Strangefolk - Lore

Bitrate: 320K/s
Year: 1995
Time: 57:09
Size: 131,6 MB
Label: Autonomous Records
Styles: Jam Band
Art: Front

Tracks Listing:
 1. Sometimes -  5:17
 2. ...As -  2:48
 3. Lines And Circles -  6:13
 4. Shift My Step -  4:46
 5. Alaska -  5:38
 6. Speculator -  4:13
 7. Far From Yourself -  4:45
 8. Rather Go Fishin' -  3:48
 9. Woman Child -  4:23
10. Poland -  4:53
11. So Well - 10:19

Strangefolk is a rock-oriented jam band originally from Burlington, VT. Since forming in 1991, the band has released five studio albums, four live albums and one live concert DVD. The band consists of Jon Trafton (lead guitar, vocals), Erik Glockler (bass, vocals), Reid Genauer(rhythm guitar, vocals), and Luke Smith (drums).
The Album "Lore"  has awesome songs and cool lyrics, Reid Genauer (jen-hour) has a beautiful voice and as the lead guitarist he seems as if he could play for hours without a break. His lyrics are poetic and he talks the way that he sings, very poetic. Erik Glockler does some vocals like on "Rather Go Fishin" and others. Mainly he plays the bass. I don't think that he couldn't do a better job. (But being his sister I have to say that for him) Jon Trafton is the guitarist, he does a wonderful job he has many skills that will get him far.

Lore

The Spitfire Band - Big Band Swing Things

Bitrate: 320K/s
Year: 1999
Time: 39:13
Size: 90,0 MB
Label: Alanna Records
Styles: Jazz/Swing/Big Band
Art: Front

Tracks Listing:
 1. Skyliner - 2:58
 2. It Happened in Monterey - 3:02
 3. Thou Swell - 3:04
 4. Days of Wine and Roses - 3:00
 5. Caravan - 2:46
 6. Softly, As In a Morning Sunrise - 3:03
 7. If I Were a Bell - 3:46
 8. Marie - 2:53
 9. Brazil - 2:48
10. One - 3:02
11. Something's Gotta Give - 3:07
12. Chattanooga Choo Choo - 3:06
13. By Myself - 2:32

The dynamic and powerful Spitfire Band is a 19-piece juggernaut pop and jazz band leading the way into the exploding market of the swing band re-birth. It's for the young people who want to relive those glorious days of the Big Swing Band, and for those whose memories are filled with that marvelous era of big band remote broadcasts all across the U.S. and Canada. Veteran broadcaster Jack Wheeler states simply, "The greatest band ever! Period! End of discussion!" And the customers, young and old, prove it. They never buy just one Spitfire CD. They want to own them all! Here is release Number FIVE - "Big Band Swing Things"! The phenominal Spitfire Band does it again. Includes: "Skyliner", "It Happened in Monterey","If I Were a Bell", "One", "Chattanooga Choo Choo".

Big Band Swing Things

Johnny Griffin - Legendary Bop, Rhythm & Blues Classics

Bitrate: 320K/s
Year: 2010
Time: 25:42
Size: 59,0 MB
Label: Essential Media Mod
Styles: Jazz/Saxophone jazz
Art: Front

Tracks Listing:
 1. I Cried For You - 3:32
 2. Satin Wrap - 3:00
 3. Yesterdays - 2:26
 4. Riff Raff - 3:06
 5. Bee-Ees - 3:48
 6. The Boy Next Door - 3:14
 7. These Foolish Things - 3:31
 8. Lollypop - 3:01

These rare Chicago jazz sessions for the Parrot label featuring tenor sax great and Chicago native Johnny "Little Giant" Griffin are believed to have taken place in late 1953, although the resulting LP wasn't released until 1958. Griffin was developing a reputation as "fastest tenor in the west", for the ease with which he could execute fast note runs with excellent intonation, and eventually signed with Blue Note Records in 1956. Accompanying Griffin's tenor sax are Junior Mance piano; Wilbur Ware bass; and Wilbert "Buddy" Smith drums. All selections newly remastered. [Note: This product is an authorized CD-R and is manufactured on demand]

Legendary Bop, Rhythm & Blues Classics

East Ash Street Band - The World Keeps On Spinning

Bitrate: 320K/s
Year: 2008
Time: 67:30
Size: 155,1 MB
Label: Self Released
Styles: Jam Band
Art: Front

Tracks Listing:
 1. Big City -  5:00
 2. Hearts, Clubs, And Suits -  4:08
 3. Mcgigly -  6:15
 4. World Keeps On Spinning -  5:33
 5. Body Bags -  4:46
 6. I Know What I Know -  5:14
 7. Something Of Nature -  6:32
 8. What Ya Gonna Do -  4:04
 9. Colorado -  3:46
10. Way Things Are Going -  5:41
11. Last Time -  5:40
12. Hidden Track - 10:47

The East Ash Street Band is an American Jam Rock outfit that brings a full audio and visual world to life before your eyes. Transcending genres from over a century of music that soothes your mind and moves your body. With a love for songs, lyrics and extended jams they bring the grooves of funk, blues, reggae, rock, country and psychedelica together, along with a liquid light show, to inspire a variety of different crowds, young and old, too bring their dancing shoes.

The World Keeps On Spinning 

Dr. Louis Sullivan - Geneaology

Bitrate: 320K/s
Year: 2008
Time: 58:30
Size: 134,2 MB
Label: Self Released
Styles: Jam Band
Art: Front

Tracks Listing:
 1. Breckenridge -  6:02
 2. Ladders -  7:28
 3. Crystal Ball -  4:17
 4. Underground Fix -  9:02
 5. Franklin -  6:43
 6. B-Side Bebop -  5:34
 7. Chasm -  7:07
 8. Loaded Dice - 12:13

This is merely the beginning for Dr. Louis Sullivan as they wind thier way through a raucous Breckenridge, the ferocious rhythmic thrashing of Ladders, soulful callings of Crystal Ball, and the solid groove of Franklin. Indeed, a mystical collection fully captureing the band’s laisser-faire predilections while defining thier entrancing sound with startling precision, opening the doors of perception to the uninitiated and welcoming them inside with open arms.

Geneaology

East Ash Street Band - Mama Told Me

Bitrate: 320K/s
Year: 2009
Time: 40:57
Size: 93,8 MB
Label: Self Released
Styles: Jam Band/Psychedelic
Art: Front

Tracks Listing:
 1. Water - 4:28
 2. Messenger - 4:49
 3. The Love We\'ve Got - 4:40
 4. Mind Plug - 3:50
 5. Black Leather Sweater - 4:56
 6. Mama Told Me - 4:01
 7. Swimming In Hell - 4:50
 8. Birds - 4:05
 9. Testify - 5:13

This album was recorded in one weekend. Including over dubs and vocals. Most tracks are live and were recorded in one or two takes in the studio.
The East Ash Street Band is an American Jam Rock outfit that brings a full audio and visual world to life before your eyes. Transcending genres from over a century of music that soothes your mind and moves your body. With a love for songs, lyrics and extended jams they bring the grooves of funk, blues, reggae, rock, country and psychedelica together, along with a liquid light show, to inspire a variety of different crowds, young and old, too bring their dancing shoes.
(2009) Focusing on their regional fan base in 2009, the East Ash Street Band is using advertising and promoting to reach their key demographic. While working on booking and networking with other established venues and acts, they will be selling “The World Keeps on Spinning” (2008) and their second album “Mama Told Me” (2009). A fan favorite, "The Love We've Got", off of their album "Mama Told Me" is on the Relix Magazine December/January compilation album. Relix magazine has a readership of over a quarter of a million people, is distributed world wide and their website is viewed by more than two million people each month. Other Artist on the compilation include BlakRoc, Devendra Banhart and Tom Waits.

Mama Told Me

Tim Gartland - If You Want a Good Woman

Bitrate: 320K/s
Year: 2016
Time: 43:07
Size: 99,3 MB
Label: Self Released
Styles: Blues/Harmonica Blues
Art: Front

Tracks Listing:
 1. What the Blues Look Like - 3:38
 2. Hour's Worth - 3:18
 3. I Had It All - 3:41
 4. If You Want a Good Woman - 4:03
 5. I Come When You Call - 3:43
 6. Eight Ball - 2:58
 7. If That's What You Call Love - 4:17
 8. Introduce Me to Your Hat - 2:58
 9. Too Many Groceries - 3:59
10. Where's The Cure for You - 3:09
11. Willie That's Who - 3:45
12. Go West! - 3:33

Contemporary blues and soul cd of by triple threat singer, harp player and songwriter.
Tim Gartland, the triple threat harp player, singer and songwriter has released his best cd ever, "If You Want A Good Woman". Soulful singing, expert musicianship and well crafted songs make this a "must own" release. This cd of twelve original songs represents the culmination of Tim's lifetime love of blues and soul.
"If You Want A Good Woman" features some of the top musicians in Nashville and and was recorded at one of best studios in town.
It is perhaps the most perfect contemporary blues album you will hear this year.
If you are a fan of intelligent lyrics, well crafted and well played music, this cd is for you. Tim's singular hope for this cd is for people to enjoy the music. So take a listen and sit back and enjoy!

