The Doleful Lions - Motel Swim

Bitrate: 320K/s
Year: 1998
Time: 38:04
Size: 87,8 MB
Label: Parasol Records
Styles: Rock
Art: Front

Tracks Listing:
 1. The Sound Of Cologne - 4:31
 2. Respirator - 2:59
 3. One Revolution (Around The World) - 4:00
 4. A Viper In Hiding - 3:42
 5. Motel Swim - 4:52
 6. Gulliver Diver - 4:15
 7. Advanced Japanese Candlestick Man - 2:25
 8. Hang Around In Your Head - 3:00
 9. All Winter Long - 4:03
10. Down Tiger, Down Tiger - 4:13

The Doleful Lions have seemingly come out of nowhere to record one of the best debut albums of the year. Produced by jangle-pop pioneer Mitch Easter, the Doleful Lions play a form of joyful noise that recalls the spirit of early rock and roll and incorporates influences from some of the best bands since. The standout track by far is “The Sound of Cologne,” a clever and buoyant tribute to the band’s musical favorites, from Krautrock to pure pop. You have to love a song that has the line, “and when Neu! makes it noise, they sound just like the Beach Boys.” Let me put it this way, but the third time I listened to the song, I was singing along word for word. Now there’s one of the true measures of a great song. Elsewhere, the band has clearly soaked up the acoustic strumming of Automatic For The People-era R.E.M. (“Motel Swim”), as well as Murmur-era R.E.M meets British Invasion (“A Viper In Hiding”). “One Revolution (Around The World)” features a bright, infectious chorus and hooks on par with the best of the dB’s and earlier bands like the Searchers.
Often incorrectly tagged as a power pop band, The Doleful Lions display strong, balanced songwriting that places as much emphasis on lyrics as melody. I don’t know if all of this is going to make the band a big name or not. Quite unjustly, few jangle pop bands have broken into the mainstream—it took R.E.M. a good 6 years to get there and great bands like The Connells, Game Theory, and the dB’s never really did, but here’s hoping the Doleful Lions do.

Motel Swim

Cats - Cats

Bitrate: 320K/s
Year: 1980
Time: 38:18
Size: 88,7 MB
Label: Elektra
Styles: Rock/Pop Rock
Art: Front

Tracks Listing:
 1. On The Prowl - 4:45
 2. One Last Look - 3:37
 3. It Doesn't Matter Anymore - 2:52
 4. You Gotta Smile Again - 5:01
 5. Go Bother Someone Else - 3:10
 6. Goodbye Again Forever - 4:36
 7. Minus 10 - 3:08
 8. Just Broken Up Love Affair - 4:58
 9. He's Got The Best Of His Life - 3:34
10. The Woman In White - 2:33

The Cats open for Van Halen in 1980 and remember that "On The Prowl" rocked OK. Nothing else in their set made much of an impression, but they got decent applause and didn't get booed off the stage or anything.

cats

Jam - From The Road

Bitrate: 160K/s
Year: 1976
Time: 46:00
Size: 52,7 MB
Label: Self Released
Styles: Folk Rock
Art: Front

Tracks Listing:
 1. Road Song - 11:59
 2. Resolution - 11:59
 3. Evil -  8:46
 4. Slap-Happy - 13:15

Two musicians, one from England, the other from France. Travelling around the world they landed in The Netherlands in 1976. The album was recorded in Germany, but is only released in The Netherlands. There were 500 copies pressed. The album contains only 4 long folk-rock tracks, 2 instrumentals and 2 with vocals.
Michael (English) & Jacques (French) where two adventures who travelled around the world.In 1976 they launded in Holland,where they stayed in province of Limburg for a while.Jan de Kroon a traveller himself,workede in a folk-pub named "Warm en Still" in these days,& he offered Jaques & Michael a place whwere they could stay.
"Warm en Still" was the place where folk minded people came & where one could listen to quiet romantic folk-records & live-performances,in a cosy athmosphere.Michael & Jack had already made a tape of their music,but as soon as they started to play live,the people were fascinated by the extraordinary musical qualities of the duo. Jaques especially impressed the people,tuning his quitar into a complete different key while he was playing.His sound was comparable to the sound of three quitars,playing together,you could see him play but you simply couldn`t understand how one guy could produce such a compact sound.Jan de Kroon decided to put all he money into this project & with his financia! help "from the road" was recorded in Germany & released in Holland.500 copies were pressed & all sold the southern part of the Netherlands during the gigs.After a while Jacques & Michael became restless again & they left fot another country,trying to make some money to enjoy the good things of life.A postcard from USA a few years after they had left Holland is all that was left,together with the lp.
Since 1978 nobody knows about their whereabouts,probably they are still travelling Cafe "Warm en Still" doesn`t exist anymore..

Links

Swanee - Bushido

Bitrate: 320K/s
Year: 1985
Time: 39:01
Size: 89,4 MB
Label: Starcall Records
Styles: Rock/AOR/West Coast
Art: Full

Tracks Listing:
 1. Hasn't Anybody Told You - 4:04
 2. I'll Fall In Love Again - 3:56
 3. Turn Away - 4:08
 4. Surrender - 3:03
 5. You Oughta Know By Now - 4:33
 6. Here Comes The Night - 4:17
 7. Gone For Me - 3:16
 8. You've Got The Love - 4:28
 9. Snooze You Lose - 3:53
10. One Chain - 3:16

As Jimmy Barnes' older brother, John 'Swanee' Swan blazed his own trail during the 70's and 80's, while his sibling amassed fame and fortune with Cold Chisel and his later lucrative solo career. Unlike Barnes, Swan kept his family surname and in some regards has to be considered the superior vocalist of the two. The native Scot Swan made his name with various bands around the country in the 70's, doing the bar circuit with bands like Southern Cross, Fraternity and Feather. By 1980 Swan decided to go solo, an inspired decision based on the success of his 1980 debut 'Into The Night' and 1982's 'This Time It's Different.' This established Swan as an Aussie mainstay in the charts, with classic tracks aplenty. In their own right these albums deserve reviews, but it's 1985's 'Bushido' which would interest most here. By this stage Swan had faded away from the charts, but in typical mid 80's fashion he furnished a high-tech AOR album which really is superb and an underrated gem. Not even his brother attempted anything this blatant.
The opening synth salvo that dominates 'Hasn't Anybody Told You' left me almost speechless, the addition of horns making this the quintessential high-tech AOR track. This is on the same level as the brilliant Little River Band albums of the period with John Farnham at the helm. Swan tales a shot at Sammy Hagar's 'I'll Fall in Love Again' and gives it his unique vocal spin, making it a must hear. In many ways it's the equal of the original, the power of his vocals exceeding most of his peers. 'Turn Away' could be a Jimmy Barnes track, such is the similarity of their vocals naturally, but this is another well-crafted AOR cut of the finest sort. The overflow of keyboards through the album is an asset, but the guitars are more prominent on 'Surrender' which relies on another superfluous chorus, one up there with the best of the best, which includes Michael Bolton or Journey. Swan throws in another cover, this time Ray Kennedy's classic 'You Ought to Know By Now' and once again does it justice with his impassioned vocals. It doesn't differ drastically musically from the original, but it suits the style of Swan's delivery. Swan reverts to a more traditional hard rock sound for 'Gone For Me' but the synth parps are still squeezed in. This is the kind of bar room material you'd expect from a true rocker like Swan. There's a bit of an undercover lover aspect to the provocative 'You've Got The Love' and Swan's posturing, very much a product of 1985. The same can be said of 'Snooze, You Lose' and the arrangements in general, the synthesized bass rumbling away with keyboards all over the place. This recalls Elton John's flirtations with AOR during the same period, but this is infinitely more satisfying. As you'd expect a melodic guitar solo is tossed in also, this track able to take on a John Parr for example. The momentum is kept until final track 'One Chain' which features female backing vocals (another staple of the time) combining with a heavier rhythm section and synth stabs coming from all angles.
This was overlooked during 1985 for the most part, but if there'd been any justice Swan would have been as big as his brother commercially. It's very much the equal of what Barnes was putting out and is one for the AOR purist. Swan is ever present on the scene to this day, a true Aussie legend worth his weight in gold. All his music is worth seeking out, the man could do it all and this offering may be an eye opener if you've never sampled Swan's discography before.

