Higher Circles - Ritual One

Bitrate: 320K/s
Year: 2001
Time: 51:20
Size: 117,7 MB
Label: STM
Styles: Progressive Rock/Neo prog
Art: Front

Tracks Listing:
 1. Premonition - 1:12
 2. Introvert - 1:58
 3. Some Empty Heaven - 6:44
 4. Blur - 5:26
 5. Second Thought - 6:38
 6. Eleven Seconds - 5:21
 7. Abstrusus - 4:19
 8. A Really Weird Rest - 3:20
 9. Patch - 1:05
10. Stigmata - 6:09
11. Samurai With A Gun - 6:51
12. Beyond - 2:11

Musicians:
Norman Windrose - guitars, vocals;
Steve Moore - guitars, keyboards, bass, vocals;
Ken Geer - drums and percussion.

They say you can't judge a book by its cover ? and that's pretty much true. You may get a fabulous book cover, but a shoddy book; and you may have a crappy cover and a masterpiece behind it. With that in mind, I was expecting something quite different on Higher Circles' Ritual One. I was expecting something with some old world elements, maybe something that had hints of Italian prog or something, though I knew the band were from California.
What is behind the cover here is something that very much resembles what might have happened if Pendragon and IQ collaborated on an album together, with a dash of early Marillion and Rush thrown in. The dominant ingredient I hear is Pendragon, though the band are big fans of Rush. Now, you'd think I'd be salivating at that prospect, being a fan of that style of music (among others). But, I'm afraid I'm not. And what holds me back from speaking about this album with exuberant tones are the thin and reedy vocals of Norman Windrose (who also plays guitar). I think the effect he might have been trying for was slightly ethereal, but it just doesn't work for me. They're just too dry, too raspy. As if Nick Barrett had laryngitis while recording this ? maybe Windrose did. And I guess it'd be okay, but I find him just a little off key (at least, some notes make me wince). The other two members of the trio are Steve Moore on guitar, keyboards, bass and vocals, and Ken Geer on drums and percussion.
Musically there are some interesting textures. The album opens quite dramatically, though subtlety, with "Premonition," moves to the beefier "Introvert," which features some organ like keys, heavy, Rush like guitar work, and heavy percussion (which later takes on a few Pink Floyd-like tones). Everything is fine, a mix of hard prog and "neo-prog" until um ? Norman begins singing in "Some Empty Heaven." It's the tone not the style? there are just some who do this loud whisper much better (Hogarth, for example). But, I like what he's trying to accomplish here. He sounds best when he gets a little aggressive during "Abstrusus," itself an aggressive track ? within this genre. Don't expect a metal aggressiveness. Hmm ? more like "Fugazi" (though given that Steve Moore provides additional or backing vocals?maybe it's not Windrose). This Fishiness returns with "Patch" (think the whispered section of "Script For A Jester's Tear").
Ah, but the music. I love this musically. There is an all too brief solo early in the track "Blur" that is simply lovely. You will hear more Floyd echoes (no pun intended) here, however brief 00 think "Shine On You Crazy Diamond". And guitar chimes nicely on the intro to "Second Thought." Structurally, this is not unlike early Spock's Beard. In fact, this something that could have been on The Light. (Aside from Windrose vocals, not to keep harping on it). The instrumental "A Really Weird Rest" with some slightly parpy keys thrown in and a sort Celtic rock/Tempest feel about it without being overly Celtic in nature. Floyd comes back for the dark and often bombastic "Stigmata" (The Wall period). You'll hear the Rush influence in this piece too during the long instrumental section ("Jacob's Ladder") of "Samurai With A Gun." (which ends a bit like "Hey You" (echo the last word through fade?) The album ends with the haunting, ethereal instrumental "Beyond."
The artwork of the sleeve, since I started out talking about the cover (sort of), is quite nice. There's a moody darkness to it, especially with the ghostly body on the cover. But the text is nigh inscrutable, the fanciful font is far too fanciful.
Truthfully, Higher Circles rely quite a bit on mixing in existing textures from the bands they emulate, consciously or unconsciously. That isn't necessarily a bad thing, especially for a debut, but it does defy the term "progressive." While I feel like I'm being cruel when I say something like this, they would do good to find a dedicated vocalist for their next album and let Windrose concentrate on guitar and lyrics. There's a great deal of potential in this trio, as evidenced by the music but they loose half a point with me because? well, you know?

