1 	Grey Goose 	5:30
2 	When That Train Comes Along / Swing Low, Sweet Chariot 	3:58
3 	On A Monday 	2:54
4 	The House Of The Rising Sun 	3:29
5 	Midnight Special 	3:58
6 	Bring A Little Water, Sylvie 	3:17
7 	Where Did You Sleep Last Night 	3:28
8 	When I Get To Dallas 	1:42
9 	Pick A Bale Of Cotton 	2:57
10 	Goodnight, Irene 	3:39
11 	Rock Island Line 	3:54
12 	Bourgeois Blues 	3:20
13 	Chauffeur Blues 	2:52
14 	Stewball 	3:29
15 	Titanic 	3:03
16 	Swimmin' In A River Of Songs 	3:23

Backing Vocals – Big Daddy Wilson (tracks: 2, 3, 9, 14), Michael Robinson (tracks: 3, 14)
Bass – Gilles Michels (tracks: 5, 11)
Drums, Bass, Electric Piano [Wurlitzer] – Glen Scott (tracks: 16)
Drums, Percussion – Larry Crockett
Harmonica – J.J. Milteau
Twelve-String Guitar, Mandolin – Michael Jerome Browne (tracks: 16)
Vocals, Guitar – Eric Bibb

When he was discovered in Louisiana’s infamous Angola prison farm back in 1933, little did Lead Belly know that his music would alter the course of his destiny and change the life of the architects of his success, famed folklorists John and Alan Lomax. More to the point, there was no way Lead Belly could have realized that he would become the most famous Black folksinger ever, bringing the attention of millions to the power of the African-American song, well outside the boundaries of his own community, as artists as diverse as Nirvana, Frank Sinatra, the Beach Boys, the Red Hot Chili Peppers, Tom Waits or Bob Dylan embraced his repertoire.

Huddie Ledbetter—Lead Belly’s real name—owes this extraordinary status to his uncanny talent for bridging gaps. Born in the Deep South in the late 1880s, he was a living link between the end of slavery and the height of the sharecrop system that literally disenfranchised African-Americans during the first half of the 20th Century; between the false hopes engendered by the Emancipation Proclamation and the despair spawned by Segregation; between the era of the itinerant songsters and the rise of the blues troubadours, at the time when he was making his apprenticeship as a teenage street musician. In the process, Lead Belly launched almost by himself the folk boom that took by storm the white New York literati, and familiarized Europeans with the blues, triggering a revival that eventually brought about rock music through the likes of the Beatles and the Rolling Stones. Although it is not widely known, he was also the very first rural blues artist to grace Europeans stages in 1949, shortly before his death at the age of 61.

By paying homage to Lead Belly on these live and studio renditions of the old master’s gold songs, blues great Eric Bibb and prolific harmonica player Jean-Jacques Milteau give us much more than a celebration of the folksinger’s rich musical heritage. Establishing a living link between the New World and the Old Continent, they showcase the universality and timelessness of Lead Belly’s message. It is no accident that this recording kicks off with “Grey Goose,” a poetic depiction of social ostracism that finds an echo today with the African and Middle-Eastern migrants who cross the Mediterranean by the thousands on makeshift rafts. The same could be said of the prison song “Midnight Special,” still valid today when African-American males make up 40% of inmates in the US when they represent a mere 13% of the American population, of “The Titanic” with its clear reference to racism that rings appallingly true in the wake of Charleston and Ferguson.

Yet, the most topical songs of all might well be “Bourgeois Blues.” An open denunciation of the color caste system that prevailed in the nation’s capital when Lead Belly recorded it in 1938, it proves that the presence of a Black president in the White House hasn’t really turned the tables in a world of discrimination that’s always prompt to oppress the poor and the voiceless.

