the blues than this album. This is one tale that you’ll want to relive over and over, again and again. ---John Crossett, soundstage.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Henry Townsend Fri, 18 Jan 2019 15:52:26 +0000
Deitra Farr - Let It Go! (2005) http://theblues-thatjazz.com/en/blues/6480-deitra-farr/24688-deitra-farr-let-it-go-2005.html http://theblues-thatjazz.com/en/blues/6480-deitra-farr/24688-deitra-farr-let-it-go-2005.html Deitra Farr - Let It Go! (2005)

Image could not be displayed. Check browser for compatibility.


01. Let It Go!
02. Signs, Signals And Warnings
03. It Really Doesn't Matter
04. I'm Through With It
05. When They Really Love You
06. In A Dark Place
07. Don't Hold Me So Tight
08. A Week From Yesterday
09. My Love For You
10. Call Your Wife
11. Thank You For Leaving Me
12. My Turn, My Time

Backing Vocals – Ardella Williams
Bass, Backing Vocals – Willie 'Vamp' Samuels
Drums – James E. Knowles
Guitar – Billy Flynn
Harmonica – Matthew Skoller
Keyboards – Roosevelt "Mad Hatter" Purifoy
Saxophone – Rodney "Hot Rod" Brown
Trombone – Johnny "Showtime" Janowiak
Trumpet – Peter Bartels
Vocals, Backing Vocals – Deitra Farr 

 

On this accessible set of romance-themed songs, veteran Chicago blues vocalist Deitra Farr offers dynamic interpretations that frequently dabble in pop and soul. Standout tracks include the melancholy, gospel-tinged tune “Signs, Signals, and Warnings” and the emotive ballad “My Love for You,” both of which highlight Farr’s deep, expressive voice. ---Eric Schneider, AllMusic Review

 

Born in 1957, Deitra Farr first heard live blues on Chicago’s legendary Maxwell Street, where her father used to take her as a little girl to be immersed in what was to be the heyday of Blues, Doo Wop, Gospel and Rock & Roll.

Six decades later Deitra received the prestigious 2017 Jus’ Blues “Queen of The Blues” Award in Tunica Mississippi.

Prior to that, there is a swag of accolades, not least on October 4, 2015 Deitra when was inducted into the Chicago Blues Hall of Fame as a ” Legendary Blues Artist “.

Deitra Farr is considered one of Chicago ’s top vocalists, according to Living Blues Magazine (May 1997). Fiery, energetic, and soul-stirring describes this woman, who has over the years been nominated for Traditional Female Blues artist of the year by the W.C. Handy Awards, Female Blues Artist of the year by the Living Blues Critics’ Awards, the British Blues Connection Awards, and the Les Trophees France Blues awards.

This Chicago native began her career in 1975, singing with local soul bands, before starting her blues career in the early 1980’s. In 1983, Deitra began her blues career working at the major Chicago blues clubs, such as The Kingston Mines, The Wise Fool’s Pub and Blue Chicago. She also toured the US and Canada with the Sam Lay Blues Band. From 1993 to 1996, Deitra was the lead singer with Mississippi Heat, recording two CD’s with this all-star group.

In 1997, Deitra resumed her own solo career, continuing to sing blues, while reaching back to her soul music roots. After recording on eight previous CD projects with others, she recorded her first solo CD, “The Search is Over”, for the London-based JSP records. In 2005, Deitra released her second JSP CD “Let it Go!”

When Deitra was 18 years old, she recorded the lead vocals on Mill Street Depo’s record” You Won’t Support Me “. That record was a Cashbox Top 100 R&B hit in 1976. Over thirty years later, that recording has been re-released and is popular again worldwide.

The multi-talented Deitra Farr is also a published writer, poet, songwriter, and painter. A graduate of Columbia College (Bachelor of Arts in Journalism), Deitra has recorded many of her own compositions and has written articles for the Chicago Daily Defender, The Chicago Blues Annual, and the Italian blues magazine il Blues. Currently she has a column “Artist to Artist” in Living Blues Magazine. ---memomusichall.com.au

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Deitra Farr Thu, 17 Jan 2019 14:55:42 +0000
Big Joe Williams - Piney Woods Blues (1958) http://theblues-thatjazz.com/en/blues/793-bigkoewilliams/24683-big-joe-williams-piney-woods-blues-1958.html http://theblues-thatjazz.com/en/blues/793-bigkoewilliams/24683-big-joe-williams-piney-woods-blues-1958.html Big Joe Williams - Piney Woods Blues (1958)

Image could not be displayed. Check browser for compatibility.