Ritual One

The Werks - Inside a Dream

Bitrate: 320K/s
Year: 2015
Time: 66:17
Size: 152,6 MB
Label: Self Released
Styles: Rock/Instrumental Rock
Art: Front

Tracks Listing:
 1. The Answer - 5:59
 2. Drop - 5:21
 3. Opus 66 - 6:05
 4. For You - 6:09
 5. Give or Take - 3:13
 6. Find Your Way - 8:22
 7. Inside a Dream - 6:41
 8. Alive - 7:19
 9. Not Alone - 6:51
10. Transformational - 5:34
11. Waiting Room - 4:37

High-energy, improvisational rock group, The Werks, take you on a musical journey through the heart of a dream.
With their 4th studio album, Inside a Dream, set to be released on November 20th, genre benders The Werks take listeners on a track-by-track musical voyage through the heart of a dream; into their own hopes, fears, and aspirations. The seasoned jam-centric quartet brings a sonically superior mix of otherworldly explorations and revelatory lyrics to this artistic and mature musical statement. The journey begins with a quest for “The Answer” to life’s most tantalizing questions. To decide 'what is right' requires introspection, expressed through passionate lyricism and emotional guitar work.  After this dive inward, the group brings the funk with the auspicious track “Drop”. Light, bright, and full of bumping bass, “Drop” is brimming with the endless possibilities of what lays ahead. Free feelings of fantasy turn more frantic and fearful through the tension and release of “Opus 66”; a modern progressive retake of a Chopin classical piano piece.  Then the warming scene of acoustic piano and B3 organs back the enthusiastic track “For You”, a spirited ode to those who move us most in life. “Give or Take” is the album’s surprise – lessons of life unfold over a poignant and spacious backdrop, unexpected from a band that jams.  There’s a polished simplicity here, and crossover appeal suitable for today’s most ardent indie music fans.  The urgent-sounding prog-rocker “Find Your Way” pleas that the listener follow their dreams along the individual path that only they can chart and walk.
As the title track suggests, there’s no time like the present to look “Inside A Dream” at one’s own ambitions and act on them before it's too late. The importance of this realization is expressed on this total group effort featuring funky interplay between the whole band, including harmonious vocals, edgy synths and guitar licks that radiate the soul with the pure classic rock styling you might find on a Sting album.

Inside a Dream

The Werks - Mr. Smalls Sessions

Bitrate: 320K/s
Year: 2014
Time: 39:46
Size: 91,6 MB
Label: Self Released
Styles: Rock/Jam Band
Art: Front

Tracks Listing:
1.Better Than Before - 4:18
2.Fall - 7:35
3.Music - 5:35
4.Looking For The Light - 6:17
5.Carry Me Back Home - 4:52
6.Moetry In Potion - 7:27
7.Fat Man - 3:40

