David Ellington - Marbles From A Drawer

Bitrate: 320K/s
Year: 2016
Time: 33:17
Size: 76,9 MB
Label: Blue Canoe Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Goin' to Church - 4:25
 2. Bridgetown (Bridgetown (Featuring Bridget Kitson) - 3:19
 3. Annie (Featuring Marshall Ruffin) - 4:36
 4. 98 Bottles ((Featuring Clay Cook) - 4:15
 5. Lineup Willie - 4:42
 6. Fool ((Featuring Oliver Wood) - 2:48
 7. Soul Survivors - 5:48
 8. Bridgetown (Instrumental Version) - 3:18

Growing up playing music, David Ellington studied the traditional classical fare that kids typically learn. But as adolescence hit and FM radio came into its own, David became attracted to all these other styles of music that he heard on the radio in the late 60’s/early 70’s - and everything changed. Throughout his teenage years, he played in garage bands and with friends, in school, and rocking’ church musicals; always trying to learn more of the music that he heard all around him. After graduating high school, he left his home town in Connecticut and moved to Boston. There he attended Berklee College of Music in the early 80’s, before moving to New Orleans in 1983.
Immersed in the extraordinary music scene in New Orleans, David worked and recorded with dozens of artists, including: Walter Wolfman Washington, The Wild Magnolias, Leigh ‘Lil’ Queen’ Harris, Troi Bechet, Josh Paxton, Los Vecinos, Rick Trolsen, Marva Wright and Tommy RIdgely, among many others. David also created the group ‘Chevere’; a fiery afro-cuban jazz group. The CD recording by Chevere titled, “Baila Mi Ritmo”, was chosen by Times Picayune music critic Keith Spera as not of the ‘Top 20 recordings of 2001. ‘Chevere’ played the New Orleans Jazz & Heritage Festival every year and always received a top tier ‘4 umbrella’ rating for their live performances at the Festival. David also had the good fortune to study with Ellis Marsalis while attending the University of New Orleans in the mid 90’s.
Since moving to Atlanta in 2005, David has been busy focusing on the Hammond organ with the ‘David Ellington Organ Trio’ and with numerous established Atlanta groups and leaders. Some are: Dan Baraszu, The Rick Lollar Band, Will Scruggs’s CC Booker 3rd, Planet Zu, The Karen Greene Quartet, The Dan Coy Group, David Freeman, Scott Glazer’s Mojo Dojo, Ken Gregory, Kenyon Carter Group, and also accompanying jazz singers; Kayla Taylor, Laura Coyle, Gwen Hughes, and Karin Williams.
?Although his focus is on Hammond B3 Organ, David also performs on acoustic piano, as well as some very select vintage and modern keyboard gear: Vintage Vibe Electric Piano [custom Rhodes clone], Vintage Vibe Vibanet [custom D6 Clavinet clone], Wurlitzer Electric Piano, Mellotron, Vox Continental Organ, Farfisa Mini Compact Organ, Moog synthesizer, Korg SV1, and Nord Electro 5.

Marbles From A Drawer

Strangefolk - Weightless in Water

Bitrate: 320K/s
Year: 1998
Time: 64:16
Size: 147,5 MB
Label: Mammoth Records
Styles: Jam Band
Art: Front

Tracks:
1.Roads -  4:27
2.Whatever -  4:55
3.All The Same -  3:51
4.Valhalla -  5:31
5.Furnace -  7:39
6.Who I Am -  4:24
7.Westerly -  5:47
8.Elixir -  4:35
9.Sad -  6:12
10.Otis -  2:59
11.Oxbow - 13:51

Musicians:
Jon Trafton - lead guitar, vocals;
Reid Genauer - rhythm guitar, vocals;
Erik Glockler - bass guitar, vocals;
Luke Smith - drums.

Strangefolk recently signed their first record deal with Mammoth Records. After the signing, they re-released their most recent studio effort, Weightless in Water, through the label and added a CD-ROM including pictures, video and lyrics. Strangefolk is a unique band in that they write catchy songs with great vocal harmonies, yet in the live setting they have the ability to stretch out with open-ended jams. On their latest album, there is a blend of both, although it is more song-oriented. “Roads” is the first track on the CD, and has a combination of upbeat rock and folk. The chorus stuck in my mind as a metaphor for Strangefolk’s growth as a band, “I don’t know where I’m going, but I’ll get there. Sometimes I’m wonderin’, where will it be?” Next, is “Whatever”, which lead guitarist Jon Trafton sings. I particularly enjoy the featured guitar riff in this tune coupled with fellow Burlington, Vermont resident Gordon Stone on Pedal Steel. The culmination of “Whatever” becomes a layered bed of over-dubbed vocals and guitar licks that serve as an exclamation point to the song. This is evidence of Strangefolk’s willingness to utilize the advantages of studio recording, something that many young, jam-oriented bands seem to neglect. For some reason, out of all the songs on the album, this one has stuck in my head all day. “All the Same” is one of my favorite songs on the album. It is bass player, Eric Glockler’s song. It has a very uplifting pulse to it, due to the pedal-point created by Glockler’s driving bass. While the bass line stays “all the same” throughout the song, Trafton plays a riff that gives the song a circular feel to it, leading up to the heavy guitar of the chorus. I found myself bobbing my head as I drank my morning coffee during this tune. It put an early morning smile on my face. “Valhalla” is another feel good, well-crafted ditty. Lead singer, Reid Genauer’s voice is powerful, yet soothing. Trafton adds a guitar riff that is also cleverly looped on the “pictures” section of the CD-ROM. “Furnace” features the first extended jam of the album and does not disappoint. It also has some very interesting lyrics. Trafton gets a unique “ruff around the edges” sound out of his acoustic-electric. The vocal harmonies on this track are beautiful. Strangefolk successfully capture their live sound in this song. “Who I Am” is another Glockler song. The vocals are processed to sound like they’re being sung through a mega-phone (think Beasties Boys’ “Sabatoge”). The lyrics are very insightful and I particularly like the line, “You know damn well who I am, you just don’t know yourself.” The track also features guest, Brian Bull on the B-3 Hammond organ. “Westerly” is a live epic. It is an example of a simple chord progression that can be turned into the foundation for a soaring jam. The album version is obviously shorter than most live renditions. Once again, the harmonies are very impressive and give way to another one of Trafton’s surging solos that Glockler locks up with nicely. Genauer also shows off his vocal range by belting out a few high notes. “Elixir” offers the album’s namesake, “Weightless in Water”, in the opening line. Appropriately, there are some sound effects “sunk” in the mix as well as some slinky percussion. I enjoy hearing songs that I’ve heard many times live, with studio enhanced parts. Listening to the album also gave me an opportunity to pay attention to the lyrics, which I usually miss in the live setting. A line in “Elixir” that I could relate to is “You learn more from whispers than you do from spoken word”. “Sad” could be a radio single. It’s a beautiful Glockler song with more perfect three-part harmonies. Out of all the songs on the album, this one jumped out as a mainstream-sounding song. Don’t get me wrong, I like the song. It just has a certain “poppy” feel to it. Gordon Stone again adds pedal steel. “Otis” has been one of my favorite Strangefolk songs since I first heard it. It’s your traditional upbeat bluegrass romp. It was the first song I put on when I got the album. Right away, I was disappointed. Unfortunately, they tried to do too much with it in the studio. It sounds too cluttered. There are too many parts in the mix. Stone overdubbed at least two banjo parts, both finger-picking and strumming. There are also several guitar tracks. The song needs room to breath. There’ s not enough space. I really dig this tune, but this version doesn’t work. I look forward to seeing this song live again soon. “Oxbow” rounds out the album with a live-sounding feel to it. I really wish Strangefolk would write more songs like this. It is the only song on the album that I really noticed drummer, Luke Smith stepping into the spotlight. Smith has a lot of talent and I’ve always wished that he would be featured more in the context of Strangefolk’s all around sound (“Let Luke Play!”). “Oxbow” showcases the band’s ability to interact with each other and really stretch out. Both Smith and Glockler compliment Trafton’s soloing more in this jam than elsewhere on the album. The jam has peaks and valleys. It is a great way to close the album. The CD-ROM features live concert videos of “Roads”, “Westerly” and “Whatever”. It’s a single camera shoot from the front of house. While it would have been nice to see some close ups of the band, the sound quality is excellent. The CD-ROM also includes lyrics to all of the songs on the album and links to both the Strangefolk web site and the Mammoth Records home page. There are also several high-resolution photos of the band. I highly recommend this album. It successfully showcases the aspects of Strangefolk’s live sound that have made them a national touring success.