Bushido

Doug Deming & the Jewel Tones - Double Down

Bitrate: 320K/s
Year: 2002
Time: 52:17
Size: 120,5 MB
Label: Mighty Tiger Records
Styles: Blues/Electric Blues
Art: Full

Tracks Listing:
 1. Goodbye Baby - 3:29
 2. Blackjack - 4:09
 3. Bad for You - 4:01
 4. Make It Last - 3:38
 5. You Don't Even Care - 4:01
 6. Let Me Be - 3:59
 7. HDF - 4:31
 8. On the Midnight Shift - 5:13
 9. Mr. Blues - 4:44
10. It's a Crime - 6:06
11. All About the Digits - 5:12
12. Double Down - 3:06

If the efforts of Doug Deming don't garner him widespread attention and glowing reviews, there's something seriously amiss in the music industry, much more than anyone thinks. Hailing from Detroit's Motor City area with a guitar in his hands, the 52 minutes of swinging jump blues, gritty shuffles, and driving boogies parlay plenty of evidence to his talent. Perhaps one of the most impressive features of this CD is that each of the dozen tracks are originals, which in itself is a rarity considering the number of bands determined to mine the same territory, most showing the same results that come from beating a dead horse.
From the opening deft licks that propel Goodbye Baby, Deming employs all the necessary ingredients to deliver a solid and rewarding blues album; taste, tone, restraint, timing, and phrasing with his guitar plus worthy vocals, all of which should mark him as an up-and-comer. The storming Chicago thrust of Bad For You and the lowdown Chess-era approach of Let Me Be both find Greg "Fingers" Taylor working some rasping harp licks to great effect, but the regular slot held by Brian Miller isn't in danger as he offers his own nasty-toned solos, a potent chromatic grip in Make It Last and the throbbing jungle roll of HDF. Deming and Miller plow through a fiery double shuffle in Mr. Blues as Dale Jennings and Don Gruendler hold rhythm chores steady while adding plenty of dynamics when things build to fever pitch, while on the brooding T-Bone Walker-ish It's A Crime, the groove slows to a crawl allowing Deming plenty of room to toss a multitude of Texan guitar licks about with no grandstanding, and once the fuse is lit, he rises to the occasion with brilliant bends and double stops searing with thick tone. You Don't Even Care combines spellbinding guitar and harp chops behind a breakneck pace and Rick Holmstrom stops in playing tandem guitar lines for the closing title track, also featuring Steve Mugalian's percussive help. Denny Freeman, an elder statesman from Texas, handles piano duties for close to half of the tracks and he blends so well it's more like he's a regular as opposed to a special guest and Chris Codish's organ adds distinctly to a handful.
Doug Deming seems to be more of a throwback to a bygone era than a purveyor of modern blues in the 21st century and the recording reeks of 1950's Chicago Blues regardless of the liner notes saying it was tracked in California. While he's not yet a smoldering vocalist, he knows his limits and range and manages to stick comfortably within the confines of those areas, another sign of maturity. It's easy to understand why Doug Deming has worked with Johnny Dyer, Lazy Lester, Johnny 'Yard Dog' Jones and others, he's got the goods to go the distance. You can head to www.dougdeming.com for more information.

Double Down

Lyin' Joe Holley - So Cold in the U.S.A.

Bitrate: 320K/s
Year: 1982
Time: 40:32
Size: 93,8 MB
Label: JSP Records
Styles: Blues
Art: Front + Back

Tracks Listing:
 1. Big Machine Blues - 3:23
 2. So Cold in the U.S.A. - 2:39
 3. Five More Numbers - 1:12
 4. Drinking Budweiser - 2:15
 5. Moon Is Rising - 2:55
 6. Dope Around Town - 3:52
 7. Old Twister - 3:39
 8. Big Leg Woman - 2:43
 9. Early One Morning - 3:04
10. How Long - 1:46
11. Swanee River Boogie - 1:12
12. Monkey Faced Woman - 3:28
13. Drunken Woman - 2:57
14. Three Kinds of Fool - 2:38
15. Rebate Blues - 2:42

Today's show opens with several songs by Buster Bennett and Sax Mallard I didn't get to on the last show due to the station's coverage of the Rochester Jazz Festival. Both sax men were much in demand in the 30's and 40's. Bennett made his debut in 1938 and his successor Sax Mallard, hit his stride in the mid-to-late 40's. The music they made evolved into the Chicago R&B and jump music scene of the 1940's and '50's that we spotlighted a few weeks back. For the rest of the program we play a wide mix including tracing the history of a classic blues song, we spin several fine blues ladies, spotlight pianists Cow Cow Davenport, Henry Gray and Lyin' Joe Holley and much more.
“Some Cold Rainy Day” was a well known song around Atlanta, recorded by Curley Weaver and The Georgia Cotton Pickers. Barbecue Bob's last sides under his own name were recorded in Dec. 1930 and shortly afterwards he cut four sides with longtime friend Curley Weaver and sixteen year old Buddy Moss under the name The Georgia Cotton Pickers. One of those songs was "She's Coming Back Some Cold Rainy Day." The song was originally recorded by singer Bertha “Chippie” Hill in 1928 with Tampa Red on guitar. The following year Tampa cut "You Got to Reap What You Sow", an instrumental with exactly the same melody. The same year Leroy Carr waxed a version of "You Got to Reap What Sow" with lyrics. We also spin two versions from the post-war era; Buddy Moss was captured in the 60's doing a version of the song for George Mitchell and Pete Lowry recorded Tarheel Slim in his living room which ended up on the Trix album No Time At All. Lowry also recorded versions by by Earnest Scott (Atlanta) in 1973 and J.C. Rush (Manchester, GA) in 1979 which have not been issued. As Pete told me "along with "Tricks" ["Tricks Ain't Walking No More"], it was an Atlanta area marker!"
In addition to “Chippie” Hill, we hear from several fine blues women including Elzadie Robinson, Ora Brown, Sharlie English and Maggie Jones. Robinson hailed from Shreveport, Louisiana, but remained in Chicago, after going there to record. Her recordings span 1926-29, and during that time she worked with several pianists including Bob Call, and her regular accompanist and fellow Shreveport native, Will Ezell. Robinson chiefly recorded for the Paramount label, but also cut several sides for Broadway under the alias Bernice Drake. On our track, “Love Crazy Blues”, she's backed by on banjo by Johnny St Cyr. Cyr was a New Orleans pioneer who was greatly in demand in the 1920's. Self-taught, St. Cyr had his own trio as far back as 1905. After moving to Chicago in 1923, St. Cyr made his place in history by recording with King Oliver, Jelly Roll Morton, and Louis Armstrong.
There is no information about Ora Brown. She only made four recordings in 1927, working with pianists Tiny Parham who backed her on her first two and Will Ezell on the other two. Parham also backed singer Sharlie English on a four song session from 1928 which yielded one of our featured cuts, "Tuba Lawdy Blues."
Some Cold Rainy DayMaggie Jones was born Fae Barnes in Hillsboro, Texas, around 1900. She moved in the early 1920's to New York City, where she began to perform in local clubs billed as the "Texas Nightingale." On July 26, 1923, she became one of the earliest female Texas singers to record, cutting some three dozen sides for a variety of labels including Black Swan and Columbia through 1926. She recorded with some top flight musicians including Louis Louis Armstrong, Fletcher Henderson and Charlie Green who shines on our track, "Box Car Blues." Sometime in the early 1930's she returned to Texas and was last known to have been performing in Fort Worth area in 1934. While not in the front rank of woman blues singers of the era, she was very fine singer who should be better remembered.
Among the piano men featured today we hear from Lyin' Joe Holley, Cow Cow Davenport and Henry Gray. Holley was recorded by George Paulus in Chicago. He recorded one full-length album for JSP, So Cold In The USA, with four more tracks appearing on the anthology Piano Blues Legends also on JSP and also never issued on CD. Holley played house parties, bars and for friends and at the time of this recording played regularly at the Provident Barber Shop in Chicago where this album was recorded.
Henry Gray was originally born in Alsen, Louisiana, outside of Baton Rouge. Gray became a stalwart of the Chicago blues scene, playing behind Jimmy Rogers and Little Walter before embarking on a twelve year stint with Howlin' Wolf. He cut some sides for Chess in 1953 with harmonica blower Henry Strong, but these were unissued at the time. Strong was to replace Walter Horton in Muddy Waters Band but he was murdered by a jealous girlfriend in June of 1954 before he was able to record anything with Muddy. In 1968 he returned to Alsen to take care of his ailing father. He began playing the with a group called the Cats in local juke joints and made regular appearances at the New Orleans Jazz and Heritage Festival. He cut a couple of sides that appeared on the 1970 album, Swamp Blues, but didn't record again until 1977 when he cut an album titled They Call Me Little Henry for Bluebeat.

So Cold In The U.S.A.

Big Joe & The Dynaflows - Layin' in the Alley

Bitrate: 320K/s
Year: 1994
Time: 45:31
Size: 104,8 MB
Label: Black Top Records (BT-1098)
Styles: Blues
Art: Full

Tracks Listing:
 1. Big Legs - 4:09
 2. That's It! - 2:45
 3. Don't Write Me Off - 4:54
 4. Ever Since the World Began - 2:58
 5. Shame, Shame - 2:53
 6. Smells Like Bar-B-Q - 4:18
 7. Trouble, Trouble - 3:38
 8. Blue Monday Blues - 4:27
 9. Oke-She-Moke-She-Pop - 4:30
10. Layin' in the Alley - 3:44
11. Don't Be Afraid - 3:24
12. Great, Great Pleasure - 3:45

When young bands or touring theatrical companies try to revive the jump-blues sounds of Louis Jordan and Big Joe Turner, they tend to rush the tempos, oversing the choruses and mug shamelessly on the punchlines. Big Joe and the Dynaflows, however, know the counter-intuitive secret: the more you relax, the more exciting the jump-blues are. On its new album, "Layin' in the Alley," the Maryland quartet allows the swing rhythms, blues vocals and sly wit of the music to flow so easily and naturally that resistance is futile.

