Perpetual Groove - Heal

Bitrate: 320K/s
Year: 2009
Time: 54:07
Size: 124,5 MB
Label: Self Released
Styles: Rock/Progressive Rock/Jam Bands
Art: Front

Tracks Listing:
 1. No Decorations - 3:46
 2. Downside - 7:11
 3. A Day the Way - 7:51
 4. Under Lock and Key - 6:27
 5. Honey Cut - 3:33
 6. 40 Roses - 4:13
 7. Up Again - 6:51
 8. Too Close to the Sun - 6:05
 9. Lost Connection - 8:06

The first studio album with new keyboardist John Hruby couldnt come at a better time. This album really illustrates Pgroove's song writing and lyrical abilities. Not many "jam bands" have the ability to write such emotionally charged songs. You can tell that the band put their heart and soul into each song. No Decorations is a great opener for the album and is often used to open shows. A Day the Way showcases Hruby's abilities as well as Brocks vocals. Honey Cut is a diverse instrumental in which Brock Butler uses the mandolin. 40 Roses is the most radio friendly tune and John Hruby takes lead vocals on this track. Up Again builds up nicely to a sick jam in the end. Too Close to the Sun is my favorite track on the album. And lastly Lost Connection is a deep and emotional brilliant lyrical tune. Personally I think that Albert Suttle (drummer) and Adam Perry (Bassist) consistently are on point throughout the entire album. Although this album is a departure from previous albums I think that with time this might be considered the turning point for this band as far as studio albums go. In the meantime catch a Pgroove live show and you wont be dissapointed.

The album, which was recorded in Athens early last year, is the first to feature new keyboardist John Hruby. The physical edition of "Heal" features a limited edition cover, featuring the album artwork in lenticular form. This edition is limited to the first pressing and will not be made available on subsequent re-pressings of the album, so don't hesitate to place your order. Heal was recorded at Chase Park Transduction studios in Athens, GA. The album was produced and engineered by David Barbe (Drive by Truckers, Cracker) who also produced Brock Butler's latest solo effort, "Lately Here Though." The album features mostly newer material, including the instrumental track "Honey Cut" and the Hruby-led "40 Roses," the first Perpetual Groove album track to feature someone other then lead singer Brock Butler on lead vocals. Each successive studio album is always a journey for the musicians and the end product usually reflects this, "Heal" is no different. You won't find any swelling synthesizers or loops on the compositions contained within, in their place, a focus on songwriting, themes, and an overall "timeless" quality to the sonic landscape of Perpetual Groove.

Heal

Ralph Bowen - Five

Bitrate: 320K/s
Year: 2009
Time: 63:50
Size: 146,5 MB
Label: Criss Cross Records
Styles: Saxophone Jazz
Art: Front

Tracks Listing:
 1. Step Lightly -  9:59
 2. Baby Girl -  7:46
 3. First hiatus -  7:58
 4. Free Time -  9:43
 5. Blues Cruz -  7:13
 6. Drowning Man - 12:28
 7. Rahsaan's run -  8:40

Musicians:
Ralph Bowen - tenor saxophone;
John Swana - trumpet;
Peter Bernstein - guitar;
Sam Yahel - Hammond B3 Organ;
Dana Hall - drums.

A member of Out of the Blue in the 1980s and an oft-employed freelancer in the ‘90s, Canada-born saxophonist Ralph Bowen has been steadily blazing his own path through the mainstream jazz scene. With FIVE, Bowen continues his reinvigoration of the jazz organ group sound, with leanings not toward classic soul-jazz (Jimmy Smith, Jimmy McGriff) but rather towards the more adventurous end of the spectrum (Larry Young), namely hard bop with tinges of fusion. Bowen’s combo, including ultra-modern organ ace Sam Yahel and guitarist Peter Bernstein, burns brightly and intelligently throughout.

Five

Sammal - Myrskyvaroitus

Bitrate: 320K/s
Year: 2015
Time: 48:36
Size: 112,4 MB
Label: Svart Record
Styles: Progressive Rock, Heavy Psych, Jam Band
Art: Full

Tracks Listing:
 1. Stormvarning -  5:19
 2. Jarjen Ohimarssi -  6:34
 3. Samaan Arkeen -  3:58
 4. Kohtaaminen Yon Vyolla -  2:35
 5. Muurahaisen Paivauni -  6:36
 6. Aika On Alkamassa -  7:28
 7. Sulle Haavan Tein -  4:42
 8. Kohti Pintaa -  1:15
 9. Heratkaa - 10:05

Musicians:
Jan-Erik Kiviniemi - Vocals, Percussion;
Juhani Laine - Guitar, Organ, Piano, Synthesizer;
Jura Salmi - Guitar, Piano, Synthesizer;
Lasse Ilano - Bass Guitar;
Tuomas Karivaara - Drums.

For their third album Sammal have declared a “second coming”, declaring that they want to be themselves and shake off any comparisons with Black Sabbath or Uriah Heep. My personal recollection of listening to Sammal was of a retro progressive listening experience. Helpfully they have now said who they consider to be influential in their music and it’s an interesting mix: Vangelis, Moody Blues, Scandinavian jazz and Turkish progressive psychedelic music.

Myrskyvaroitus

The Buckinghams - Time & Charges

Bitrate: 320K/s
Year: 1967
Time: 29:38
Size: 67,9 MB
Label: Columbia
Styles: Pop Rock
Art: Front

Tracks Listing:
 1. Don't You Care - 2:30
 2. Pitied Be The Dragon Hunter - 2:28
 3. And Our Love - 2:47
 4. Why Don't You Love Me - 2:27
 5. You Are Gone - 3:31
 6. I'll Be Back - 2:38
 7. Mercy, Mercy, Mercy - 2:48
 8. Remember - 2:24
 9. The Married Life - 3:43
10. Foreign Policy - 4:17

Producer James William Guercio took on such a major role in the Buckinghams' second album that he amounted to a more influential force, perhaps, than anyone in the band. He arranged, conducted, and wrote or co-wrote six of the ten selections. Most noticeably, there were orchestral arrangements, complete with tympanis and blaring horns, that wouldn't have been out of place in film scores, large jazz bands, or even (at their most dissonant) early Frank Zappa records. Obviously he and/or the band were trying to be more experimental than they could on their hit singles, and the inclusion of the hit pop singles "Don't You Care" and "Mercy, Mercy, Mercy" made the LP all the more a strange affair. Not nearly as rock-oriented as their debut album, it was a quirky failure, as the Buckinghams were ultimately much more suited towards making AM singles than delving into somewhat strange orchestrated horn rock (although Guercio's songs were usually fairly hummable love songs when the arrangements were stripped away). In fact, the strongest cut other than the hit singles, "Remember," could have been a hit without the oddball horn charts. Sundazed combined Time & Changes with the group's third LP, Portraits, on a single-disc CD reissue.

Time & Charges

Luz Escondida - Luz Escondida

Bitrate: 320K/s
Year: 1998
Time: 64:12
Size: 152,8 MB
Label: Mellow Records
Styles: Progressive Rock,RPI
Art: Front

Tracks Listing:
 1. Beclamed - 2:08
 2. Hopebringer - 2:38
 3. Moon Of Love - 6:18
 4. Just For A Moment - 3:10
 5. In A Mysterious Way - 4:13
 6. Liebeslied - 3:22
 7. Half Human Town - 1:53
 8. Il testamento dell albero - 3:09
 9. Vision - 3:51
10. La vita diversa - 5:22
11. A Friend Of Mine - 4:56
12. Mouvement de priere religieuse - 3:32
13. Hidden Light - 3:15
14. Dark Mirror - 4:20
15. Ice - 6:57
16. Not For Me - 5:02

A Notturno Concertante offshoot, Luz Escondida is Lucio Lazzaruolo plus a talented female vocalist singing mostly in English, and a drummer on some tracks. The music on their 1998 debut CD is symphonic prog, but the overall impression is of Renaissance-lite or an Annie Haslam solo album, with more of an emphasis on classical guitar. Lucio also includes two instrumental covers: Peter Hammill’s Vision and Camel’s Ice.