Jam band giants and all around “nice guys,” The Werks, who also sometimes go by “The Ohio All-Stars” recently released a much-anticipated album called “Mr. Smalls Sessions,” consisting of previously unreleased music that many of us fans have come to know and love along our journeys to their live shows. Each Fall and Spring we hop on the bus and go on Werks tour, and this past Spring we got to visit Mr. Smalls Theatre for the first time.  The unique venue is a remodeled church tucked away in downtown Millvale, PA, and brings music fans from far and wide.  The band recorded their new album inside these intimate walls, and the album feels just as private and cozy as the venue. The album starts with “Better Than Before,” a song where Rob Chafin’s vocals really sound better than ever before. He sounds incredibly comfortable with his vocal talent, and the inspiring lyrics are delivered flawlessly without strain.  Beginning with the unmistakable stroke of Chris Houser’s guitar (with a southern rawness that reminds me of “Going South”), and the perfectly timed tinkle of the keyboard, we recognize immediately that The Werks are about to whisk us away.  The funky “Fall” let’s Dino’s bass-picking skills shine, as well as some pounding of organ style keys by Dan Shaw.  The chorus, however, is what makes me feel like spinning in circles, as Chris Houser’s bouncing guitar riff plays over the lyrics “When I see you faallll…” The third track is the smoky, sexy, “Music” that has more of a slow, soulful feel.  A long keyboard solo enhances the feeling that you are dim-lit lounge snapping your fingers. They never let us forget that they are a jam band first and foremost though, and make sure to include lots of fanciful guitar work.  “Looking for the Light” begins with space-y noises and simple harmonies, then breaks down into a heavy bass line that you can’t help but bend your knees and “get down” to.
It is difficult for me to describe the next song on the album without being incredibly biased, but I believe that “Carry Me Back Home” touches the heart of whoever opens their ears to listen.  The slower tempo song sings of chasing your dreams, living on the road, and missing home…a truly personal song for the members of the band.  This personal emotion carries throughout the song and is heard with every stroke of the guitar, beat of the drum, and tremble in the voice.  It is one of the reasons that The Werks have amassed such a loyal fan base, because they are genuine and sincere in all actions, and truly relatable on an individual level. After drying my eyes from the last track, Chris Houser brings us back to life with a very catchy guitar riff backed by some jubilant keyboard work by Dan.  The song “Moetry in Potion” certainly puts some shimmy in your shoulders while also taking some time to just happily jam out.  Ending with “Fat Man,” a melt-your-face jam fest featuring some incredible drumming from Rob, I am left feeling the same way I would at the end of The Werk’s show: adjusting my wildly messy hair, straightening my skirt, and shaking my fist in the air for an encore. Just like the last album from The Werks, it is a rare CD that I can keep going on repeat and listen to all the way through.  It won’t take me long to memorize all of the words and be there in the front row singing along.  With the amazing instrumental skill set that all members hold, along with poignant lyrics and a whole lot of heart, The Werks will continue to captivate.  As they say in “Carry Me Back Home”: “It’s the songs we sing and the love you bring that are gonna set me free.”

Mr. Smalls Sessions

The Werks - Synapse

Bitrate: 320K/s
Year: 2009
Time: 51:36
Size: 118,3 MB
Label: Self Released
Styles: Rock/Jam-band
Art: Front

Tracks Listing:
1.Headin' South -  7:59
2.For Today -  4:54
3.Sane -  6:23
4.Plain White Toast -  4:40
5.Unfinished Business -  4:20
6.Gameplan - 10:58
7.Chandra/Find Another Way - 12:19

Improvisational rock with a progressive fusion of many different styles which creates a unique, powerful sound.
The Werks is a rock and roll act that uses a unique blend of many musical styles and influences to produce a distinct and powerful sound that audiences crave. The Werks' original songs explore genres such as rock, funk, electronica, soul, bluegrass, jazz, Afro-Cuban, Celtic, R&B and dance.
The chemistry between band members has been the key in The Werks' success. Each member has harnessed his own individual groove with influences as eclectic as their music; some common influences include Led Zeppelin, Eric Clapton, The Allman Brothers, Phish, Jimi Hendrix, Rush, The Beatles, Red Hot Chili Peppers, Pink Floyd, Umphrey's McGee and The Grateful Dead.

Synapse

Chris Robinson Brotherhood - Barefoot In The Head

Bitrate: 320K/s
Year: 2017
Time: 45:08
Size: 104,1 MB
Label: Silver Arrow Records
Styles: Rock/Indie Rock/Jam Band
Art: Front

Tracks Listing:
1. Behold the Seer - 4:22
2. She Shares My Blanket - 4:24
3. Hark, the Herald Hermit Speaks - 4:47
4. Blonde Light of Morning - 4:03
5. Dog Eat Sun - 3:06
6. Blue Star Woman - 4:59
7. High Is Not the Top - 3:49
8. If You Had a Heart to Break - 5:51
9. Glow - 4:50
10. Good to Know - 4:53