Layin' in the Alley

Ben B. Beckendorf - Presidio Blue

Bitrate: 320K/s
Year: 2004
Time: 54:18
Size: 129,7 MB
Label: Doghouse Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Presidio Blue - 4:30
 2. Caught In My Confusion - 6:14
 3. Black Sheep - 4:39
 4. Shim Sham - 6:58
 5. Trouble In Paradise - 4:43
 6. Rock-A-Lotta - 4:12
 7. Somebody Save Me - 5:06
 8. Bad Situation - 6:21
 9. Shadow In The Dark - 4:24
10. Blue Lights - 7:04

This award - winning CD by Texas guitar-slinger Ben Beckendorf will definitely get your toes tapping and make you feel good all over. Voted album of the year on radio stations in Central Texas.

Link

Trickbag - Trickbag With Friends Vol. 2

Bitrate: 320K/s
Year: 2016
Time: 52:44
Size: 121,2 MB
Label: Magic Production
Styles: Blues/Chicago Blues/Harmonica Blues
Art: Front

Tracks Listing:
 1. Hurt Me (Feat. Rusty Zinn) - 4:35
 2. She's A Killer (Feat. Kim Wilson & Kid Ramos) - 4:17
 3. Keep Your Hand Out Of My Pocket (Feat. Kim Wilson & Kid Ramos) - 3:50
 4. 04 - I Don't Love You No More (Feat. Anders Lewen).mp3 -    
 5. Plaything (Feat. Kid Andersen & Aki Kumar) - 4:05
 6. How Much More (Feat. Rusty Zinn & Aki Kumar) - 4:53
 7. 07 - Walkin' Down Pico (Feat. James Harman & Anders Lewen).mp3 -    
 8. Rockin' Fever - 3:26
 9. Me And You (Feat. Kim Wilson & Kid Ramos) - 4:09
10. Angel Child (Feat. Aki Kumar) - 2:47
11. I Found My Peace Of Mind (Feat. Nathan James) - 4:30
12. Trickster - 3:25
13. Dragnet Blues (Feat. Junior Watson) - 5:20
14. Love And War - 4:11
15. Lucille (Feat. Steve Guyger) - 3:10

Musicians:
Trickbag:
Tommy Moberg - Vocals
Lars Nasman - Upright Bass & Backing Vocals
Tomi Leino - Guitar
Steve "West" Weston - Harmonica
Fredrik von Werder - Piano
Per Norin - Drums

Featuring:
Kim Wilson, James Harman, Junior Watson, Kid Ramos, Rusty Zinn, Steve Guyger, Kid Andersen, Aki Kumar, Nathan James

Now here is something to get excited about! A jam packed California blues extravaganza featuring one of Europe's finest bands. Trickbag is back with their seventh full-length album, this time with the insane task of trying to follow up their 2013 release "With Friends Vol.1"!
A record quite unique in the sense that it was the first full-length guest-star compilation album ever recorded by a European bluesband, featuring some of the finest players in the business! Since then, they`ve managed to squeeze out one more band effort called "Candyville" and here they are, exactly one year later, with Vol. 2! This time around they decided to record a major part of it in California (both Bay Area and SoCal) with some of the heaviest hitters on the scene today, spicing it up with a couple of Scandinavian friends & sessions too! They just might have pulled it off - you be the judge!

Link

Nick Trill and the Thrillseekers - True Love

Bitrate: 320K/s
Year: 2016
Time: 43:49
Size: 100,8 MB
Label: Heebee
Styles: Blues/Chicago Blues
Art: Full

Tracks Listing:
 1. Going Down Slow - 4:16
 2. Hidy Ho - 3:24
 3. Little Girl - 4:09
 4. Times Is Hard - 2:41
 5. Ninety-Nine - 2:45
 6. Good Rockin’ Nick - 4:31
 7. Hey Baby - 4:30
 8. Chickn Box Blues - 4:46
 9. True Love - 4:35
10. Always Thought - 4:33
11. Packing Up - 3:34

Hij draait al heel wat jaartjes mee in het blues circuit van South Florida maar tot nu toe was zijn naam mij volledig ontgaan. Daar kwam recent verandering in toen Nick Trill mij benaderde door zijn nieuwe release ‘True Love’ te sturen. Ik kan meteen prijs geven dat dat een aangename kennismaking bleek te zijn met deze zanger en mondharmonicaspeler. Nick werd geboren in Engeland maar verhuisde al op drie jarige leeftijd naar New York.  Wanneer een vriend een stapeltje platen aan Nick geeft, toen hij nog op Junior Highschool zat, werd hij meteen geinfecteerd door het bluesvirus. De blues van Paul Butterfield, John Mayall  en Canned Heat veranderden zijn leven op slag. Deze muziek was totaal nieuw voor hem en zal hem dan ook nooit meer loslaten. Al vanaf 1977 is hij met allerlei bezettingen in de weer om vervolgens in 1978 de Crawling Kingsnake Blues Band op te richten, die hij later zou omdopen in Teenage Beat, vernoemd naar een song van Little Walter. Met Teenage Beat krijgt hij de mogelijkheid om optredens te verzorgen met Steve Guyger, Bill Dicey, Robert Ross, The Holmes Brothers ,Hubert Sumlin en James Cotton. In 1995 besluit Nick Trill om naar South Florida te verhuizen en richt hij zijn nieuwe formatie Nick Trill And The Thrillseekers op. Met de Thrillseekers neemt hij in 1999 het album ‘Juggling The Blues’ op. Niemand minder dan Junior Watson speelt als gitarist mee op deze cd. Daarnaast heeft Nick Jimmy Pugh, tegenwoordig lid van de Robert Cray Band, bereid gevonden om de toetsenpartijen in te spelen. Ook voor zijn daarop volgende productie, ‘Laid Off’ uit 2006, die hij samen met Robert Rand opneemt weet hij weer de nodige topmuzikanten om zich heen te verzamelen. Op zo’n zes tracks zijn Mark Hummel en zijn Blues Survivors als gast en begeleidingsband aanwezig.
En ook nu weer, voor het album ‘True Love’, heeft Nick zich omringd met een aantal gerenommeerde bluesmuzikanten. Zo komen de pianisten Fred Kaplan, Rob Rio en Bob Hall de Thrillseekers op dit album ondersteunen. De band trapt af met Going Down Slow van St. Louis Jimmy Oden die een pittige shuffle uitvoering krijgt. Ook de tweede track Hidy Ho heeft veel vaart en een dreigende groove met prima pianowerk van Rob Rio. In Little Girl neemt de band iets gas terug lijkt het, maar door een fraaie gitaarrif en een iets overstuurde rhythmgitaar grooved deze slowblues toch fijn door. Op Times Is Hard speelt Nick akoestische harp en dat sluit prachtig aan bij het rollende pianospel van Bob Hall. Nick krijgt in deze swing back-up zang ondersteuning door The Fishettes. Fred Kaplan verzorgt het pianowerk in de shuffle Good Rockin’ Nick en de slowblues Chickn Box Blues, die ook nog eens een fraaie gitaar invulling heeft. Nick neemt de akoestische harp ter hand in de up-shuffle True Love, wat ook de titel is van het album. Met een flink overstuurde rhythmgitaar in het rockende Packing Up komt de cd tot zijn eind. Nick Trill blijkt een uitstekend mondharpspeler te zijn die zijn diatonische harp zowel akoestisch als versterkt met een fijn randje uitstekend beheerst. Daarnaast beschikt hij over een zeer prettige en flexibele stem. De Thrillseekers worden op de hoes door Nick bedankt voor hun geweldige inzet, maar het blijken er zoveel te zijn dat je er vanuit kunt gaan dat Nick tijdens zijn optredens met wisselende bezettingen werkt. Gitaristen Mark Korpi en Mark Otis wil ik even in het bijzonder noemen omdat zij zo’n fraaie bijdrage aan deze cd leveren. Met ‘True Love’ heeft Nick Trill een prima cd uitgebracht, maar is waarschijnlijk moeilijk verkrijgbaar door slechte distributie mogelijkheden, waardoor de man voor het grote publiek naar verwachting redelijk onbekend zal blijven. Onterecht, want in eigen land nodigen bluesmuzikanten als Terry Hanck, Mark Hummel en Junior Watson, Nick Trill steevast uit om mee te jammen op het podium wanneer ze bij hem in de buurt spelen. Verras  jezelf eens met een nieuwe naam door het aanschaffen van ‘True Love’ via cdbaby!