Luz Escondida

Fluxury - Lunar Escape Velocity

Bitrate: 320K/s
Year: 2001
Time: 71:17
Size: 163,7 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Introduction - 1:50
 2. Unreality - 2:14
 3. Pretty perfect - 4:09
 4. Fluxury - 2:58
 5. Volatile - 7:37
 6. Lunar Escape Velocity - 1:07
 7. Lookup (a capella) - 0:49
 8. Lookup (tutti) - 5:14
 9. Remember a face - 3:10
10. Donkey bridge - 5:52
11. I wanna remember - 2:29
12. Shout - 1:42
13. Zhe Sky - 1:47
14. Urgent song - 3:46
15. Tucked away - 1:43
16. Whisk away - 2:01
17. Snakecharmer setback - 3:14
18. All I See - 1:53
19. Hope springs eternal - 3:35
20. Anonymous insomniac - 6:01
21. In silence we trust - 5:01
22. Coda - 2:55

Even in the weird realms of progressive rock, Fluxury is a pretty weird band. If I had to sum up their sound in one sentence, I'd say they're a mixed-gender Devo playing Genesis tunes and singing like Abba on acid. They're reminiscent of (early) Devo for their visceral non-musical synthesizer sounds and mechanical drumming, yet the music as a whole sounds more like a (rather sparse) Genesis. The mixture of male and female voices recalls Abba, though I hesitate to make that comparison because these vocal harmonies are nowhere near as sweet and predictable as that band's. The voices are definitely the main instrument in this band, taking the lead role; even though they have guitar, bass and keyboards in their line-up, these are usually in the background compared to the harmonizing voices. No wonder they used three vocalists to help them out when their lead singer left the band. Their lyrics are, by the way, in English.
I haven't heard all of their debut release Lunar Escape Velocity, but their web site does contain six MP3's which have 25 minutes of music from the album. The production quality leaves something to be desired, but I would consider this to be high-quality demo type material. Check these out yourself if you're curious. I don't know how to categorize this band ... too thin to be symphonic, too melodious to be RIO, but too out-there to be neo-prog. All I know is that they're progressive in the true sense of not sounding like anything you've heard before. Check 'em out on their web site listed below. GEPR - Fluxury

Lunar Escape Velocity

Bodil Niska - First Song

Bitrate: 256K/s
Year: 2000
Time: 54:43
Size: 100,6 MB
Label: Ponca Jazz
Styles: Jazz/Saxophone Jazz
Art: Front

Tracks Listing:
 1. Danny Boy - 3:52
 2. Rosetta - 6:57
 3. Merlin - 3:44
 4. Only Trust Your Heart - 6:15
 5. First Song - 6:02
 6. Up Jumped Spring - 5:44
 7. I Skovens Dype, Stille Ro - 3:26
 8. Funk In The Deep Freeze - 4:31
 9. Lotus Blossom - 3:35
10. To Your Dear One - 4:39
11. Vuggevise For Benedicte - 2:24
12. Mood - 3:26

Bodil Aileen Niska (born 21 August 1954 in Vadso, Norway) is a Norwegian jazz musician (saxophone), well known for popular releases of jazz standards. Growing up in Hammerfest she was taught music by her father, the accordion player Aksel Niska, studied under guidance of Kjell Bartholdsen, and ran the jazz club "Montenegro" (1979–89). After moving southward in Norway in 1990, Niska collaborated within the trio "Girl Talk" from 1992, including Tine Asmundsen (double bass) and Elizabeth Walker. They released the album Talkin' Jazz (1996) which sold very well. She performed within Bodil Niska Quartet, including Per Husby (piano), Stig Hvalryg (bass) and Roger Johansen (drums), at the Oslo Jazz Festival in 2005. She is also known for her collaboration with Pete Brown Trio, including Scott Hamilton and Harry Allen. Niska has established the "Bare Jazz" store in Oslo, and a record label by the same name. For her work she received "Sildajazzprisen" in 2005 and the Oslo Jazz Festival award "Ella-prisen"

First Song

George Conner - Brother's Tone

Bitrate: 320K/s
Year: 2012
Time: 49:16
Size: 114,2 MB
Label: Music Maker Recordings
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Woman I'm Leaving You -  6:03
 2. Treat Me Like I Treat You -  5:18
 3. I'm Gone But I Don't Know Where I'm Going -  5:00
 4. Brother's Tone - 10:02
 5. I'm Ready -  4:06
 6. All Night Long -  7:16
 7. I'm Going Home -  4:35
 8. Woman Hear My Plea -  6:52

“Birmingham” George Washington Conner moved from Pickens County, Alabama to Chicago and stayed there close to 30 years where he had his own blues club “The Place.” In the 80s he moved to Memphis for 5 years before moving back to Alabama where he opened another blues club. Unfortunately a few people got killed in it and the joint had to close down. George can be heard every year at the Freedom Creek Festival, in Pickens County, Alabama.
- Timothy Duffy, founder MMRF

Brother's Tone

Mist Season - Woodlands

Bitrate: 320K/s
Year: 2006
Time: 76:06
Size: 175,8 MB
Label: Seacrest Oy Records
Styles: Progressive Rock/Jazz Rock
Art: Full

Tracks Listing:
 1. Far Away from Home - 5:46
 2. Cartway across the Branches part I - 4:30
 3. Daylite Sprite - 4:50
 4. Cartway across the Branches part II - 2:20
 5. Dance of the Miststress - 4:41
 6. The Six Spruce - 4:10
 7. Flowers of Asia - 5:24
 8. Dawn - 4:40
 9. Vexplorer - 4:16
10. Cartway across the Branches part III - 5:14
11. Woodpecker the Mocker - 3:03
12. Skyward Leafage - 8:20
13. Cartway across the Branches part IV - 2:56
14. Garden of Beruwela - 5:56
15. Tears of Woodland - 9:53

Listening to this second album by the Finnish six piece band Mist Season, I got more and more excited about their music. Most of the compositions are swinging with lots of great soli on guitar, keyboards and woodwind instruments (mostly trumpet but also saxophone and clarinet), the interplay is amazing and the rhythm-section sounds very powerful and dynamic! In comparison with their debut CD, this successor sounds a bit more adventurous and surprising like Dance of the Miststress (wonderful contrast between folky flute and accordion and rocky electric guitar), Flowers of Asia (a mellow piece with sitar and trumpet) and Garden of Beruwela (a captivating blend of tablas, soaring keyboards and jazzy guitar and piano). The final track Tears of Woodland is my highlight: first a beautiful part with tender acoustic guitar and piano, then gradually a more lush sound with slow synthesizer flights and dynamic drumming and in the end a swinging rhythm with a powerful saxophone - and fiery electric guitar solo. If you like jazz, jazzrock and or fusion, check out this outstanding new Finnish band!

Woodlands

Too Mutz Blues Band - Lady In Black (And Other Blue Pieces)

Bitrate: 320K/s
Year: 2017
Time: 50:43
Size: 116,3 MB
Label: Silvox
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. I Go Crazy - 3:06
 2. Since I've Been Loving You - 7:19
 3. Meatball Blues - 3:19
 4. Gotto Keep On Drinking - 7:39
 5. Lady In Black - 5:44
 6. Louise - 3:29
 7. Jumpin' Jack Flash - 4:18
 8. Janus Speult D'n Blues - 6:22
 9. Grapefruit Moon - 9:24

The Too Mutz Blues Band (TMBB) offers a wide range of crowd-pleasing covers and originals - everything from power-packed blues-rockers to tender ballads like Led Zepplin's "Thank You".
It's clear to see why so many blues fans have long acknowledged TMBB as the "blues sensation of the Veluwe". This band is strongly recommended to those who love a powerful, straight-from-the-heart approach to their blues. Unlike many bands who play covers, TMBB are able to offer a wide range of material from many corners of the blues genre without sounding like a "copycat" band. Once in their hands, each song is cooked and stirred until it becomes completely infused with the band's own earthy character. You won't get re-heated juke box interpretations from these guys. Only the real thing, served up fresh every show. Their own original tunes fit seamlesly with the covers and are every bit as good. Rough-and-tumble Dutch blues rockers like "(2 kuub) Louise" and "Janus Speult D'n Blues", whose refrains audiences love to shout, round out the night. A strong central role in the TMBB sound is played by both the lead singer Henk and guitarist Jan.

Lady In Black

The Joey O Band - Auburn Sunset

Bitrate: 320K/s
Year: 2017
Time: 44:07
Size: 101,2 MB
Label: Handsome Hits Music
Styles: Rock/Classic Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Love to Spare - 4:16
 2. Still Dreaming - 3:40
 3. Be Here with You - 4:09
 4. Came to My Senses - 3:14
 5. Auburn Sunset - 4:17
 6. The Devil I Know - 5:02
 7. Regular Guy - 3:14
 8. Ecstasy - 3:04
 9. Bad Habit - 3:17
10. Auburn Sunrise - 3:58
11. Any Other Way - 2:47
12. The Sun Will Shine Again - 3:04

Rock, Classic Rock, Blues Rock, Melodic Rock, Guitar Based Rock!
The Joey O Band – Auburn Sunset, marks the return of The Joey O Band. All instruments: Guitar, Bass, & Drums were played by Joey O. Kirk Johnson handles all Lead Vocals. All Vocal Harmonies are by Joey O, Mimi Betinis (Pezband), Kevin McCreery (Uncle Kracker), & Audie Blaylock (Rhonda Vincent).
The album was Produced, Engineered & Mixed by Joey O. The album was recorded & mixed, at Joey O's studio, Electric Joeyland.
Once the songs were written & basic tracks were recorded “live to tape” (16 Track), Joey O then improvised all Guitar solo's live to tape, reacting in the most spontanious way, to the rhythm tracks, with no preconceived ideas of what to play.
Auburn Sunset represents all of the Rock, Classic Rock, Blues Rock, & Guitar Based Rock influences of The Joey O Band.