Weightless in Water

Veronique - Veronique

Bitrate: 320K/s
Year: 1989
Time: 43:14
Size: 99,2 MB
Label: A & M
Styles: Rock/Soft Rock
Art: Front

Tracks Listing:
 1. I'm Gonna Make You Love Me - 3:19
 2. House Of Love - 4:24
 3. Just Another Dream - 4:13
 4. All My Tomorrows - 3:54
 5. I Want To Get Close To You - 4:38
 6. One Of Us - 4:08
 7. A Touch Of Paradise - 3:56
 8. Falling In Line - 4:30
 9. What Kind Of Love - 4:01
10. Angel In My Eyes - 3:46
11. All Those Years Ago - 2:21

Before there was Celine Dion, there was Veronique Beliveau!  I have had several requests for Veronique's English albums over the years, and thanks to the always wonderful eurodanceboy, I now have them and can finally share them with you.  Veronique was born Nicole Monique in Montreal in the 1950s.  She began performing under the name Veronique Beliveau when she was 17, and was soon touring with French Canadian star Rene Simard.  She then took on several hosting and performing gigs on television in Quebec, and also acted in the film Parlez-nous D'amour.  She released her first album, Prends-moi Comme Je Suis, in 1977.  Her next album, Veronique Beliveau, was released in 1980 and she finally had a hit in French Canada with "Aimer".  In 1983 she changed up her sound from balladry to pop rock and dance pop, and released Transit, which gave her her biggest French hit, "Je Suis Fidele".  The song was a remake of Sheena Easton's "She's In Love (With Her Radio)", which is an appropriate choice as Veronique's voice, look and style were extremely similar to Sheena's.  After releasing several other successful singles, the album won the 1985 Pop Album Of The Year trophy at the Felix Awards, which is the Quebec equivalent of the Grammy's.  That same year she released the album Cover Girl (Cache Ton Coeur), and the title track was another big hit for her.  Her success led to her appearance on the Canadian Africa relief single "Tears Are Not Enough", and she was the only French chanteuse to be invited.  It was only natural that this success in French Canada would lead to a pursuit of fame in English Canada, and she began work on her first English album, Borderline, with producer John Dexter, who has produced other Isle postees like West End Girls and A Perfect Day.  Her first English single, "Make A Move On Me", managed to make a small impact.  Three more singles - "Borderline", "Love You Like A Fire" and "I Can't Help It" - were released to lesser success.  However, that same year she had another French hit with a duet with Marc Gabriel, "Jerusalem".  Her talents ended up attracting none other than Richard Carpenter, one half of 70's pop superstars The Carpenters.  Though he rarely ever worked with other artists, he decided to produce her next English language album.  The first single was the ballad "House Of Love", a remake of my fave song by Isle postee Maria Vidal.  The song attracted only minor attention, however.  The following year a last ditch effort was made for a hit, with the release of a hip hoppy remix of "I'm Gonna Make You Love Me", which was a remake of the song made most famous by Diana Ross & The Supremes with the Temptations.  It wasn't a hit for Veronique, however, and she has not released an album, in English OR French, ever since.  Though she has appeared in some musicals in France and has done occasional backing vocals since then, it is difficult to uncover what else Veronique has been up to recently, though I have a feeling eurodanceboy could fill us in, as he seems a huge fan.  Check out his Youtube page for many more Veronique performances and songs, as well as vids by many other Canadian acts, some whose albums he has generously shared with me and I may feature in the future

Veronique

The Naughty Blokes - We Rise

Bitrate: 320K/s
Year: 2016
Time: 49:01
Size: 112,7 MB
Label: Self Released
Styles: Blues Rock
Art: Front

Tracks Listing:
 1. Heart Attack - 3:40
 2. Move You - 3:29
 3. Tenderly Loved Woman - 5:31
 4. Constantly - 4:01
 5. Ain't No Saviour - 4:38
 6. Fight, Steal & Beg - 4:19
 7. Baby Don't Be Too Hard - 3:39
 8. One Day - 3:39
 9. We Are Lost - 4:34
10. Just a Little Taste - 4:44
11. We Rise - 6:42

Musicians:
Warren Meier-Lead vocals,Guitar;
Johnny Brewer-Lead Guitar, Vocals;
Denny Segel-Bass, Vocals;
Tim Kraft-Keyboards, Vocals;
Tim Maloy-Drums.

The Naughty Blokes are an original Rock Band from Bellingham, WA. Warren Meier-Lead vocals and rhythm guitar, Johnny Brewer-Lead guitar and vocals, Denny Segel-Bass guitar and vocals, Tim Kraft-keyboards, and Tim Maloy- Drums.
The band formed in early 2014 but all members are veterans of the Western Washington and Western Canada music scene, having played locally for many years.
The Blokes took off after winning the KISM Road to RockStar Competition in May of 2014 by a landslide and quickly went to work recording their first CD of all original material. Several high profile shows followed, as well as many opportunities to play in local clubs and musical venues in the greater Whatcom, Skagit, and Snohomish county areas.
2015 and 2016 have been banner years as well…The Naughty Blokes will be playing the Main Stage at The Mt. Baker Rhythm and Blues Festival in August…voted Best Blues Festival in America 2014 at the KBA awards in Memphis, as well as several outdoor summer concert series and festivals. Late in 2015 we headed back into the studio to record our second CD with more new material. The result is this album titled, "We Rise!"
Thea Hart of “What’s Up” Magazine says in her review “The Naughty Blokes boldly rocked through fun toe-tapping tunes, sweet riffs and smooth progressions galore in their energetic and well arranged set.The group easily caught the ear and the interest of every one present. They brought well balanced Brit rock featuring confident
and clear guitar work and ear catching vocals. This is the kind of music you turn up when you hear it on the radio.”
“The Blokes’ blend of catchy tunes, soulful vocals, soaring guitar hooks and a strong rhythm section, along with a fun stage presence, guarantees a good time for all!”

We Rise

The Blue Hook - Madness in A Quiet Little Town

Bitrate: 320K/s
Year: 2016
Time: 46:44
Size: 107,1 MB
Label: Rockershop Records
Styles: Psychedelic Blues Rock
Art: Front

Tracks Listing:
 1. Jealous Soul - 3:48
 2. Breaks My Back - 5:05
 3. Left You for Good - 4:19
 4. Dancin The Day - 3:26
 5. Madness - 4:31
 6. Fly Like A Hammer - 3:18
 7. Stompin - 4:22
 8. Glue - 5:11
 9. Quiet Little Town - 2:24
10. Motor's Always Chuggin - 4:08
11. Never Let It Go - 6:07

Psychedelic blues rock heavy and shiiiittt/
Recorded at audioflare studios. Most of it live, some of it not, some recorded in San Diego. The drummer was always drunk, other than that everything was another day at the studio. My favorite people played on this album and only my favorite people. The madness was like a hammer and Chris never said a word. From the top of the train tower to Roach's basement, Pete put the stank on the chili pepper. There's beauty in the middle of everything.

Madness in A Quiet Little Town

Nick Moran Trio - The Messenger

Bitrate: 320K/s
Year: 2006
Time: 59:01
Size: 135,4 MB
Label: Consolidated Artists Productions
Styles: Jazz/Jazz Fusion
Art: Front

Tracks Listing:
 1. Papa George - 6:08
 2. The Messenger - 5:37
 3. Indigo City - 7:38
 4. Sensory Awakening - 4:58
 5. The Secret Life - 6:34
 6. That Greasy Stuff - 5:37
 7. The Black Rose - 7:17
 8. Perfect Moment - 7:10
 9. Shorter Steps - 7:58

Contempory Guitar Trio featuring Drums and Hammond Organ.
Nick Moran is a guitarist with an extraordinary touch and compositional sensibility. This project reveals Nick’s terrific understanding of melody and harmony, and more so, how to explore all of the colors of sound in the organ trio. Together with sidemen Ed Withrington on organ and Andy Watson on drums the band develops some very original contemporary themes and motifs.

The Messenger

Christian Serpas & Ghost Town - Favorites

Bitrate: 320K/s
Year: 2016
Time: 45:02
Size: 103,3 MB
Label: Self Released
Styles: Country Rock/Americana/Blues
Art: Front

Tracks Listing:
 1. Hoot And Holler - 2:41
 2. There She Goes - 3:46
 3. Miss Maybe - 3:25
 4. Sixty Seconds - 3:34
 5. Read 'em And Weep - 3:31
 6. I've Got a Good Thing Going - 3:31
 7. She Won't Even Miss Me When I'm Gone - 3:11
 8. If That's How You Want It - 3:41
 9. I'll Just Stay Here and Drink - 1:37
10. Go - 3:39
11. Bad Side of Goodbye - 3:15
12. Las Vegas - 4:36
13. That's It, I Quit, I'm Gone - 3:38
14. Checkin' the Mic - 0:50

Musicians:
Christian Serpas - vocals, acoustic guitar;
George Neyrey  - guitar, vocals;
Don Williams bass guitar, vocals;
Jeff Oteri -  drums, vocals.