True Love

Jimmy McGriff - Blues for Mister Jimmy

Bitrate: 320K/s
Year: 1963
Time: 34:52
Size: 80,1 MB
Label: Sue
Styles: Hammond B3
Art: Front

Tracks Listing:
 1. Discotheque U.S.A. - 3:24
 2. Cash Box - 3:39
 3. Blues For Joe - 3:02
 4. Blues For Mister Jimmy - 4:57
 5. The Dog (You Dog) - 3:26
 6. Bump De Bump - 3:41
 7. Party's Over - 4:04
 8. Turn Blue - 4:40
 9. Sho' Nuff - 3:55

Musicians:
Jimmy McGriff - Hammond organ;
Larry Frazier - guitar;
Jimmie Smith - drums.

Blues  for Mr.  Jimmy  was the last album Hammond B-3 ace  Jimmy   McGriff  recorded for Sue Records before moving on to Solid State Records in 1965, and in some ways it is the archetypal  McGriff  record. Working in a trio format with drummer Jimmie Smith and guitarist Larry Frazier,  McGriff  is in fine form, bringing his patented  blues - and gospel-inflected soul jazz to the edge of funk on a group of mostly original pieces ("The Party's Over" is the only cover). Highlights of this amazingly cohesive set are the two upbeat opening tracks, "Discotheque U.S.A." and "Cash Box," the undeniably funky "The Dog (You Dog)," and the gorgeous and heavily atmospheric ballad "Turn Blue." Collectables reissued the same set in the same running order in 1990 as Blues  for   Mister   Jimmy , but this version from Stateside Records appears to have slightly better sound.

Blues for Mister Jimmy

Ben B. Beckendorf - Blues Cafe

Bitrate: 320K/s
Year: 2005
Time: 47:59
Size: 110,4 MB
Label: Doghouse Records
Styles: Blues/Texas Style
Art: Front

Tracks Listing:
 1. Stormy Monday - 4:13
 2. The Breeze - 5:34
 3. Come On In My Kitchen - 4:11
 4. Further On Up The Road - 2:45
 5. Crossroads - 4:21
 6. The Thrill Is Gone - 4:56
 7. Before You Accuse Me - 6:26
 8. I'm Tore Down - 4:04
 9. 3rd Degree - 4:19
10. Out Of The Cage - 7:07

Ben took your favorite Blues tunes and gave it his own COOL touch. Once you hear Ben and his band .... You'll be a fan. Super cool tunes from one of Texas' hottest guitar slingers.
When Ben was eight years old he found an old Gene Autry guitar in his grandmother's attic that belonged to his father when he was a kid. It only had four strings on it (two were broken) but before long Ben was making up little melodies and discovering the guitar. Four decades later Ben is one of the hottest guitar slingers in Texas. His vocals and guitar playing are as unique as the songs he writes. From Blues to Rock to Americana to even jazz, he adds his own "Texas Style".For over 30 years Ben has been rockin' the state of Texas with his Texas Barbequed Blues that bites like a Diamondback Rattlesnake. But Ben also has a softer side in his music with love songs and ballads that stick very close to the heart. Ben has written and recorded over 700 original songs, and writing more all the time. He delivers his unique bluesy voice conveying his songs about real-life experiences anyone can relate to. Ben's Red-Hot lead guitar solos awe audiences with a soulful, blazing blues style that sizzles like jalepeno peppers in a skillet, but his ballads are filled with melodic phrases and tender lyrics that can tame even the most stringent hearts. The songs he plays and the songs he sings will lift you higher than the Texas skies. Visit the website at benbeckendorf.net

Blues Cafe

Magic Dawn - Golden Times

Bitrate: 320K/s
Year: 2016
Time: 43:30
Size: 100,3 MB
Label: Self Released
Styles: Classic Rock/Psychedelic Rock/Blues Rock
Art: Front

Tracks Listing:
 1. I Saw Her - 3:35
 2. Daisy - 5:09
 3. School Boy - 7:42
 4. Dark Day - 4:51
 5. Hat n' Gun - 4:25
 6. Waiting for the Sun (i've been) - 5:47
 7. Prelude - 1:57
 8. Home/Golden Times - 6:48
 9. Moog - 3:12

Musicians:
Emile Avery-Veilleux - Vocals, Bass;
Emile Touzin - Guitars;
Tristan DeIure Grimmel - Drums.

Wholesale vintage made in Quebec!
A big thank you to Pomerleau Jacob for his help throughout the project and for his work on the mix and mastering

GT

Blind Wolf - Blind Wolf

Bitrate: 320K/s
Year: 2016
Time: 36:48
Size: 84,5 MB
Label: Self Released
Styles: Blues/Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Downtown Johnny - 4:04
 2. Lenny's Bash - 3:31
 3. Hurricane Woman - 4:49
 4. Sunny Day - 4:17
 5. Shake It - 3:44
 6. Time to Play - 3:42
 7. Nothing to Show - 5:00
 8. Too Old to Die Young - 3:53
 9. Shake It / Live Reprise (Live) - 3:46

Group Blind Wolf presented its new album titled Blind Wolf, written in the style of Blues Rock.
A collection of Portland, Oregon's finest players united to make this record. Veterans of the thriving Northwest scene with backgrounds from all genre's. As if a great album rock band of 60's and 70's made a record today.
We got together to make a great record. The players in this band were hand picked for their character, quality, and diverse musical backgrounds. Each song was allowed from birth to grow at it's own accord.

Blind Wolf

Mick Ralphs Blues Band - Should Know Better: Live At The Musician

Size: 100,6 MB
Time: 34:18
File: MP3 @ 320K/s
Released: 2014
Styles: Blues Rock
Label: Jerkin Crocus Promotions
Art: Front

Tracks Listing:
1. Should Know Better (Live) - 4:03
2. Born Under A Bad Sign (Live) - 4:08
3. Just A Little Bit Of Your Love (Live) - 4:53
4. Shame Shame Shame (Live) - 5:02
5. Evil (Live) - 5:46
6. Well Connected (Live)- 5:01
7. Big River (Live) - 5:22

The new album from Bad Company and Mott The Hoople guitar legend Mick Ralphs, with his brand new blues band. Many classic rock guitarists release blues albums. As they get older, they want to explore their roots. So they find some friends, select a few blues standards and have fun in the studio for a few hours. But Mick Ralphs wanted to do more than that. He wanted to play the blues live, with a band created specially as a blues unit - not just a pick-up band. Also, he wanted to write new songs, not just play his favourites. As a result, he has created a fresh new band, even though he still tours with the two legendary bands he formed in the 1960's and 70's: Mott The Hoople and Bad Company. The Mick Ralphs Blues Band is Mick Ralphs, guitar; Son Maxwell, vocals and harmonica; Jim Maving, guitar; Dicky Baldwin, bass; Adam Perry, drums. The band has been touring the UK and Europe for two years and has now recorded its first album: "Should Know Better". "Should Know Better" is a live album, recorded at The Musician club in Leicester, England, in April 2013.

Should Know Better: Live At The Musician

The Fabulous Thunderbirds - Strong Like That

Bitrate: 320K/s
Year: 2016
Time: 40:17
Size: 92,4 MB
Label: Severn Records
Styles: Texas Blues
Art: Front

Tracks Listing:
 1. (I Know) I'm Losing You (feat. Roosevelt Collier and Wes Watkins) - 4:21
 2. Don't Burn Me (Feat. Anson Funderburgh) - 3:47
 3. You're Gonna Miss Me - 4:13
 4. Drowning on Dry Land - 3:40
 5. Smooth - 4:06
 6. Somebody's Getting It - 3:31
 7. Meet Me on The Corner - 3:51
 8. Where's Your Love Been - 5:04
 9. I've Never Found A Girl (To Love Me Like You Do) - 3:44
10. Strong Like That - 3:55

We’re thrilled to announce the T-Birds newest release STRONG LIKE THAT (due August 26) featuring Anson Funderburgh and Roosevelt Collier!  Reviewer Tom Clarke (Elmore Magazine) writes: “The songs [Kim Wilson] wrote, and the unique covers here, make for one of the best T-Birds albums in some time.”  "From the opening swampy piano runs, crispy funk lead riffs, earthy and raunchy harmonica runs, and Kim Wilson's down-to-the-bone soul growls on the Motown classic "(I Know I'm) Losing You" to the bright Stax-inflected guitars and horns of the Eddie Floyd classic "Never Found Me a Girl," The Fabulous Thunderbirds take flight on their new album, Strong Like That. The band balances the mournfulness of blues with all the joy of soul music, and the tunes here are often so bright that they drive us up out of our seats to the dance floor to groove to The Fabulous Thunderbirds' smooth and soulful sound. "

Strong Like That

Broken Down Guitars - Passports

Bitrate: 320K/s
Year: 2013
Time: 44:30
Size: 103,1 MB
Label: BDG
Styles: Blues
Art: Front

Tracks Listing:
 1. Keep It Together - 4:16
 2. Come Home - 4:39
 3. Medusa - 4:38
 4. Follow - 3:59
 5. Broken Down Passports - 5:06
 6. Freedom Flight - 2:41
 7. Sunrise - 4:23
 8. Wrung Around - 5:07
 9. Single Track Mind - 4:38
10. Beautiful - 5:00