Auburn Sunset

Billy D & The Hoodoos - Overnight Success

Bitrate: 320K/s
Year: 2017
Time: 42:21
Size: 97,2 MB
Label: Rokdablu Records
Styles: Blues/Rockin' Blues
Art: Front

Tracks Listing:
 1. Can't Get over You - 3:29
 2. I Gotta Know - 4:04
 3. Movieland Blues - 3:33
 4. Cry Baby Cry - 4:25
 5. It Must Be Love - 4:01
 6. Please Don't Go - 3:34
 7. Can't Take It Anymore - 3:02
 8. Love Me Forever - 3:43
 9. Rokdablu - 4:49
10. Mornin' - 1:57
11. Back Door Man [Live] - 5:39

Original Backbeat Roots-N-Bluz..Song Oriented,Harmonies,Slide Guitar.. but still remaining "Stripped Down".. A Cross between 60s Classic Rock and Chicago Blues.

Overnight Success

The Greg Hatza Organization - Diggin up My Roots

Bitrate: 320K/s
Year: 2017
Time: 64:18
Size: 147,7 MB
Label: Flip Records
Styles: Jazz/Hammond Organ
Art: Front

Tracks Listing:
 1. Baltimore Strut -  3:43
 2. Big Big Back -  3:42
 3. High Heel Sneakers -  5:08
 4. Headin on Down South -  5:52
 5. I Got a Woman -  8:05
 6. Back at the Chicken Shack -  7:53
 7. Night Train -  5:05
 8. Please Send Me Someone to Love - 10:19
 9. Hand Jive -  3:33
10. Something You Got -  4:43
11. Stagger Lee -  6:10

The music on this CD is a collection of R&B and Blues songs that I grew up with in Reading, Pa. Ever since I started piano lessons I was drawn to African American music. Improvising boogie woogies on the piano at 5 years old is probably why my mother decided get me to a piano teacher quick. My father owned a small restaurant that had a juke box which had all the current R&B, blues, and rock & roll songs. When the box was serviced for new records, they gave the old 45’s to my father who in turn gave them to me. I had a large collection of 45's that I listened to all the time. That is how I first heard Bill Doggett's "Honky Tonk." That's when I really started to fall in love with the organ. Then along came Jimmy McGriff and Jimmy Smith and I was off to the races. When I was around 14, I bought my first Hammond organ, the compact M series. Around the same time I joined an African American R & B band that played current and older R&B and Blues songs. I must acknowledge that the African American community in Reading and later in Baltimore was very embracing of me and my music and was very instrumental in helping to form my career as a jazz organist. This is something I will never forget for the rest of my life and musical career.

Diggin up My Roots

Brussels Jazz Orchestra (feat. Joe Lovano) - Wild Beauty

Bitrate: 320K/s
Year: 2014
Time: 66:14
Size: 152,2 MB
Label: Half Note Records
Styles: Jazz
Art: Front

Tracks Listing:
 1. Wild Beauty - 10:07
 2. Powerhouse -  5:10
 3. Streets of Naples -  6:25
 4. Our Daily Bread -  6:49
 5. Big Ben - 11:50
 6. Sanctuary Park -  8:31
 7. Miss Etna -  8:37
 8. Viva Caruso -  8:42

Personnel:
Frank Vangee - lead alto and soprano saxophones, conductor;
Dieter Limbourg - alto and soprano saxophones, clarinet, flute;
Kurt Van Herck - tenor and soprano saxophones, alto flute;
Bart Defoort - tenor and soprano saxophones, clarinet;
Bo Van der Werf - baritone saxophone, bass clarinet;
Serge Plume - lead trumpet, flugelhorn;
Nico Schepers - trumpet, flugelhorn;
Pierre Drevert - trumpet, flugelhorn;
Joroen Van Milderen - trumpet, flugelhorn;
Marc Godfroid - lead trombone;
Lode Mertens - trombone;
Frederik Heirman - trombone;
Laurent Hendrick - bass trombone and bass tuba;
Hendrick Braeckman - guitar;
Nathalie Loriers - piano;
Jos Matchel - double bass;
Toni Vitacolonna - drums/
Guest:
Joe Lovano - tenor saxophone.

It is just like tenor saxophonist Joe Lovano to make a beautiful recording, but also one which is also quite full of surprises. This is Wild Beauty , what Mr. Lovano calls a “Sonata Suite,” which he put together and which was arranged by the ever masterful Gil Goldstein, and which Mr. Lovano plays with the Brussels Jazz Orchestra conducted by Frank Vangee. The titles of each sequence of the suite attest to Mr. Lovano’s enduring love of Italian locale and culture and because he was born Italian this music has a special meaning and feel, almost mimicking the lilting accent of Italian. Mr. Lovano’s gentle vibrato at the end of certain lines and phrases also mimics the manner in which spoken Italian ends with graceful undulations in the accent of the speaker; almost as if it was being sung. But something else marks the singular voice of Joe Lovano—in addition to his singing manner—and that is the broad, brogue-like warmth and moisture with which he enunciates his musical sentences. Conversely there also seems like there is a certain vulnerability in Joe Lovano’s playing. That probably comes from the forthright and humble manner in which he sings his melodies and lets the harmonics slide as he rolls his notes one over the other in an elliptical line.
Here, on this recording, Mr. Lovano also has the mighty support of the Brussels Jazz Orchestra. This exquisite ensemble may not be as famous as other orchestras in Europe, but the musicians play together as if they were a well-oiled machine, their machinations, are far from mechanical. There is a big heart in this orchestra and are well-rehearsed and have in fact bought into the ideology of the Sonata Suite. Both Frank Vangee and Mr. Lovano are great leaders. Mr. Lovano’s commanding tone is heard throughout the suite and all the lead soli are his. Memorably, his opening solo on “Wild Beauty” describes the thing of beauty—much like the 19th century romantic poet John Keats described in his poem Endymion he sees in the multiplicity of things—in musical topographical terms—in the sweep of the epic tenor solo; in terms of an imagined landscape, very possibly Sicily and finally the visage of Mr. Lovano’s mother, to who is part of the ongoing sub-text of the music. And certainly all of the set pieces form one graceful movement after the other, with Joe Lovano engaging members of the Orchestra, from Frank Vangee to trumpeter Nico Schepers, trombonist Marc Godfroid and pianist Nathalie Loriers. The majesty of “Viva Caruso” is one of the finest aspects of the music. But perhaps happiest of all is when Mr. Lovano pays a glowing tribute to Ben Webster, on “Big Ben”.
It has always been a known fact that Joe Lovano has a spiritual side and this is shown in how deeply soulful his sound is. It is possible also to assume that Mr. Lovano actually digs deep and he reaches beyond where most saxophonists go, and while there is no holy rolling in his voice, his rhythmic inflections sometimes come together in a blues shout, or in alleluias that might wake up a sleeping congregation. Some of this may be heard in “Our Daily Bread” and certainly in “Big Ben”. This is something that is almost a forgotten fact; that Joe Lovano has also paid his dues and has climbed every mountain to become a tenor saxophonist with the mighty tone that is heard throughout this stupendous recording.

Wild Beauty

James Walsh Gypsy Band - I've Got The Feelin'

Bitrate: 320K/s
Year: 1979
Time: 34:41
Size: 80,0 MB
Label: P-Vine Records
Styles: R'n'b, Soul
Art: Front

Tracks Listing:
 1. I've Got The Feelin' - 3:49
 2. Looks Like You Got Down In Love - 2:46
 3. Lie To Me - 3:39
 4. The Caves Of Altamira - 3:20
 5. It's Over Now - 3:34
 6. Where Do We Get Off - 3:30
 7. This Time The Feelin' Is Right - 2:42
 8. Alabama Eyes - 4:11
 9. Lovin' You - 3:32
10. Just Like Fallin' In Love - 3:34

The James Walsh Gypsy Band is kind of the outfit to go to if you're looking for some blue-eyed soul but, just like Ned Doheny and his sublime reissue on Numero, the band never fully came out of its shell and they were limited to just one album on RCA Victor, 1998's self-tiled LP...until now. I've Got The Feelin' was recorded a year later, in 1979, at the legendary Muscle Shoal Studios, but it never made it out onto the shelves apart from a seriously limited CDR run. Norway's Preservation has thankfully done the right thing by pressing it up on vinyl, and the opening title track is as just as wonderful as the first time we heard - a true soul masterpiece with a clear LA influence. "Looks Like You Got Down In Love" is a funkier, more soulful version of Credence at their deepest, while other highlights include the supremely majestic "It's Over Now", and the tear-jerking "Alabama Eyes". It's a road album, the sort you want to really take in properly. Recommended.