“I used to say what we do is ‘hippie baroque,'” says Chris Robinson about the music he makes with the Chris Robinson Brotherhood – a stew of rock, blues, country, funk and soul sounds topped with a healthy smattering of spacey psychedelia and wrapped in a jam-band aesthetic. “Because we want something that’s expressive and sensual and beautiful. It’s like a garment that feels really comfortable, but it has all these, like, magic symbols on it.” He pauses. “That maybe other people can’t even see …”
These days that magic-symbol-adorned garment, as it were, is getting plenty of wear. Since the Black Crowes played their final show in 2013 (they split for good, under acrimonious circumstances, in 2015), Robinson and his band, which includes guitarist Neal Casal, latter-day Crowes keyboardist Adam MacDougall, bassist Jeff Hill and drummer Tony Leone, have been operating in overdrive, averaging upwards of 100 live dates a year and releasing two new CRB studio efforts – Any Way You Love, We Know How You Feel and the EP If You Lived Here, You Would Be Home By Now – in 2016 alone. They’ve just finished up another full-length, their fifth, titled Barefoot in the Head, due July 21st via Silver Arrow Records. Today, Rolling Stone is premiering the video for the album’s leadoff track, “Behold the Seer,” a jaunty funk & roll number accented by Casal’s quicksilver guitar licks and MacDougall’s burbling electric piano work. Robinson’s words, meanwhile, offer up something of a musical, if not a lifestyle, mantra: “If you want to keep your engine humming,” he intones, “keep your eyes wide ahead and don’t look back.”  – Rolling Stone

Barefoot In the Head

Blueass Blues Band - Hooked on You

Bitrate: 320K/s
Year: 1996
Time: 40:46
Size: 94,5 MB
Label: SR
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Two Sides of the Story - 3:07
 2. You Really Knock Me Out - 3:51
 3. Caldonia - 3:17
 4. Waitin' For My Baby - 4:19
 5. Voodoo Girl - 3:26
 6. She Belongs to Me - 4:24
 7. Ain't No Sunshine - 2:54
 8. Ready no Shake - 3:30
 9. Automatic - 3:37
10. Hooked on You - 4:33
11. Give Me Back My Wig - 3:42

Musicians:
Ralph "R&B" Broqvist - Guitar and vocals
Peter "PG" Gustavsson - Guitar and vocals
Morgan Jansson - Bass and vocals
Tor Jamt - Guitar and vocals
Per Hero - Drums and vocals

Blueass Blues Band began in 1981 with three musicians and a shared love of blues music. Thirty years later – the band has gone through a few changes but two original members are still here and above all - their love of music still remains true.
From the beginning they were a hard working trio who performed original material and clever covers all in a shake-up of Chicago style blues, rock n’ roll with a twist of Texas-boogie. Soon they became a popular band at local clubs and parties. Soon the band was ready to spread their wings and focus on what they wanted to accomplish with their music – and it didn’t take long. In 1993 they played their first Blues festival – Amal Blues Festival – which was followed by requests from all the top blues and music festivals in Norway and Sweden. They released their first full-length record Blueass: “Breakin’ Through” (1996) on the independent Soundtronix label. In 1995 Soul-legend Arthur Conley heard the Band and signed them to his Holland Label Sweat Records for their second release “Hooked on you” (1996.) The band was now fast becoming one of the hottest names on the Scandinavian Blues circuit. Blaze Records signed them and released the bands third and fourth recordings “That Rockin’ Rhythm & Blues” (1999) and “Crossing” (2001). Both under the Blueass name. These releases found their way out of Scandinavia and into the hands of European and American radio DJ’s and Music Critics. The response was enormous. They loved the music…They loved Blueass!
(http://www.smokestacklightnin.com/Bios/Blueass%20Blues%20Band.html)

Hooked on You

Joakim Tinderholt and His Band - Hold On

Bitrate: 320K/s
Year: 2017
Time: 30:02
Size: 69,0 MB
Label: Rhythm Bomb Records
Styles: Blues/Rhythm and Blues
Art: Front

Tracks Listing:
 1. Trouble up the Road - 3:12
 2. Anything Is Better Than Nothin - 2:49
 3. Jungle Bo - 2:38
 4. Farmer John - 2:40
 5. What About Love - 3:00
 6. Hold on to Love - 2:02
 7. Sweet Baby of Mine - 2:52
 8. Number 9 Train - 3:05
 9. Poor Side of Town - 4:30
10. Quit - 3:09