Spicing up Lead Belly’s repertoire with a handful of their own compositions, Eric and JJ pick up where the original songster left off, addressing everyday issues with a freshness, candor and poetic sense that contribute to the circulation of a message of peace, hope, tolerance, and non-violence. As a result, their rare musical understanding makes Lead Belly’s Gold one of the most exciting recordings of their respective careers. ---ericbibb.com

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01. Refugee Moan
02. Delta Getaway
03. Diego's Blues
04. Prayin' For Shore
05. Migration Blues
06. Four Years, No Rain
07. We Had To Move
08. Masters Of War
09. Brotherly Love
10. La Vie C'est Comme Un Oignon
11. With A Dolla' In My Pocket
12. This Land Is Your Land
13. Postcard From Booker
14. Blacktop
15. Mornin' Train

Eric Bibb: vocals, guitars and banjo; 
Michael Jerome Browne: guitars, vocals, banjos, mandolin and triangle; 
J. J. Milteau: harmonica; 
Olle Linder: drums; 
Big Daddy Wilson, Ulrika Bibb: back-up vocals.

Eric Bibb is one of the most respected blues singer/songwriters of our time. His music is always reverent, keeping one foot in the blues and folk storytelling traditions. “Whether you’re looking at a former sharecropper, hitchhiking from Clarksdale to Chicago in 1923, or an orphan from Aleppo, in a boat full of refugees in 2016 – it’s migration blues,” Eric says about his new release, Migration Blues. Mainly composed of new tunes, Migration Blues also includes covers of Bob Dylan’s “Masters of War” and Woody Guthrie’s “This Land Is Your Land.” An arrangement of the traditional “Mornin’ Train,” closes the opus. Eric Bibb’s career spans five decades, 37 albums, countless radio & TV shows and non-stop tours, making him one of the leading bluesmen of his generation.

With Migration Blues eric Bibb reminds us that if we look at the history of the world we discover that we all have migrants among our ancestors. Eric also draws a parallel between the former African American sharecroppers leavind the brutal segregation and economic misery of the rural South for the industrial cities of the North and the current migratory movement to Europe of the refugees from the war-torn countries of the Middle East and Africa World.

Migration Blues will certainly be considered one of Eric Bibb’s major albums due to the high quality of the songwriting, the raw emotion delivered by Eric’s voice, the richness of the orchestration (despite the sobriety) and the seriousness and topicality of its main theme. --- bluesmagazine.nl

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01 – Drinkin’ Gourd
02 – Freedom Train
03 – Let The Mothers Step Up
04 – Have A Heart
05 – The Right Thing
06 – Death Row Blues
07 – Can’t Please Everybody
08 – The Lord’s Work
09 – With My Maker I Am One
10 – They Know
11 – She Got Mine
12 – Good Like You
13 – One Day At A Time
14 – Now
15 – Nanibali
16 – Currency Of Love (Bonus Track)

Several years in the making, this is Eric Bibb’s most innovative recording to date and the best album ever released by Dixiefrog over the course of 27 years. The producer, Glen Scott, who Eric calls “a kindred soul”, comes from a tradition of Gospel and Black heritage music. Through this collaboration Eric has further expanded his soulful, gospel-infused folk blues palette to include new flavors and sounds. Eric’s last album, the acclaimed Deeper in the Well, was nominated for two Blues Music Awards (winning him the 2013 Acoustic Artist award) ---thejazzmann.com

"The new record is an ambitious studio project that's been a few years in the making," Bibb says in a press release for Jericho Road. "It was produced by Glen Scott, a singer, songwriter, multi-instrumentalist, recording engineer, arranger and producer, who I've had the pleasure of collaborating with on several earlier albums. This record reflects many of the musical influences that have informed my writing throughout my career. World music sounds, blues, folk and soul all find their way into these songs."

Bibb explains the inspiration behind Jericho Road. "The title refers to the road between Jerusalem and Jericho where the Good Samaritan, a traveler of a despised race, stopped to help a stranger in need after better-off religious leaders had passed by and done nothing. On April 3, 1968, the night before his death, Rev. Dr. Martin Luther King urged us to follow the example of the Good Samaritan, saying: 'Ultimately, you cannot save yourself without saving others.' If this record has a theme, that's it in a nutshell: have a heart." ---Reverend Keith A. Gordon, blues.about.com

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1. On My Way To Bamako
2. L.A.
3. Touma Ni Kelen/Needed Time
4. Tombouctou
5. We Don't Care
6. Send Us Brighter Days
7. Nani Le
8. Khafolé
9. With My Maker I Am One
10. Foro Bana
11. Mami Wata
12. Blowin' In The Wind
13. Goin' Down The Road Feelin' Bad