If You Want a Good Woman

Soulhat - Good To Be Gone

Bitrate: 320K/s
Year: 1994
Time: 62:34
Size: 143,4 MB
Label: Epic Records
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Homer -  4:33
 2. Good To Be Gone -  5:17
 3. Wiggin' -  4:51
 4. Big Nose -  4:12
 5. Psychological Bone -  6:45
 6. Preacher Man -  4:51
 7. Bonecrusher -  5:23
 8. Emugga -  4:00
 9. Dirty Old Man -  4:31
10. Waited -  5:51
11. 15 More Miles - 12:16

The chameleonic SoulHat (connection to Foghat unknown) comes off with talent to spare, but also as a publicist's nightmare, flying off in myriad directions with songs too long and wild for radio programmers. If the quartet ever had a chance for mainstream success, the convoluted mid-'90s music atmosphere might have been the best time, and Good to Be Gone stands as a strong commercial effort, reining in loose-fingered jams and Zappa-esque lyrical imagery to the point of accessibility. Producers Brendan O'Brien and Nick Didia worked with Pearl Jam and Stone Temple Pilots and curtail the band's powerful personality into an eminently radio-ready record. Good to Be Gone remains confusing, but supplies a fun ride with bits of Primus oddness here and a bit of Eric Johnson finesse there. Many songs concern the Big Apple from a Texas point of view, including airwave stomper "Bonecrusher" (bones appear to be another motif). Guiding light Kevin McKinney may be making his big move, but the whole band rocks with a tightness that could only come from night after night of playing together. For listeners willing to invest a bit of time, Good to Be Gone will come together after a few listens.

Good To Be Gone

Bishop Black - The Best Of

Bitrate: 320K/s
Year: 2015
Time: 62:52
Size: 144,0 MB
Label: Slc
Styles: Southern Rock
Art: Front

Tracks Listing:
 1. Long Road To Bama - 3:31
 2. Lawyers, Guns And Money - 3:26
 3. Shine On - 5:26
 4. Run To Tennessee - 3:33
 5. Southern Hospitality - 4:04
 6. Mississippi - 4:26
 7. Brother Locklayer - 3:31
 8. Down Again - 4:11
 9. Long Way - 4:27
10. What You Gonna Do - 4:28
11. Workin' On A Building - 3:09
12. Sugar Shack - 3:28
13. Delilah - 4:11
14. Caballo De Dois - 5:44
15. Elevate - 5:11

Southern Rock Band from Muscle Shoals, Alabama.This is one of the best new bands I've heard for a long time! This is great southern rock. I hope they will release another cd soon! Keep on rockin'
BISHOP BLACK is an indomitable force on the music scene, from DECATUR, Alabama and they have continued to be to this day. Their releases borrow from the diverse influences of the band and channels it into one uniquely southern sound. More significantly, though, Bishop Black has set a standard for live performance during this time. When they began to be introduced on their 2007 tour as "The Ayotollah's of Rock and Rollah,' they were staking that claim on the basis of their live performances. But, for all that, Bishop Black is best understood as musicians, and their own acceptance of that fact is what has enabled them to carry on so well for so long. Jeremy Braswell is an extraordinary lead singer and one of the most riveting performers - in any genre - ever to set foot on a stage. Preston Grammer is the propulsive engine that drives Bishop Black and makes their music instantly recognizable. Pat Sowell is a guitarist who has formed a rhythmic brotherhood with Grammer, but who also colors and textures the band's songs with deft, melodic touches. And Steve White and Cory Sowell, needless to say, make up the group's "hard hitttin" rythym section. They are both the rock that anchors the band, and the force that swings it. At once elegant in their simplicity and soaring in their impact, none of their gestures are wasted, all are necessary. Cory and Steve enliven the often-monolithic notion of the rock & roll rhythm section with an irresistible, unpretentious, jazz-derived sophistication. Musicians live and create in the moment, and that's why fans still go see Bishop Black. But seeing Bishop Black live is to see a working band playing as hard as they can, and that's what Rock and Roll is all about.

The Best Of

SoulHat - Outdebox

Bitrate: 320K/s
Year: 1994
Time: 53:34
Size: 123,0 MB
Label: Epic Records
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Prayin' For Rain -  3:52
 2. Stranger Things -  3:08
 3. Alone -  5:06
 4. Brian Waltz -  6:08
 5. Big Backyard -  6:15
 6. Things Aren't Like That Anymore -  4:36
 7. Here -  3:54
 8. Stink Pot - 11:25
 9. Holy Cow -  4:40
10. Build It Up, Tear It Down -  4:24

Don’t fence them in. Austin, Texas-based foursome Soulhat would prefer you not categorize the group’s versatile style, a thoroughly modern guitar-based blues groove of funk and fusion. It’s showcased on Soulhat’s debut album, Outdebox, its indie-label popularity having led to national distribution via Epic Records.
“I like to think that, as time passes, the strength of our songs will dictate our musical style,” says Soulhat co-founder Bill Cassis, a Maryland native who, with Kevin McKinney and Brian Walsh, formed the group three years ago while attending college in Texas. Meanwhile, Outdebox offers a fine sampling of Soulhat’s diverse influences, from the Caribbean lilt of the opening track “Prayin’ For Rain” to the country-style strains of “Build It Up, Tear It Down” to an 11-minute-plus workout called “Stink Pot” which embodies the jamming ethos of Soulhat’s live show.
Bill Cassis and Kevin McKinney first were brought together by a mutual admiration for the blues. Cassis had been exposed to swing and bluegrass music at an early age through his father; McKinney’s background was in alternative rock, but he was open to new possibilities. The lineup was completed with the addition of bassist Brian Walsh and especially by veteran drummer/percussionist Barry “Frosty” Smith. Over a twenty-year career, Frosty had played with Lee Michaels , Sly Stone , and Parliament -Funkadelic before relocating to Austin to work with such local stalwarts as Delbert McClinton and W.C. Clark.
Soulhat built its fervent grass-roots following by playing every Thursday and Saturday night at the Black Cat Lounge on Austin’s famed Sixth Street, where their three-hour-plus sets soon had crowds lining up around the block. A self-produced live tape, Soulhat Live At The Black Cat, won the 1992 Austin Music Award for “Cassette Of The Year.” By the following year, Soulhat were cited as “Rock Band Of The Year” and as runners-up to the Arc Angels for “Austin Band Of The Year.”
The band continued to build its area following, opening for such headliners as John Lee Hooker , Johnny Winter and the Neville Brothers . They eschewed early major-label offers, instead choosing to record and release Outdebox on their own Currant Records imprint (manufactured and distributed by Spindletop prior to the Epic signing). Tracks from Outdebox soon found their way onto local radio, while the group’s blues-based guitar explorations led to Soulhat being tagged as one of the new generation of improvising rock bands like Blues Traveler, Spin Doctors and Widespread Panic.
That’s fine with Soulhat, but they didn’t plan it that way: “It’s all a work in progress,” says Kevin McKinney. With Outdebox now getting a new life via major-label distribution, Soulhat is ready to win over the uninitiated.