A1 	Baby, Please Don't Go 	
A2 	Drop Down Mama 	
A3 	Mellow Peaches 	
A4 	No More Whiskey 	
A5 	Tailor Made Babe 	
A6 	Big Joe Talking 	
B1 	Some Day Baby 	
B2 	Good Morning Little Schoolgirl 	
B3 	Peach Orchard Mama 	
B4 	Juanita 	
B5 	Shetland Pony Blues 	
B6 	Omaha Blues

Guitar [Nine-string], Vocals – Big Joe Williams
Harmonica, Guitar – J. D. Short 

 

Between the boards of this album will be found the music and the personality of Joe Lee Williams, traveler, musician, vocalist, composer, lover of life, teller of tales and dealer in mysteries. When this album was first released in 1960 his exact whereabouts were unknown. On this album, his first as a leader, Joe played a battered six-string guitar with one of the tuning pegs damaged beyond repair.

He added a flange with four additional pegs to make his unique 9-stringed instrument. The important thing is that Joe knows where to find the notes he wants - and that he always seems to want the right one for the emotional content of the lyrics he happens to be singing. ---bear-family.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Big Joe Williams Wed, 16 Jan 2019 14:03:12 +0000
Ella Mae Morse - Barrelhouse, Boogie And The Blues (1954) http://theblues-thatjazz.com/en/blues/6475-ella-mae-morse/24678-ella-mae-morse-barrelhouse-boogie-and-the-blues-1954.html http://theblues-thatjazz.com/en/blues/6475-ella-mae-morse/24678-ella-mae-morse-barrelhouse-boogie-and-the-blues-1954.html Ella Mae Morse - Barrelhouse, Boogie And The Blues (1954)

Image could not be displayed. Check browser for compatibility.


A1 	Rock Me All Night Long 	
A2 	Money Honey 	
A3 	I Love You, Yes I Do 	
A4 	Daddy, Daddy 	
B1 	Teardrops From My Eyes 	
B2 	5-10-15 Hours 	
B3 	Have Mercy Baby 	
B4 	How Can You Leave A Man Like This

Ella Mae Morse - vocals
Big Dave And His Orchestra

 

Ella Mae Morse would have objected to the title of this box set, appropriated from the name of a 1954 LP, since it was her contention that she never performed "Barrelhouse," but there is little else to fault with this extensive five-disc box set of her complete Capitol recordings from 1942-1957. Beginning with her collaborations with Freddie Slack (including her career-launching hit "Cow-Cow Boogie") and similar jazz and pop novelties, the set follows Morse through pop and jazz standards, her duets with Tennessee Ernie Ford, sessions with Les Baxter and Nelson Riddle, covers of R&B hits, and odd quasi-rock & roll experiments. Perhaps because of her Texas upbringing Morse was often saddled with hillbilly leaning material, although sometimes, as on her version of the Little Jimmy Dickens hit "A-Sleepin' at the Foot of the Bed" and her gender-reversed take on Hank Snow's "The Gal Who Invented Kissin'," the results are much closer to jazz than country. Because of her flirtations with hillbilly music Morse is not taken as seriously as Peggy Lee or Anita O'Day by jazz critics, which is not only a shame because of its marginalization of an obviously talented artist but because it starkly reveals the class and genre prejudices that continue to shape critical opinions of popular music. Cutting away the dross, Morse was a gifted and awesomely bluesy vocalist who was guided through an unusual and sometimes unbecoming musical terrain, and listening to her complete Capitol recordings offers a fascinating microcosm of the stresses and strains resulting from hybridization in popular music in the '40s and '50s. ---Greg Adams, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Ella Mae Morse Tue, 15 Jan 2019 15:01:52 +0000
Sugar Blue - Blue Blazes (1994) http://theblues-thatjazz.com/en/blues/5437-sugar-blue/24673-sugar-blue-blue-blazes-1994.html http://theblues-thatjazz.com/en/blues/5437-sugar-blue/24673-sugar-blue-blue-blazes-1994.html Sugar Blue - Blue Blazes (1994)

Image could not be displayed. Check browser for compatibility.