Eric Bibb (vocals, 6-string guitar, 7-string guitar, baritone guitar, baritone ukulele); 
Habib Koité (vocals, acoustic guitar, electric guitar, nylon-string guitar); 
Mamadou Koné (percussion)

“It’s my first trip to West Africa. But I’m pretty sure, in some kind of way, it’s gonna feel like coming home” ---Eric Bibb

Renowned blues musician, Eric Bibb, sings that revelation in the title track of his new disc with fellow renowned musician Habib Koite, On My Way to Bamako, and joining Habib in the capital city of Mali with his family. This warm and inviting blend of blues and world music is a delight to hear and experience as two songwriters journey to each other’s worlds. Habib praises ‘tequila time’ making him happy in “L.A” as he follows a hilarious line about taking five shots of the liquor.

Many of the tracks like fall under the category of spiritual awareness, but not tied to particular religious dogma. It’s more about reconnecting to each other and the land. “We Don’t Care” and “Send Us Brighter Days” are like a supplication to a deeper, interconnected life in two parts. Eric makes it very plain how intertwined both sinner and saint are to the Higher Power or God on the track, “With My Maker I am One”. Overall, a solid folk/blues treat that does indeed feel to coming home to me. --- JW Richard, groovelovesmelody.com

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01 – Goin’ Down The Road Feelin’ Bad
02 – John Henry
03 – Take This Hammer
04 – Cocaine Blues					play
05 – Candy Man
06 – Goin’ Down Slow
07 – Sittin’ On Top Of The World
08 – Come Back Baby
09 – Frankie & Albert
10 – Stagger Lee					play
11 – Juke Dance
12 – My Honey Pie
13 – Satisfied
14 – Sophisticated Shade

Bass [Höfner Violin Bass], Bass [Vintage 63] – Roger Ekman (tracks: 12, 13)
Body Percussion [Mouth-Percussion], Shaker – Svante Drake (tracks: 12, 13)
Electric Guitar – Kahanga "Master Vumbi" Dekula (tracks: 12)
Electric Guitar [Electric Slide Guitar] – Christer Lyssarides (tracks: 13)
Guitar, Vocals, Producer, Liner Notes – Eric Bibb
Mandola – Christer Lyssarides (tracks: 14)
Sousaphone – Bo Juhlin (tracks: 14)

Released at his 60th birthday, Blues, Ballads & Work Songs is a new album Eric Bibb says he's been working on for most of his life. Most of the songs in the album were "standards" of the folk/blues scene when Eric was first exposed to them.

One of the most powerful examples of this childhood memory is Track no. 4 "Take this hammer", which Eric's farther used to sing when Eric was just a boy. His farther even recorded it on a LP (Vanguard). This piece is one of the most haunting in the album. Eric quite rightly stresses in his foreword that the "trick" with this kind of albums is "how to make it your own - while still honouring the tradition". Some of Eric's arrangements in the album (eg. Tracks 2 and 6), I think, do great justice to the tradition while both his singing and guitar paying are more bluesy and rougher than what we've been accustomed to hear from him. I liked that.

On top of the lyrics, Eric explains the origin of the songs, and when/how he first got touch with them. Useful and interesting info on various artists and old recordings. Would be intriguing to see Eric's collection of blues recordings!

Most of the songs are played by fingerpicking - in Eric's recognizable style - various guitars (12 string, 7 string, ...), all mentioned in the intro to each track. The differences of the instruments can be heard, if focused, through Jan-Erik Persson's very transparent recording (as often with Opus3 records) of the guitars. Eric and Jan-Erik have been working together for 35 years - what's a better way celebrate such friendship than to release an album that reflects deep personal roots of Eric Bibb's art. ---inner-magazines.com

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1. Rock Daniel [2:09]
2. Don't Ever Let Nobody Drag Your Spirit Down [3:27]
3. Get Up Get Ready [4:28]
4. Lean On Me [4:06]
5. Bessie's Advice [7:17]
6. Good Stuff [3:02]			play
7. Rolling Log [2:49]			play
8. Gotta Serve Somebody [5:34]
9. Travelin' Woman Blues [4:29]
10. Little Rain [4:06]
11. Maggie Campbell [2:58]
12. Give A Little More [3:20]
13. My Sisters & Brothers [4:44]

Personnel:
Eric Bibb - vocals, guitar
Rory Block - vocals, guitar
Maria Muldaur - vocals
Per Hanson - drums
Mudcat Ward - double bass, upright bass
Chris Burns - piano, Wurlitzer piano, Wurlitzer organ.