Outdebox

King Biscuit Boy - Gooduns

Bitrate: 320K/s
Year: 1971
Time: 34:15
Size: 79,6 MB
Label: UM
Styles: Electric blues, harmonica blues
Art: Full
Source: Red Ruster

Tracks Listing:
 1. You Done Tore Your Playhouse Down Again - 5:45
 2. Boom Boom (Out Go The Lights) - 2:46
 3. Georgia Rag - 1:37
 4. Barefoot Rock - 3:34
 5. The Boogie Walk - 4:03
 6. Ranky Tanky - 3:59
 7. Twenty Nine Ways - 2:41
 8. Bald-Headed Rhumba Boogie - 4:09
 9. Lord Pity Us All - 5:38

Originally released on LP format in 1971 with a cloth burlap cover, Gooduns is the second album by Richard "King Biscuit Boy" Newell. After the success Official Music the year before, Gooduns was more of the same style with a few left over songs from the previous albums' sessions with Crowbar (although by this time they had officially parted company) and backing from some new musicians that included members of Janis Joplin's Full Tilt Boogie Band, Seatrain and Canada's Dr. Music.
For this album, Newell recorded on a couple of cover songs written by Dr. John, Little Walter and Willie Dixon but the album contained mainly original compositions by Newell. With a harder blues guitar sound and tighter band edge than the debut, "Gooduns" was supported by a successful tour of England in 1971 where King Biscuit Boy and The Real Gooduns Band were backed up by the British band The Idle Race.
Despite the success of the album and tour, the Daffodil Records label fell on hard times financially and folded with no single or album promotion, leaving King Biscuit Boy to move to the Epic label for the next release. This budget priced reissue by Unidisc does not contain any bonus tracks but faithfully reproduces the original album graphics and liner notes. /Keith Pettipas, AllMusic

Gooduns

U-Melt - The Unbelievable Meltdown

Bitrate: 320K/s
Year: 2004
Time: 72:32
Size: 166,5 MB
Label: Self Released
Styles: Rock/Jam Band
Art: Front

Tracks Listing:
 1. Green Amber -  8:52
 2. Still I Go -  5:27
 3. Infectious Groove -  6:33
 4. Missed - 10:49
 5. Vulpecula -  2:11
 6. Through The Prism -  8:49
 7. Song Behind The Time -  5:23
 8. Schizophrenia -  9:01
 9. Tomorrow, My Friend -  6:30
10. Human Compass -  8:55

Organic Progressive Groove.... U-Melt has forged a unique sound that combines infectious dance grooves with captivating compositions, soulful lyrics and virtuosic chops.
If there is one band poised to explode on the scene, it is certainly the trailblazing quartet from New York City, U-Melt. Thanks in part to relentless touring up and down the East Coast for the past three years, U-Melt has forged a unique sound that combines infectious dance grooves with captivating compositions, soulful lyrics and virtuosic chops. After branching out to the Midwest with great success, they are ready to share their organic progressive groove with the rest of the nation.
In only its third summer of existence, U-Melt has already performed at some of the country’s premier festivals, including appearances at Gathering of the Vibes, 10,000 Lakes Festival, Summer Camp, Camp Creek, and moe.’s Snoe.down Winter Music Festival, as well as an upcoming multi-set performance at this year’s moe.down. Based on mesmerizing playing and word of mouth, U-Melt has quickly earned a reputation for creating high energy dance parties and epic late-night performances. From an already legendary overnight set at Strangefolk’s 9th Annual Garden of Eden Festival (in which no member of the band left the stage for more than 7 hours), to brilliantly covering the Pink Floyd album “Wish You Were Here” in its entirety during their all night performance at the Stonehenge Music Festival, U-Melt always has something special planned for their fans, and has built a strong following among festival goers. In fact, U-Melt’s reputation helped them beat out thousands of bands in an on-line “Voting Booth” contest for their performance slot at this year’s 10,000 Lakes Festival, providing the band the opportunity to perform in front of thousands of live music fans in a brand new market.
In February of 2006, U-Melt was honored by Jambands.com with their coveted “New Groove of the Month” award. In his feature on the band, Jambands.com and Relix Magazine writer Mike Greenhaus declares, "Since first linking up in 2003, U-Melt has blossomed into one of the jam-scene's hardest working acts, barnstorming high-profile festivals,...and performing upwards of 300 shows in just under three years. Commanding a clear understanding of the jamband blueprint, U-Melt's varied live show is a throwback to the improvisational bands of yore, stocked with zany covers and high energy segues." U-Melt’s music has also been praised by the likes of Richard Gehr of the Village Voice, Jambase.com, Glide Magazine, State of Mind Music Magazine, KyndMusic.com, Earvolution.com and The Independent, just to name a few. Recently, U-Melt was asked by Relix Magazine and the other Jammys producers to perform a special late-night show at New York City’s B.B. King’s Blues Club as part of the Official Jammys After Party, providing U-Melt with a chance to bring their late-night dance party to a room full of hometown fans, Jammys performers, and new faces.
U-Melt has had the good fortune of having many incredible musicians join them on stage during their shows, including Al Schnier, Rob Derhak and Vinnie Amico of moe.; Jake Cinninger of Umphrey’s McGee; Jon Trafton, Russ Lawton, Erik Glocker, Luke “Patchen” Montgomery and Don Scott of Strangefolk; Rob Somerville of Deep Banana Blackout; Ed Palermo; Gordon Stone; and members of Perpetual Groove, Brothers Past, Max Creek and The Bridge.
In the summer of 2004, U-Melt released their critically acclaimed debut studio album “The Unbelievable Meltdown” to an excited and rapidly growing fan-base. The album appeared on numerous top ten lists and continues to receive airplay in many markets nationwide, including the heavy rotation of the songs “Schizophrenia” and “The Eternal Groove” on the Sirius Jam On 17 station. U-Melt is currently putting the final touches on their eagerly anticipated sophomore release entitled “The I’s Mind” which will be released on September 30th, 2006.
U-Melt is: Adam Bendy (Bass, Vocals), Zac Lasher (Keyboards, Synthesizers & Vocals), George Miller (Drums & Vocals) and Rob Salzer (Guitar & Vocals).

The Unbelievable Meltdown

Ernie Watts Quartet - Wheel Of Time

Bitrate: 320K/s
Year: 2016
Time: 59:01
Size: 135,2 MB
Label: Flying Dolphin Records
Styles: Saxophone Jazz, Post-Bop
Art: Front

Tracks Listing:
 1. Letter from Home - 6:14
 2. A Distant Light - 5:48
 3. Inner Urge - 5:56
 4. Andi's Blues - 5:47
 5. L'agua Azul - 7:03
 6. You and You - 6:40
 7. Velocity - 7:44
 8. Goose Dance - 7:00
 9. Wheel of Time (Anthem for Charlie) - 6:45

Saxophonist Ernie Watts possesses one of jazz’s most distinctive tenor tones, a sound of both mammoth size and full-hearted romanticism. This sound largely sustains Wheel of Time, a no-frills, pleasantly listenable outing from Watts’ European quartet (pianist Christof Saenger, bassist Rudi Engel and drummer Heinrich Koebberling), with whom he has played and recorded regularly for over 15 years.
The album kicks off with Watts’ earworm of an original composition, “Letter From Home.” On “A Distant Light,” his breathy lines weave a thoughtful waltz-time mood, and he doubles himself on soprano for a sprightly tropics-tinged take on Canadian pianist Adrean Farrugia’s “Goose Dance.” In a tougher-edged vein, Watts’ hectic “Velocity” lives up to its title, the rhythm trio blasting ever forward while the saxophonist cuts loose with his sharpest, most piercing figures of the album. This gritty tone also permeates the band’s rendering of Joe Henderson’s “Inner Urge,” where the tune’s multi-leveled intro primes Watts for some deft sleight-of-hand runs, answered with grace by Saenger and a burbling, light-on-its-feet solo from Koebberling.
Each of Watts’ musicians also provides Wheel of Time with an example of their compositional skills. Saenger’s “L’Agua Azul” marries the pianist’s classically inflected tones with an airtight rhythmic undercurrent from Koebberling’s relentless brushes. The drummer’s own “You and You” is breezy and bright, with a Watts solo of carefree virtuosity, while Engel’s “Andi’s Blues” finds the bassist and Saenger delivering precision-tooled swing.
Engel is also appropriately showcased on the elegiac album-closing title track. Its subtitle is “Anthem for Charlie,” and it’s Watts’ tribute to Charlie Haden, with whom Watts played for nearly 30 years in Haden’s neo-noir outfit Quartet West. Engel smoothly evokes the style of Watts’ fallen comrade, and closes the album with an unexpected, perfectly chosen quotation from Haden’s rootsy solo bass composition “Ozark Mountain Railroad.”

Wheel Of Time

Machines Dream - Record

Bitrate: 320K/s
Year: 2016
Time: 45:45
Size: 105,0 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. The Cannons Cry - 5:00
 2. Toronto Skyline - 7:59
 3. Jupiter - 3:49
 4. Mad For All Seasons - 9:13
 5. My Ocean Is Acoustic - 3:24
 6. Unarmed At Sea - 6:48
 7. Black Science - 9:29

Musicians:
Rob Coleman - Electric Guitar
Ken Coulter - Drums
Brian Holmes - Keyboards
Josh Norling - Tenor Saxophone
Jake Rendell - Acoustic Guitar, Electric Guitar, Backing Vocals
Craig West - Bass Guitar, Lead Vocals

The liner notes explain in greater detail, but this is intended as our apology for the delay in releasing Black Science. You get to hear old songs reworked, but also new ones before you have heard the originals (which might be a bit weird).