"Ghost Town is a little bit of country, a little bit of rock 'n' roll, a little bit of rockabilly and a whole lot of fun." – Keith Spera, New Orleans Times Picayune Lagniappe. Christian Serpas and Ghost Town play rocked out, revved up country music. They call it American honky tonk, but however you describe them - Americana, alt.country, roots music - one thing is certain, Ghost Town has never met a crowd they didn’t rock. “The first time we opened a show for a big name country act, their road manager said we sounded like Led Zeppelin playing country music,” says Serpas. “We considered that a good start.“
Hundreds of shows later, Ghost Town’s new “SIX PACK” CD reinforces the critical acclaim that’s been heaped upon the band along their way. Jam-packed with catchy, memorable songs about love, loss and yearning, along with fist-pumping, working man’s anthems, and their rip-roaring interpretation of the Johnny Cash classic Folsom Prison, Six Pack is a cool, sparkling addition to the Ghost Town story.
Just four months after forming, Ghost Town won the New Orleans Jimmy Dean True Value Country Showdown, and were soon sharing stages with everyone who’s anyone in country music (Merle Haggard, Dwight Yoakam, Montgomery Gentry, Kenny Chesney, Pat Green, Cross Canadian Ragweed and over 40 others), hitting the honky-tonks and festivals throughout the Gulf South, selling thousands of their CDs and their now famous "God Bless Johnny Cash" t-shirts, all while making fans out of folks who professed to not like “country music”.
Ghost Town’s first CD, "ELECTRIC HOEDOWN", was voted "ALBUM OF THE YEAR" by readers of Tambalaya magazine, who also voted Serpas "MALE VOCALIST OF THE YEAR". Their followup CD, "GIDDY UP", was named one of the TOP CDS OF THE YEAR by Offbeat Magazine, and nominated as LOUISIANA COUNTRY ALBUM OF THE YEAR in their Best of the Beat awards.

Favorites

Mustang - Hard Funk Trio

Bitrate: 320K/s
Year: 2005
Time: 38:27
Size: 88,6 MB
Label: Luna Negra
Styles: Instrumental Jazz/Funk
Art: Full

Tracks Listing:
 1. No te metas eso a la boca - 3:34
 2. Te dije que no te metieras eso a la boca - 2:26
 3. Es divertiodo porque es cierto - 2:45
 4. Frutsi gratis - 3:37
 5. Dia feliz en colorilandia - 2:37
 6. James Brown - 2:02
 7. Mi perro se comio mi tarea - 3:35
 8. Tragaste ligas? - 2:50
 9. Tuinti tuinti turiru - 2:59
10. Mi pequeno pony - 4:03
11. Vamonos que aqui espantan - 4:15
12. Cancion bonita - 3:38

Unknown Mexican team with a single album with a hard, energetic, resilient, hard-funk instrumental - the style they are even identified in the title of the album itself.

Hard Funk Trio

Bobby G - Winterville

Bitrate: 320K/s
Year: 2016
Time: 57:33
Size: 134,7 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Winterville - 6:35
 2. Somethings Wrong - 5:35
 3. Don't Leave Me Out In The Cold - 4:13
 4. That Girl's Watching Me - 4:53
 5. Bail Out Blues - 3:14
 6. Sparkling Blue Jeans - 4:10
 7. The McGee Brothers - 4:14
 8. Sway Back - 5:20
 9. I Tried - 4:04
10. Table For One - 3:10
11. Hang On To Your Money - 5:09
12. Every Time - 3:03
13. Daddy's Here - 3:46

Bobby G and I had a chance to work some blues gigs in Toledo, OH. We became friends and I asked him if he had any albums out and he said "No". We changed that and proceeded to produce this album during the last 18 months. Bobby purchased a hand held recorder to record his ideas and I (Mike Lorenz) wrote melodies and arranged the rhythm tracks. Eric Brasier also added five songs that show his lyric writing skills. Eric also played guitar on several of his tunes. A special thanks to Greg Moore and Pat McDonagh for their guitar work and contribution to the album.

Winterville

Funky Organics - The Funky Organics

Bitrate: 320K/s
Year: 2016
Time: 52:40
Size: 123,7 MB
Label: Chicken Coup Records
Styles: Jazz/Funk/Hammond
Art: Front

Tracks Listing:
 1. Mojowinder - 4:01
 2. Cissy Strut - 5:22
 3. The Lizard - 4:55
 4. Lentil Soup - 5:21
 5. Silly - 4:32
 6. Groove With Me - 5:42
 7. Soul Bossa - 4:36
 8. Funk Time - 6:22
 9. Fungi Groove - 6:01
10. Grease Ball - 5:44

Musicians:
Mark Minchello - organ, leader
Vinny Conigliaro - drums
Rick Savage - trumpet
Bob Hanlon - sax

Staying true to the Chicken Coup mission statement, this CD is funky, cool, tap-your-toes B3 organ SOUL JAZZ! On this very hip recording from accomplished and polished players, the tunes are accessible, catchy, and downright tasty.

The Funky Organics

Jaimoe's Jasssz Band - Renaissance Man

Bitrate: 320K/s
Year: 2011
Time: 64:12
Size: 147,7 MB
Label: Self Released
Styles: Jazz-Rock/Blues
Art: Front

Tracks Listing:
 1. Dilemma - 8:49
 2. Drifting and Turning - 7:48
 3. Leaving Trunk - 6:32
 4. I Believe I'll Make a Change - 6:36
 5. Rainy Night in Georgia - 5:44
 6. Hippology - 4:20
 7. Laurie Ann Blue - 5:57
 8. Melissa - 5:43
 9. Simple Song - 7:03
10. Points of Friendship - 5:36

Hypothetically, let's say someone put on this album for you without telling you who it was. Your first reaction would be: "If this isn't an Allman Brothers side project, I smell a lawsuit." Upon learning that the bandleader is Jaimoe, you would relax and take the music on its own terms.  Musically, this album is actually closer to the Allmans' sound than many other Allman-affiliated projects. Jaimoe calls the group, "Jaimoe's Jasssz Band," which suggests Allman-style fusion in the mold of Sea Level, but the jazz elements on this album are rarely more prominent than on Elizabeth Reed, with the primary exception being a piece by keyboard player Bruce Katz called Hippology. Interestingly, Jaimoe played this piece along with Bruce on Ronnie Earl's "Colour of Love." (Side note-- Gregg has a guest spot on that album too). Most of the rest of the album sticks close to the jazz-inflected Southern blues rock jam band style pioneered by the Allmans. In fact, some of the album sounds like what would happen if the Allmans brought in a few horns. The singer sometimes even sounds a bit like a less gruff version of Gregg, particularly on a version of Melissa. Really, though, the album sounds like Jaimoe's effort to showcase his new discovery-- almost-definitely future Allman Brothers guitarist/singer Junior Mack. He has soul, chops and versatility. He can play blues straight or with jazz elements. He can play conventional or slide. He can sing kind of like Gregg when he wants to. And, while he can obviously play the Allmans' style, the tone and attack of his guitar work instantly distinguish him from any current or past Allmans' guitarist. Occasionally, he even has a guitar conversation with himself, alternating styles and sounds to mimic the kind of conversation that Duane and Dickey used to have (and that has been picked up by each subsequent guitar lineup in the group). Also, seven of the ten songs here were written by group members (although Katz has recorded Hippology before, as mentioned earlier). Of those seven, four were written by Mack. Apparently, the guy can do it all. Keep an eye on Junior Mack. Incidentally, Junior Mack appears on a new release by a collective called Heritage Blues Orchestra. It sounds nothing like this, but fans of classic blues and jazz with an open mind should definitely check it out.