Joakim Tinderholts second album ”Hold On” is available on CD, LP and download (iTunes etc). Released on Big H Records (Norway) and Rhythm Bomb Records (International) in Summer/Fall 2017.
Almost three years after the release of their debut album Joakim Tinderholt & his band are finally ready with the follow-up. Since signing with German record label Rhythm Bomb Records, in 2015, the band has made it to big festival stages across Europe. Most notably Screamin? Festival (Spain), Rhythm Riot (UK) and Moulin Blues Festival (Netherlands).
The new record is based on the same recipe as the first; a good mix of new original tunes and favorites from the live set. This time Joakim has penned two songs by himself and co-written another two with guitarist Hoeye and bassplayer Troiani. The covers are gems from the catalogues of Ike Turner, Freddie King and country singer Johnny Rivers, among others.

Hold On

Jimmy Davis - Songs for Mr. Bradford

Bitrate: 320K/s
Year: 2017
Time: 29:24
Size: 67,5 MB
Label: 647452 Records DK
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
1. Ain't Got Much - 3:26
2. The Crawl - 3:50
3. Don't Ask Me - 2:50
4. Oh Lyin Eyes - 5:01
5. Next to Throw the Fight - 2:14
6. Pistol Hand Blues - 3:07
7. Had a Friend - 3:58
8. Same Ole Song - 2:23
9. Long Gone - 2:30

To date this is the first album that I have been totally happy with and the songs came so easy. I am really excited about this album and hope you enjoy. ~ Jimmy Davis

Songs for Mr. Bradford

J. Howard Duff - The Blues & Back

Bitrate: 320K/s
Year: 2017
Time: 60:44
Size: 139,4 MB
Label: Nice Jacket
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. I'm Crying - 3:57
 2. J Coming Home - 3:12
 3. Who's Been Talkin' - 2:37
 4. Gin House Blues - 5:24
 5. I Can't Be Satisfied - 3:13
 6. Mona (I Need You Baby) - 3:38
 7. I Can't Get Next To You - 3:04
 8. Yostie's Revenge - 1:27
 9. Confessing the Blues - 3:31
10. Nadine - 3:30
11. I Can't Keep From Crying - 3:59
12. Homework - 2:50
13. That's How Strong My Love Is - 3:05
14. 40 Days And 40 Nights - 3:13
15. Lonely Avenue - 3:12
16. Amen - 2:24
17. How Blue Can You Get - 4:24
18. Blues No More - 3:57

In your face stripped-down guitar based blues with gritty vocals and a "live" feel/ I was inspired to make this record when, for my new website, I had the occasion to list all of the bands & musicians I have been associated with during my career.
After re-connecting with a number of them, I was struck with the number of great songs those various bands had performed, but that had been lost in the annals if time.
So...here are some of those songs, along with some other songs I have always wanted to record.
This record is a tribute to all of those previously referenced musicians, the dreams we all had, & the camaraderie that we shared.
Moreover, I wanted to leave this recording as a legacy for my three kids. ...This is the blues, my children. It is the music that your Dad loves to play and sing.

The Blues & Back

Bo Ramsey - Down to Bastrop

Bitrate: 320K/s
Year: 1992
Time: 40:03
Size: 93,1 MB
Label: Trailer Records
Styles: Country Blues
Art: Front

Tracks Listing:
 1. I Never Said - 3:53
 2. Long Long Time - 3:24
 3. Stranger Blues Again - 3:34
 4. Down to Bastrop - 6:57
 5. The Big Note - 3:29
 6. Back No More - 4:35
 7. Jimmy Lee - 4:08
 8. Wounded Dog - 3:45
 9. 555 X 2 - 3:00
10. Blue Earth - 3:12

Musicians:
Bo Ramsey - Guitar & Vocals
Bill Watts - Guitar
Rick Cicalo - Bass
Radoslav Lorkovic - Keyboards
Patrick Hazell - Harmonica
Mike Fong - Conga & Percussion
Steve Hayes - Drums