Records

Bluehouse Project - Bluehouse Project

Bitrate: 320K/s
Year: 2016
Time: 44:26
Size: 101,8 MB
Label: Baywater Records
Styles: Blues/Rockin' Blues
Art: Front

Tracks Listing:
 1. Piece of My Heart - 4:19
 2. Black Widow Spider - 3:52
 3. I Can't Lose These Blues - 4:22
 4. White Cotton - 4:17
 5. Coal Mine - 3:48
 6. Newport Blue - 4:13
 7. Uptown Strut - 3:45
 8. It's a Good Thing - 3:51
 9. Play You the Blues - 3:04
10. Going Down to Texas - 5:17
11. Black Cat Blues - 3:32

BlueHouse Project - Contemporary Memphis Blues /Rock, Southern Blues, and Soulful Singer Songwriter, all with a touch of the Delta.

BlueHouse Project

Ed Hamilton - Hear In The Now

Bitrate: 320K/s
Year: 1999
Time: 58:09
Size: 133,3 MB
Label: Fahrenheit Records
Styles: Jazz/Piano Jazz/ Guitar Jazz
Art: Front

Tracks Listing:
 1. Boogie woogie - 5:31
 2. Out from the urban sky - 6:58
 3. Iowa - 5:51
 4. Hear in the now - 8:31
 5. Awakenings part 1 - 1:25
 6. Awakenings part 2 - 6:17
 7. So high (clouds in my eyes) - 5:26
 8. Jazzman - 4:34
 9. Jj's blues - 6:06
10. When we last spoke - 2:38
11. We didn't say - 3:49
12. Goodbye - 0:59

Guitarist Ed Hamilton distinguishes himself from the herds of "genre" players who stick to one signature style on the expansive and diverse Hear in the Now (Fahrenheit fhr 2002-2; 58:11). While the album mines influences ranging from folk (the intimate, inward-looking picked sound of "Iowa") to funk (the boogie-moving title track, with its mysteriously dark piano line), the arrangements crackle with tight timing and uncommon attention to detail. As a player and arranger, Hamilton takes chances that pay off: for example, he packs a highly-charged, soulful reworking of "Jazzman" with intensely joyful licks that evoke Carole King's classic vocal. Equally evocative are his spindly, notey runs on "Out From the Urban Sky," which come across as thoughts in motion over a cloud of timing-shuffle rhythm. Hamilton's considerable achievement here is crowned by a four-piece suite dedicated to his late father. Meditative and complicated, these pieces draw upon light blues-oriented sways and pretty piano work to communicate powerful messages of sweet remembrance mixed with sadness.

Hear In The Now

Lil' Dave Thompson - Little Dave And Big Love

Bitrate: 320K/s
Year: 1995
Time: 49:13
Size: 115,2 MB
Label: Fat Possum
Styles: Blues
Art: Full

Tracks Listing:
 1. Standing Up On My Own - 5:32
 2. You Took My Baby - 3:51
 3. After Hours Bar - 4:41
 4. I'm Having It So Hard - 4:57
 5. Hey Momma - 2:39
 6. Why Do You Treat Me This Way - 3:47
 7. Instrumental #7 - 4:58
 8. Got A Bad Feeling - 4:36
 9. Ain't It A Shame - 3:08
10. I Don't Care What Nobody Say - 6:57
11. Mississippi Bay - 4:01

Musicians:
Dave Thompson - guitar, vocals
Allen Hite - bass
Anthony B. Evans - drums
Lawrence Blackwell - guitar

Dave Thompson has been playing blues guitar since age nine, with the encouragement and help of his musician father. A native of Mississippi, Thompson was playing in backing bands for local acts like the Greenville Letts by his early teens. Club owner and fellow bluesman Booba Barnes hooked up with Thompson when the latter was 15, and the two made the rounds on Mississippi's sometimes-violent club circuit. Thompson's first appearance on record was on David Malone's debut album for Fat Possum Records. (Malone is the son of bluesman Junior Kimbrough.) This gig gave Thompson a springboard for his own solo project, Little Dave and Big Love, which was released in 1995 and showcases Thompson's fiery playing.

Little Dave And Big Love

Herman Jackson - The Cool Side

Bitrate: 320K/s
Year: 2016
Time: 47:05
Size: 108,2 MB
Label: Permanent Music
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Downtown - 4:51
 2. The Cool Side (feat. Norman Brown) - 4:58
 3. One More Time - 4:13
 4. Celia - 5:10
 5. After the Rain - 4:23
 6. Rise up (feat. Everette Harp) - 3:52
 7. New Day - 3:50
 8. River Nile - 6:04
 9. Always There (feat. Johnny Britt) - 4:43
10. Paris Spring - 4:58

After attending a concert a H.O.M.E. featuring Herman Jackson’s Quartet I was more than interested in listening to his newly released CD, “The Cool Side.”  His style and musicianship displayed that evening had me intrigued. As I delved into his discography I realized that I had been listening to his performances well before that evening.  He has played, recorded, arranged, conducted and toured with some of music’s elite talent in R&B, Jazz, Pop and Groove as well as being apart of television’s best musical offerings.  So as I sat down to listen to Jackson’s CD, I knew I was in for an enjoyable experience.
Herman Jackson put it all on the line, not only did he play keyboards but he wrote and produced all of the cuts. Taking his baton in hand, Jackson orchestrated an ensemble of artists who interpreted his vision of cool.  Featured artists on the recording included guitar great Norman Brown on “The Cool Side” and the sensational sax of Everette Harp on “Rise Up”. Playing trumpet, flugelhorn and vocals was Johnny Britt.  Along with his trumpet skills, Britt also collaboratively wrote with Herman on “One More Time” and “Always There.” Adding their talents to the CD on bass: Alex Al and Cornelius Mims, guitar: Rob Bacon and Tim Stewart, drums: Teddy Campbell, Percussion: Kevin Ricard, Joshua Aguilar Trombone: Johah Levine and Tenor Sax: John Usry, an amazing array of extremely talented musicians.
An upbeat  “Downtown” began the adventure to a relaxed destination without a traffic jam in sight.  The title track, “The Cool Side,” promised a place to unwind to the smooth groove of Norman Brown.  “One More Time” satisfied a craving with its easy feel, and catchy melody.  A funky horn section and a soothing flugelhorn solo were the perfect touch.  Two beautifully, soulful numbers  “Celia” and “After The Rain” spoke of sweet love and a renewal of spirit.
As “Rise Up” began the second half, Everette Harp’s distinctive sound uplifted this cut nicely and complimented the next selection “New Day” which continued the positive vibe. “Nile River” was inspired when Jackson was on tour in Egypt with Stevie Wonder and I felt transported to a contemplative place far away from the everyday.  “Always There, ” serenaded with its mellow horns and seductive vocals and kept the tranquil vibe going.  In closing, “Paris Spring” spoke of a romantic stroll by the River Seine leaving a lasting impression.
Throughout the entire CD Herman Jackson’s cohesive groove and style flowed smoothly and with an ease that showcased his many talents.  Considered a “renaissance man of music,” Herman Jackson has created new works that will surely resonate with Smooth Jazz fans and have them clamoring for more.

The Cool Side

Dona Oxford - Rowena Said...

Bitrate: 320K/s
Year: 1999
Time: 37:26
Size: 86,4 MB
Label: Fountainbleu Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Cinderella - 3:05
 2. Down In New Orleans - 2:55
 3. Rowena Said... - 4:50
 4. Big Hands, Big Feet - 3:20
 5. Bye Bye M'Baby - 4:52
 6. Just A Little Bit - 3:39
 7. I'm On Fire - 3:37
 8. Red, White & Blues - 5:18
 9. It's Rainin' - 3:40
10. Doe's Blues - 2:07

This is a keyboard-dominated blues disc, which makes sense, as  Dona   Oxford  is a keyboard player who has toured with Shemekia Copeland's (daughter of the late Texas blues guitar legend Johnny Copeland) band. Her playing is very strong and she and her chosen instrument push the band along to great levels of energy. She comes from a musical family and was exposed to a wide variety of music when younger but she has devoted her energies into the blues and with good result. Eight of this disc's ten songs (a tad short at 37-plus minutes) were written by her and the songs are solid traveling blues songs. Traveling blues is that conglomeration of blues fused to solid rock & roll, music that is conducive to cruising down the highway. This is the blues from a city girl that has learned her lessons from people from around the country. The two strongest influences are the Texas blues of Johnny Copeland, as transmitted by daughter Shemekia, and the Chicago blues piano tradition of Johnnie Johnson. Her band is solid behind her, and Arthur Neilson contributes some wonderful guitar and steel. This is a solid effort and there is a promise of better things to come.