I've Got The Feelin'

Chris Simpson - When All Is Said and Done

Bitrate: 320K/s
Year: 2008
Time: 60:23+67:20
Size: 139,0 MB+154,9 MB
Label: Talking Elephant Records
Styles: Folk Rock/Acoustic/Soft Rock
Art: Full

Tracks Listing:
CD1
 1. Greenfields - 4:51
 2. World In The Palm Of My Hans - 3:37
 3. Strangers In The Land Of Ulysses - 4:00
 4. Banjoman - 4:54
 5. Midnight Again - 3:40
 6. You - 4:44
 7. Evergreen - 4:09
 8. Wild Geese - 4:23
 9. For The Gypsy - 3:58
10. Only Road Home - 4:50
11. Sun Ain't Going To Rise - 5:58
12. Pictures In My Pillow - 4:08
13. Two Old Friends - 3:38
14. Mixed Up Sensations - 3:26

CD2
 1. You are only what you are - 3:45
 2. Song for John - 4:44
 3. Time for the leaving - 4:08
 4. 9lb hammer - 2:26
 5. Wish it was - 3:36
 6. Uncertain times - 4:29
 7. When all is said and done - 4:19
 8. Sting of the Gin - 3:19
 9. Winterlude/Ulysses - 7:03
10. Don't stop me - 3:20
11. Danny - 3:05
12. Some kind of man - 5:57
13. In tomorrow - 4:08
14. Autumn deamin' blues - 4:17
15. Lady, take me down - 4:16
16. Hey, Mr Simpson - 4:17

Chris Simpson, the man behind the band Magna Carta has been delighting lovers of music with his live performances and albums since 1969. Over the years, he has performed in over 60 countries, sold over 8,000,000 records worldwide, and has six gold and three silver albums to his band's name. Arguably one of the greatest acoustic acts in the world, he has transcended the fluctuating fortunes of the music business to remain a superb concert and recording act, surviving for an astounding thirty nine years. When All Is Said And Done... is a double CD Digipak compilation celebrating the best of the best of Chris Simpson's career focusing on his and the band's memorable and moving songs throughout his 39 years in the business. Two CDs for the price of one/

When All Is Said and Done

Better Place (feat. His Memphis Brothers) - Better Place

Bitrate: 320K/s
Year: 2011
Time: 44:11
Size: 101,2 MB
Label: Drawes Musi
Styles: Blues/Soul-Blues
Art: Front

Tracks Listing:
 1. Better Place - 5:09
 2. Two Things We Did Right - 3:37
 3. You Don't Have To - 4:55
 4. Love For Money - 3:29
 5. Share What You Got (But Keep What You Need) - 3:36
 6. Think I'm) Drowning On Dry Land - 4:18
 7. Blues Don't Bother Me - 4:50
 8. Take Me For Granted - 5:40
 9. Walking The Streets At Night - 4:52
10. Soulfonic - 3:39

Billy Seward's musical identity is the tale of 2 cities. Beginning in Chicago, with the West Side Blues masters Otis Rush and Magic Sam being the original inspirational source, then heading due south a days ride to Memphis, where the pulsing driving rhythm's and horn counterpoints of Hi Record's section drove singers like O.V Wright, Otis Clay, Syl Johnson and of course Al Green to the highest of high's. From the moment Billy heard Otis Clay singing in a small Chicago North side club, he was hooked and followed that musical trail down to Memphis.
At a time when rock blues guitar seems to define what blues is to many, Billy brings his voice to the front with a rich blend of deep soul and big city blues, paired with the crisp clear bite of the West side drenched blues guitar, a combination that can both excite and soothe but will always satisfy.

Better Place

Alliance - Alliance

Bitrate: 320K/s
Year: 1982
Time: 32:53
Size: 75,7 MB
Label: Retrospect Records (2007)
Styles: Rock/AOR/West Coast
Art: Full

Tracks Listing:
 1. I Don't Want To Leave You This Way - 3:37
 2. Don't Tell Me About It - 3:46
 3. How Does It Feel - 3:37
 4. Stop - 3:10
 5. Heaven Can Wait - 3:26
 6. Make It Right - 3:39
 7. Love On The Line - 2:38
 8. Sweet Devotion - 2:53
 9. I Need You Now - 3:18
10. Make Believe That You Love Me - 2:43

Musicians:
Mark Bucchare - vocals;
Pat Hand - guitars;
Mark Heckert - keyboards;
Bradley Davidson - bass;
David Pridemore - drums.

This album is just one of countless one-offs in the world of early 1980s melodic hard rock and AOR. Alliance recorded their only album for Handshake Records, a label which had many other worthwhile artists - Berlin Airlift and Van Stephenson to name but two.
The first three tracks on 'Alliance' are deceptively laid-back, and I remember not getting along very well with the album initially. With further spins I, however, got to appreciate the atmospherics of 'Don't Tell Me About It' in particular, which is sung with such heartfelt conviction by singer Marc Bucchare that it's hard to ignore. I still find opener 'Don't Want to Leave You This Way' a bit heavy on the horns and a little too disco-ish, backbeatwise, but solid musicianship, a crystal clear production, as well as the outstanding lead vocals, pretty much save this and track three, 'How Does It Feel?' Track 4 is a straightforward AOR rocker, aptly titled 'Stop' as there are some neat cat/mouse guitar vs. keyboards antics in the arrangement. Nothing new under the sun, but again sung to perfection by Mr. Bucchare and enthusiastically performed by the band overall - infectious! Side 1 closer, 'Heaven Can Wait' is the first ballad on offer, but a nice one at that, with a big and fairly powerful arrangement. For 'Make It Right', the band pull out all the stops, and build a pretty pompous arrangement around what is essentially a simple song - possibly the album's stellar moment, and a prime example of AOR/melodic hard rock/pomp rock at its very best! For 'Love on the Line', the pace is upped a further notch - with excellent results, and again very powerful in its delivery. 'Sweet Devotion', on the other hand, sees the band delving into pure pop territory. Impeccably performed and very catchy, but perhaps a little on the light side for my tastes. 'I Need You Now' is essentially more of the same, but this time in ballad format. Very listenable, again particular thanks to lead singer Mark Bucchare, but I would have preferred something meatier following the poppy 'Sweet Devotion'. For 'Make Believe That You Love Me', the album's tenth and final track, the guitars and the intensity are thankfully both back again in full force, and the band leave us with an excellent melodic (hard) rock tune.
Conclusively, I would have wished the album to feature a few more rockers, but I should note that 'Alliance' remains very listenable and is well worth tracking down. It remains an out-of-print vinyl only title, but with the strong re-release trend these days, it wouldn't surprise if this were to show up as an official CD remaster in the not too distant future. With regards to the Alliance members, they all seem to have vanished from the music business entirely following the albums release, despite obvious qualities as musicians/singers/songwriters.

Alliance

Cadillac Blues Band - Live '96

Bitrate: 320K/s
Year: 2009
Time: 74:42
Size: 171,3 MB
Label: INAK Records
Styles: Electric blues
Art: Front

Tracks Listing:
 1. Louisiana Blues -  4:13
 2. I'm Crying -  5:43
 3. Don't Treat Me Like That -  3:45
 4. Change My Life - 11:35
 5. Stolen Heart -  5:15
 6. Chicken Farm -  4:34
 7. Poison Booze In The Bottle -  5:03
 8. Good Morning Little Schoolgirl -  9:37
 9. Am I Wrong -  3:53
10. I Know A Little -  4:04
11. Foxy Lady -  5:06
12. Stone Free -  5:48
13. Nighttime -  5:59

The band traces its roots through guitarists Coll Michaels and Kim Rew back to Blues Apex, founded in 1966 by jazzman and composer John Altman in support of a CND fund-raising gig billed with Roy Harper and Stray at the legendary Roundhouse in Chalk Farm.
Cadillac Blues Band was born when drummer Brian Scott and bass player Frank Laughton recruited Coll after seeing him play with Smokestack Blues Band, a lively little outfit put together with teachers at his daughters' school for a benefit concert. Very loud and hard-hitting, the new Cadillac trio quickly became well-known in the proliferation of blues clubs and pubs of 1990's Herts, Beds and Bucks. Frank and Brian left to form another band and were replaced by faithful pal John Curtis on bass, and a seemingly endless procession of 'borrowed' drummers, which included Terry Wilson, Paul Hornsby, Joe Coulson, and then an old schooldays friend - Roland Kerridge. The need to constantly adapt to the different rhythmic interpretations presented by this constantly changing line-up created and honed an extraordinary musical trust and partnership between John and Coll - this is why the band always sounds so 'tight'. Roland was persuaded to join as resident percussionist in 1996 and the band has benefitted from his superb drumming since then, although Paul or Terry (etc, etc,!) still step in from time to time when Roly is on tour elsewhere.
The Cadillac core band is often augmented by other musicians. These additional guitar players have included the legendary Pete West, Ray Uren, Pete Wood, and the awesome Nigel Spennewyn. Keyboards have been contributed by Paul Hirsh, Richard Henningham and Hilary Briggs. The band have also provided backing for Polly Browne - of "Same Old Feeling" chart-topping renown. Occasionally, the founder of the original Blues Apex band - Emmy-Award winner John Altman, pays a visit with his soprano saxophone. This constant flux of talent keeps the sound of the band fresh and exciting and a source of continuing pleasure for its participants, and sometimes, the audience! Cadillac Blues is more than a band - it's a complex interaction of enduring musical friendships.