1 	I Ain't You 	2:37
2 	Help Me 	5:36
3 	Miss You 	6:10
4 	I Just Got To Know 	6:05
5 	One More Mile To Go 	4:00
6 	That's All Right 	6:08
7 	Country Blues 	5:21
8 	Back Door Man 	7:01
9 	Just To Be With You 	6:30
10 	Out Till Dawn 	9:21

Bass – Charles Hosch
Drums – James Knowles
Guitar – Motoaki Makino, Rico McFarland
Harmonica, Vocals – Sugar Blue
Keyboards – Roosevelt Purifoy
Tenor Saxophone – Henri Ford
Trombone – Bill McFarland
Trumpet – Kenny Anderson

 

Harmonica player and vocalist Sugar Blue isn't a singer who doubles on harp; he's an extraordinary instrumentalist who's also a quality vocalist. Blue covers tunes by Willie Dixon, Muddy Waters, James Cotton and Sonny Boy Williamson (II) classics, presents a decent, if disposable version of The Rolling Stones' "Miss You," and adds the good-natured original "Country Blues," co-written with his guitarist Motaoaki Makino. But it's those harmonica lines and phrases that make the CD. One of Alligator's best contemporary albums in a long time. ---Ron Wynn, AllMusic Review

 

Sugar Blue is known as the Jimi Hendrix and Charlie Parker of the harmonica for his astonishing technical mastery. His style is melodically fluid, instantly recognizable for its soaring trills, flamboyant flourishes and swooping glissandos that bring the tiny dynamo’s remarkable sonic and emotional range to life.

Born in Harlem, New York he spent his childhood listening to performances by some of the finest show people of the day, including Billie Holiday, Lester Young, Dexter Gordon and James Brown, at the famous Apollo Theatre where his mother was a singer and dancer.

His fate was sealed when an aunt gave him a harmonica for his tenth birthday: it was instant love and he began playing along with Bob Dylan (with whom he would later record…) and Stevie Wonder songs on the radio as well as Little Walter and Sonny Boy Williamson. It was this diverse background that gave birth to his own unique sound.

A Greenwich Village street entertainer, Blue found his distinctive nick name amongst some 78s in a box thrown out of a window on hot summer night… . “The box almost hit me…I picked a record up,” he remembers, “and it said ‘Sugar Blues’ by Sidney Bechet. And I went -That’s it! ” He made his first recordings in the mid 1970s with pioneering blues figures Brownie McGhee, Roosevelt Sykes, Victoria Spivey and Johnny Shines.

…the man who took Little Walter’s innovations on that same instrument clear into the stratosphere-Time Out Chicago

On the advice of pianist Memphis Slim, he moved to Paris, France where he met the Rolling Stones who used his unmistakable sound to good advantage on three of their albums: that’s Sugar Blue’s harmonica blasting on their ’78 platinum disco hit “Miss You”.

He waxed a pair of albums, Crossroads and From Paris to Chicago, in Europe before moving to Chicago to learn more from the giants of the blues harmonica. He toured with Willie Dixon’s Chicago Blues All Stars, formed his own band and won a Grammy in 1985 for his contribution to the album Blues Explosion recorded live at the Montreux Jazz Festival. He also played on Willie Dixon’s Grammy winning album Hidden Charms in 1989.

“…one of the foremost harmonica players of our times …-Rolling Stone

Blue has made a few appearances on the big screen too: he performed in the Cinemax special, Fats Domino and Friends, (with Ray Charles, Jerry Lee Lewis and others) in the 1987 thriller, Angel Heart starring Robert DeNiro and in the recent years in “The Perfect Age of Rock’n’Roll” along with Pinetop Perkins, Hubert Sumlin, Ruby Dee and Peter Fonda.