Rowena   Said

Sammy Price - Fire

Bitrate: 320K/s
Year: 1975
Time: 40:36
Size: 93,5 MB
Label: Black And Blue
Styles: Blues/Jazz piano
Art: Front

Tracks Listing:
 1. Back Home Again To France - 2:55
 2. Black And Blue Blues - 3:29
 3. Walkin' Down Pigalle - 3:01
 4. Memories Boogie - 4:10
 5. Funky - 4:26
 6. Boogie Woogie For Hugues - 2:54
 7. West End Boogie - 4:33
 8. Whodat Blues - 3:48
 9. Riffin' Boogie - 3:55
10. Tain't Nobody's Business If I Do - 4:57
11. Salute To Basie - 2:24

This LP by pianist Sammy Price (put out domestically by Classic Jazz) can easily be split into two parts. Seven songs pay tribute in their titles to France and showcase Price mostly playing blues in a trio with bassist Carl Pruitt and drummer J.C. Heard. The remaining four songs add a trio of veteran swing-era horn players (trumpeter Doc Cheatham, trombonist Gene "Mighty Flea" Conners and altoist Ted Buckner) on three blues and the one non-Price standard "Tain't Nobody's Business If I Do." Although the inclusion of the horns gives added interest to the date, there is a certain sameness to much of the material and a predictability to the enjoyable but unsurprising outcome.

Fire

Ed Hamilton - Groovology

Bitrate: 320K/s
Year: 1998
Time: 44:20
Size: 101,6 MB
Label: Shanachie Records
Styles:Guitar Jazz
Art: Front

Tracks Listing:
 1. Fly Like An Eagle - 4:21
 2. If Only - 3:50
 3. On My Way - 4:36
 4. Ooh Child - 4:22
 5. Jj'S Groove - 5:51
 6. April Goodbyes - 4:38
 7. Souls Felt - 4:50
 8. Jinda Boogie - 5:02
 9. Didn't i (Blow Your Mind this Time) - 4:38
10. Song For a Princess - 2:08

Dead set on achieving success as a smooth jazz guitarist, Ed Hamilton seems to have abandoned some of the playful sense of humor and adventurous edge which characterized his first two albums.  Groovology  features beautiful compositions and a solid mix of subtle warmth (as on the tribute "Song for a Princess") and more jumpy expressions which remind us of his sharp improvisational skills. Hamilton also plays the ace card of seamlessly interacting with the soprano sax of Tim Ries over the floating synth textures of pieces like "If Only" and "Ooh Child." Likewise, he creates interesting mood swings by varying his tones from high to low over a bubbling, synth-created, blues organ flavor throughout the light funk cover of "Fly Like an Eagle." It's all perfectly amiable, yet considering the artistic splash his previous works made, Hamilton plays it too close to the vest; there are few traces of the brew of hard rock, avant-garde, spacy fusion, and bebop that made his Path to the Heartland such an eye opener.

Groovology

John Cale - John Cale Comes Alive

Bitrate: 320K/s
Year: 1984
Time: 41:53
Size: 96,7 MB
Label: Ze
Styles: Progressive Rock/Prog Related
Art: Full

Tracks Listing:
 1. Ooh La La - 3:25
 2. Evidence - 3:47
 3. Dead Or Alive - 4:23
 4. Chinese Envoy - 3:50
 5. Leaving It Up To You - 6:07
 6. Dr. Mudd - 3:44
 7. Waiting For My Man - 4:36
 8. Heartbreak Hotel - 4:19
 9. Fear - 3:42
10. Never Give Up On You - 3:57

Musicians:
John Cale - Guitar, Keyboards, Vocals
Dave Young - Guitar, Vocals
Andy Heermans - Bass, Vocals
David Lichtenstein - Drums, Electronic Drums

John Cale Comes Alive is a second live album by John Cale released in September 1984 on ZE Records label after the previous album Caribbean Sunset (also 1984). It was recorded at The Lyceum in London at 26 February 1984.[3] It also includes two studio recordings "Ooh La La" and "Never Give Up". The album has not been released on compact disc or digital format. The US release has different versions of both studio tracks compared to the European version.

John Cale Comes Alive

Wild Bill Davidson - With Alex Welsh & His Band

Bitrate: 320K/s
Year: 2009
Time: 60:55
Size: 139,5 MB
Label:  Fellside Recordings Ltd
Styles: Jazz/New Orleans jazz/Dixieland
Art: Front

Tracks Listing:
 1. Beale Street Blues - 4:58
 2. Sugar - 6:45
 3. Surf Side Samba - 4:19
 4. Oh, Baby! - 6:45
 5. Blue Again - 3:49
 6. Love Is Just Around The Corner - 2:47
 7. That's A-Plenty - 5:03
 8. If I Had You - 6:56
 9. Sweet Georgia Brown - 5:40
10. Blue And Broken-Hearted - 4:00
11. After You've Gone - 7:06
12. Royal Garden Blues - 2:43

If there was one British ensemble extremely well-suited to accompanying Wild Bill Davison, it was Alex Welsh's band. Wild Bill always sounded most at ease when playing with the groups assembled by Eddie Condon - and Condon obviously appreciated Davison, as he used him whenever he could. Alex Welsh's band was closer than any other British ensemble to matching the spirit created in Eddie Condon's jam sessions, with that easy-going Dixieland/Chicago style. This session was recorded at Manchester Sports Guild in 1966 when Wild Bill was visiting Britain - the first of many visits. It is a pity that the album mis-spells Bill's name as "Davidson" but otherwise this is a CD to enjoy.
The session opens with a bang, as drummer Lennie Hastings introduces Beale Street Blues with one of his perfectly-formed breaks. There is a fine baritone solo from the immaculate John Barnes, and an outspoken solo from Davison, who is clearly enjoying the occasion. Roy Williams, Alex Welsh and Fred Hunt stoke the fire with their solos, and Jim Douglas is slightly more restrained but melodic. Lennie Hastings leads back into the theme with a short but excellent drum solo. This stimulating opener sets the mood for an evening which was understandably enjoyed by the appreciative audience. The band members also shout encouragement to one another. Sugar includes further noteworthy solos from John Barnes (on baritone), the punchy but husky Davison, and the always dependable Roy Williams. You can credit Alex Welsh with good taste for choosing some of the country's best musicians for his band. The rather tinny-sounding piano is the only thing that lets this track down. Surf Side Samba is a piece of exotica - perhaps added to the programme because of the craze for the bossa nova, although it also has hints of the calypso. John Barnes wails on the alto sax, and his baritone is marvellous in the following Oh, Baby! Blue Again opens with the tinny piano but it is primarily a feature for Wild Bill, who switches between throaty emotion and uninhibited declamation, proving what a superb ballad player he is. Love is Just Around the Corner has a neat piece of counterpoint at the start of the final chorus. That's A-Plenty speeds along at an intense tempo, impelled by Lennie Hastings' driving drums. The number ends with one of those Eddie Condon-type series of four-bar swaps which always manage to raise the temperature. If only Lennie Hastings had resisted the temptation to add irritatingly random drum beats at the end of so many numbers! Matters calm down for If I Had You, where John Barnes blossoms on clarinet and Wild Bill solos with feeling, as do Roy Williams and Alex Welsh. The ending of this tune exhibits the band's sensitivity during Davison's closing flourish. Sweet Georgia Brown does its rabble-rousing work, after which Wild Bill again shows his ballad credentials on Blue and Broken Hearted. After You've Gone has excellent clarinet from John Barnes and classic cornet from Wild Bill. The concert closes with a short, flag-waving Royal Garden Blues which consists entirely of those irresistible four-bar sequences. Wild Bill Davison's first visit to the UK clearly yielded a night to remember, and we can thankfully experience it through this album. ~Tony Augarde

With Alex Welsh & His Band

Cherri and the Violators - First Offense

Bitrate: 320K/s
Year: 2003
Time: 44:46
Size: 102,7 MB
Label: Dilligas Music Publishing
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Pms Blues - 4:13
 2. Ice Queen - 3:54
 3. Cold Pizza Warm Beer - 3:42
 4. Bittersweet - 8:21
 5. Moving On - 4:37
 6. Head Held High - 3:01
 7. Can't Have Two - 3:37
 8. The Weekend Song - 3:31
 9. Easy Lovin' Man - 3:29
10. Love Is A Battlefield - 6:16