Renaissance Man

Grady Spencer & The Work - The Line Between

Bitrate: 320K/s
Year: 2016
Time: 55:30
Size: 128,1 MB
Label: Self Released
Styles: Americana/Blues/Country
Art: Front

Tracks Listing:
 1. Winning Wrong - 3:36
 2. Take My Hell - 4:34
 3. Nothing Is Bad - 4:05
 4. By Now - 4:59
 5. Wedding Ring - 3:56
 6. Austin - 3:35
 7. Thick and Thin - 3:23
 8. Find You - 3:20
 9. Same Place - 5:17
10. Goats - 5:11
11. True Love'll Wait - 3:48
12. Not Alone - 4:15
13. Home Remedy (feat. Lee Tyler Williams) - 5:25

Earlier this year, Grady Spencer & The Work announced their upcoming album, The Line Between, would be released in the Spring. Now, the 13-track album has an official release date of Friday, April 22–with an official Album Release Show the following day at The Blue Light in Lubbock. Spencer and The Work, his sound and steadfast four-piece, stayed close to home to record the hearty and robust album with a recording stayover at January Sound Studio in Dallas.
Much like Spencer’s catalog–Sleep, Sunday’s Ships, and The Seminole Optimist’s Club—The Line Between finds Spencer working within the realm of fat guitar lines, sharp tones, and a warm smoothness that weaves itself throughout. Though, this time around, it’s his best sounding. Sonically, it wraps around you with its pristine, natural glow. Four albums in, Spencer is still reinventing and finding comfortable, but refreshing grooves for his ever-evolving storytelling to live in.
As a songwriter, Spencer is a swinging hammer. Each time, he’s hitting the proverbial nail in the board a little further down. It’s always been clear that Spencer’s main muse has been his wife, but an underlying theme has always been the blue-collar working man. It’s always been a lone line or phrase–something that when stacked with others, showed Spencer’s week-day world.
While previous works found Spencer hitting his stride on first-person love ballads, but songs like “Goats” falls closer to the likes of River-era Springsteen and Songs by John Fullbright. Here, for the first real time, we see Spencer holding the short end of the stick. He’s a doomed man–not because of any character flaws–but because he’s willing to bet on himself.
In many ways, The Line Between finds Spencer stretching his legs as a songwriter. Songs like “Winning Wrong,” “Same Place” and  “Goats” have the consistent groove we’re familiar with, but see Spencer’s storytelling grow and some of his luck running out–or at least grounded in the realities of a harsh, relatable world. And while Spencer grows as a gloomy, somber storyteller in the midst of dark days, he stays as reliable as ever in bright, crisp love anthems and singalong choruses. Songs like “Nothing is Bad” and “Find You” are like worn denim shirts. They’re comfortable, lived in moments.

The Line Between 

Metro - Dance Of Romance

Bitrate: 320K/s
Year: 1982
Time: 35:03
Size: 80,3 MB
Label: Cracked Conch
Styles: New Wave/Popwer Pop
Art: Front+Back

Tracks Listing:
 1. Dance Of Romance - 3:02
 2. Tina's Got A New Hairdo - 3:09
 3. Glad All Over - 2:28
 4. TV Family - 3:32
 5. World Of Pain, Part Three - 4:40
 6. My Baby Walks In The Night - 3:37
 7. Rude Boy - 3:08
 8. Moscow After Midnite - 3:26
 9. She's The One - 2:16
10. X Ray Eyes - 5:42


Very cool older New Wave band from Miami (keeping this one) and they cover "X Ray Eyes" by none other than our old favorite band called 3/

Dance Of Romance

The Whiskey River Band - Northern Lights In The Southern Sky

Bitrate: 320K/s
Year: 1991
Time: 63:16
Size: 145,6 MB
Label: Self Released
Styles: Southern Rock
Art: Front

Tracks Listing:
 1. Fly Gypsy Fly - 4:25
 2. Whiskey Time - 5:08
 3. Satisfied Mind - 4:10
 4. Good Friends - 4:29
 5. Alyce Dean - 5:44
 6. Stanger In Your Own Town - 4:23
 7. Fallin Into Place - 3:58
 8. Saturday Nights Were So Special - 4:51
 9. Hold On Tight - 5:37
10. Live And Learn - 5:20
11. Cheatin Woman - 3:49
12. Mr. Wiseman - 5:34
13. Something To Believe In - 5:44

Musicians:
Tom McLear - lead vocals, harmonica;
Dennis Carbo - lead guitar;
Wayne Levandoski - lead & slide guitar, dobro;
John Kelly - bass, vocals;
Chris Cioffi - keyboards, vocals;
Joe Lole - drums.

This Is The Sound Of Southern Rock at it's best! Just have a listen to Hold On Tight and Satisfied Minds as well as Whiskey Time.

Northern Lights In The Southern Sky

The Whiskey River Band - It's About Time

Bitrate: 320K/s
Year: 2007
Time: 46:53
Size: 122,4 MB
Label: Self Released
Styles: Southern Rock
Art: Front

Tracks Listing:
 1. It's All Good - 4:10
 2. Southern by the Grace of God - 4:40
 3. Blue Collar Man - 4:54
 4. Can't Be Love - 5:14
 5. Can't Wait to Get Back Home - 5:36
 6. Dreams Come True - 4:55
 7. Driving You Away - 3:01
 8. Dancin' Around the Fire - 4:57
 9. Momma Don't Go for That - 3:28
10. Here Comes Trouble (9-11) - 5:52

Musicians:
Tom McLear - lead vocals, harmonica;
Dennis Carbo - lead guitar;
Wayne Levandoski - lead & slide guitar, dobro;
John Kelly - bass, vocals;
Chris Cioffi - keyboards, vocals;
Joe Lole - drums.

The Whiskey River Band™ is an original Connecticut band, playing the finest Southern Rock north of Dixie since 1987. They were 4-time winners of The New Haven Advocate's (local A&E paper) "Best Of" for Southern Rock/Country music - by enough of a landslide to cause them to retire the category for several years in the early 90s. Although they primarily play Southern and Classic Rock, they also incorporate Blues, Funk and Soul into their sets. Over their 20 year career, they've shared the stage with bands like Charlie Daniels, The Outlaws, .38 Special, Johnny Winter and Marshall Tucker and will be opening for Lynyrd Skynyrd and The Doobie Brothers on June 28, 2007. The Whiskey River Band's music is currently on heavy rotation on many internet-based stations and podcasts throughout the world.

It's About Time

Brian Thomas & Alex Lee-Clark Big Band - Superhero Dance Party

Size: 134,9 MB
Time: 58:12
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Funk, Hammond Organ
Label: Self Released
Art: Front

Tracks Listing:
1. Crawlin' - 10:01
2. Shootin' The $%#! - 7:00
3. Superhero Dance Party -  8:28
4. Rolo Tomassi - 7:11
5. Freetime - 5:58
6. New Days Ahead -  9:21
7. For Me To Know - 10:11

18 Piece Original Funk/Soul/Hip Hop/Jazz Big Band. This is not your daddy's big band!! (unless your daddy is James Brown!) Featuring a rotating cast of players including Aaron Bellamy, Amy Bellamy, Beau Sasser, Sam Gilman, Mike Tucker, Ben Griffin, Jeff Lockhart, Steve Fell, Ted Sullivan, Pete Levesque, Mark Zaleski, Dino Govoni, Paul Lieberman, Jared Sims, Jeff Galindo, Brian Thomas, Clayton DeWalt, Angel Subero, Yaure Muniz, Alex Lee-Clark, Trent Austin, Doug Olsen & Eric Bloom.

Superhero Dance Party

Billy Falcon - Falcon Around

Bitrate: 320K/s
Year: 1980
Time: 36:41
Size: 84,4 MB
Label: MCA Records
Styles: Rock
Art: Front

Tracks Listing:
 1. I Never Did It (Hardly Ever) - 4:07
 2. Blue Smoke - 4:26
 3. Mozambiques, Mozambiques - 3:16
 4. Not Goin' Down - 4:07
 5. Businessman's Lunch - 2:57
 6. Reaction - 3:23
 7. Rocks In His Head - 2:53
 8. I Don't Know Nothin' - 3:22
 9. Date With The King - 3:58
10. Holdin' On - 4:07

This 1980 album by singer/songwriter Billy Falcon plays a lot like early John Cougar Mellencamp -- material that isn't quite there yet -- significant only because it is a rare album from this time period by the legendary Jimmy Miller. Three years before Johnny Thunders' In Cold Blood would see the light of day, this album sounds more like Miller discovery Joey Stec than the lead guitarist from the New York Dolls. "Mozambiques, Mozambiques" rips "Rip This Joint" from Exile on Main St., but doesn't have the musicianship of the Rolling Stones or the chemistry when Jimmy Miller recorded that legendary album in the south of France. Falcon Around, however, was recorded in Olympic Studios in London, where the Stones had much success. It just really never gets off the ground because Billy Falcon's talent is nowhere near that of the Rolling Stones, or many other acts recorded by their former producer. Charles Koppelman, who would reshape the '80s with his SBK company, and Miller's manager, George Greif, who also managed Jose Feliciano and the New Christy Minstrels, were heavily involved, and with the big boys behind him, it is interesting how this effort by Falcon didn't have a cover or a song from someone's publishing catalog or anything that resembles the all important break-through hit. "Not Goin' Down is appealing in its own way -- a very nice album track, but the vocal over does it, despite rather elegant musical production by Jimmy Miller. The waves the producer was making with Motorhead and the Plasmatics was in heavy metal and punk circles, but this is an interesting look at a project of his that didn't gain much notoriety, and fills in forgotten spaces on his amazing resume. Having seen Jimmy Miller at work, it is hard to picture him accepting a tune like "Businessman's Lunch" unless the artist was adamant about it. Miller had tremendous ears and would only tell his acts once if he disagreed -- after that, you were on your own. There is none of the magic here that he put into so many records, from Traffic to Spooky Tooth and Blind Faith, making this one of the albums which sound like he was there in the room, but not giving much input. The tricks with the echo are far from Miller's cohesive style and the material is shockingly weak to be endorsed by a heavyweight publisher like Charlie Koppelman. "Holdin' On" closes out the album, and it is a decent hook as well as performance, following nondescript compositions like "Reaction," "Rocks in His Head," and the completely awful "I Don't Know Nothin'," which will rank as one of the worst efforts in Jimmy Miller's illustrious career. This is another one of those albums you need to own for posterity, but need not play.