Live 96

Noetra - Definitivement bleus

Bitrate: 320K/s
Year: 1982
Time: 67:59
Size: 156,3 MB
Label: Musea
Styles: Progressive Rock/Canterbury
Art: Front

Tracks Listing:
 1. Mesopotamie -  4:14
 2. Qui est-il qui parle artist -  4:51
 3. Reprise Mesopotamie -  1:16
 4. Agrements parfaitement bleus(part III) -  4:03
 5. APB(epilogue) -  1:02
 6. Alpha de Centaure -  6:48
 7. Venise -  6:25
 8. Transparences -  7:47
 9. Tintamarre -  6:36
10. Ephemere a M.C. - 13:28
11. Forfanterie -  7:03
12. Printemps noir (final) -  4:20

NOETRAs second album offers this time a collection of songs recorded between Winter ?78 and May ?82, and is mainly a testament of this partiuclar band, project of Jean Lapouge, guitarist and composer. The general sound of the record is a kind of chamber jazz rock with some hints of Canterbury, but not in a dark or aggressive way, because it is a kind record, a bit quiet sometimes, but that keeps ytour attention during all the listening. The album starts with "Mesopotamie", a very kind intro, with some spacey keyboards on it linking to "Qui est-il Qui Parle Ainsi?", intermediate section of this trilogy, playing very nice soft jazz (reminding me of CAMEL or HAPPY THE MANN), leading to "Reprise Mesopotamie", the main theme, closing this first section.
"Agrements Parfaitement Bleus (III)" is a very interesting piece, starting with light winds growing throughout the song and leading to a kind of chamber jazz crescendo, very interesting, reminding FRENCH TV. "Agrements Parfaitment Bleus (epilogue)" is mainly a string driven coda for the song.
Great point of interest of the whole record "Alpha de Centaure" is a very melodic canterburian piece, with great guitar playing by Lapouge that makes one think about HATFIELD AND THE NORTH. Also remarkable is the ending of the song because of the interlinks between violin and the wind section. "Venise" comes next as a kind of counterpoint, beacause this song is very MAGMA sometimes, starting with very zeuhlish strings which, after a guitar driven interlude, leads to a final crescendo, with great distorted bass by Denis Lefranc.
"Transparences" starts with a very sweet and folky intro that evolves into a guitar fusion development that ends in a chamber work, nothing stressful but quite warm. Another of the points of interest of the whole record, together with the next song, "Tintamarre". It has a kind of chamberistic intro, very zappaesque, but also AFTER CRYING (era "6" and "Show") comes to mind, that finally blasts into a canterburian groove reminding GILGAMESH or VOLARE, after a break it turns more jazzy, reminding MAHAVISHNU ORCHESTRA, excellent piece and one of the best of the album. Superb.
After such a great amount of intensity, the relax comes with "Ephemere (a M.C.)", a very slow, almost atmospheric piece, quite different from the rest of the album, although the turn about minute 8 develops in a superb violin driven final, reminding ZAO. We are very close to the end of the record. "Forfanterie" sounds a bit folky, even medieval sometimes, before an almost free jazzy section with that personal chamber touch of the band breaks that pastoral atmosphere. Not bad, but not outstanding. The final song of the record is "Printemps Noir (final)". It starts with an obscure chamber intro with harmonium followed by a drum solo linking the final section.
It will be of interest for those who like the less radical side of Canterbury and R.I.O. or who love jazz fusion sounds, in this case blended with rock and chamber works.
(www.progarchives.com)

This is the second CD from Noetra recorded during the period of 1979-1982. From the interesting liner notes it appears Noetra worked hard to strike up a deal and interest, even getting as far as a meeting with ECM head honcho Manfred Eicher, which proved fruitless in the end. A sad tale indeed, but thanks to Musea we have two quality CD’s from this excellent ‘Chamber Jazz’ band.
Knowing the band’s history it’s easy to see why they approached ECM, as the sound here is very reminiscent of Oregon and Eberhard Weber. I also hear bits of Paul Winter at his ‘Jazziest’, and of course elements of National Health and Soft Machine. This is wonderful stuff, and in hindsight it hard to imagine these guys did not move on to bigger things.
(www.proggnosis.com)

Definitivement bleus

Kenny Burrell Quartet - Tender Gender

Bitrate: 320K/s
Year: 1966
Time: 40:59
Size: 93,9 MB
Label: Cadet
Styles: Jazz
Art: Front+Back

Tracks Listing:
 1. Mother-In-Law - 4:42
 2. Hot Bossa - 4:40
 3. People - 2:44
 4. Isabella - 5:00
 5. Girl Talk - 3:13
 6. Suzy - 4:45
 7. The Tender Gender - 4:58
 8. La Petite Mambo - 3:42
 9. If Someone Had Told Me - 3:20
10. I'm Confessin' - 3:55

On this album, Kenny's guitar is embellished beautifully by Richard Wyands, piano; Martin Rivera, bass; AND Oliver Jackson, drums. It is an album that is indicative of all that is good about Mr. Burrell. The word 'versatile' is over-used in describing musicians and entertainers but Kenny's playing is both distinctive and varied. He has a beautiful lyrics sense-dig the unaccompanied "People", but he also has an aggressive style of playing that makes his sound easily recognizable. The outstanding characteristics of his playing-his best-known trait-is an honest and soulful blues feeling…a feeling so fresh and distinctive that the Kenny Burrell sound could almost be patented.

Tender Gender

Morphine - Good

Bitrate: 320K/s
Year: 1993
Time: 38:15
Size: 87,6 MB
Label: Rykodisc
Styles: Low Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Good - 2:34
 2. The Saddest Song - 2:53
 3. Claire - 3:08
 4. Have a Lucky Day - 3:30
 5. You Speak My Language - 3:26
 6. You Look Like Rain - 3:40
 7. Do Not Go Quietly Unto Your Grave - 3:19
 8. Lisa - 0:50
 9. The Only One - 2:44
10. Test-tube baby,Shoot'm Down - 3:10
11. The Other Side - 3:54
12. I Know You (Part I) - 2:17
13. I Know You (Part II) - 2:46

While it may not be as stellar as their future releases would be, Morphine's debut album, 1992's Good, did a splendid job of introducing the Boston trio's highly original sound. While it was the alternative crowd who immediately latched onto Morphine, their music was geared more toward the jazz scene -- a wailing saxophone, lead bass (played with a slide), and lyrics influenced by '50s beat poetry were all-important ingredients. The opening title track remains one of the band's darkest, while other selections are a bit more upbeat -- "Have a Lucky Day" and the inappropriately titled "The Saddest Song"; all the while, the band excels at creating different moods with each successive track. Other highlights include the mid-paced "Claire" and "The Only One," the slight salsa feel of "You Speak My Language," the frantic "Test-Tube Baby/Shoot'm Down," and the more calm and sultry "You Look Like Rain." On their next release, Cure for Pain, Morphine would improve further on the strength of their songwriting and cutting-edge sound, but Good still contains more than a few standouts.