After a brace of albums, Blue Blazes (1994) and In Your Eyes (1995), on the prestigious Alligator label, Blue took a 12-year hiatus from the studio, returning in 2008 with the highly acclaimed Code Blue., followed by Threshold and his latest work, a powerful live double album “Raw Sugar Live”. ---petersplayers.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Sugar Blue Mon, 14 Jan 2019 15:54:21 +0000
Big Box Store Blues (2017) CD04 http://theblues-thatjazz.com/en/blues/6427-big-box-store-blues/24667-big-box-store-blues-2017-cd04.html http://theblues-thatjazz.com/en/blues/6427-big-box-store-blues/24667-big-box-store-blues-2017-cd04.html Big Box Store Blues (2017) CD04

Image could not be displayed. Check browser for compatibility.


043. Jason Barnhouse - Run Your Fingers
044. Jeffrey Halford & The Healers - Last Kiss
045. George Thorogood - No Expectations
046. Jimmy Thackery And The Drivers - Puttin' The Word Out
047. Ana Popovic - Wasted
048. Rob Tognoni - You
049. Ryan McGarvey - Cryin' Over You
050. The Jeff Golub Band - Oh Pretty Woman
051. Brad Stivers - One Night Of Sin
052. Off The Grid - The Banker
053. Racing The Sun - Chorizo
054. Walter Trout Band - Put It Right Back
055. Los Lonely Boys - You Can't See The Light
056. Trevor Sewell - Stand Next To Him

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Big Box Store Blues Sun, 13 Jan 2019 14:42:41 +0000
The Apocalypse Blues Revue - The Shape Of Blues To Come (2018) http://theblues-thatjazz.com/en/blues/5436-apocalypse-blues-revue/24661-the-apocalypse-blues-revue-the-shape-of-blues-to-come-2018.html http://theblues-thatjazz.com/en/blues/5436-apocalypse-blues-revue/24661-the-apocalypse-blues-revue-the-shape-of-blues-to-come-2018.html The Apocalypse Blues Revue - The Shape Of Blues To Come (2018)

Image could not be displayed. Check browser for compatibility.


1 	Open Spaces 	5:01
2 	We Are One 	8:33
3 	Hell To Pay 	4:24
4 	Have You Heard? 	4:04
5 	To Hell With You 	4:05
6 	Nobody Rides For Free 	3:47
7 	Sincere 	4:32
8 	What A Way To Go 	8:12
9 	Noumenal Blues 	2:07

Bass, Additional Vocals – Brian "Bassgod" Carpenter
Drums, Percussion, Additional Vocals – Shannon "Apocalypse" Larkin
Guitar, Additional Vocals – Tony "Big Tone" Rombola
Producer, Additional Vocals – King Dave Fortman
Vocals – Nancy "The Queen Of Harmony" Koerner
Vocals, Acoustic Guitar – Ray "RaferJohn" Cerbone

 

I grew up in a ridiculously heavy metal part of Queens, New York. You could be mercifully teased for wearing a Guns n’ Roses t-shirt to junior high, since they “weren’t metal” (and somehow explaining they didn’t claim to be metal just made things worse). A special dispensation was given for the band Danzig, though, which was considered metal due to singer Glenn Danzig’s pedigree fronting the Misfits and Samhain, which were actually punk groups. Avoiding the insane metal logic of 12-year-old boys for a moment, Danizg, the band’s 1988 debut album, was and is a beloved record for me. Which is why I flipped out upon hearing The Shape of Blues to Come, by The Apocalypse Blues Revue. It’s very reminiscent of that first Danzig album, while also standing just fine on its own.

There’s always been a weird relationship between metal and the blues. A lot of metal comes from Led Zeppelin which came, pretty much directly, from the blues. And Black Sabbath famously began as a blues band. One has the sense lots of metal guitarists enjoy and appreciate the blues, but the appreciation usually doesn’t translate into their music. Danzig, however, folded in metal, punk, rock, and blues (it even featured a cover of Albert King’s “The Hunter.” I didn’t realize the song was a blues cover until decades after purchasing the cassette) in a surprisingly authentic and accessible way. Danzig, the band, fused all of those elements in a way that pleased everybody. The Apocalypse Blues Revue also wears its blues love on its metal, tattooed, sleeves, and is similarly impressive at weaving diverse musical styles and an atypical lead singer into a wonderfully captivating album.