Falcon Around

Danny Sugar & Oli Silk - Duality

Bitrate: 320K/s
Year: 2002
Time: 51:44
Size: 118,7 MB
Label: Passion Records
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Duality - 4:17
 2. Everybody Be Cool - 3:36
 3. Real Love [feat. Paula Crawford] - 4:13
 4. Electri-City! - 4:36
 5. The Green Room - 6:39
 6. Love will Follow [feat. John Reid] - 6:05
 7. A.T.S. (Another True Story) - 4:57
 8. Oyster - 5:26
 9. Don't Give Up [feat. Jane Hamilton] - 6:38
10. L'austin Pace - 5:12

For the first time I became aware of Sugar & Silk reviewing the album "The Best of Passion Jazz - Volume 2". Sugar & Silk are presented with their tune  "Everybody Be Cool" on this collection. My attention was awaked. During my stay in London I used the opportunity to visit several big cd-shops at Picadilly Circus on the search of "Fact or Friction", Sugar & Silk's debut album. I had luck and have  unpatiently awaited their second album. After a delay of several months the album was finally released in July 2002.
Sugar & Silk are Danny Sugar (bass guitar) and Oli Silk (keyboards). Reading their bios at their website http://www.sugarandsilk.com/ one recognizes that both are very young and at the beginning of a great career. But they already played so often in the Jazz Cafe, that they could be the house band of this small venue in 5 Parkway, Camden (London).
Slamming groovy is the starting song Duality. Take the best of Brian Culbertson and you hit the performance point of Oli's programming and piano skills.
Everybody Be Cool adds to this laidback attitude James Vargas crazy alto sax. One theme is the starting point for several improvisations in sax and piano.
Real Love is pure soulful funk with Paula Crawford 's wonderful young voice comparable to Siedah Garrett's best-known vocals.
Electri-City! is an electrifying powerful Smooth Jazz tune in Richard Elliot's style. Very enjoing, very dancable.
The Green Room reveals the more contemplative side of this amazing duo. A swinging bridge btween the melody strings and some jazzy improvisations showcases the background and the models of the band, which are to find in jazz history as Jaco Pastorius, Dave and Don Crusin and Charles Mingus. But they also respect the members of Fourplay and this is to hear loud and clear.
Love Will Follow features John Reid's impressive vocals. Reid, who already appeared on Marsha Raven's dance album "Catch me", deserves a broader attentiveness. He could be the next Luther Vandross.
A.T.S ( Another True Story) is perfectly arranged and performed. Be aware that this piece was completely made by only two musicians. It's furthermore an example for good drum-programming and Oli's piano play is UK's answer to Bob James.
James Vargas dynamic alto sax marks excentric notes on Oyster, while Oli's keyboards sounds are responsible for the luscious and impressive atmosphere.
Jane Hamilton is a new discovery on Don't Give Up. Sugar & Silk's website informs: "Jane who hails from Scotland now resides in Leicester. She is a prolific singer/songwriter and comes from a very musical family. Jane’s brother, Steve plays and tours with Bill Bruford. She gigs regularly around the Leicester area performing her self penned repertoire."
L'austin Pace is the final tune, written and played for those which believe that Smooth Jazz is jazz. Is this fusion jazz piece the real face of the group?
Critics of this album are throughout positive and I am sure, JazzFM and Solar Radio will aready have tunes of this album at their playlists. Good music is always finding its way to success.

Duality

Willie Sugarcapps - Paradise Right Here

Bitrate: 320K/s
Year: 2016
Time: 47:22 
Size: 109,4 MB 
Label: Baldwin County Public Records
Styles: Country/Folk/Americana/Singer-Songwriter
Art: Front 

Tracks Listing:
 1. Dreamer's Sky - 3:53
 2. Faded Neighborhood - 3:15
 3. Mancil Travis - 7:52
 4. Intentions of My Heart - 2:35
 5. The Highway Breaks My Heart - 3:34
 6. Love Be Good to Me - 3:57
 7. May We Love - 5:17
 8. Find the Good - 2:28
 9. Magnolia Springs - 3:29
10. Rosemary and Time - 3:32
11. Paradise Right Here - 7:26

Willie Sugarcapps is the Gulf Coast’s new collaboration between Will Kimbrough, Anthony Crawford, Grayson Capps, Corky Hughes, and Savana Lee. Whether you know it or not, you’ve already heard of them and are already familiar and comfortable with their work. Individually they have written, played, sung, and toured their way from Nashville to New Orleans, from Georgia to Hollywood, with the likes of Jimmy Buffett, Emmylou Harris, Neil Young, Kate Campbell, Dwight Yoakam, Steve Winwood, and Kung Fu Mama just to name a few. Their new self titled album which will be released July 2013, was produced, engineered, and mixed by Grammy Award winner Trina Shoemaker (Sheryl Crow, Dixie Chicks, Emmylou Harris).
Early alchemists searched for the aqua vitae – the Water of Life – a pure, natural panacea that would cure one’s ills, ease one’s troubles, possibly even turn base materials into precious metals. Everyone familiar with the Gulf Coast knows that when rivers converge, waters of life do indeed spring forth. The ebb and flow of Mobile Bay’s tides and waves, the mingling of fresh and salt water, the juxtaposition between current and sediment create in-between-spaces that cause its estuaries to be among the most productive natural habitats in the world.
And one of the finest musical evolutions birthed from this habitat is Willie Sugarcapps. Not unlike the convergence of the Mobile River, the Tensaw, the Dog and Deer Rivers, Foul River and Fish River, musicians Kimbrough, Crawford, Capps, Hughes, and Lee began to mingle their collective musical experiences together at the in-between-spaces provided by Cathe Steele’s Blue Moon Farm and have created something magically original.
Such a diverse and collective experience produces a musical gumbo that is sure to please your auditory pallet. Band members often take turns singing lead and share their gifted versatility as they switch up between fiddle, banjo, mandolin, lap steel, bass, and even ukulele. While you never know what you’re going to get when listening to Willie Sugarcapps, you will always leave satisfied, knowing that your ears, your heart, and your soul have been nurtured. What ails you will be soothed, your troubles will slip away for a moment, and you will definitely have listened to something precious.
Willie Sugarcapps can be heard live at various venues across the southeast. 

Paradise Right Here

Eileen Howard - Big City Love

Bitrate: 320K/s
Year: 2016
Time: 45:27
Size: 106,2 MB
Label: Self Released
Styles: Jazz/Blues Vocals
Art: Front
Source: Web

Tracks Listing:
 1. Big City - 2:48
 2. Home Is You - 4:52
 3. New York New York - 5:03
 4. Till Now - 4:12
 5. Sunday In New York - 3:04
 6. I'll Take It All - 3:57
 7. Love Can Change - 4:58
 8. Manhattan - 4:36
 9. Absent Without Leave - 3:47
10. In Tune - 3:01
11. But Beautiful - 5:05

Critically acclaimed jazz and blues singer/composer Eileen Howard will release her fifth CD, Big City Love, an eclectic musical tribute to love in, and for, the city.
This intensely personal collection of jazz, funk and blues includes four originals composed and arranged by Howard, each a reflection on her 37 year journey of love with her husband, George Howard. Originally a transplant from Ohio, who has lived all over the world, she selected songs on the album to celebrate her adopted city of New York. Howard conceived and arranged a funky version of the classic Kander and Ebb standard, “New York, New York." Her unique arrangement of Roger and Hart’s “Manhattan," using translations of some of its words, is a tribute to the waves of immigrants who wanted to ‘take Manhattan’. Other songs include, “I’ll Take it All," a musical theater composition by up-and-coming New York composers Sam Carner and Derek Gregor. Till Now is a world premier by Nashville composer Thomas O’Connell. “Big City" and “Sunday in New York" were arranged by internationally recognized music director, composer and artist, Michael Raye, who also plays keyboard on the album and was the recording and mixing engineer.
Other talented personnel on the album include Nat Janoff on guitar, Eddy Khaimovich on bass, Darrell Smith on drums, Daniel Bennett on flute and sax, and Matthew Owens on trumpet.
Jazz Journalist, Marcia Hillman, wrote about Big City Love, “With this latest offering, Eileen Howard continues to reach her listening audience with her storytelling ability by singing from the heart with her powerful, melodious voice.” Scott Yanow, L.A. Jazz Scene, called Howard a “very appealing singer with a powerful voice and a joyful personality” and “a singer well worth discovering.” Edward Blanco said, “This lady can definitely sing up a storm with a voice that allows her to reach and hit the high notes with effortless ease...lush velvet voice. A very impressive vocal performance.” Blues Music said: “She harnesses the genre as one of those rare entertainers with the sensitivity and witty flair to deeply evoke the human sensibility.” Deejay Fritz “The Night Owl” called her “One of the most creative and swingin’ singers ever to vocalize on the local jazz scene.” And music review blog, “Wildys World” said, “Eileen Howard sings like a Diva, vamps like a Rat-Pack veteran and generally entertains like few others can...” Her 25-year career as an actress and singer has been studded with awards for musical performance and acting.
Howard previously released a live recording of her sold out “Blues Cabaret” called Blues in the Green Room, which has been praised by music reviewers, two critically acclaimed jazz CD’s, and an eclectic CD of spiritual tunes of her own composition.