Good

Zack Walther Band - Get out of Your Head

Bitrate: 320K/s
Year: 2017
Time: 43:01
Size: 98,6 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Bad Girl - 3:50
 2. Get out of Your Head - 4:24
 3. What Kind of Man - 3:34
 4. Doing Things My Way - 4:02
 5. The Fight - 2:33
 6. Bad Girl (Commentary) - 4:55
 7. What Kind of man (Commentary) - 5:16
 8. Get out of Your Head (Commentary) - 5:36
 9. The Fight (Commentary) - 3:41
10. Doing Things My Way (Commentary) - 5:05

When Zack Walther went to college to major in music, he had to choose an “instrument of study.” And—no accident—he chose his own voice. As a child of the 1980s he sang in the school choir and learned to play songs by ear on his brother’s upright piano, “But it was mainly the white keys,” he recalls. Then, as an afterthought, he adds, “It still is.” That piano may have been the first musical instrument he ever touched, but it certainly wasn’t the last.
By the time the ’90s rolled around, he was a teenager immersed in rock and roll and already a developing musician. That’s when he found his father’s old nylon-string classical guitar, long forgotten and stashed in the family attic. When he was 13, his folks, aware of his interest, bought him a basic electric guitar and a little Crate amp. Two years later, they surprised him on Christmas with his first quality acoustic guitar. “I played all through Christmas day,” he says. “Playing songs, learning songs, country songs, rock songs, just basic chords.” Still, he knew he was destined to be a vocalist—first and foremost.
“Singing was a natural thing for me, and it always has been because I’ve gone through college and actually been classically trained to sing.” He picked up piano and guitar on his own, and though he’s had a few lessons, considers himself self-taught. “There was always interest early on, very early, playing music and singing. And because I was the vocalist of my friends, I’ve always been the lead singer,” he says. “I can remember, at 13, 14 years old having band practice in my buddy’s garage.” High school was a whirlwind, “a lot of guys and girls creating bands.” Over the 30-year span of his musical life, he’s been in and out of bands, including, fairly recently, Zach Walther and the Cronkites, a name familiar to many aficionados of Texas music. An album—Ambition—arose out of that collaboration. In his current iteration of band names, it’s back to basics: The Zack Walther Band, a three-piece ensemble with guitar, bass and drums.
Once the seeds were planted, Walther has just kept growing musically year after year, gaining experience, covering new songs and musical genres, until he evolved into the versatile performer that he is today. He’s able to deliver anything from the Beatles to Bruce Springsteen to Leonard Cohen to a whole catalog of originals, many of which make up the tracks on albums he’s recorded over the years. As a teenager, “The alternative rock scene was huge, and that’s what we listened to mostly. But I was also raised on my dad’s LPs, the Beatles. I had a huge, strong influence from Simon & Garfunkle. That was one of my favorites growing up. In fact, the first song I ever played in front of an audience was ‘Sound of Silence.’ And I still play it today.”
The versatility that defines his performances extends to a wide range of music that’s known by the vast majority of Americans regardless of background or regional differences. It’s a genre that’s come to be known as “Americana”—music that’s rooted in the heritage of the nation, from the English and Irish music of the earliest settlers’ to the blues and jazz of the old South and the R&B of Detroit. And Walther’s voice ranges as far and wide as his song choices. In his rendering of Leonard Cohen’s anthem-like “Hallelujah,” he can reach down deep in his throat to find a guttural howl and then soar up to highs that ring like a prayer. To watch him perform is to see a musician in his prime delivering straight from the heart.
And his growth as an artist never stops, as the Zach Walther Band expands its audience. A recent original, “Get out of Your Head,” is, as he puts it, “a perfect example of the direction this band is headed.” Wherever Walther and his band are going, they’re doing it at breakneck speed, and for fans of that special kind of music you can only find in Texas, they can’t wait until he gets there. – G. C. Larson

Get out of Your Head

Willie Cobbs - Willie Cobbs Mr. C's Blues in the Groove

Bitrate: 320K/s
Year: 1986
Time: 49:17
Size: 113,0 MB
Label: Mina Records
Styles: Funk / Soul, Blues
Art: Front + Back

Tracks Listing:
 1. Inflation Blues - 3:58
 2. Don't Say Goodbye - 2:10
 3. Mistreated Blues - 2:41
 4. My Little Girl - 2:11
 5. You Know I Love You - 4:08
 6. You Don't Love Me - 3:04
 7. Worst Feeling (I Ever Had) - 2:29
 8. Why Did You Change Your Mind - 3:24
 9. Please Send Me Someone to Love - 3:58
10. Good Feeling - 3:28
11. Hey Little Girl - 3:10
12. C.C. Rider - 3:30
13. I'll Love You Only - 2:22
14. Don't Worry About Me - 2:22
15. Eating Dry Onion - 2:41
16. Inflation Blues Part 2 (Instrumental) - 3:34

Willie Cobbs is probably best known for his classic song "You Don't Love Me". His recording career has spanned five decades and the list of people he has performed with reads like a who's who of Blues.
After years of harmonica work and recording 45's under one label name after another Willie gave up the studio for the club scene for a while. Willie became a club owner; running the Blue Flame in Stuttgart, Arkansas and later opening Turning Point in Itta Bena, Mississippi. In 1978 he relocated to Greenwood, Mississippi and opened Mr. C's Bar-B-Que.
In 1986 he teamed up with Jim O'Neal of Rooster Blues and put together a cassette of his 45 releases on Wilco. Then in 1994 he did his first CD "Down To Earth" on Rooster Blues performing with Rawls and Luckett.
Very rare Japanese only LP released in 1986 collecting various singles from 1962 - 1984. Many thanks to Rugbymaxi for sharing this LP.

Mr. C's Blues In The Groove!

Alex Garnett's Bunch Of 5 - Andromeda

Bitrate: 320K/s
Year: 2015
Time: 59:59
Size: 137,4 MB
Label: Whirlwind Recordings
Styles: Jazz
Art: Front

Tracks Listing:
 1. So Long -  6:06
 2. Charlie's World - 10:28
 3. Andromeda -  7:18
 4. Delusions of Grandma -  5:48
 5. Early Autumn -  6:48
 6. Her Tears - 10:00
 7. Holmes -  5:37
 8. I've Got My Love to Keep Me Warm -  7:50

Alex Garnett & Tim Armacost (tenor saxophone); Liam Noble (piano); Michael Janisch (double bass); James Maddren (drums)

Taking on a two tenor line-up can be a bit of challenge. The weight of jazz history can hang heavily on the shoulders of the ‘challengers’ having to follow such potent combinations as Sonny Stitt and Gene Ammons and Dexter Gordon and Wardell Grey to pick just a couple.
In this, his second album for Whirlwind Recordings, Alex Garnett and fellow tenorist, Tim Armacost achieve this with some strong compositions, some cast iron playing and healthy dose of good humour thrown in, and indeed the Bunch of 5 band comes together from a mixture of determination and good fortune and coincidences over an extended period of time in getting the US based Armacost this side of the pond.
The repertoire contains a couple of standards in ‘Early Autumn’ with the saxophonist acknowledging his admiration for Stan Getz, and Irving Berlin’s ‘I’ve Got My Love To Keep Me Warm’; but it the originals that keep the flame burning throughout this fine set. Garnett maintains that writing for two tenors is actually easier than writing for other more usual combinations, and proceeds to put his money where his mouth is in presenting some tough blowing vehicles the humorously titled ‘Delusions of Grandma’ and the clever title track that exhibits great subtly and warmth in the opening phrases, with the two horns weaving intricately around each other. Liam Noble also gets in a delightful solo, perfectly mirroring the feeling that has gone before.
Careful listening soon establishes the differences between the two tenors, with Armacost exhibiting the more abrasive tone, and Garnett complimenting this by following a more conventional route through the chords. Throughout, the rhythm section if somewhat subservient to the needs of the saxophonists driving things along nicely, yet manage to find their place in the music that draws the ear.
This a fine album from Garnett and his Bunch of 5 that unusually for a two tenor front line resists the temptation for combative duelling, and the net result is a set that reveals more with each listening.

Andromeda

Yuri Apsy - Nothin' But The Blues

Bitrate: 320K/s
Year: 2017
Time: 41:11
Size: 94,4 MB
Label: SR
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Nothin' But The Blues - 4:30
 2. Two Arnold's Shuffle - 4:30
 3. You're Gonna Lose Me - 3:58
 4. I Got A Woman By My Side - 5:42
 5. Dance With You Tonight - 3:04
 6. Jammin' With The Kings - 4:10
 7. You Don't Love Me - 8:20
 8. Magic Blues - 6:52

He has been influenced by Eric Clapton, B. King, Freddie King, Magic Slim, Elmore James, Jimmy Johnson, John Fogerty, Chuck Berry and T-Bone Walker from the beginning. A self-taught musician, he had his guitar playing when he was very young, at age 10 he taught with the renowned Adilson Campos, but his affinity with music allowed him to continue his studies alone.
He graduated in 2001 with the Big Chico Blues Band, playing almost all over the country. The first CD of the band counts on his expressive participation. Among the performances are the show openings for the big names of national and international Blues like the Ethical Blues, Danny Vincent, Flávio Guimarães, Californian Mark Hummel. He shared the stage with great guitarist Marcos Otaviano, internationally recognized Igor Prado and more Americans J.J. Jackson, Lorenzo Thompson and performed with the great Blues guitarist in the United States, Marquise Knox.
Among the festivals that make up his career are the Guaramiranga Jazz and Blues Festival (Ceará - Brazil), the Cunha Jazz and Blues Festival (São Paulo - Brazil) and more recently the Poços de Caldas Blues and Jazz Festival General - Brazil). The magazine Guitar Player Brazil twice honored him as a guitarist revelation of the national Blues.
He recently participated in the recording of the CD "On The Road Again" by pianist and organist Mauricio Pedrosa, as guitarist and vocalist, receiving great praise from Blues lovers in Brazil and also in various parts of the world, mainly in the United States.
He accompanied two of the greatest Brazilian players, Marcio Maresia and Marcio Abdo. With Marcio Maresia, he recorded the celebratory record of 25 years of the harmonica player. With Marcio Abdo, he participated in the recording of the CD and DVD "Plano B". He is currently recording his first album, titled "Nothing But The Blues", only with his own compositions. The disc is scheduled for the second half of 2016.