Broken Down Guitars is a six piece powerhouse from Bend, Oregon delivering a unique blend of blues, soul and classic rock with a jam sensibility. Led by talented, soulful songwriter Stacie Lynn Johnson, with smooth bluesy derived tunes from Kent Howes, double guitar leads and keys to boot, there's something for everyone in this eclectic mix. Boasting profound vocals and passionately inspired instrumentals, BDG is ever evolving. Stacie, AJ and Kent have been playing together for over 6 years now, with Aaron, Steph and Connor joining in the spring of 2015 to round out this talented powerhouse. Overall, this band likes to have fun, a quality that they bring to every show that they play.
An eclectic, energetic mix of rock, blues and americana, BDG is a 5-piece powerhouse boasting 3 vocalists, electric guitar and violin.
After being voted Last Band Standing of Bend, Oregon in 2012, Broken Down Guitars (BDG) has dominated the music scene, playing on bigger stages and gaining popularity and respect as musicians. A 5-piece band, the eclectic sound and variation of style is a product of distinguished song-writing by all members of the band. When you listen to this newly released album, Passports, you will notice this right away! All 5 band members write music that reflects their own life experience and emotions.
Ethan Maffey of The Source Weekly wrote about BDG in a 2012 article, "Listen to Broken Down Guitars and it is clear they are a multi-faceted group of skilled musicians. ..A band that expresses itself with a variety of vocals, violin and a sultry style of rock-and-roll.."

Passports

J Dorsey Band - Wicked Soul

Bitrate: 320K/s
Year: 2016
Time: 30:19
Size: 69,6 MB
Label: Self Released
Styles: Blues/Garage Psychedelic Blues
Art: Front

Tracks Listing:
 1. Who's Been Fooling You - 4:33
 2. Do My Baby - 3:47
 3. Po' Black Maddie - 5:38
 4. The Letter - 6:53
 5. Wicked Soul - 3:43
 6. Love in Vain - 5:43

The J Dorsey Band is an all-star cast of rock and roll warlocks that infiltrate your mind with an inferno of musical destruction.
J Dorsey Band Celebrates the release of their long awaited first recording, available on CD, and on itunes August 14th, with some very special guests, at their favorite bar, Junker's Tavern! We hope to have t shirts for sale as wel as CD's of J Dorsey Band"s new record, titled " Wicked Soul", recorded last fall with Brian Olive at his amazing Diamonds recording studio! Come out and shake a tail feather with us, on this special occasion!

Wicked Soul

Lurrie Bell - Can't Shake This Feeling

Bitrate: 320K/s
Year: 2016
Time: 55:09
Size: 128,7 MB
Label: Delmark Records
Styles: Blues/Chacago Blues
Art: Front

Tracks Listing:
 1. Blues Is Trying To Keep Up With Me - 4:10
 2. Drifting - 3:25
 3. I Get So Weary - 4:20
 4. One Eyed Woman - 4:14
 5. This Worrisome Feeling In My Heart - 4:54
 6. Sit Down Baby - 2:57
 7. Hold Me Tight - 2:35
 8. Sinner's Prayer - 4:43
 9. I Can't Shake This Feeling - 4:33
10. Born With The Blues - 5:59
11. Do You Hear - 3:56
12. Hidden Charms - 3:54
13. Faith And Music - 5:22

Lurrie Bell’s new CD “Can’t Shake This Feeling” will be released on August 18th. Produced by Dick Shurman (Johnny Winter, Albert Collins, Jody Williams) and featuring Lurrie’s Chicago Band (Matthew Skoller, Melvin Smith, Willie Hayes and Roosevelt Purifoy)
Lurrie Bell returns with a new CD he's telling people is his best. It showcases all the passion, depth, rawness and uniqueness that keeps Lurrie at the top of many Real Deal Chicago Blues lists. His ace working band and frequent collaborator Matthew Skoller (on harp) provide the drive and the safety net while Lurrie walks the tightrope vocally and instrumentally. Motivated by his 2013 Blues Music Award for 'Song Of The Year' for the title track from Blues In My Soul (Delmark 830), Lurrie had a hand in writing five of the thirteen tracks. 'Driftin'', 'One Eyed Woman', 'Hold Me Tight', 'Sinner's Prayer', 'Do You Hear', 'Born With The Blues', 'Hidden Charms' and more.

Can't Shake This Feeling

Heliotroupe - Anything Under the Sun

Bitrate: 320K/s
Year: 1987
Time: 30:59
Size: 71,4 MB
Label: X-Factor Records (HT-00023)
Styles: Rock/Alt.Rock/Indie Rock
Art: Front+Back

Tracks Listing:
 1. Color In The Dark - 4:54
 2. Won't Walk Away - 2:45
 3. Live Today - 4:30
 4. Time And Changes - 4:39
 5. The Other Side - 4:27
 6. Blue Moon - 4:22
 7. Round 'N' Round - 4:19
 8. Lexicon - 0:59

Musicians:
Mark Eckert - Guitar, Vocals, Synth;
Dianna Kallerges - Bass, Vocals;
Fred Nigito - Drums.

Heliotroupe

Half A Chicken - Food for Thought

Bitrate: 320K/s
Year: 1988
Time: 34:54
Size: 80,8 MB
Label: Rabid Cat Records
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Chicken Scratch - 2:43
 2. Red Kite - 2:52
 3. 50 Favorite Dead People - 3:28
 4. You & Me - 3:11
 5. Another Daydream - 3:33
 6. Describe The Rain - 3:38
 7. Feeling It Now - 3:49
 8. (You Can't Have) Your Own Way - 3:53
 9. On My Way - 7:42

Musicians:
Guitar, Vocals – Phil Sudo
Vocals, Guitar – Steve Scavuzzo
Bass – Christopher Adam
Drums – Fred Caspary

I think my expectations for this one were a little too high, due in no small part to the Bob Mould production credit. From what I can tell this was the only national release from Half a Chicken, a four piece combo from Port Washington, NY (downstate, Nassau County...like you care). Anyway, Food For Thought is a little on the nondescript side. HAC don't portray themselves as true believers of Husker Du, and if anything lean more towards northeast indie-rawkers Agitpop and Nice Strong Arm. Their more convincing moments like the jangling "Red Kite," "Describe the Rain," "Feeling it Now" could have been scaled down for a tidier ep. This Chicken may be a little Half baked, but if you're an aficionado of college radio from this era, I wouldn't hesitate giving Food... a taste.

Food for Thought

Cindy Bullens - Desire Wire

Bitrate: VBR
Year: 1978
Time: 37:31
Size: 66,6 MB
Label: United Artists Records
Styles: Rock
Art: Full

Tracks Listing:
 1. Survivor - 4:32
 2. Anxious Heart - 3:03
 3. Desire Wire - 4:30
 4. Time'n Charges - 2:54
 5. High School History - 4:21
 6. Mean In Your Heart - 5:01
 7. Hot Tears - 3:32
 8. Knee Deep In Love. - 6:04
 9. Finally Rockin' - 3:30

One of the great lost rock albums of the '70s, Bullens' debut release is full of tough, passionate, incredibly catchy rock & roll played to the hilt and sung with fire. Bullens followed it up with Steal the Night in 1979. Ten years later, she made Cindy Bullens, and they're almost as good, although no one noticed. So life is unfair. Search those used-record stores for any of them.
Bullens has the heart and soul of a straight ahead no-nonsense female rocker. She writes good songs, sings well, and can open up on guitar, the few times she has a chance. This album suffered for two reasons. Number one, the producers made a mess of the entire proceedings. They were clueless about what to do with her, so rather than let her be herself they decided to get in there and really produce!  Number two, the record company managed to lock Bullens in the cellar, and forget she was there. "Desire Wire" should have been a hit!  Despite all this incompetence, it's not a bad debut, but it could have been much more.

Desire Wire

The Mercury Seed - Dust

Bitrate: 320K/s
Year: 2002
Time: 45:34
Size: 104,8 MB
Label: TMS Records
Styles: Rock/Classic Rock
Art: Front

Tracks Listing:
 1. Learning to Crawl - 3:56
 2. Come Undone - 3:49
 3. Last Trace - 5:44
 4. Waiting - 4:55
 5. Misery Loves Co. - 4:52
 6. Coming Down Again - 4:15
 7. Two Steps (From the Move) - 5:10
 8. Dust - 3:28
 9. Sky Is Falling - 4:36
10. Times of Trouble - 4:44

Musicians:
Volker - Vocals;
John Jackson - Guitar;
Joe Nemchek - Guitar;
Gary D'Andrea - Bass;
John Chiechi - Drums.