As its title implies, this is a spiritually based collaboration from three distinct -- even disparate -- yet surprisingly harmonious voices. Mostly, but not entirely acoustic, the trio of rootsy singers trade lead vocals on smooth jazz/blues ("Bessie's Dream"), folk-blues ("Good Stuff"), Delta blues ("Rolling Log"), gospel (an a cappella version of Sister Rosetta Tharpe's "Rock Daniel"), and combinations of those genres. On paper it sounds scattershot, but in actuality this is a thoughtfully paced combination of styles, united by three affecting voices. Eric Bibb's smoother Keb' Mo' approach meshes surprisingly well with Rory Block's more penetrating Delta croon and Maria Muldaur's sassy, sexy, throaty growl. Covers of Jimmy Reed's "Little Rain" and Bob Dylan's "Gotta Serve Somebody" with Bibb taking lead, and Bill Withers' "Lean on Me" (Muldaur and Block) show the disc's wide stylistic range. A musical seminar in how diverse types of music interbreed and influence each other, all three singers are in the moment with nobody commanding the spotlight for long. The barrelhouse honky tonk piano blues of Block's "Travelin' Woman Blues" incorporates both Muldaur's and Block's singing in the album's most convincing duet. Only a few songs such as the closing title track feature all three voices, and the album might have benefited from more instances where they all contribute. But the vocalist's exuberance soars from the grooves and creates a lively yet relaxed vibe that's contagious and often thrilling. The result is a cohesive, soulful, and powerful disc that will hopefully inspire listeners to find more material from each of its headliners. ---Hal Horowitz, AllMusic Review

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01. Katalin's Introduction 
02. The Cape 
03. Introducing Staffan Astner 
04. New Home 
05. Troubadour 		play
06. Shavin' Talk 
07. Walkin' Blues Again 	play
08. Tell Riley 
09. Connected 
10. New World Comin' Through 
11. Thanks For The Joy 
12. For You 
13. People Get Ready/Get Onboard

Personnel:
Eric Bibb, voice, baritone, 6 & 12 string guitars.
Steffan Astner, electric guitar.
Trevor Hutchinson, Bass.
Per Lindvall, Drums
Featuring:
Glen Scott, Vocal,piano & percussion.
André De Lange & Paris Renita, Vocals.

Eric Bibb's version of the blues has always been patient and positive, and it serves as a reminder that the blues isn't necessarily always about despair, darkness, and ominous guitar riffs, but is also built on the concept of survival and moving forward, on the idea of getting through tough times and reaching brighter days. In Bibb's hands, the blues becomes sustaining, moving closer to the spiritual uplift of gospel, and the often shaky division between Saturday night blues and Sunday morning praise drops away with this man. Bibb isn't haunted by personal demons as much as he is by cultural ones. He doesn't have a hellhound on his trail, and he isn't about to go down to the crossroads and make deals with the Devil. His 21st century version of the folk-blues isn't about that kind of stuff. It's about healing. A voice of temperate reason and unyielding hope in the dawning of better days is welcome in any musical style and in any era, and Bibb continues down that path with his latest release, Troubadour Live, recorded at a December 9, 2010 concert in Stockholm, Sweden, and featuring guest electric guitarist Staffan Astner. Astner's astounding tone and sharp efficiency on guitar dovetails neatly with Bibb's own accomplished and full-sounding acoustic guitar playing, and it’s obvious that the two guitarists enjoy working together. There’s an intimate feel to this set, which illustrates Bibb's presence and vitality as a live performer. Highlights include the majestic opener “The Cape,” a Guy Clark/Susanna Clark/Jim Janosky composition, the country blues boogie shuffle “New Home” (complete with an absolutely burning guitar lead from Astner), and the pop soul of “For You,” which features the gospel trio Psalm4 (Glen Scott, Andre De Lange, and Paris Renita), and shows that Bibb is quite comfortable outside of the blues medium. As an added bonus, a couple of studio tracks (“Put Your Love First,” a duet with Troy Cassar-Daley, and “If You Were Not My Woman”) are tacked on at the end of this charming, pleasant, and wonderfully intimate live album. ---Steve Leggett, AllMusic Review