Influenced by Sun Records rockabilly and the Chess label's blues stars of the 1950s, singer/songwriter Bo Ramsey honed his craft over the course of two decades spent performing in the farm and factory towns of his native Eastern Iowa, finally attracting widespread notice opening for Lucinda Williams on her 1994 solo acoustic tour. Ramsey also worked as a guitarist and co-producer for fellow Iowan Greg Brown before issuing his debut album In the Weeds, released on the Trailer label in 1997. ~ Jason Ankeny

Down to Bastrop

Necromandaus - Necromandus

Bitrate: 320K/s
Year: 2017
Time: 47:44
Size: 109,9 MB
Label: Self Released
Styles: Progressive Rock/Heavy prog
Art: Front

Tracks Listing:
 1. Don't Look Down Frank - 3:43
 2. Alauna - 3:23
 3. Limpet Man - 3:31
 4. Hymn To Her - 5:37
 5. I've Been Evil - 6:23
 6. Gargoyles Awake - 4:40
 7. Scream - 3:22
 8. Borderlands - 3:22
 9. The Warriors - 4:00
10. Hardknott - 4:58
11. And She Smiles - 4:40

The tale of Necromandus always deserved a happy ending. Circa 1972-73 this fast-rising Cumbrian quartet found themselves under the managerial wing of Black Sabbath’s Tony Iommi, recording a debut for the hip Vertigo imprint. Sadly, and suddenly, the band fell apart, and the Necromandus recordings remained lost and forgotten for 20 years. Rediscovered and bootlegged in the 1990s, by the time their ‘Orexis Of Death’ debut was officially reissued in 2010 three-quarters of the band - guitarist Barry Dunnery, vocalist Bill Branch and bassist Dennis McCarten - had died, leaving drummer Frank Hall as the sole surviving custodian of the band’s legacy. And Frank was determined that Necromandus should rise again. Soon after came what Frank calls “the epiphany”. Necromandus’ new keyboardist John Marcangelo - who played with Barry Dunnery in the mid-late 1970s - found rehearsal tapes of unfinished songs featuring Baz’s guitar, which they were able to incorporate into these new recordings. This posthumous collaboration is not the only instance of supernatural time-warping on this self-titled second Necromandus album: vocalist John Branch is the son of Bill, the band’s original singer. “When I heard his first take, it was just like his dad singing,” recalls Frank. “I started to well up, it was really emotional. One of those moments.” You can hear those ideas flowing throughout every minute of ‘Necromandus’. As with the elegant dynamics of the debut, this band’s ethos is still one of experimentation and versatility, with progressive hard rockers from the band’s earliest days like ‘I’ve Been Evil’, ‘Don’t Look Down Frank’ and ‘Limpert Man’ fitting seamlessly alongside extraordinary new full-band collaborations like ‘Hymn To Her’, ‘Alauna’ and ‘Hardknott’. 44 years after their thwarted heyday, Necromandus channel a compelling blend of ancient and modern energies, capturing the creative restlessness that made their early work so magical while adding vital new moods and textures. “I didn’t want to do a boring, straight-on rocking, punch-in-the-face-then-it’s-forgotten album. I want these songs to remain, to be remembered,” Frank emphasises. “I wanted to put so many colours in there. I’ve got a group of artists around me, a canvas in front of me and a big palette of colours, and I’m not gonna waste them.”

Necromandus

Miller and The Other Sinners - 3 Nights at The Strand- Live

Bitrate: 320K/s
Year: 2016
Time: 74:39
Size: 173,0 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Rise (Live) -  6:09
 2. Just Ride (Live) - 10:59
 3. Born to Lose (Live) -  4:33
 4. Carolina Bound (Live) -  6:14
 5. Diggin' on Bill (Live) - 11:02
 6. Friend of Mine (Live) -  6:02
 7. Movin' On (Live) -  8:59
 8. Day to Remember (Live) -  4:24
 9. Hope Finds a Way (Live) - 16:12