Blues, as rendered by Midwestern white people, tends to be a rote exercise of following down the same footpaths of chord structures hollowed out by generations of performers. And lyrically, present-day blues tends to be leaden with its lack of authenticity, which has been replaced with a fake cheer. The challenge for a band like Cherri and the Violators is to reinvent the blues and bring something fresh to the table.
Northern Michigan based Cherri and the Violators recall the glory days of blues rock as practiced by the likes of Foghat, Cream, or more recently Jimmy Thackery and the Drivers. Like those bands the Violators rock hard but have a bluesy edge that keeps blues fans interested. Leading the sonic assault is guitarist Tony Burke who clearly spent as many hours soaking up classic 70's riffs by Robin Trower and Johnny Winter as he spent with the bedrock blues of Albert Collins, Albert King and Buddy Guy.
That's not to say that blues fans won't find familiar sounds here. They will, but they aren't the standard boogies and shuffles that fill all too many regional blues discs. Instead, the blues creeps in by way of the band's self penned lyrics and their terrific guitar work. Bandmates Paul Bendig on vocals/bass, and Hank Cupp on drums/percussion serve up a powerful backdrop for vocalist Cheryl Bendig, never overplaying their hand.
Bendig’s vocals have an addictive flower child quality that recalls the great pop singers of the '60s. She has a knack for vocal phrasing that delivers the songs with the raw power of Janis Joplin but the finesse of Ann Wilson. Bendig is also a fearless songwriter with topics covering everything from the monthly bouts that send men into hiding, PMS Blues, to the struggles of the unemployed, Empty Pockets.
No one can deny that Cherri and the Violators aren't violating the envelope here, creating their own vision of the blues that is pleasantly pop-oriented and unexpectedly romantic. You have to hand it to them: they have succeeded in slapping the paddles on the old zombie blues and reviving it as their own personal creation with songwriting that is exceptionally strong.

First Offense

Andrew Rathbun - Affairs Of State

Bitrate: 320K/s
Year: 2007
Time: 64:49
Size: 148,9 MB
Label: SteepleChase
Styles: Saxophone Jazz
Art: Front

Tracks Listing:
 1. Fragmented - 6:10
 2. We Have Nothing But Tears - 8:16
 3. Around the Same Circles, Again and Again - 7:14
 4. Break the Chains - 6:04
 5. 5th Anniversary - 6:38
 6. Fiasco - 6:34
 7. Ongoing - 8:30
 8. Folly (Of the Future Fallen) - 6:21
 9. Paint Peelings - 8:58

Andrew Rathbun’s Affairs of State is a collection of compositions that the tenor saxophonist considers as his musical impressions of the failures of President George W. Bush’s administration. Joined by trumpeter Taylor Haskins, pianist Gary Versace, bassist John Hebert, and drummer Mike Sarin, Rathbun’s demanding post-bop pieces are full of tension, though his liner notes do little to help understand them, coming off as more of an angry diatribe. That’s not to say that his music rambles like a typical Bush press conference. “We Have Nothing But Tears” is a haunting melody, as is the elegant, sorrowful “5th Anniversary” (written on the fifth anniversary of September 11, 2001). Rathbun and Haskins enrich one another’s playing in the richly textured “Paint Peelings,” while “Break the Chains” is a driving number, with the band progressing through all 12 keys in eight bars. This is compelling music, regardless of whether or not a listener buys into Andrew Rathbun’s political views.

Affairs Of State

Kurt Crandall - Take It Off

Bitrate: 320K/s
Year: 2016
Time: 43:23
Size: 99,8 MB
Label: Yesteryear Records
Styles: Blues/West Coast Blues
Art: Front

Tracks Listing:
 1. 8th Event - 3:11
 2. Take It Off - 5:01
 3. Can't Dance - 3:47
 4. Loser - 4:17
 5. Taquito Under My Seat - 5:20
 6. TV Mamma - 4:37
 7. Dirty Pete - 4:16
 8. Figgy Bag - 3:50
 9. Why Do You - 3:59
10. Bolivar Blues - 5:01

All songs written and arranged by Kurt Crandall, except for TV Mama (L.W. Walker) and Bolivar Blues (Thelonious Monk).
What immediately strikes you about Kurt’s Randall’s harmonica playing is that he does not rely on well-worn classical licks. While he has mastered the Chicago harp sound, he has also developed his own playing style. And he is exceptional at it.
First of all, there are only a handful of harmonica players out there today who have mastered the chromatic harmonica as well as Kurt Crandall has. His sound is full, precise, and melodic. His octave notes on the chromatic and diatonic harmonicas are pristine. They even sound like an accordion sometimes! Crandall tells me that he tends to create his songs on the piano first, and then tries to transpose his ideas to the harmonica. “Not always easy” he says, “sometimes I just cannot do it because they are too hard to be played on the harmonica. However this approach often works well for me.” (personal communication, August 5, 2016). That partly explains why his playing is so unique and fresh.
Moreover, his diatonic blues harp playing is spectacular. Listen for example to one of his two instrumentals on the CD, “Figgy Bag”, and you cannot but appreciate his fat and tasty amplified blues harp playing. That song reminds me of one of my favorite blues jump instrumentals of all times called “WSKW Special”, written by Willie “Big Eyes” Smith and Kim Wilson (released on Smith’s 1995 release, Bag Full Of Blues, Blind Pig Records, BPCD 5027). While the exciting feel is similar here, he gives us a masterful “harp attack”. There are no plagiarisms in his playing. Yes, on some songs you can hear Rice Miller’s (Sonny Boy II) influence as in the song “Why You Do” (reminiscent to his “Fattening Frogs For Snakes”, for instance) yet again, Crandall circumvents the easy harmonica cliches. And that goes for every musician you hear on this inspiring album.
The 10 songs on Take It Off go by smoothly. They are well-crafted, with catchy arrangements and welcomed surprises. They also present insightful lyrics on what it is like to be human: like being down on your luck, being love-struck with a heptathlete (what an original idea!) or coping with being bald.
Guitar player Karl Angerer shines throughout with supportive and lead contributions. Quite an impressive player! The two drummers used for this session (Johnny Hott, four songs; and Aaron Binder, six songs) are blending so well with the band there are no bad moments that would disorient the listener. The band purrs. The bass players (also two of them: Steve Riggs, four songs; and Rusty Farmer, six songs) play acoustic bass which adds a palpable home feel. Finally, Bill Heid on piano and B-3 adds so much to the material. His musical presence is sweet and central to this band’s overall sound (check his delightful B-3 support and solo work on “Loser”).
The musical material ranges from West Coast Swing, Rumbas (in both major and minor keys), Bossa Nova, Gospel-Blues, vintage Chicago Blues, Kansas City Jump, New Orleans Jazz, as well as straight traditional Jazz (check out Crandall’s crafty chromatic rendition of Thelonious Monk’s “Bolivar Blues”, for instance). All delivered within a 44-minute set.
Take It Off deserves to get lots of radio airplay. The band artfully navigates between the musical genres of vintage Chicago blues and jazz without missing a beat. To top it all, bandleader Kurt Crandall’s leads his quintet with his stellar playing.

Take It Off

Count Basie, Sarah Vaughan - Count Basie & Sarah Vaughan

Bitrate: 320K/s
Year: 1962
Time: 46:06
Size: 105,7 MB
Label: Roulette Records
Styles: Jazz
Art: Front

Tracks Listing:
 1. Perdido - 2:10
 2. Lover Man - 3:56
 3. I Cried For You - 2:53
 4. Alone - 3:53
 5. There Are Such Things - 3:09
 6. Mean To Me - 2:48
 7. The Gentleman Is A Dope - 2:43
 8. You Go To My Head - 4:50
 9. Until I Met You - 3:07
10. You Turned The Tables On Me - 3:21
11. Little Man (You've Had A Busy Day) - 4:50
12. Teach Me Tonight - 2:50
13. If I Were A Bell - 2:42
14. Until I Met You - 2:48

Although  Count   Basie  gets top billing, he actually doesn't even appear on this set.  Basie's  Orchestra and pianist Kirk Stuart are purely in a supporting role behind the magnificent voice of  Sarah   Vaughan , other than a couple of short spots for trumpeter Joe Newman and Frank Foster's tenor. Sometimes  Vaughan  sounds overly mannered and seems to give little weight to the words she is singing, but her wide range and impeccable musicianship carry the day. Highlights include "Perdido," "Mean to Me," and "You Go to My Head," and the set is understandably recommended more for  Sarah   Vaughan  fans than  Count   Basie  collectors. [Some reissues add a pair of charming  Vaughan  duets with Joe Williams, "Teach Me Tonight" and "If I Were a Bell," that were originally released as a single, plus an alternate take of "Until I Met You."