Big City Love

Herrick - Cottonfields

Bitrate: 320K/s
Year: 2016
Time: 33:03
Size: 75,9 MB
Label: Breakaway Entertainment
Styles: Country Rock/Roots Rock/Americana
Art: Front

Tracks Listing:
 1. Cottonfields - 2:32
 2. Hurt Like Heat - 3:24
 3. In California - 3:38
 4. Uh Oh - 3:11
 5. Life In A Song - 3:32
 6. Like A Disease - 2:44
 7. Freedom Love - 3:13
 8. Your Love - 3:15
 9. Said And Done - 3:43
10. Together - 3:47

Musicians:
Donna Herrick - Vocals:
Jefferson Rogers - Guitar;
Kerry Herrick - Bass;
Jeff Bradshaw - Drums.

Cottonfields was produced by Herrick and veteran producer David Walker. Vocalist Donna Herrick, along with husband and bass player, Kerry Herrick, guitarist Jefferson Rogers, and drummer Jeff Bradshaw, began writing for the album in early 2014. The result is an collection that offers a panoramic sonic experience, with a variety of themes, all wrapped in characteristic Herrick musicianship, showcasing Donna’s power vocals with driving harmonies.
It is a kind of roots/rock Americana music that borders on folk literature.
Themes of empowerment, freedom, spirituality, the importance of preserving traditions and cultures are woven throughout Cottonfields. The title track is authentic American music. It is an intricate mix of primitive music that was brought here by immigrants, wanderers and slaves and was blended into a joyful language that changed the way the world thinks about music. Like others before them, Herrick explores a variety of musical influences and adds that distinctive Herrick touch.
“The uniqueness of this project comes not from one or multiple sources or backgrounds, rather, a comradery and respect in combining each of our roots, love of music, accompanied with a combination of a well rooted-progressive style that we, as a band, can call our own,” says Kerry.
Herrick has become known for the band’s high energy live performances. Herrick, winner of an IMA (Independent Music Award), is one of busiest touring acts on the road, and all of that mileage and direct fan contact has provided an excellent education for the band in what people love and want to hear.
“I think what people love about us is the energy we generate playing together and feeding off each other,” says singer/songwriter Donna Herrick. “There’s a lot of drive in our band, and we managed to capture that on this record. We love the music that we cut our teeth on and it’ll always be part of us, but we’ve reached the point where we’re consciously trying to push things forward.”
Killer pipes and mold shattering songwriting come together in an album that transcends genre. The new album defines no-holds-barred by combining the very roots of American music with an openly rockin’ and revolutionary flavor.
“It’s roots music, a powerful type of folk literature. Woven into the songs are themes of empowerment, freedom, spirituality, the importance of preserving traditions and cultures,” explains Donna.
Cottonfields represents a rite of passage for a band that is knocking on the door of greatness.
The group, which was founded in Spokane WA. They will celebrate the release of Cottonfields with a performance on home turf.

Cottonfields

Ben Craven - Last Chance To Hear

Bitrate: 320K/s
Year: 2016
Time: 46:16
Size: 109,0 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Front
Source: bencraven.bandcamp.com

Tracks Listing:
 1. Last Chance To Hear Part 1 - 4:23
 2. Critical Mass Part 1 - 3:00
 3. Critical Mass Part 2 - 3:25
 4. Spy In The Sky Part 2 - 4:42
 5. Spy In The Sky  Part 3 (featuring William Shatner) - 8:23
 6. The Remarkable Man - 5:00
 7. Spy In The Sky Part 1 - 4:47
 8. Revenge Of Dr Komodo - 2:35
 9. Last Chance To Hear Part 2 - 6:41
10. Mortal Remains - 3:16

Australian musician Ben Craven is releasing his third album Last Chance To Hear. The new release features guest contributions by Billy Sherwood and iconic actor William Shatner. A new single titled 'The Remarkable Man' is available for immediate download when pre-ordering the album. It's an imaginary theme song from a spy thriller movie franchise.
Says Ben, “Last Chance To Hear is loosely inspired by the end of the music industry as we knew it. There’s never been a time when so much new music was being made by so many people and being listened to by so few people. The concept of paying for new music is now alien to a lot of the audience. Digital downloads have made physical media virtually obsolete. Streaming services mean that anybody making new music is now competing with the whole history of recorded music. And the album format is in danger of becoming extinct. There's never been a time full of more 'opportunity' than now. So I made an album about it. The new album is a logical progression from my previous album, Great & Terrible Potions. The arrangements are more confident and more purposeful. But probably the biggest difference is that there are fewer vocals on this new one. 'Last Chance To Hear' is more about having the confidence, and presumably the competence, to let the music do the talking.”
When asked about how did he recruit such iconic artists as William Shatner and Billy Sherwood to guest on his new album Ben explains, “I was not my first choice to perform the vocals on 'Spy In The Sky Part 3'. I pored over the melody and the lyrics to get them just right. But when I finally ran through the completed lyrics in my head, I could only imagine a speaking voice. Immediately I thought William Shatner! and loved the idea. Then reality kicked back in and I got on with the job of singing my own vocals. Except the idea never went away. It kept nagging and eating away at me, like all good ideas do. And here I was willing to give up my own vocal performance on the most dramatic piece of music on the album! So I had to stop ignoring it."
He continues: “I reached out to Billy Sherwood who as you know produced William Shatner's last album, the excellent Ponder The Mystery. Billy would have been my first and only choice to record the session. I asked him if he thought the concept of having Shatner appear one of my songs would even be possible. Amazingly, everyone agreed, and Billy is the one who actually made it happen. Deep down I felt a lingering terror that the music might collapse under the weight of a William Shatner vocal performance. But I suspect Shatner realized the opposite. He played the lead vocalist role perfectly, as boldly and grandly as the music aspired to be. It is an awesome combination and he brought the track up to a new level altogether. I love it.”

Last Chance To Hear

Merlin - Merlin

Bitrate: 320K/s
Year: 1984
Time: 36:44
Size: 84,3 MB
Label: SR
Styles: Progressive Rock/Pop Rock
Art: Front + Back

Tracks Listing:
 1. Picture Song - 3:26
 2. Utopia - 4:08
 3. It Can't Go Wrpng - 4:29
 4. You Know That... - 2:25
 5. Seven Drinks each day a windfall - 3:06
 6. Berlin - 2:23
 7. Yineta - 5:00
 8. Real Good Man - 2:32
 9. The Heap - 2:21
10. The Typical Way - 3:22
11. Adventure! - 3:31

Musicians:
Christiane Schwab - Vocals, flute;
Marcus Haase - Guitars;
Nikolaus Wolters - Piano, keyboards;
Christoph Zimmerman - Drums, saxophone.

A really obscure 80's German band with little info around their history and an even more well- hidden career.Sure thing is Merlin hailed from Marburg and the first line-up included female singer/flutist Christiane Schwab, drummer Christoph Zimmerman, guitarist/bassist Marcus Haase and keyboardist Nikolaus Wolters.Their self-titled debut LP from 1984 was a private release, recorded in September of the same year at Blackfield Studios in West Germany.
''Merlin'' was sort of an Art Rock album with strong hints from Psychedelic Rock, Cabaret Music and Symphonic Rock.And while the opening ''Picture song'' has sort of a RENAISSANCE atmosphere led by the Baroque mood created by Wolters' piano and the sensational vocals of Schwab, the rest of the album is not equally strong.It definitely has some nice tracks recalling also EARTH AND FIRE and CAROL OF HARVEST with Schwab's voice sounding a lot like the one of Beate Krause, but it lacks the God-sent talent and consistency of these bands.Most of the tracks have a light symphonic feeling , either being acoustic or electric, created by the delicate piano lines, the lovely synthesizer parts and the elegant flute passages.Other ones recall CAROL OF HARVEST, featuring emphatic piano parts blended with a strong rhythym section and Schwab's dominant yet crystalline voice.The rest are the less interesting ones, which have a more artistic and commercial feeling, sometimes close to Cabaret Music, dominated by fast piano paces, groovy beats and a really cool but incovenient atmosphere compared to the album's more progressive compositions.
An album, which deserves the attention of fans of female-fronted prog bands, especially the ones aforementioned.A satisfying but far from essential mix of Prog, Art Rock and Pop Music.