The band is made up of drummer Shannon Larkin and guitarist Tony Rombola of the metal band Godsmack. But The Apocalypse Blues Review is all about lead singer Ray “Rafer John” Cerbone, discovered by Larkin singing in a bar. The music can best be described as creepy blues. The beats are slow, the guitar tones are disturbingly distorted, and Cerbone’s voice is scary and demonic, much like Danzig’s. Imagine if Jim Morrison had still died, but was somehow resurrected a decade later. The album features traditional blues elements, like slide guitar, but for the most part, the album feels unnatural, like overhearing ghosts performing in an abandoned house. And this, of course, is what makes it such a delightful album.

Tracks vary in terms of scariness. “Open Spaces,” the leadoff track, with its alarming slide guitar, dirge of a beat, and intense Cerbone vocals, is probably not the one to jog to alone in the woods at night. “Hell to Pay” is a little peppier, with a more traditional rock beat and blues rock guitar solos. “What a Way to Go,” which clocks in at over eight minutes, features more bluesy guitar, but incredibly creepy background vocals that sound like they’re coming from a cult of evil, murder-y monks. The band covers a lot of ground stylistically, which makes for an enjoyable listen.

Fans of that first Danzig album should grab The Shape of Blues to Come as soon as they finish reading this review. For anyone else, this is a great album for blues-loving metal fans who want to hear dark tunes performed by a positively compelling lead singer. ---Steven Ovadia, bluesrockreview.com

 

Rozbluesowana ekipa pod przywództwem muzyków znanych z metalowej grupy Godsmack powróciła w stylu, jaki dużo bardziej odpowiada nazwie The Apocalypse Blues Revue.

Kiedy gitarzysta Tony Rombola i śpiewający perkusista Shannon Larkin, obaj znani z Godsmack, ogłosili w 2016 roku, że tworzą poboczny projekt powstały z potrzeby grania gatunku, jaki kochają, można było się spodziewać, że muzycy mają coś ciekawego do zaprezentowania. Do ekipy dołączył basista Brian Carpenter i wokalista Ray Cerbone. Debiutancki "The Apocalypse Blues Revue" (2016) nie przyniósł jednak jakichś niespotykanych pomysłów, można nawet powiedzieć, że był to krążek wypchany standardowymi, zupełnie niewyróżniającymi się bluesami, jakich powstaje na pęczki każdego miesiąca.

Na całe szczęście ekipa postanowiła w projekcie dłubać dalej, czego owocem jest dużo lepszy "The Shape of Blues To Come". Krążek sporymi fragmentami przypomina atmosferą apokaliptyczo-psychodeliczne kawałki z albumu "The Meddle" Pink Floyd, gitary często uderzają w tony znane ze stylu gry wczesnego Davida Gilmoura. Zresztą długich gitarowych odjazdów Tony'ego Romboli jest dużo, bardzo dużo i w większości słucha się tych improwizacji obgryzając paznokcie z zaangażowania. Bas poszedł niżej, serwuje kapitalne linie no i brzmi rewelacyjnie, perkusja zwolniła, a atmosfera sposępniała, jakby rzeczywiście zwiastując nadejście apokalipsy.

I właśnie te najmocniej apokaliptyczne, walcowate kawałki są na albumie najlepsze: unurzany w mroku "Open Space", jakby taplający się w narkotycznych wizjach, rozpsychodelizowany "We Are One", diabelnie klimatyczny "What A Way To Go", czy psychodeliczna miniatura "Noumenal Blues". W tych utworach Ray Cerbone ma wokal rozgniewanego proroka, który pod tanią speluną, przepłukując gardło wredną gorzałą, wieści, że świat się kończy.