Reading through the press kit of the Mercury Seed reveals name-dropping at its most excessive and shameless: Tom Petty, The Cure, Whiskeytown, Keith Richards, the Beach Boys, the Who, James Burton, Ricky Nelson, Kiss, Gram Parsons, the Rolling Stones, Johnny Cash, the Byrds, Elvis Presley, Sam Cooke, Dinosaur Jr., the Lemonheads, Pearl Jam, Nirvana, Uncle Tupelo, the Replacements, the Jayhawks, the Georgia Satellites, Led Zeppelin, the Faces, Humble Pie, Wilco, Oasis, the Verve, Radiohead, Daniel Lanois, Aerosmith, Neil Diamond, Stevie Wonder, and the Stereophonics. I mean, goddamn. Hype-de-nom like this works against a band on so many different levels that the impulse to immediately toss this album away from my person was nearly irresistible. Unfortunately, I have a review to write, and that means pulling on the wellies to wade through this School of Rock bullshit, and hopefully coming out with a nugget of ingenuity to examine.  The Mercury Seed are a rock band from New York. Not a band from the "scene", but a band that happens to be from New York, although their spirit seems to have both feet dipped into the same Asbury Park well that Bruce Springsteen has been drinking from for over three decades. Each of the songs on their self-released album seems to be carefully constructed to evoke the Rock in a strictly blue jeans kind of way, ala the Black Crowes. In other words, this is music that accompanies drunken swaying by middle-aged folk at your local bar; the songs strive to evoke grainy sepia images of tires on a gravel road, close-ups of denim-clad asses, and triumphant profiles against a setting sun -- and this would all be fine if any of the ten tracks on Dust aspired to be more than an ideal, surface image of good 'ole American rock.
Song after song is weighed down in anthmetic cliches that annoy like a buzzing fly: catchy choruses abound ("Waiting", "Dust"), big soaring guitars appear at just the right moment ("Come Undone", "Coming Down Again"), yet it all feels hollow. The Mercury Seed's biggest flaw lies in their mediocrity, and I don't mean technical proficiency -- it's obvious these guys know how to play, and singer Volker Lemmer has one of those husky blue-collar voices that practically drips nicotine and Budweiser and hard-livin' angst. But there is nothing here that inspires any passion in me, not even intense dislike. There are no glaring annoyances in the song-writing, which is fairly solid, and not one instrument jumps out of the stereo to clobber me upside the head with its ineptness. No, every little piano twitter and harmonica squeal seems to be perfectly placed -- and that is the problem. I feel like I am listening to the paint-by-numbers version of a rock record, where every color has its specific place to form an equally perfect, uniform picture. Any one of these songs could be played on a WB television show to aurally illustrate some quintessential moment of melodramatic teenage angst.  The only songs that truly strain to elevate themselves from being on a soundtrack about bar bands are the final two tracks, "The Sky Is Falling" and "Time of Trouble," and you can thank guitarists Darren Salmieri and John Jackson for that. There at least seems to be a glimmer of rough ambition in these songs, courtesy of the wah-wah pedal. The band as a whole sounds loose, sweatier, more passionate -- there are times when it seems Lemmer is almost out of breath, his singing less affected, offering the immediacy that could have carried the majority of these songs over that line dividing the passable from the truly engaging. Apparently, this band is a rouser live, but all I have is this record, and it lacks the power to drag my ass out to a club to see them. What they need is less dust, more dirt -- I want fire and oil to spark these songs up and beyond mere background music. Give me more mercury in that seed. Then maybe we'll talk. (Oh, and maybe tone down the press kit, too? Trust me.)

Dust

Ali Maas & Micky Moody - Black & Chrome

Bitrate: 320K/s
Year: 2016
Time: 53:13
Size: 122,5 MB
Label: Armadillo
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Horse or a Harley - 5:45
 2. Why Does a Man - 5:07
 3. Hanging On a Chain - 4:01
 4. Same Blues, Different Day - 3:58
 5. A Change In Everything - 6:49
 6. Taking Me Home - 5:29
 7. Do Some Time - 4:25
 8. Farewell to All the Sad Songs - 3:55
 9. Here I Stay - 4:19
10. Hell Bent - 4:33
11. (Now I Got My) Mojo Back - 4:46

Micky Moody needs no introduction as he's one of the best guitarists around. Ali Maas is also one of the best female vocalists of swampy, lowdown blues you will hear. Micky is best known as a member of the original lineup of Whitesnake, although he actually began his career years earlier as a member of Juicy Lucy. After Juicy Lucy, Micky played with Snafu for a few years, as well as on several session gigs, before joining Whitesnake in 1978. When bandleader David Coverdale began tinkering with Whitesnake's lineup in the mid-'80s, Micky resumed his prior career as a session guitarist; he also formed a blues-rock outfit called the Moody & Marsden Band with Whitesnake cohort Bernie Marsden, andreleased an album titled Never Turn Our Back on the Blues in 1994.
Ali Maas started singing at 15 years old with homegrown rock bands in Horsham, before travelling to  the far east to sing with a theatre show, playing mainly with Jazz and blues bands. Ali's singing career in the form of the blues, and after her debut appearance at The Ealing Blues Festival, was described in Blues Matters as ' A Star In the Making'. The Maas and Moody Band are releasing an album of original tracks, called 'Black and Chrome', in September , so this will be an opportunity to hear their new matrial live for the first time.

Black & Chrome

Oda - Power Of Love

Bitrate: 192K/s
Year: 1983
Time: 32:23
Size: 45,6 MB
Label: Loud Phonograph
Styles: Rock
Art: Front

Tracks Listing:
 1. Breaking My Heart - 3:28
 2. Think I'm In Love - 3:53
 3. Secret Love - 4:02
 4. Straight From The Heart - 3:22
 5. Let's Go - 3:04
 6. Power Of Love - 2:48
 7. Tonite - 3:22
 8. Set Me Free - 4:56
 9. (You've Been) Using Me - 3:26

Musicians:
Randy Oda - guitars;
Kevin Oda - drums;
Michael Politeau - vocals, bass;
Geoff Glibas - keyboards.

This is the second version of the ODA band started again in 1980. Randy Oda, Kevin Oda, Michael Politeau, Walker Kaeck and Geoff Glibas.
Great Pop Rock !

Power Of Love

Jerry Doucette - Coming up Roses

Bitrate: 256K/s
Year: 1981
Time: 34:44
Size: 64,2 MB
Label: Rio
Styles: Rock/Singer-songwriter
Art: Front

Tracks Listing:
 1. It Doesn't Matter - 3:41
 2. That's Alright - 2:56
 3. She's My Girlfriend - 2:54
 4. Gimme Your Love - 3:33
 5. Rock & Roll Got A Hold Of My Soul - 3:29
 6. Here I Come - 3:17
 7. You Better Turn Around - 3:01
 8. Give It To Me - 3:58
 9. It Only Hurts The First Time - 3:03
10. Coming Up Roses - 4:47

Musicians:
Jerry Doucette - Guitar & Vocals;
Brent Shindell - Guitar & Keyboards;
Don Cummings - Bass Guitar;
Robbie King - Keyboards;
Bill Wade - Drums.

Jerry Doucette comes by his talent and success naturally: his family are musicians by trade. When he was a youngster he would sit in on jam sessions with his father and Uncle Jim. The family picked up their Montreal stakes and moved to Hamilton, Ontario when Doucette was 4 years old, and two years later he got his first guitar. Lessons soon followed at age 8 and he joined his first band, the Reefers, at age 11. He remained with the group for five years then moved to Toronto, playing in various bands like Tribe, Brutus, Abernathy Shagnaster, and Homestead. He hooked up with Alexis, who was working on a deal with Mushroom Records out of Vancouver, and when she got signed, she asked him to make the trek out west. Nothing came of the Alexis recording sessions and so he answered the call for a guitarist for the Seeds Of Time, featuring future Prism co-founder Lindsay Mitchell. Six months later he joined the Rocket Norton Band (Norton also going on to be in Prism), but two years later he was tired of the local bar scene and retired to his basement to write songs with friend and soon-to-be manager John Hadfield. After sequestering themselves for three months, Doucette emerged from the basement with three of the 16 demos he'd recorded and approached Shelly Siegel of Mushroom Records. Siegel was so impressed that he asked for three more tunes, and Jerry returned the next day with them. He was advised to put a band together and did so, featuring Duris Maxwell (drums, percussion), Don Cummings (bass), Brent Shindell (rhythm & acoustic guitars), and Robbie King (keyboards); Doucette himself handled all lead guitar and vocals, and rhythm and 12-string duties.
They went into the studio in 1977 and came out three months later, in November, with Doucette's first album, 'Mama Let Him Play', which quickly went platinum in Canada. Adding Jimmy Butler (guitar) and Ira Hirschel (keyboards) to his lineup, he hit the road in the US, opening for the likes of Bob Welch, Bob Weir (of the Grateful Dead), Eddie Money, and Meat Loaf. The reaction was swift and strong, and a female backup singer was added for the Canadian tour in 1978. After the Canadian tour he went back into the studio with a new line-up of musicians and producer John Ryan, and came out in early 1979 with 'The Deuce Is Loose', which spawned the Canadian hit "Nobody" and helped the album to ship gold. Another trip to the US saw him cross the continent twice, including nine days with the Doobie Brothers in April, but continued touring there and in Canada with acts such as the Beach Boys and the Atlanta Rhythm Section failed to boost sales of the second album to the loft heights of the first.
Management and financial troubles plagued Mushroom Records at this time, which Doucette felt hurt the second album, as did continuous band personnel turnovers, and by the time Doucette settled down to write and record his next LP, the only members left in the band from previous lineups were Billy Wade (drums) and Don Cummings (bass). Doucette attempted to gain back some of the momentum with the Rio Records release 'Coming Up Roses', but the industry, having become new wave and keyboard dependent had little time for the guitar great. Fast forward to the 1990's and Doucette is now in control of his own career with the re-issue of 'Mama Let Him Play' on CD (Doucette bought back the rights to the album) and a new album engineered by Colin Nairne (Barney Bentall, Sue Medley) called 'Price of An Education'. His recording act is also touring with him now and features: Darrell Mayes on drums (Colin James, The Falcons), Dennis Marcenko on bass, Bobby Stewart on guitars and vocals, and Rick Hopkins on keyboards.