Nothin' But The Blues

Marty Manous - Know My Name

Bitrate: 320K/s
Year: 2016
Time: 35:05
Size: 80,5 MB
Label: SR
Styles: Rock
Art: Front

 1. Know My Name - 3:35
 2. Bitches - 4:20
 3. Don't Let Me Go - 3:19
 4. My Girl - 3:27
 5. Transcending - 3:16
 6. Look Over Yonder Wall - 4:52
 7. Love In Vain - 3:50
 8. Duh-Bro - 0:54
 9. Drown My Tears - 3:42
10. The Night Is Calling - 3:45

Marty Manous is a rare talent and total package; he is a skillful songwriter, soulful vocalist, and virtuosic guitarist- a triple threat! This separates him from many other performing artists. On the album "Know My Name" Marty brilliantly shows these abilities, Creating an Indie Rock sound infused with Blues, Pop, and guitar hero stylizations, he is an electrifying performer and business savvy artist in tune with today’s music industry. “Marty Manous is one to watch for on the scene. One of the next ‘young lions’ hungry to make his mark on the guitar world.” –Chris Duarte
Currently, Marty performs over 120 dates every year and will release his second album, “Know My Name,” in October 2016 followed by a spring/winter tour promoting the album release. After the release of his all-original 2015 album on Lucky Street Music Records titled "Transcendence," Marty has gained popularity and critical acclaim from the media and fans alike around the world. Receiving radio airplay on mainstream stations, college stations in all 50 states, international airplay in Europe (most notably on the syndicated London show, “The Blues Hour With Martin Clark”), "Transcendence" made it to the top 5 albums on the Independent Album Charts and stayed in the top 10 for 6 months. Marty was voted one of the top three of more than 450 bands for the 2015 Hard Rock Rising Contest in Atlanta, Georgia and performed in the finals to a crowd of predominantly Marty Manous fans at the Velvet Underground with all original music.
Growth as an artist is extremely important to Marty, and his love for all types of music helps him achieve this. “Music is the result of the soul trying to express feelings greater than words.” – Marty Manous. It also helps him meet the fans who are an inspiration and who help make the live experience of Marty Manous a truly extraordinary event. Marty manages to recreate the great concert experiences of the past- that uplifted people and brought joy to their lives- with not only his original music, but also with his ability to channel the emotion and intensity of celebrated guitar heroes.
Marty graduated with Honors from Atlanta Institute of Music. During his time at A.I.M., Marty studied with some amazing musicians/guitarists including Jimmy Herring, Carl Culpepper, Steve Cunningham, and Nite Driscol. Marty studied vocally at Jan Smith Studios in Atlanta, Georgia. The Marty Manous Band has opened and shared the stage with many top acts such as: Mothers Finest, George Lynch of the Band Dokken, The Fabulous Thunder Birds, Foghat, Todd Smallie of the Derek Trucks Band, Ricochet, The Answer from the U.K., and many other great national acts.

Know My Name

Ronnie Baker Brooks - Times Have Changed

Bitrate: 320K/s
Year: 2016
Time: 55:07
Size: 129,3 MB
Label: Provogue
Styles: Blues
Art: Front

Tracks Listing:
 1. Show Me (Feat. Steve Cropper) - 3:59
 2. Doing Too Much (Feat. 'Big Head' Todd Mohr) - 4:18
 3. Twine Time (Feat. Lonnie Brooks) - 4:15
 4. Times Have Changed (Feat. Al Kapone) - 5:18
 5. Long Story Short - 5:52
 6. Give Me Your Love (Love Song) (Feat. Angie Stone) - 8:04
 7. Give The Baby Anything The Baby Wants (Feat. 'Big Head' Todd Mohr & Eddie Willis) - 5:36
 8. Old Love (Feat. Bobby ‘Blue’ Bland) - 4:37
 9. Come On Up (Feat. Felix Cavaliere & Lee Roy Parnell) - 3:53
10. Wham Bam Thank You Sam - 4:07
11. When I Was We - 5:04

Ronnie Baker Brooks was born in Chicago, and started playing guitar around age six. At 19, he joined his father, Lonnie Brooks who by then had influenced some of the most well-known bluesman of our history: Jimmy Reed, the Fabulous Thunderbirds, Johnny Winter, and Junior Wells. For 12 years the two would tour together, putting Ronnie out front with Eric Clapton, B.B. King, Buddy Guy, and Koko Taylor.
Times Have Changed, Brooks' first album in ten years, carries with it the weight of grown perspective and time spent perfecting old material. Brooks worked it with Steve Jordan, whose work runs from Keith Richards to Stevie Wonder, John Mayer and Eric Clapton.
The whole album came together over the course of a few weeks at Royal Studios in Memphis, the home of Al Green, Syl Johnson and Bobby "Blue" Bland. Jordan and Brooks brought in a mint press of Memphis music royalty: Stax Records staple Steve Cropper (Booker T. & the M.G.'s, Otis Redding, Sam & Dave), Archie Turner (Al Green, Syl Johnson, O.V. Wright), jazz saxophonist Lannie McMillan, and R&B icon Angie Stone. For several tracks, Brooks also enlisted members of the legendary Hi Rhythm Section, which served as the house band for hit soul albums by artists like Al Green and Ann Peebles.

Times Have Changed

The Lachy Doley Group - Lovelight

Bitrate: 320K/s
Year: 2017
Time: 38:22
Size: 90,4 MB
Label: ATS
Styles: Blues/Blues Soul
Art: Front

Tracks Listing:
 1. We're Free - 4:20
 2. Love Come Around - 4:01
 3. Lovelight - 3:45
 4. Ain't No Love In The Heart Of The City - 4:50
 5. Only Cure For The Blues Is The Blues - 4:52
 6. Get It While You Can (Feat. Zkye Blue) - 4:29
 7. Who Was I Foolin (Feat. Jimmy Barnes & Nathan Cavaleri) - 4:35
 8. The Killer - 4:03
 9. Stop Listening To The Blues (Live At Blues On Broadbeach 2016) - 3:23

Lachy Doley is Australia’s most celebrated Blues Soul Rock Organ Player. He’s been dubbed the Jimi Hendrix of the Hammond Organ, a player who can pump, pamper and occasionally pound the most unbelievable sounds from a keyboard: sounds that are intense, ferocious and sometimes transcendent.
At 1.6 MILLION views, Lachy’s version of USE ME is just one of his viral videos setting the world on fire.
Lachy Doley has seen much of the world, recording and touring with acts as diverse as Powderfinger, Glenn Hughes, Steve Vai, Jimmy Barnes, The Beautiful Girls – more recently recording on a new album of Joe Bonamassa’s which came out in early 2015. It was 2010 though, that saw the birth of THE LACHY DOLEY GROUP and they have been heavily recording and touring ever since.
The group’s last album CONVICTION has taken Doley onto the world stage reaching #5 on the UK Blues Broadcasters Charts, #1 on the Australian iTunes Blues Charts and #1 on the Australian Blues & Roots Airplay Charts. Along with the group’s 2 performances at the legendary BB Kings in Memphis in January, Doley has cemented himself as a world renowned Blues and Soul Artist
The Lachy Doley Group are a unique sound in the classic and sometimes very traditional genre of the Blues. A power trio consisting of Bass, Drums and of course Doley firing on the Hammond, his vocal screaming from the heart and the incredibly rare Hohner D6 Whammy Clavinet in which most people double take on when they realise that sound isn’t an electric guitar but a 70 stringed keyboard with a huge Whammy Bar sticking out the guts of it.
The Lachy Doley Group have played over 200 shows and festivals around Australia since the first release in 2011 including Queenscliff Music Festival, Mojo Burning Festival, Rock In The Vines Festival, PEAK Perisher Festival, Echuca Blues, Noosa Jazz, Mitchel Creek Rock&Blues and were the stand out hit at the Gold Coast’s Blues On Broadbeach Festival for the last 3 years running.