Pozostałe utwory uderzają raczej w standardowy blues. Jest "Have You Heard?!" rozpędzony bluesior, twardy na wokalu, ciężki na sekcji i rock'n'rollowy na gitarach, pojawia się rozkołysany delikatnymi gitarami "To Hell With You", napędzany świetną sekcją "Nobody Rides For Free", blues rockowy "Bell To Pay" czy najbardziej archetypiczny blues "Sincere".

"The Shape of Blues To Come" to blues grany znad krawędzi. Mroczny, posępny, brudny i apokaliptyczny. Blues końca świata. The Apocalypse Blues Revue na nowym albumie bez wątpienia znaleźli drogę, którą należy podążać i estetykę, jaka wyróżni ich spośród bluesowych bandów. ---Grzegorz Bryk, magazyngitarzysta.pl

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Apocalypse Blues Revue Sat, 12 Jan 2019 14:36:27 +0000
Blind Boys Of Alabama ‎– I'll Find A Way (2013) http://theblues-thatjazz.com/en/blues/6471-blind-boys-of-alabama/24656-blind-boys-of-alabama--ill-find-a-way-2013.html http://theblues-thatjazz.com/en/blues/6471-blind-boys-of-alabama/24656-blind-boys-of-alabama--ill-find-a-way-2013.html Blind Boys Of Alabama ‎– I'll Find A Way (2013)

Image could not be displayed. Check browser for compatibility.


1 	God Put A Rainbow In The Cloud 	2:40
2 	I'll Find A Way (To Carry It All) 	3:44
3 	I Am Not Waiting Anymore 	3:44
4 	I Shall Not Be Moved 	2:48
5 	Take Me To The Water 	3:26
6 	I've Been Searching 	2:42
7 	There Will Never Be Any Peace (Until God Is Seated At The Conference Table) 	5:22
8 	Take Your Burden To The Lord And Leave It There 	3:28
9 	Every Grain Of Sand 	5:27
10 	My God Is Real 	4:13
11 	Jubilee 	4:25

Sam Amidon 	Vocals
J.T. Bates 	Drums, Drums (Snare), Drum Set, Percussion
Phil Cook 	Guitar (Acoustic), Guitar (Electric), Hammond B3, Piano, Piano (Electric)
Casey Dienel 	 Vocals
Merrill Garbus 	Vocals
Patty Griffin 	Vocals
Mike Lewis 	Bass (Upright), Guitar (Bass), Sax (Alto), Sax (Tenor)
Theodore Peter Lucas 	Composer
Reggie Pace 	Drums, Euphonium, Percussion, Tambourine, Trombone, Tuba, Vibraphone
Tracy Pierce 	Guitar (Bass)
Justin Vernon 	Banjo, Guitars, Loops, Synthesizer, Vocals
Joey Williams 	Guitar (Electric)
Shara Worden 	Vocals 

 