Coming Up Roses

The Bob Riedy Blues Band - Just Off Halsted

Bitrate: 320K/s
Year: 1974
Time: 48:23
Size: 114,4 MB
Label: Chicago Sound Recordings
Styles: Blues/Chicago Blues
Art: Front

Tracks Listing:
 1. Cruzing - 3:58
 2. I Got A Woman - 4:48
 3. Haint - 5:05
 4. Pretty Baby - 2:09
 5. Comin' Home Baby - 4:51
 6. Heart Aches And Pain - 6:19
 7. Road Dust - 3:13
 8. Caldonia - 3:32
 9. Hard To Leave You Alone - 5:48
10. Drinkin' Wine - 3:29
11. Last Call - 0:29
12. Blues For The Kangaroos - 2:36
13. Just Off Halsted - 2:01

Musicians:
Carey Bell - vocal & harmonica where listed;
Eddy Clearwater - vocal & guitar where listed;
Richard Hub-Cap Robinson - vocal where listed & drums throughout;
John Reda - lead guitar throughout;
Dan Draher - second guitar throughout;
Bob Falvey - fender bass throughout;
Mike Willens - baritone & alto saxophones;
Mike Cogan - tenor sax;
Mark Gaston - trumpet;
Bob Riedy - piano throughout.

Originally released in 1974, Just Off Halsted was The Bob Riedy Blues Band's second studio effort under their own banner. Packed with carefully crafted interpretations of blues standards as well as soulful originals, Just Off Halsted is a veritable time capsule of the 70's Chicago Blues scene—a time when blues legends Carey Bell, Richard "Hub Cap" Robinson, and Eddy Clearwater performed in a tight Chicago blues club circuit that was, just off Halsted.


Just Off Halsted

Devon Allman - Ride Or Die

Size: 114,9 MB
Time: 48:29
File: MP3 @ 320K/s
Released: 2016
Styles: Blues Rock
Label: Ruf Records
Art: Full

Tracks Listing:
01. Say Your Prayers - 3:16
02. Find Ourselves - 3:12
03. Galaxies - 4:57
04. Lost - 4:32
05. Shattered Times - 3:32
06. Watch What You Say - 4:20
07. Vancouver - 4:15
08. Pleasure & Pain - 4:08
09. Hold Me - 2:27
10. Live From The Heart - 4:49
11. Butterfly Girl - 4:35
12. A Night Like This - 4:20

Desperate times call for dazzling records. Released on Ruf in September 2016, Devon Allman’s Ride Or Die acknowledges that life on Planet Earth is no picnic. On the flipside, this third solo album from one of America’s best modern writers reminds us there’s always hope. “The world is getting crazier by the minute,” says Allman. “These songs are about pain, addiction, storms, lust, death, and feeling sometimes that you’re utterly lost. But conversely, it’s about finding your place in the universe, rebirth, strength, redemption, vindication…”
Allman has walked many roads to earn his place at the head of the Southern rock scene. Followers of the US bandleader’s thrilling two-decade career have come to expect the unexpected, from his post-millennial breakout with Honeytribe, through chart-topping hook-ups with Jack Bruce and Javier Vargas, to acclaimed solo albums like 2013’s Turquoise and 2014’s Ragged & Dirty (praised by the UK’s Blues Magazine as “reminding you why the blues can be, quite simply, the best thing in the world”).
When the vocalist/guitarist parted ways with Royal Southern Brotherhood in 2014 – having played a pivotal role in the supergroup’s all-conquering early material – there was an audible gasp around the world. Thankfully, one spin of Ride Or Die vindicates Allman’s bold step into the unknown. “I needed to have my own canvas,” he explains, “to stretch out and paint on with no rules, only my visions. Freedom in artistry is essential. Who stands behind a painter and says, ‘Hmmm, no, maybe you should use blue there, not purple’? That’s not anyone I wanna have coffee with!”
Recorded at Nashville’s Sound Stage Studios and Switchyard Studios in May, Ride Or Die found Allman in good company, with the bandleader guiding the core lineup of Tom Hambridge (drums/co-production), Tyler Stokes (guitars) and Steve Duerst (bass) – and enlisting fairydust from Ron Holloway (saxophone), Bobby Yang (strings) and Kevin McKendree (keys). With the chemistry fizzing, it’s a mix that lives, breathes and grooves, the antithesis of the cut-and-paste jobs that hold sway in the Pro Tools era.
Writing all but two of the songs – either alone or in partnership with his compadres – Allman showcases his ability to catch what it means to be human, while following his muse wherever it leads him. On songs like the thumping opening gambit “Say Your Prayers” or the brittle jab of “Galaxies”, he invests blues-rock traditions with modern attitude and smarts. “Blues was born down South,” he says, “and it’s a massive part of the culture. But blues is a very open entity in my mind.”
Beyond the blues, this is a showcase for an artist with every colour in his palette. As you’d expect from a man with a famously sprawling vinyl collection – and a tattoo of Curtis Mayfield inked on his left bicep – there are nods here to every genre and era. “This album is really about mixing all of my influences,” says Allman of the varied mood. “Soul, rock, blues, alternative and more. It’s about making an artistic statement, not about fitting into any category. I produced this album to be an eargasm of emotion.”
On a tracklisting that runs the gamut, you’ll find the upbeat, horn-bolstered soul of Find Ourselves, alongside the rueful lyric and poignant lilt of Vancouver (“If I had a time machine, if I could get back somehow, I’d change so many things, and she’d be with me now”). “Live From The Heart” is a twelve-string acoustic stunner with one eye on the apocalyptic newspaper headlines, while “Butterfly Girl” is a smitten ballad warning of a woman who’ll “seduce and hypnotise you when she enters your world”.
Sonically, too, Ride Or Die is a record that pushes the envelope, whether that’s the pumping synth line that opens the cover of The Cure’s “A Night Like This”, or the Talkbox guitar solo on Lost that supports a lyric about fading dreams. “I haven’t produced my own record since 2010’s Space Age Blues,” says Allman. “We had a blast making this record, using the Talkbox for Lost and laying down the Hendrix-inspired section on Find Ourselves.” Some musicians are content to simply spin their wheels, rehash the hits and pick up the pay-cheque.
With Ride Or Die, Devon Allman announces once again that he’s an artist on the move – and invites you to ride shotgun as he takes this career-best new album out on the road through 2016. “You can expect pleasure, pain, and energy to soothe your troubled soul,” he says. “Come take the ride…” ~ http://www.bluesmagazine.nl/devon-allman-ride-or-die/

Ride Or Die

Rick Hall & The Blues Healers - Rick Hall & The Blues Healers

Bitrate: 320K/s
Year: 2004
Time: 46:35
Size: 106,7 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Don't Be Cruel - 3:33
 2. Free Delivery - 3:07
 3. Ain't Nothing But A Heartache - 3:41
 4. Blues Are Gonna Leave Me Too - 3:25
 5. The Trouble With Love - 3:19
 6. Much Too Much - 4:07
 7. Dig - 3:06
 8. All I Want Is You - 3:20
 9. Train - 4:04
10. Got My Eye On You - 4:32
11. I Got A Woman - 2:40
12. Keep On Walkin' - 4:11
13. Goin' Down Fast - 3:23

Rockin'Blues with a ton of vocal soul. Primarily electric and slide guitars with a happening horn section on some of the cuts. Here's the deal. I was born a poor white child (just like everybody else)in the Appalachian Mountains of Southeastern KY. My folks moved to Ohio when I was two years old. Somewhere around the age of eight years old I became severely addicted to music. My father liked bluegrass and country, my mother liked rock and the pop music of the day. The one musical style we all agreed upon was the blues. What I'm doing now both in the studio and live is playing what comes naturally to me, that being a fusion of all the styles mentioned above. My music fits in whatever category, you decide.