Merlin

Dora Flood - Highlands

Bitrate: 320K/s
Year: 2004
Time: 47:02
Size: 107,8 MB
Label: Elephant Stone Records
Styles: Rock/Alt.Rock
Art: Front
Source: Web

Tracks Listing:
 1. Stargazing - 3:52
 2. The View - 2:32
 3. Throwing Wishes - 5:30
 4. Phantasm - 4:05
 5. Two Passing Shadows - 5:09
 6. Experimental Phase - 3:25
 7. Where You Belong - 5:14
 8. Evening On My Mind - 6:46
 9. Echoes - 3:22
10. For A Moment - 3:41
11. Home - 3:21

Having built up a low-key reputation for their psych/drone/blissout combination, Dora Flood holds the course steady on Highlands, an album that's balanced between attractiveness and overfamiliarity. In ways, the latter isn't the band's fault — there's nothing wrong with the general sources of inspiration, touching on everything from drowsy feedback headnodders (thus the aptly titled opener "Stargazing," easily the album's best song) to low-key pop chuggers such as "Throwing Wishes" and "Where You Belong." However, the sheer amount of bands plowing this vein has long since reached a critical mass, and bandleader Michael Padilla and company don't necessarily bring the most distinct combination of elements to the table. The quintet are fine but rarely inspiring songwriters and performers, and the album as a whole seems almost too rote, easygoing enough songs with all the right elements — flanged guitars, wispy vocals, the right vintage sounds, titles like "Echoes" and "Experimental Phase" — but little to make one sit up and take notice. There's a definite sense of the brooding energy of the Church at its finest being aimed for here — especially, tellingly enough, on "Phantasm," which could almost be a song title from Heyday or Priest = Aura — but the sense of threat and intensity that the Australian group brings to its work is rarely on evidence here. Padilla's tendency to sink back into the mix in the songs doesn't help — it's not quite voice-as-instrument as voice-as-indistinct-contributor. Too often a song is made interesting by one specific element — say, the Vocodered vocal break on "Throwing Wishes" — rather than the whole performance. Highlands is at fault not because it's retro, but because there's no sense that Dora Flood have hot-wired their various loves into something that will stand out from so many peers and earlier bands.

Highlands

Opus - Opus 1

Bitrate: 192K/s
Year: 1983
Time: 41:04
Size: 56,6 MB
Label: Intercord
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
 1. Im Nebel - 6:01
 2. Messias - 3:26
 3. Traumbild - 5:53
 4. Der Falter Und Das Licht - 3:41
 5. Der Erste Sonnenstrahl - 3:38
 6. Vereint - 6:31
 7. Hey Mensch - 4:07
 8. Der Henker - 5:45
 9. Es Wird Einmal - 1:59

Groups Create Hartmut Engler has released only one album, Opus 1 and disappeared ...... appearing in the same group two years later under the name of PUR and still exists today, but the game Deutschrock, Pop Rock!

Opus 1

Richard Clapton - The House Of Orange

Bitrate: 320K/s
Year:  2016
Time: 55:17
Size: 126,6 MB
Label:  Gyspy Music
Styles: Rock/ Classic Rock/Singer-Songwriter
Art: Front

Tracks Listing:
 1. Something About You - 4:50
 2. Here Inside Of Me - 4:48
 3. Stay with Me - 4:54
 4. Carry Me Home - 4:39
 5. Liberty Bell - 4:16
 6. Shine A Light - 4:41
 7. Strings And Wood - 4:46
 8. Some Sunny Day - 3:47
 9. Stepping Across The Line - 4:43
10. Real Life - 4:30
11. Keep Your Blue Eyes Open Wide - 5:37
12. Hearts on The Nightline - 3:41

Australian singer/songwriter Richard Clapton played with several bands during the late '60s and '70s as he traveled across Europe before returning to Australia in 1972 to begin his solo career. His debut single, "Last Train to Marseilles," released in October 1972, was not commercially successful and he joined the jazz-rock band Sun for a six-week stint. His debut album, Prussian Blue, was released in November 1973, but his first chart success was with the single "Girls on the Avenue," which reached number two nationally in March 1975. He released the Girls on the Avenue album followed by the album Main Street Jive in July 1976. A European tour followed at the end of the year. Clapton's contribution to the 1977 Highway One soundtrack album, "Capricorn Dancer," peaked at number 20. Clapton's third album, Goodbye Tiger, was released in August 1977 and is considered one of his finest works. It peaked at number five nationally during November. The next year was spent touring and recording in Los Angeles. Two tracks from the American sessions, "Steppin' Across the Line" and "When the Heat's Off," appeared on the compilation album Past Hits and Previews, released in November 1978. Clapton's American-recorded album Hearts on the Nightline peaked at number 17 and kicked off a national tour. Dark Spaces was released in 1980 and was dedicated to his rhythm guitarist, Andrew Durant, who died in June. Clapton sang three tracks on the Andrew Durant Memorial Concert album of 1981. A new record deal with WEA in 1982 produced The Great Escape, which peaked at number seven in March. The single, "I Am an Island," peaked at number 20 while the compilation album, The Very Best of Richard Clapton, peaked at number 15 during the same time. Another national tour followed which included bassist Garry Gary Beers and drummer Jon Farriss from INXS as part of his backing band; an association that began when Clapton produced their 1981 album, Underneath the Colours. In 1983, Clapton joined the Party Boys for a short time and appeared on their Greatest Hits (of Other People) album. In 1984, Clapton released his next solo album, Solidarity, and again toured the country. Glory Road followed in 1987, produced by Jon Farriss in return for Clapton's work on Underneath the Colours. In September 1989, The Best Years of Our Lives, a live album recorded on April 16, 1989, was issued. The next four years were spent undergoing contractual difficulties until Clapton signed a five-album deal with Sony. Between record deals, Clapton remained popular on the touring circuit and went on to release Distant Thunder in 1993 and Angeltown in 1996. ~ Brendan Swift.

The House of Orange

Thundermother - no red rowan

Bitrate: 320K/s
Year: 1971
Time: 64:19
Size: 148,9 MB
Label: HolyGround (1995)
Styles: Rock/Psychedelic Rock
Art: Full
Source: my CD

Tracks Listing:
 1. someday - 13:41
 2. country Lines -  1:05
 3. boogie Music -  4:48
 4. woman -  3:17
 5. lady (lay by me) -  3:39
 6. the people show -  3:55
 7. come on home -  4:53
 8. woman in my life -  4:17
 9. rock me babe -  6:03
10. boogie music (coke version) -  4:53
11. duce blues -  1:14
12. watch your step -  3:30
13. you know me babe -  1:26
14. come on home (space version) -  7:31

Musicians:
David John - Vocals;
Dave "Ginner" Millen - Vocals, Guitar,Bass;
Frank Newbould - Vocals, Guitar, Bass;
Dave Wilkinson - Piano;
Dave Smith "Daz" - Bass;
Jerusalem Smith - Drums;
Fred Kelly - Drums, percussion.

yummy !

lusting for more of this kind of thing evermore !!!
thundermother is a UK band who put out their sole album NO RED ROWAN in 1971.
it's an album abound with heavy psych/acid rock/blues rock & bound to blow your mind in no time if you dig those sweet psych sounds,
one of those few 70ies psych albums full of eminent splendour. also,check out :
vacation-resurrection of vacation , an utterly obscure belgian 70ies heavy psych band !
axe - live & studio, a UK heavy psych band from the late 60ies !
false prophet - moonchild, a US band from the 70ies with heavy psych & proto metal in unison with one another !
have a deafening psych-out !

no red rowan

Ben Poole - Time Has Come

Bitrate: 320K/s
Year: 2016
Time: 49:23
Size: 115,9 MB
Label: Manhaton Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Lying To Me - 4:07
 2. I Think I Love You Too Much - 6:37
 3. Longing For A Woman - 3:47
 4. If You Want To Play With My Heart - 3:35
 5. Time Might Never Come - 8:33
 6. Stay At Mine - 4:21
 7. You've Changed - 4:16
 8. Just When You Thought It Was Safe - 4:33
 9. Whoever Invented Love - 4:31
10. The Question Why - 4:58