Count Basie & Sarah Vaughan

Bare Wires - Won't Be Lookin' Back

Bitrate: 320K/s
Year: 2009
Time: 53:33
Size: 123,4 MB
Label: Self Released
Styles: Blues/Rockin' Blues
Art: Front

Tracks Listing:
 1. The Last Hello - 3:20
 2. I Won't Be Looking Back - 5:17
 3. Feeling So Down - 6:07
 4. Little Miss Lonesome - 3:26
 5. Dreams - 4:27
 6. Gamblin' on Love - 5:27
 7. The Road Less Traveled - 3:18
 8. The Unknown - 5:12
 9. You're My Prison - 4:30
10. Psycholeptic Girl - 2:37
11. Good Times to Come - 6:06
12. Crossroads Angel Live - 3:40

Musicians:
Doug Lind - rhythm guitar, vocals;
Marty Ytreberg - lead & rhythm guitar;
Dave Graham - bass guitar, vocals;
Tom Garrett - drums, percussion.

Blues on steroids. An exciting in-your-face fusion of Texas blues and classic rock styles make this guitar-driven CD a keeper. No babies allowed.
What do you get when you cross ZZ Top, Stevie Ray Vaughan, and Joe Walsh? I don't know either, so forget that. That was dumb. What I do know is that every once in awhile a band comes along that has "that sound" that is unmistakably theirs. The genre-defying Bare Wires is that band. It's more than just blues, it's more than just rock, it's more than you can wrap your head around. Bare Wires' new album entitled "Won't Be Lookin' Back" explores the diversity that each member brings to the table. In a world where so many bands sound alike, and so many albums sound the same, Bare Wires dares to be different. One word of warning though, "Won't Be Lookin' Back" may just become your new favorite album.
So....just who is Bare Wires? Bare Wires is four souls who started playing music many years ago, many bands ago, and many miles apart, finally coming together in Moscow, Idaho. Blues is the thread that holds it all together, with scraps of rock, and who knows what else woven in wherever it seems to fit. Lyrics and music from their heads and guts, spawned from life experiences and vivid imaginations, make Bare Wires who they are. They play an eclectic mix of original material that is often described as "pretty darn swell." (http://www.cdbaby.com/cd/barewires)

Won't Be Lookin' Back

Steve Hill (feat. Jonas) - Whiplash Love

Bitrate: 320K/s
Year: 2011
Time: 46:09
Size: 105,8 MB
Label: Instinct Musique
Styles: Classic Rock/Blues
Art: Front

Tracks Listing:
 1. It Ain't Cool - 3:48
 2. Goodbye Sunshine - 4:39
 3. Cold Hearts - 3:27
 4. Whiplash Love - 3:43
 5. I'll Walk - 4:06
 6. Running Out of Time - 3:58
 7. Burnt - 3:52
 8. I Fall For You - 4:09
 9. Only Daddy That'll Walk The Line - 3:26
10. Let's Get Back Together - 3:50
11. Judgment Day - 7:05

Steve Hill confirms  his talent as an author-composer and guitar virtuoso with the release of his 6th album in career. WHIPLASH LOVE, released on label Instinct Musique, will pleasantly surprise with it’s diversity and the multiple musical flavors tackled by the 11 tracks featured on it. The Opus in it’s whole visits the multiple aspects of rock, country and folk, while opening a window onto the artist’s heart with personal and heartfelt lyrics.. The album features 10 original songs interpreted by the artist with a deep and mature voice, and a tribute to americana with a cover of Waylon Jenning’s Only Daddy That’ll Walk The Line, confirming his root influences. Steve Hill confirme ses talents d’auteur-compositeur-interprete et de virtuose de la guitare par la parution de son 6e album en carriere. WHIPLASH LOVE, paru Steve Hill confirms  his talent as an author-composer and guitar virtuoso with the release of his 6th album in career. WHIPLASH LOVE, released on label Instinct Musique, will pleasantly surprise with it’s diversity and the multiple musical flavors tackled by the 11 tracks featured on it. The Opus in it’s whole visits the multiple aspects of rock, country and folk, while opening a window onto the artist’s heart with personal and heartfelt lyrics.. The album features 10 original songs interpreted by the artist with a deep and mature voice, and a tribute to americana with a cover of Waylon Jenning’s Only Daddy That’ll Walk The Line, confirming his root influences.

Whiplash Love

Sadao Watanabe - Fly Me To The Moon

Bitrate: 320K/s
Year: 1967
Time: 34:44
Size: 81,2 MB
Label: JVC (1986)
Styles: Saxophone And Flute Jazz
Art: Front

Tracks Listing:
 1. The Girl From Ipanema - 2:35
 2. Meditation - 2:45
 3. Black Orpheus - 3:20
 4. O Grande Amor - 2:54
 5. Bonita - 2:10
 6. Dindi - 4:02
 7. Mas Que Nada - 2:20
 8. The Shadow Of Your Smile - 3:05
 9. Fly Me To The Moon - 2:16
10. A Man & A Woman - 2:41
11. So Danco Samba - 3:33
12. She is Carioca - 2:56

Musicians:
Sadao Watanabe - sax, flute;
Sadanori Nakamure - guitar;
Masabumi Kikuchi -piano;
Isao Suzuki - bass;
Msahiko Togashi - drums;
Hideo Miyata - cavasa.

Hello, Good Evening! I had to keep Loronix engineers out of my computer; they stopped working to see Luiz Bonfa video. It is amazing how hard is to find Luiz Bonfa videos. Welcome back to Music from All Countries. I think that video was recorded in Japan, which is the country number 4 on visitors sent to Loronix last year. You saw the cover artwork and you known that Sadao Watanabe was seleced by Caetano Rodrigues on our homage to Loronixers from Japan. Perhaps Sadao Watanabe is the Japanese artist most connected with the music from Brazil, we have several albums with Sadao Watanabe as sideman and also as main performer. This is Sadao Watanabe – Fly me to the Moon (1967), for RGE. Caetano makes his best selecting a wonderful Sadao Watanabe album, it is a hundred percent Bossa Nova, solid from the start to the end with the repertoire listing twelve Bossa Nova classics, performed by Japanese musicians. The cover artwork is also all about Brazil. Where does that beautiful lady is looking for?

Fly Me To The Moon 

Rich Perry Quartet - Hearsay

Bitrate: 320K/s
Year: 2001
Time: 63:49
Size: 146,2 MB
Label: SteepleChase
Styles: Jazz/Saxophone Jazz
Art: Front

Tracks Listing:
 1. King Baby -  9:03
 2. Hearsay -  8:56
 3. Sam - 10:14
 4. Penance -  6:30
 5. Bigos -  8:26
 6. Gymel -  7:54
 7. Then From Now -  7:39
 8. On Clouds Danced -  5:03

These two CDs (this is a double review with the Andy LaVerne Quartet's Pianissimo) make an interesting pairing, revealing two sides of tenor saxophonist Rich Perry: Hearsay is intellectual and challenging; Pianissimo is emotional and instantly accessible. That they both swing is a tribute to Perry's duality and to the flexibility of swing. It can come from the head or the heart.
Hearsay is devoid of piano, and Perry and his frontline colleague, trumpeter Steve Lampert, explore tricky, angular bop lines apparently built on minor scales. Assisting them are Jeff Hirshfield's all-embracing drums (listen particularly to his bolerolike support on "Then From Now") and bassist Dennis Irwin, the sole guide through the abstract, harmonic minefield. Much of it sounds like an endless pedal point, yet it's rewarding if only for the technical brilliance of Perry and Lampert, who plays a Harmon mute on all tracks, enriching the frontline's timbre.
Pianissimo is pianist Andy LaVerne's date, but the dominant sound is the sensual, passionate lyricism of Perry, who meditates so effectively in the rarefied air of the alto range. Strayhorn's haunting "Chelsea Bridge" sets that mood at the outset-an introspection that is maintained throughout all six tracks. Bassist Jay Anderson's contrapuntal comments and Matt Wilson's artful drumming enhance LaVerne's gossamer touch. LaVerne's writing chops are as impressive as his playing, as shown on "Nineteen." But, again, Perry is just mesmerizing.

Hearsay

Senza Nome - Senza Nome

Bitrate: 320K/s
Year: 2008
Time: 46:45
Size: 107,1 MB
Label: Self Released
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Illusioni di un'anima lontana (I) - Tesi -  4:38
 2. Illusioni di un'anima lontana (II) - Antitesi -  4:59
 3. Illusioni di un'anima lontana (III) - Sintesi -  2:32
 4. Passi -  4:55
 5. Tumore -  8:21
 6. Non sono mai esistito -  3:59
 7. Ulisse - 11:45
 8. Si la do -  2:40
 9. Sopra a un pensiero -  2:51

Musicians:
Emanuele De Marzi - vocals, guitar
Stefano Onorati - keyboards
Leonardo Bevilacqua - drums
Mirko G. Mazza - guitar
Pierfrancesco Portelli - bass
Fabrizio Rinaldi - recitative vocals (4, 7)

Senza Nome is a young and very promising Italian progressive rock band from Marino (a small town near Rome) that was formed in 2003 on the initiative of Emanuele De Marzi and Stefano Onorati. After an intense live activity featuring a peculiar theatrical approach, in 2008 they released a very interesting eponymous self-produced debut album. Their main influences are the Italian prog masters of the early seventies like BMS, PFM and Area that they blend with their own original touch and poetical lyrics. The present line up features Emanuele De Marzi (vocals and guitar), Stefano Onorati (keyboards), Leonardo Bevilacqua (drums), Mirko G. Mazza (guitar) and Pierfrancesco Portelli (bass).