ST

Lew Jetton & 61 South - Rain

Bitrate: 320K/s
Year: 2016
Time: 37:37
Size: 86,2 MB
Label: Coffee Street Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Who's Texting You - 3:29
 2. Move on Yvonne - 2:48
 3. Mississippi Rain - 3:39
 4. Lay Me Down - 4:25
 5. Glory Train - 2:06
 6. Feels Like Rain - 5:49
 7. Done Done It - 2:52
 8. Sandy Lee - 4:11
 9. Keeping Me Awake - 3:54
10. It's Raining - 4:20

PERSONNEL:
LEW JETTON Vocals, guitar
ERIK EICHOLTZ Drums
DAN BELL Organ (1,3,4,6) Guitar (1)
JAMES SULLIVAN Bass (1,2,3,4,6,7)
OTIS WALKER Bass (5,8.9)
SAM MOORE Guitar (4,6)
ALONZO PENNINGTON Guitar (1,5,9)
J. SOLON SMITH Piano (2,8,9,10)
J.D. WILKES Harmonica (2,3)
MIRANDA LOUISE Vocals (2,5)

Rain is the the 3rd CD from Lew Jetton & 61 South. Both previous previous CDs were "Picks to Click" on XM/Sirius Satellite Radio's Bluesville Channel. While there is some outstanding guitar, piano and harmonica work on the CD, Jetton's forte has always been focusing on writing good, memorable songs, which strike home and in the heart, and he delivers them with a voice which clearly carries the marks of years of emotion and pain. If the early reviews are any indication, Rain will be burning up the airwaves, too!
Here's what they're saying:
Listening to Lew Jetton sing is like having that conversation with a trusted friend you’ve needed for a long time. There’s no excess baggage, no TV idle jive; just the guts of truth voiced in ageless warmth and emotional experience. Lew gets to the point; the stories tell themselves. Blues, Gulf Coast R&B, gospel and southern rock are referenced in the arrangements that frame them.
A slew of expert operators of American traditional tools make damn sure you were listening. Besides 61 South, notable guests lend picking, preaching and singing to Rain’s ensemble strength. But it’s Lew Jetton’s bona fide vocals that build you a home in these very direct lyrics. Tired of guessin’? Here’s your lesson.
Microwave Dave, WLRH/WJAB FM
Its a keeper! An A+. If you could taste this album, it would be the best gumbo you ever ate.
Will Stephens, Host of "The Electric Blues Hours" 91.1 FM WDBX
Lew Jetton & 61 South are a force of nature on their new blues album “Rain!” Heart felt lyrics and stinging blues guitar licks make you feel like you’re at one of Lew’s live shows. Like a cool Kentucky rain Lew and the band keep sounding better with every song.
Eric Dahl, Host of Fox 17 Rock & Review (Nashville,TN). Author, B.B. King's Lucille and the Loves Before Her

Coffee Street Records

Ronnie Earl and The Broadcasters - Maxwell Street

Bitrate: 320K/s
Year: 2016
Time: 68:01
Size: 155,9 MB
Label: Stony Plain Music
Styles: Instrumental/Blues/Jazz/Ballads
Art: Front

Tracks Listing:
 1. Mother Angel -  5:36
 2. Sonnet For A Bluesman -  5:40
 3. In Memory Of T-Bone -  5:59
 4. Kismet -  6:15
 5. Double Trouble - 11:41
 6. Imagination -  4:19
 7. Blues For David Maxwell -  8:22
 8. You Don't Know Me -  8:03
 9. Brojoe -  4:56
10. As The Years Go Passing By -  7:04

Stony Plain Records announces a September 9 release date for Maxwell Street, the new CD from three-time Blues Music Award winner as “Guitarist of the Year,” Ronnie Earl and his band, the Broadcasters.  Maxwell Street is named in honor of the late blues pianist and previous member of the Broadcasters, David Maxwell, and is also a nod to Chicago’s famed Maxwell Street, where blues musicians gathered to play outside for the Sunday market crowds. Ronnie Earl and the Broadcasters are: Ronnie Earl – guitar; Lorne Entress – drums; Dave Limina – piano and Hammond B3 organ; Jim Mouradian – bass; and Diane Blue – vocals. Special guest guitarist on the album is Nicholas Tabarias. Maxwell Street was produced by Ronnie Earl and recorded at Wellspring Studios in Acton, Massachusetts, and Wooly Mammoth Studios in Waltham, Mass. Ronnie formed his band, the Broadcasters, in 1988. “This album is dedicated to my big brother David Maxwell,” says Ronnie Earl. “We were born on the same day ten years apart. His playing was as deep as the ocean, as high as the sky and as bright as a quasar. When he passed, I felt a huge loss as I still do. David was a Broadcaster and he and I made a few records together. It was always a supreme honor to play with him. He played blues as well as jazz with incredible expression from Otis Spann to Cecil Taylor. He knew and loved it all. He became Otis Spann in the later years. Our pianist David Limina wrote a tune (“Elegy for a Bluesman”) that captures the feeling of the album and we all send our love and respect to David’s family and all of our love and gratitude for David Maxwell.”
Maxwell Street showcases 10 tracks, including six originals, plus exciting covers of songs by Otis Rush (one of Ronnie’s main musical mentors), “Double Trouble;” Gladys Knight (“I’ve Got to Use My) Imagination;” Eddy Arnold, “You Don’t Know Me;” and the blues/soul chestnut, “As the Years Go Passing By,” which closes the album. Ronnie and the band performed a special set at the recent Chicago Blues Festival in honor of Otis Rush. In his review of that concert, DownBeat writer Jeff Johnson singled out Ronnie for praise: “Perhaps the most heartfelt expression came from the guitar of Ronnie Earl. His playing was a study in economy, yet electrifying enough to make the hairs on your neck stand on end on the seminal Rush tune, “Double Trouble.”  “Ronnie Earl is one of the most sensitive, refined and exquisite guitarists on the international blues scene.” – Living Blues.

Maxwell Street

Richard =Groove= Holmes - Troubadours Of Groove

Bitrate: 320K/s
Year: 2012
Time: 37:49
Size: 86,6 MB
Label: Pickwick / Simitar Distribution
Styles: Jazz/Funk/Hammond Organ
Art: Front

Tracks Listing:
 1. Groove Grease - 3:30
 2. The Bird - 3:11
 3. Plain Brown Bag - 3:34
 4. Ain't It Funky Now - 3:38
 5. Night Glider - 5:15
 6. Fly Jack - 3:30
 7. You've Got It Bad - 5:19
 8. Red Onion - 3:42
 9. River's Invitation - 2:46
10. Love Ain't Nothin' But A Business Goin' On - 3:19

"The Troubadours" are not actually a group, but these are three groovemeisters who made important individual contributions to the soul-jazz and R&B-blues movements. The four Jimmy McGriff and four Richard "Groove" Holmes' organ combo numbers are good but far from essential tracks in their careers. Two Junior Parker numbers are the same, with "River's Invitation" being the most well-known tune of the bunch. It's hard to understand the concept behind the release of Troubadours of Groove, as many other recordings yield better music and more vital sessions than these. It's not a bad party record though, one time through.

Troubadours Of Groove

The Psychedelic Furs - The Psychedelic Furs

Bitrate: 320K/s
Year: 1980
Time: 40:48
Size: 94,3 MB
Label: Columbia
Styles: Rock/Alternative Rock
Art: Front

Tracks Listing:
 1. India - 6:21
 2. Sister Europe - 5:38
 3. Susan's Strange - 3:13
 4. Fall - 2:40
 5. We Love You - 3:25
 6. Soap Commercial - 2:53
 7. Imitation Of Christ - 5:28
 8. Pulse - 2:36
 9. Wedding Song - 4:19
10. Flowers - 4:10

Emerging from the incipient post-punk London scene with a healthy fascination for late-'70s Bowie (and in turn, for his own attraction to Krautrock), the then-sextet kicked up a slightly monochromatic but still attractive storm on their debut. Richard Butler's Thin-White-Duke-after-smoking vocal rasp has a surprising appeal, serving up a wry, slightly detached series of lyrics on life. The members of the core band, meanwhile, had clearly honed their chops well on-stage; Ashton's lead guitar work avoids both wankery and simplicity in favor of a balanced, artistic power. Production mainly comes from Steve Lillywhite, who smartly steers away from the soon-to-be-cliched touches he would bring to U2's early work. "India" is a good example; it has a brooding, quiet beginning with strange telegraphic signals and turns into a brawling rocker without sounding like the Edge or Larry Mullins going off. The record comes off as serious without being self-consciously deep, occasional toe-dipping into humorous aside ("We Love You" has Butler idly listing off things he loves, sometimes with appropriate if sarcastically delivered song quotes: "I'm in love with Frank Sinatra...fly me to the moon..."). "Imitation of Christ" is the most frazzled, with lyrics detailing someone else metaphorically nailing himself up over a light but still strange guitar line. "Wedding Song" is amusingly prescient as one of the first "white rockers go hip-hop" numbers of its kind, along with Blondie's "Rapture," though its inspiration could equally be dub. Ely lays down a pounding funk beat while Butler breaks into a midsong rap no better or worse than most such efforts of the time.

The Psychedelic Furs