Justin Vernon may seem a curious choice to produce a Blind Boys of Alabama record. But adventure has been the group's M.O. during the 21st century, as they've collaborated with musicians of almost every stripe, with varying degrees of success. I'll Find a Way was recorded over four days at Vernon's Wisconsin studio, with arrangements and musical direction from Phil Cook played by a handful of players, and hosting an array of contemporary vocalists including Shara Worden (My Brightest Diamond), Casey Dienel (White Hinterland), and Merrill Garbus (tUnE-yArDs), among others. The Blind Boys -- Jimmy Carter, Eric "Ricky" McKinnie, Joey Williams, Tracy Pierce, Ben Moore, and newcomer, high tenor Paul Beasley -- made the trek. Longtime bass singer Clarence Fountain, unable to travel due to illness, added his vocals from Birmingham. Five of the set's 11 tracks feature the group performing solo with backing musicians. The BBs expertly spin the country gospel chestnut "God Put a Rainbow in the Cloud," as if it had been part of their songbook forever. The traditional "Take Me to the Water," (based on Nina Simone' arrangement) led by Beasley's falsetto, is among the most moving things here. Its arrangement is adorned simply by a tuba, upright bass, piano, and a drum kit. Dienel and Carter deliver a chilling cover of the Chi-lites' "There Will Never Be Any Peace (Until God Is at the Conference Table)." Despite the drum loops that underscore its rhythm section, Cook's dignified piano and the organic percussion point directly at the frontline singers, whose voices contrast beautifully. They are elevated by the BB's choruses and Mike Lewis' soulful tenor saxophone solo. Garbus and the BBs offer a deft lover's rock reggae read of the spiritual "I've Been Searching." The title track, written by the late, obscure Detroit guitar/sitar master Ted Lucas, is the album's finest moment. The arrangement is modeled on the Band's setup circa Big Pink, and frames Worden's throaty yet otherworldly alto. Her phrasing uncovers subtlety in the lyric; her body and spirit are fully invested. The BB's expansive harmonies plumb the emotional depths in the codas and chorus. When Vernon layers her soprano range into the backdrop, a melody worthy of Motown reveals itself. Patty Griffin and the group jar it all loose on Charlie Parr's house-rocking "Jubilee" to close it on a rousing note. There are things that don't work here: there are stilted, wooden arrangements that mar "I'm Am Not Waiting Anymore" with Sam Amidon, and Vernon's duet with Carter on Bob Dylan's "Every Grain of Sand." Otherwise, I'll Find a Way is a fine, if uncharacteristically restrained, Blind Boys of Alabama recording. ---Thom Jurek, allmusic.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) Blind Boys Of Alabama Fri, 11 Jan 2019 16:02:37 +0000
72Blues ‎– Said I Would (2006) http://theblues-thatjazz.com/en/blues/6470-72blues/24651-72blues--said-i-would-2006.html http://theblues-thatjazz.com/en/blues/6470-72blues/24651-72blues--said-i-would-2006.html 72Blues ‎– Said I Would (2006)

Image could not be displayed. Check browser for compatibility.


1 	Said I Would 	3:27
2 	Supper Is Waiting 	3:25
3 	My Name 	5:24
4 	That Just Happened 	1:09
5 	Way Down 	5:36
6 	Southern Fried 	5:13
7 	Lay My Burden Down 	3:47
8 	Harmonihum 	1:11
9 	Lawd, A Lonesome Sorry 	5:47
10 	Home 	3:33
11 	Gonna Get Fed 	5:12
12 	Loneside My Bed 	7:45
13 	Not No More 	10:45

Lizzy Ray (vocals)
D.A. Chow (guitar)
Ben Hall (bass)
Reggie Ray (drums)

 

Female-fronted blues rock with a dash of soul, kind of like a harder Alabama Shakes. Tasteful use of harmonica and organ throughout, definitely thumbs up on this one. ---Lute FP, bandcamp.com

 

72Blues (aka 72 Blues), is a Detroit, MI, USA based delta-electro rock n' blues band, paying homage to the great blues artists of the early 20th century. The band celebrates 'tradition' and 'authenticity' with their roots firmly planted in American heritage but saturate their blues with a stinging-sweat style of attitude and delivery, making the 72Blues sound - all their own. 72Blues deliver a blend of down south and signifying honky rawkin-blues; celebratin' old time traditional music, swing blues, delta blues, rock blues and nail it to the cross with original and contemporary sensibility. This mob of musicians hen peck and scuffle a devilish blend of country-blues, swamp-blues, gospel rhythms, cotton field chants, gospel-blues and prison-blues. Devil music meets Divine intervention you might say! 72Blues arrived with their highly acclaimed debut CD release 'Said I Would' (Shock Records / Timberyard), with 11 wickedly raw tracks streamed together seamlessly rejoicing in a 70 minute sinner's sermon. Followed by their 2007 single 'She Like The Fux, Like Electrolux' recorded in Melbourne, Australia and their latest 'Detroit Border City' EP recorded with legendary producer Jim Diamond of 'Ghetto Recorders' in Detroit, Michigan.

72Blues fight dirty and write music with the same killer instinct, continually re-inventing their punch combination of old time blues traditions. The band is back this 2010, stationed in Toronto/Detroit and are proud to announce their recent addition as new member Jim Diamond (The Dirtbombs) steps in to lend over 20 years of Detroit dirty rock experience. ---last.fm

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

 

back

]]>
administration@theblues-thatjazz.com (bluesever) 72Blues Thu, 10 Jan 2019 15:54:14 +0000