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1. Oh, I Had a Golden Thread (Seeger) 3:38
2. Sylvie (Ledbetter) 2:38
3. Look Over Yonder (Traditional) 2:14
4. Five Hundred Miles (Traditional) 3:32
5. Love Like a Good Song (Bibb) 4:17
6. Let Me Fly (Traditional) 3:06
7. Deep River/I've Know Rivers/Mirey (Diabate, Hughes, Traditional) 1:59
8. There's a River (Bibb) 4:02
9. Turn on All the Lights (Bibb) 3:12
10. Look Inside Your Heart (Bibb, Bibb) 4:10
11. Fields of Gold (Sting) 4:49
12. Balm in Gilead (Traditional) 3:32

Leon Bibb / Vocals, Whistling, Handclaps, Recitation
Eric Bibb / High-String Guitar, Vocals, Guitar, Vocals, Tremelo Guitar, Fingerpicking Guitar, Stella 12-String Guitar, National Steel-Bodied Guitar
Derrick "Big" Walker / Harmonica
Cyndee Peters / Vocals
Daniel Stenbaek / Piano
Bill Sample / Piano, Keyboards, Wurlitzer Electric Piano
Erik Dahlberg / Vibraharp
Janne Petterson / Fender Rhodes Piano, Oberheim Organ, Accordion, Keyboards
Dave Bronze / Bass
Mamadou Diabate / Kora (Traditional West African 21-String Harp / Lute)
Oiu Xia He / Pipa (Traditional Chinese Teardrop Lute)
Belinda Riquelme / Pizzicato Cello
Amedeo Nicoletti / Log Drum, Electric Guitar
Per Lindvall / Drums
Frank Sanderson / Conga, Percussion
Sebastien Dubê / Bass
Christer Lyssarides / Mandolin, Hi-Life Guitar, Mandola
Bjorn Gideonsson / Drums, Percussion
David Wilczewski / Clarinets
Brian Kramer / National Slide Gitar

Pretty much everyone agrees that Eric Bibb is going from strength to strength these days. His busy touring schedule and media presence have turned this American artist into a bit of a star on the roots music scene. Eric still lives in Europe and is touring the European and North American continents frequently. His fan base is broadening continuously. But it’s not the quantity of his work that makes Eric Bibb special but the quality of his music and his irresistable stage presence. Eric Bibb is a soulful artist and the special spiritual quality of his art comes from a special place. The foundation of which was laid in New York City — the town the Bibb family called home for many years.

A FAMILY AFFAIR re-unites Eric Bibb with his father Leon Bibb. This is not only a match made in heaven, but presumably also a pairing that was top priority on both men’s list of musical projects. Leon Bibb is an accomplished singer and actor in his own right and a living legend to those familiar with the history of the New York folk scene. Leon Bibb was an influential presence on that scene in the 50s and 60s. Naturally, this is also the social and musical background Eric Bibb was born and raised in. A FAMILY AFFAIR brings these two American voices together on record for the very first time. They have crafted and recorded new music that is truly inspirational. ---last.fm

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1. Booker’s Guitar
2. With My Maker I Am One
3. Flood Water
4. Walkin' Blues Again
5. Sunrise Blues
6. Wayfaring Stranger
7. Train From Aberdeen
8. New Home
9. Nobody’s Fault But Mine
10. One Soul To Save
11. Rocking Chair
12. Turning Pages
13. A Good Woman
14. Tell Riley
15. A – Z Blues

Musicians:
Eric Bibb - 9-String Guitar,  Guitar, Guitar (12 String), Guitar (Baritone), National Steel Guitar, Vocals
Grant Dermody - Chromatic Harmonica, Harmonica