For 3 consecutive nights, Miller and The Other Sinners, a Western New York based, but nationally touring Southern Soul band, brought its blend of roots and soul music styles to the intimate Strand Theater in North Tonawanda, NY. All 3 shows were recorded and video taped live, and an album compiled of the best performances from each night entitled, "3 Nights At The Strand."
Miller and The Other Sinners is founded by Western New York native, David Michael Miler, also co-founder of the DHU Strand Theater. In 2014, David released his first solo album, Poisons Sipped, in collaboration with members of the world famous Campbel Brothers, meaning it to be a local/regional release. This 12 song original record ended up getting international attention and made its way into the top 25 Blues Rock albums of 2014. His sophomore solo album, Same Soil, climbed as high as #3 on the Roots Music Report, making it the #3 top blues album played worldwide on radio with two songs making the top 50.
David has received worldwide press as well as numerous awards including the 2015 “Artist of The Year” by the Arts Services Institute of Western New York, Best Blues Male Vocalist by Night Life Magazine (2013, 2014 and 2015) and has shared the stage with artists such as Gary Clark, Jr., Jonny Lang, The Steve Miller Band, Tedeschi Trucks Band, Shemekia Copeland, James Cotton, the late Bobby Blue Bland, and many more.
From September 2015 through October 2016, David toured a 4 piece version of his band back and forth across the country with over 200 shows across 16 states. David is accompanied on the road by former Buddy Guy sax player of nearly 10 years, Jay Moynihan, playing both tenor and alto sax, guitar and EWI. Buffalo drummer, Deshawn D Ray Jackson has been holding down drums and percussion and recently, Niagara Falls bass player, keyboardist and producer Donta Myles, has joined the Sinners, filling out the touring band.
Due to a demand for a live recording, David saw an opportunity to do a series of intimate shows at the private DHU Strand Theater and rehearsal space. During "3 Nights At The Strand", each night the audience experienced the 3 types of shows that David performs. On this album and subsequent bones trucks, you will hear several songs performed acoustically, you will experience songs done by the touring band that is paving the way for the larger festival/show band, and you will experience that festival/show band as well.

3 Nights at the Strand - Live

Captain Morgan Express - Fistful of Dirt

Bitrate: 320K/s
Year: 2017
Time: 48:10
Size: 110,5 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Steady Drivin' Man - 4:19
 2. Leaving Trunk - 4:48
 3. Mellow Down Easy - 4:31
 4. Ridin' in the Moonlight - 4:27
 5. Catfish Blues - 4:07
 6. Wait 0n Time - 3:15
 7. How in the Devil - 2:41
 8. Tried to Call You - 3:35
 9. Don't Turn Me In - 4:48
10. Dirty Work - 3:33
11. Out of Sight - 3:27
12. Call My Job - 4:33

Fistful of Dirt is de titel van het kersverse album van Captain Morgan Express. Het album bevat twaalf nummers, variërend van swingende shuffles en opzwepende Bo Diddley beats tot rauwe blues a la The Red Devils. IJland Studio, bekend van o.a. Cuban Heels en T99, tekende voor de mix en mastering. Onlangs serveerde Captain Morgan Express al een voorproefje door de lancering van Catfish Blues (inclusief YouTube-clip) en Tried to Call You.
Fistful of Dirt is het tweede album sinds het ontstaan van Captain Morgan Express. "Gelijk nadat we in 2014 de EP Urban Cowboy hadden uitgebracht, stonden we op het Texel Blues Festival. Dat was een fantastisch start," vertelt zanger/bluesharpist Johnny 'Boy' Brouwer enthousiast. Na Texel Blues speelde Captain Morgan Express op vele bluesroutes en –festivals in Nederland en onlangs trakteerde de band onze zuiderburen op een optreden in Antwerpen. "Iets nieuws opnemen kwam er gewoon niet van. We zijn afgelopen jaren druk geweest met repeteren en optreden. Het goede nieuws is dat we op basis van de reacties van het publiek bij optredens, wel makkelijk tot een selectie van onze beste nummers zijn gekomen."
Om het originele, ongepolijste bandgeluid natuurgetrouw op de plaat te krijgen, koos de Utrechtse bluesformatie er voor het album in de eigen oefenruimte op te nemen en bij de mix zo dicht mogelijk bij het live geluid te blijven. "De opname omstandigheden waren ideaal voor de blues," verklapt zanger/bluesharpist Johnny 'Boy' Brouwer, "een uit de hand gelopen feestje de avond ervoor gevolgd door een massieve kater en een paar oude vrienden die ongepland de oefenruimte binnen vielen. De sfeer tijdens de opnames was daardoor heel relaxed en we speelden met de juiste mix van ontspanning en bezetenheid. Je wilt je gasten toch even laten horen wat je in huis hebt. De up tempo nummers, zoals Mellow Down Easy en Catfish Blues, klinken daardoor lekker broeierig."
Captain Morgan Express speelt na de zomer o.a. op het Jazz in de Gracht Festival in Den Haag, Culemborg Blues The Night Before The Day After en Alkmaar Blues/