Lovelight

Thalassa - Suffer and Misery

Bitrate: 320K/s
Year: 1982
Time: 41:19
Size: 94,8 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Suffer and Misery - 3:53
 2. Give Me an Answer - 3:25
 3. All Is Night - 3:20
 4. Devil's Crime - 5:15
 5. The Mermaid Song - 2:56
 6. Far From Me - 4:17
 7. The Portrait - 4:08
 8. Let Me Go - 5:47
 9. Disillusion - 8:13

Musicians:
Nino Martinez - guitars, vocals
Thierry Nicolai - bass, pedals, vocals
Michel Dasque - keyboards, vocals
Philippe Darrier - drums, percussion

French quartet THALASSA was one of the numerous bands that came and went without too many people really taking notice. The foursome, consisting of Philippe Darrier (drums, percussion), Nino Martinez (guitars, vocals), Thierry Nicolai (bass, pedals, vocals) and Michel Dasque (keyboards, vocals) surfaced with their one and only album Suffer and Misery in 1982 and then disappeared without leaving too many traces of their history behind.

Suffer and Misery

Mike Oldfield - Return To Ommadawn

Bitrate: 320K/s
Year: 2017
Time: 42:08
Size: 96,7 MB
Label: Virgin EMI
Styles:Progressive Rock
Art: Front

Tracks Listing:
 1. Return to Ommadawn, Part one - 21:10
 2. Return to Ommadawn, Part two - 20:57

Return to Ommadawn is the twenty-sixth studio album by Mike Oldfield. It is a sequel to his third album, Ommadawn (1975). The album was released on 20 January 2017 on CD, CD/DVD, LP and as a digital download. The CD/DVD set contains a 5.1 surround sound mix of the album. On 16 October 2015, Oldfield stated on Twitter, "I am continuing to work on ideas for "A New Ommadawn" for the last week or so to see if [...] the idea actually works." On 8 May 2016, Oldfield stated on his Facebook group page that the new Ommadawn project with the tentative title of Return to Ommadawn is finished, and he is awaiting a release date from the record company.
On 7 December 2016, Oldfield revealed in a Facebook post that the release date was to be 20 January 2017. A 30-second preview was included in this Facebook post, and a 3-minute "radio exclusive single version" was played on BBC Radio 2.
Return to Ommadawn is the first album since Incantations (1978) that follows the format of having one track per side of vinyl simply titled "Part one", "Part two" etc.

Return To Ommadawn

Jace Pawlak - Promise

Bitrate: 320K/s
Year: 2016
Time: 42:10
Size: 105,4 MB
Label: Kivel Record
Styles: Rock/AOR
Art: Front

Tracks Listing:
 1. Tonight Is Everything - 4:42
 2. Before You Run - 4:02
 3. Every Now and Then - 4:13
 4. Too Late - 3:34
 5. Trying Not to Love You - 4:53
 6. Waiting - 3:40
 7. Leap of Faith - 3:36
 8. Late on Loving You - 4:09
 9. Can't Find Your Heart - 3:54
10. Nothing but Rain - 5:22

Well respected and popular singer/songwriter Jace Pawlak has been busier making other artists sound great in recent times, giving his solo name a back seat. But with promise, Jace roars back to life and puts his name into the forefront of people’ minds and dare I say, onto some ‘Best MelodicRock album’ lists for 2016.
Making Promise a family affair, Jace performs vocals, keyboards, bass and drums as well as enlisting Dad Dennis as well as little brother Trevor for some additional guitar parts. Mr. Busy, Eric Ragno joins in the fun on a couple of tracks. This is a stellar album it has to be said. Ty Sims co-produces and mixes the album, which is why it sounds so good and the songs are nothing short of melodic ear candy. Jace’s vocals are spot on – his higher register tone may not appeal to all, but anyone that owns and appreciates Rob Moratti/Final Frontier or Rockarma/Damon Kelly should have no problem with Jace. Plus you’ve got the bonus of 10 catchy classic melodic rock / AOR style songs to grab hold of. Highlights are many – there’s no fillers here. But to showcase a few of the songs – the opening anthem Tonight Is Everything rules; the moody Can’t Find Your Heart is one of the bet mid-tempo melodic songs of the year; the Foreigner-esque ballad Nothing But Rain is haunting; Before You Run has one of the bigger choruses this year and Every Now And Then is a stand out ballad.
Great production, pure 80s AOR with a modern production and some truly memorable classic style songs that should impress most fans of the genre in its purest and most loved form.
Don’t make this album an only child Jace!

Promise

Blue Room - Great to be Alive

Bitrate: 320K/s
Year: 2000
Time: 50:08
Size: 115,0 MB
Label: Self Released
Styles: Blues/ Rockin' Blues
Art: Front

Tracks Listing:
 1. Red Beans and Rice - 3:14
 2. Next Exit - 3:25
 3. Blues in the City (Big City Blues) - 3:31
 4. Sometimes - 4:34
 5. Moanin' Mama - 2:59
 6. Get Outta the House - 2:42
 7. Fall Down, Get Up - 3:07
 8. Womanly Man - 3:15
 9. Spare Change - 4:10
10. Deeper Into the Blues - 3:04
11. When the Money Runs Dry - 4:38
12. Wake Up Cryin' - 3:34
13. Who's On The Telephone ? (Telephone) - 3:46
14. Southbound Road - 4:03

The group's sound is bluesy but stretches well beyond the 12-bar blues format to include R&B, jazz, rock, pop, country and jump blues influences
Toronto-based BLUE ROOM evolved out of a recording project which began in 1996 and resulted in a debut CD release, "INTO THE NIGHT", in 1998.
The core musicians of BLUE ROOM are veteran live and studio players featuring: Brian Neller's big, bluesy, passionate vocals; Fraser Lawrason's solid bass lines and backing vocals; Paul Sanderson's soaring blues rock guitar; Norm Ryan's fluid and inspired saxophone; Frank Watt and Pat Quinn's seasoned drum grooves.
Since 1997, the band has played many well received live dates in the Toronto club scene and has had the privilege of sharing the bill with acoustic blues virtuoso and musical legend, John Hammond, at the Legendary Horseshoe Tavern in August, 1998 as part of the JVC Jazz Festival. BLUE ROOM was a finalist in the 1997 Toronto Blues Society Talent Search, runner-up in 1998 and second runner-up again this year!
"INTO THE NIGHT" garnered air play on over 40 radio stations in Canada, including CBC, Q107, CJRT, hit top 20 CHR radio on Radio Kaleidoscope in Grenoble, France and received a 5 star rating (the highest) on Radio Halo in Holland.
BLUE ROOM'S recordings are available at retail through Indie Pool and all better record stores, including Sam The Record Man and HMV in Canada and over the Internet at www.indiepool.com/blueroom and CD Baby at www.cdbaby.com/blueroom.

Great to be Alive

Mute Albino - Flies On Oranges

Bitrate: 320K/s
Year: 2009
Time: 37:33
Size: 86,0 MB
Label: Self Released
Styles: Progressive rock/Neo prog
Art: Front

Tracks Listing:
 1. Welcome To My Head - 2:50
 2. The Waiting Room - 1:52
 3. Paris In Veil - 4:34
 4. Elsie's Philosophy - 5:53
 5. Proxy Nails - 2:52
 6. Therapeutic Depression - 3:57
 7. Flies On Oranges - 3:37
 8. The Mole's Vision - 3:43
 9. Zetafreuh - 2:34
10. Omerta! - 2:28
11. Simmetria Francese - 3:10

Dreamy, well-crafted Art Rock with strong visual quality. Flies On Oranges is an instrumental adventure for your senses. Perceive the music!
Mute Albino is the moniker chosen by Belgian musician and composer Stip Vanstiphout for his musical escapades. In the summer of 2009 he released his debut effort Flies on Oranges, a venture made up of songs constructed over the last three decades. What's served on the 11 tracks that make up this first effort are guitar-based and -dominated composition; featuring multiple layers of guitar patterns of various expressions, blended with melodic bass passages, slightly jazz-tinged programmed rhythms and toned down, subtle keyboard and synth layers in the back of the mix.
Fluent and melodic, yet also containing subtle dissonant elements, the tunes have just about the right amount of tension to stay intriguing. And despite the apparent light and melodic touch dominating these excursions, darker mostly underlying patterns sees to it that this effort isn't one to be regarded as an easy listening experience - even if the challenging aspects of the album is subtle and hidden rather than up front/

Flies On Oranges