Senza Nome

Thomas Marriott - Constraints & Liberations

Bitrate: 320K/s
Year: 2010
Time: 54:12
Size: 124,4 MB
Label: Origin 82577
Styles: JRF
Art: Front

Tracks Listing:
 1. Diagram -  4:14
 2. Up From Under - 10:46
 3. Constraints and Liberations -  7:33
 4. Waking Dream -  6:56
 5. Early Riser -  9:35
 6. Clues - 10:43
 7. Treadstone -  4:22

Musicians:
Thomas Marriott - trumpet
Hans Teuber - tenor saxophone
Gary Versace - piano
Jeff Johnson - bass
John Bishop - drums

Thomas Marriott's fifth CD as a leader marks a substantial departure from his earlier efforts. Not only does he focus exclusively on originals for this session, but his approach to the trumpet has moved away from a forceful pop style to a more reserved yet emotional technique. Tenor saxophonist Hans Teuber, pianist Gary Versace, bassist Jeff Johnson, and drummer John Bishop make up the terrific supporting band. The tense post-bop vehicle "Diagram" is a solid opener with the pianist quickly dropping out, as Marriott and Teuber exchange the lead several times before Versace returns with a potent, forceful solo. The tight unison line of "Constraints & Liberations" quickly gives way to Marriott's potent attack and Teuber's full-bodied tenor, buoyed by the percolating rhythm section. The somewhat eerie "Waking from a Dream" features Marriott's delicious muted horn and Versace's twinkling piano, along with Johnson's spacious, understated bass and Bishop's whispering brushes. Johnson contributed the obtuse "Clues," a dramatic work built upon a repeated riff that provokes some of the best solos of the date. Recommended.

Constraints & Liberations

The Bleu Forest - A Thousand Trees Deep

Bitrate: 320K/s
Year: 1968
Time: 29:31
Size: 67,8 MB
Label: Gear Fab Records
Styles: Psychedelic Rock
Art: Full

Tracks Listing:
 1. A Thousand Trees Deep - 2:01
 2. Look At Me Girl - 3:32
 3. Bitter Street - 2:40
 4. Story Of A Sort - 3:43
 5. That's When Happiness Began - 2:24
 6. Words In My Mind - 2:59
 7. Through With You - 2:43
 8. She Said She's Leaving - 4:00
 9. Knock Knock - 2:46
10. Trouble - 2:40

In late 1965, drummer Jack Caviness was recruited by guitarists and vocalists Michael Cullen and Gary Heuer. All were from the same small town, Moorpark, CA. The three of us worked on original songs written by Michael for 6 months. At that point we added Ed Steele on bass guitar and spent time bringing him into the fold.
When ready we began playing small gigs around Moor parkand surrounding areas and received a good reception on the original music. Then we were booked into 'an open mic night at the Troubadour in Hollywood. That is where we were discovered by future music icon Jimmy Haskell. Mr. Haskell immediately scheduled us to record a demo at his home studio which we did. We could never have believed what happened next.
Both Gary and Michael were drafted were drafted into the armed service as Vietnam war was going strong. Both evacuated themselves to Canada, they were there several months prior to Gary's return. We then reformed the original members less Michael, added Larry Wiseman on keyboards and Rohn Barkley on le guitar and vocals. With Michael's blessing we used the original music written by him and added more original songs to our set. We were now off and running as the Bleu Forest heard on this album. That's when Jimmy Haskell called.
He had scheduled us to go into Valley Recording Studios in North Hollywood, CA. to record what you are hearing on this album, A Thousand. Trees Deep. Upon arriving there we met our engineer, Freddie Piro, another future icon of the LA recording industry. Freddie had produced The Grassroots previously and would go on to work with Ambrosia and many others. We spent over six months recording the album and another month was spent mastering.
This album was recorded on a very  but new for the time period Ampex 8 track 2" recorder. At that time, it was state of the art. I don't recall the brand of mixer used, but it did take up quite a great deal of space at the engineer’s console.  When we first came in to begin recording, we attempted to play at the volume we used live and the engineer freaked out and demanded we lower the volume. This was very confusing to us because it altered our sound dramatically. That is where the fuzz tone came into play. Our live sound was based more on very loud overloaded amplifiers for distortion rather than on devices. In a live environment, the fuzz was only used as an overdrive, not as a fuzz tone. The actual studio was only one room, 20' x 30', with one isolation booth at the rear. The booth was only used for overdubs (I wanted to isolate the drums but to no avail).
They used one mic per amplifier with no baffles between and three mics on my drums. I played a state of the art set of Ludwig "Super Hollywood" drums with a Rogers dyna-sound snare and all Zildgen cymbals. They were awesome sounding live but are not as pronounced on the recordings insofar none of the cymbals were individually miked.
To expand a bit on the abrupt beginning on the opening track: During the time period in which this was done, engineers and producers were trying many things that make no sense today. For instance, tracks played in reverse and recorded were very popular such as the one heard on Bitter Sweet, which, by the way, was entirely rearranged from the live version. They did not like all of the stops and starts from the live version which added greatly, in my opinion, to the dynamics of the song.
When I really think back on the recording process one thing comes to mind: The entire six month process was completely paid for by both Freddie Piro and Jimmy Haskell because of their belief that the band could become something far more than a "garage band". They believed enough in us to really go on and hit the big time. They personal accepted all of the costs themselves. This is why we simply went along with what we were told would work or not work in the studio. The abrupt ' ginning to track one was simply something that had not been done before and they believed it would be accepted as different and unique.
There was much interest from various major companies  in Hollywood. We had a tentative deal with Tower Records pending some remastering. Several months passed during this period and Rohn left the group for personal reasons. Without our vocalist, we had no record deal. Although there were some creative ideas brought forth to a few of the songs during mastering, I believe that these tracts give a general idea of our sound, although our live sound was much heavier as it was performed much louder. I hope everyone enjoys this as much as I enjoyed performing it.
by Jack Caviness

A Thousand Trees Deep

Interstate Blues - Dragon Lady

Bitrate: 320K/s
Year: 2016
Time: 42:19
Size: 97,6 MB
Label: Grooveyard Records
Styles: Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Frayed - 3:57
 2. The Winters Wind - 3:26
 3. Dragon Lady - 7:00
 4. Shadow Play - 5:30
 5. Loco El Gato - 1:24
 6. Spinning in My Mind - 3:55
 7. Wishin' Well - 5:21
 8. Born This Way - 4:30
 9. Her Darkest Ways - 4:52
10. Still Who I Wanna Be - 2:19

KILLER NEW STUDIO DISC BY THIS BAD-ASS, HEAVY POWER TRIO FROM CALIFORNIA FEATURING JAMIE PURPORA ON GUITAR. ON "DRAGON LADY," THE 11TH INTERSTATE BLUES DISC TO LAND, THE BAND TEARS INTO A BRAIN-DAMAGING SET OF 10 EXCELLENT, POWERFUL, HARD-HITTING, LEAD GUITAR DOMINATED TRACKS THAT KICK SERIOUS SIX STRING ASS FROM START TO FINISH.
PURPORA IS A FIERCE AXE RIPPIN' ANIMAL WHO LAYS DOWN THE HEAVY GUITAR LAW ON THIS INTENSE, BALLS TO THE WALL RIFF:MONSTER. HIGHLY RECOMMENDED TO FANS OF ALL THE OTHER INTERSTATE BLUES DISCS AND TO ALL THE SERIOUS GUITAR ROCK FANATICS WORLDWIDE WHO LIKE TO ROCK GUITAR HEAVY. AS AN ADDED BONUS, THE PHYSICAL DISC FEATURES A WAY-KOOL COVER VERSION OF "SHADOW PLAY" BY RORY GALLAGHER AS A BONUS TRACK THAT WILL NOT BE AVAILABLE ON THE DIGITAL COPY OF THE DISC. DIG DEEP AND SMELL THE ASS KICKIN' INTERSTATE BLUES RIFFAGE.

Dragon Lady