The genesis of this deeply moving album was in an almost chance encounter at a London hotel, where Eric Bibb had just played a set. He was approached by a fan with a beat-up guitar case, which turned out to contain a 1930s National steel guitar that had been owned and played by legendary Delta blues legend Bukka White. Bibb was inspired to write a half-spoken, half-sung ode to White, which he then recorded in London using that guitar; the remainder of the album, though inspired by that experience, was recorded in the U.S. on his own instruments and finds Bibb approaching the Delta blues tradition from a variety of highly personal angles. There's the gospel-inflected blues of "With My Maker I Am One" (which features harmonica player Grant Dermody, and which you won't realize is inspired by Deepak Chopra unless you read the notes), the possibly (but not necessarily) Katrina-inspired "Flood Water," a wonderful version of the traditional "Wayfaring Stranger," and an equally spectacular rendition of the Blind Willie Johnson classic "Nobody's Fault But Mine." One of the album's best and most affecting tracks is an all-too-brief guitar instrumental, a deceptively simple-sounding and decidedly not blues-based piece; another is the gently beautiful "Rocking Chair," which evokes '50s doo wop as much as it does the Delta blues. The overall impression given by Booker's Guitar is that of a richly varied but deeply rooted tribute not just to a particular man, but also to the great tradition he exemplified and the wide variety of musical streams that flowed into it. ---Rick Anderson, allmusic.com

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01. Spirit I Am 
02. The Promised Land
03. New Beale Street Blues 
04. Get Onboard
05. If Our Hearts Ain't In It
06. Pockets
07. River Blues 
08. Deep In My Soul
09. Conversation 
10. God's Kingdom 
11. Step By Step 
12. Stayed On Freedom

Personnel: 
Eric Bibb (vocals, guitar, acoustic guitar, 12-string guitar, baritone guitar, hand claps); 
Ruthie Foster (vocals); 
Tommy Sims (guitar, acoustic bass, electric bass, hand claps, background vocals); 
Chuck Anthony (electric guitar); 
Bonnie Raitt (slide guitar); 
Darick Campbell, Clive Barnes, Johan Lindström (lap steel guitar); 
Orville Johnson (mandolin); 
Grant Dermody (harmonica);
Glen Scott (melodica, organ, Wurlitzer organ, mini-Moog synthesizer, acoustic bass, drums,
 tambourine, hand claps, percussion, wind chime, background vocals); 
Andreas Andersson (clarinet, saxophone); 
Staffan Findin (trombone, bass trombone); 
Javier Solís (drums, tambourine); 
Nikki Leonti (hand claps, background vocals).

Eric Bibb resides right outside of the crossroads where blues, folk, and gospel meet. His songs are elevating but not preachy, gritty but not nasty. It's a congenial music, as if to say that it may be the blues but it doesn't have to be a bummer. And it's a moralistic music, but its meaningful message is never delivered in a saccharine manner. Slide guitars and harmonicas wail, choirs holler, horns blare, tambourines get shaken, steel guitars twang, strings soothe, Wurlitzers whirl, and Bibb, acoustic guitar in hand, keeps 'em all honest with his earthy, Everyman songs. Like Taj Mahal, who has guested on Bibb's recordings, Bibb is in love with the roots of Americana, but, again like Taj, there's nothing self-conscious or stylized about his approach. On the soul ballad "If Our Hearts Ain't in It," which features Bonnie Raitt on slide guitar, he castigates phony religiosity, but even then it's not a condemnation: "We can fall down on our knees, shout 'Hallelujah, my soul is saved!'/But if our hearts ain't in it, ain't nothin' much is gonna change." "Stayed on Freedom," just Bibb on vocal and acoustic with Grant Dermody blowing harp, is a traditional spiritual turned civil rights anthem that delivers the simplest truth in a simple package, and "Pockets" is a country blues love tune set to an easygoing shuffle. A particular highlight is the deep blues "Conversation," a duet with the vocalist Ruthie Foster. A slow builder, it begins sparsely but subtly intensifies as Dermody's harmonica and a trio of trombone, saxophone, and trumpet assert themselves into the tune. Best of all, perhaps, is the opener, "Spirit I Am," a rousing, thumping, oversized shout-out to all that is good and right in a world that, more and more, has us all wondering what's real and what isn't and where we all fit in. ---Jeff Tamarkin, allmusic.com

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