Time Has Come by singer/guitarist Ben Poole is the follow up full length studio release to 2014’s Live At The Royal Albert Hall.  Ben is still a relatively new artist on the blues scene.  With his smooth tone, tenor voice and pop sensibilities, Ben has clear crossover potential. Time Has Come has an official release date of April 1, 2016. Wayne Proctor is credited as the producer and guitarists  Aynsley Lister, Henrik Freischlader and Todd Sharpville are guests.
The album opens with the hard rocking “Lying To Me,”  the most aggressive track on the record and then takes it down a few notches with “I Think I Love You Too Much.” This is a soulful number sporting a nice mid-tempo groove, John Mayer-esque vocals and guitar work right out of the Robben Ford soloing book. Next is the soulful 6/8 ballad, “Longing For A Woman.”  This is a tender piece with some nice organ and piano work.  Ben picks it up a little more on “If You Want To Play With My Heart,” but brings it back down immediately with “Time Might Never Come.” The latter has a solo that is more than just a slight nod to David Gilmour’s iconic solo on “Comfortably Numb.”
“The Question Why” with it’s sweet ’70s southern California vibe, rounds out the album.  With the exception of the opening track, the entire record has a very mellow feel about it. Even the up-tempo “Stay At Mine” with it’s spanky Telecaster work feels like it’s just simmering and not really on full burn.
Time Has Come is a well made record. The songs are solid and Ben has a very nice voice in the pop/soul niche. There is also no deying his guitar cops. The notes seem to pop out of the mix and his phrasing will definitely tickle your ear. If you like some of the more current music from Jonny Lang and John Mayer, then Time Has Come is right up your alley. The Review: 9/10 ~by Lou Lombardi

Time Has Come

Jack's Hammer - Private Party

Bitrate: 320K/s
Year: 1993
Time: 49:45
Size: 114,0 MB
Label:  Mingo
Styles: Hard Rock/Heavy Metal
Art: Front

Tracks Listing:
 1. Burn Down the Nite - 3:46
 2. Metal Queen - 3:38
 3. She Wants (All or Nothing) - 3:33
 4. TV News - 4:03
 5. Shellshock - 5:20
 6. Through the Rain - 3:27
 7. I Was Born - 3:16
 8. Lord Let Me Down - 3:32
 9. Violent Sea - 4:04
10. Y.B.T.Y.B.F.A. - 3:13
11. Sin City - 4:08
12. You Gimme the Shakes - 2:54
13. Can't Wait to See You Again - 4:47

Musicians:
Olaf Senkbeil - Vocals;
Clem Randale - Guitar;
Ralf Willenbrock - Guitar;
Ingo Wittneben - Bass;
Kai-Uwe Richter - Drums.

The debut album from JACK'S HAMMER, highly recommended!. For more info check out the review at METAL TREASURES: http://www.metal-treasures.com/2012/01/jacks-hammer-private-party-1993.html

Link

Stonebolt - Regeneration: The Best Of Stonebolt

Bitrate: 320K/s
Year: 1999
Time: 70:38
Size: 162,2 MB
Label: Vortex
Styles: Rock/Hard Rock/AOR
Art: Front

Tracks Listing:
 1. Don't Ya Hide It - 4:08
 2. Was It You - 4:16
 3. I Will Still Love You - 3:14
 4. Extra Mile - 5:37
 5. The Love I Found - 5:07
 6. Queen Of The Night - 3:24
 7. Let's Go Back - 3:52
 8. You Don't Care - 4:53
 9. New Set Of Changes - 5:10
10. Goiing Through The Motions Of Love - 3:38
11. Are You Listening - 4:04
12. Take The Time - 5:54
13. Rollin Down The Highway - 4:06
14. Crying Again Tonight - 4:15
15. Lovestruck - 3:41
16. Price Of Love - 5:11

Musicians:
David Wills - vocals
Ray Roper - guitar & vocals
John Webster - keyboards
Dan Atchison - bass guitar
Brian Lousley - drums

Stonebolt was formed in Vancouver, BC in 1973, but the roots of the band stretch back to the late 60's when high school friends Ray Roper, Brian Lousley, and Dan Atchison played together for local teen dances. In 1976 the band secured a recording contract with Parachute Records and released one album before the label folded and the band moved to RCA for three more albums during the early '80s. In Canada, Stonebolt became a popular radio act with a number of hit singles topping the Canadian charts, but it want until the ballad "I Will Still Love You" became an international hit in 1978 that Stonebolt became more recognized and wordwide stars. The band had hits in the U.S., Europe, and Japan, and has played concerts as far away as Osaka, Japan, and made regular appearances on national TV shows such as American Bandstand and Midnight Special. In 1983 the band broke up due to label conflicts and changing musical trends. Regeneration is the first CD release of music by Stonebolt. This album contains 16 songs that include all of the bands' hits together, with key album tracks and a new song recently recorded by the reformed band . The sound quality on this CD is superb and the booklet contains detailed information on the band, a history, commentary on each song in the set, and archival pictures of the band members and memorabilia. Stonebolt was a Canadian band that achieved international stardom but became lost in the '80s. With this release the band can now be once more discovered by today's generation of music lovers.

Link

The Lucky Dutch - Cadillac Coffin

Bitrate: 320K/s
Year: 2016
Time: 45:00
Size: 103,3 MB
Label: Self REleased
Styles: Rock/Roots Rock
Art: Front

Tracks Listing:
 1. I Saw The Light - 3:42
 2. Ruin - 4:08
 3. Darkness - 4:06
 4. Runaway - 4:56
 5. Good Honest Man - 6:38
 6. Blue To Black - 3:06
 7. Can't Go Back - 3:29
 8. Giving Up - 3:02
 9. Crossroads - 3:10
10. The Walk - 3:16
11. My Way - 5:24

We are singing from the crossroads of good intention and bad ideas. Find the longest highway you can and turn it up.
The Lucky Dutch are a roots-rock band based in Chicago. They have toured throughout the United States, performing for festivals large and small. Nathan Graham's exhilarating guitar work drives this ensemble, supported by David Padula on bass and Ben Dacoba on drums. This rhythm section holds on tight and keeps rocking right. Claire Corriveau's strong vocals grind and growl, threatening like thunder in the distance.
Despite the bombastic sound, there is a depth and vulnerability to their music. This record was written at the crossroads of good intention and bad ideas. Themes of betrayal and loss fill their songs, along with a search for direction and purpose in this world. No matter where you are in your life, The Lucky Dutch are a good soundtrack for the journey.
"They have a classic, raw and old-school sound that is truly captivating. Definitely a band to keep an eye on."
-Sarah Becker, Audiation Magazine
"Jesus Christ, what a voice, what a talent!"
-Dana Fuchs (said of Nathan Graham)

Cadillac Coffin

Voodoo Boogie - Losing My Cool

Bitrate: 320K/s
Year: 2008
Time: 46:26
Size: 106,7 MB
Label: Donor
Styles: Modern Electric Blues/Blues-Rock/Psychedelic Blues
Art: Full

Tracks Listing:
 1. Who Will Be Next - 2:53
 2. Losing My Cool - 2:54
 3. The Voodoo Boogie - 6:10
 4. Cocaine Jill - 3:06
 5. Bottle Of Love - 3:21
 6. I Gave You Love - 7:35
 7. Going Down South - 3:34
 8. Walkin' The Boogie - 4:40
 9. Party Man - 3:58
10. Dance With Me - 2:32
11. The Whale Has Swallowed Me - 3:23
12. Boogiematic - 2:14

Musicians:
Jan Jaspers - vocals/guitar:
Wouter Haest - piano/orang/Wurlitzer;
Rob Vanspauwen - bass;
Gert Servaes - drums.

"John Lee Hooker meets The Doors" .. Keep that in mind and you'll know what kind of places 'Losing My Cool' will take you to. With their first full album, released on Naked Productions, Belgian band Voodoo Boogie presents twelve songs, all with traditional blues roots, but at the same time very much influenced by psychedelica, (garage) rock and world music. After several preproductions with top producers such as Jan Ieven (ex El Fish, ex The Rhythm Junks) and Marc T (TEE, The Electric Kings), Voodoo Boogie decided they were ready to produce their first full CD.
Voodoo Boogie is not a traditional blues band. They prefer to describe their music as 'psychedelic boogiematic roots'. With that kind of stuff, no wonder they quickly developed into a band with an excellent live reputation, both in and around Belgium. Each time this exciting band performs, they create an ambience that will haunt you until long after the gig. The eight originals and four original interpretations of old blues songs on 'Losing My Cool' will do exactly the same thing, only off stage this time.
Voodoo Boogie was born in 2004. Founding members Jan Jaspers and Gert Servaes previously played with blues bands like High Five Jive, Dizzy Dimples and Big Mama's Kitchen, and also backed up American artists, such as Louisiana Red and Keith Dunn. Bass player Rob Vanspauwen and drummer Gert Servaes are Voodoo Boogie's groove machine, or the perfect engine for a hypnotising trip with Wouter Haest on piano, hammond and rhodes, and Jan Jaspers on vocals and guitars.

Losing My Cool