Fistful of Dirt

Ponderosa - Pool Party

Bitrate: 320K/s
Year: 2012
Time: 43:11
Size: 99,0 MB
Label: New West Records
Styles: Indie Rock/Alternative Rock/Roots Rock
Art: Front

Tracks Listing:
 1. Here I Am Born - 4:24
 2. Black Hill Smoke - 3:54
 3. Navajo - 3:37
 4. Never Come Back - 4:44
 5. Pool Party - 4:18
 6. Heather - 3:54
 7. The Nile - 5:14
 8. Get a Gun - 4:25
 9. On Your Time - 5:29
10. Cold Hearted Man - 3:08

The statement that Ponderosa’s second album, Pool Party, sounds nothing like their debut record is neither immediately encouraging nor disheartening. The title of the Atlanta band’s debut, Moonlight Revival, gives a good sense of the sound: a late night attempt to grasp onto alt-country cliche, to drive down country roads with a new girl by your side, to get chased by the devil and stay on the run with your baby.
Unfortunately, Pool Party’s title is also indicative of its sound: Ponderosa decided to depart from their debut style by tackling an entirely different genre– and a new bundle of cliches. This time around, ethereal indie surf-pop is the band’s weapon of choice, a choice that can’t help but feel calculated, and the result is a record that adds little to subvert, challenge, or reconstruct anew the type of music it has, for whatever reason, adopted.
Pool Party surely owes a whole lot to Fleet Foxes and Beach House on Pool Party, which finds singer Kalen Nash hiding behind and playing around double-tracked vocals and a whole lot of heavy reverb. Pool Party’s best moments, though, owe more to the loud, wide ambitions of bands like My Morning Jacket and Kings of Leon. “Navajo”, the lead single, has just the right combination of reverb and bombast, especially when the song hits its stride in the chorus. It’s not hard to imagine the song being played on mainstream radio. That’s hardly meant as negative: “Navajo” has the hook and dynamics that the several plodding mid-tempo tracks (“Black Hill Smoke”, “The Nile”) so badly lack.
Pool Party feels like an album trying to succeed. That’s always a recipe for failure, so it’s some small irony that the album’s high point (“Navajo”) is the band trying its hardest. Maybe it’s the haphazardness of some of the writing on the rest of the record (“We almost wrote the whole thing in the studio,” Nash has boasted in interviews), or maybe it’s just that the talented young band is toying with so many influences that none end up feeling totally on point, but Pool Party feels just a little late to its own dreamy soiree.

Pool Party

Jupiter James - Called As Paul

Bitrate: 160K/s
Year: 1996
Time: 40:49
Size: 46,9 MB
Label: Velvet Blue Music
Styles: Alt.Rock
Art: Front

Tracks Listing:
 1. John The Mad Man - 3:20
 2. Lemonade - 3:13
 3. Sanctuary Island - 4:45
 4. Nothin' Come Easily - 3:23
 5. Sonshine - 4:26
 6. The Bomb - 4:42
 7. Four-Leaf Clover - 5:12
 8. The Paper Song - 2:26
 9. Armored Car - 3:40
10. Overload - 5:38

Originally released in 1996, the first and only Jupiter James full length is a mixed drink of The Smiths and Black Sabbath, with a splash of The Verve.
This is Cat. # VBM 006 ! This is an old school release. Originally released in 1996, and now available digitally for the first time. Jupiter James was a trio based in Riverside, CA. There's plenty of guitar wanking coupled w/ sing along melodies, the idea was a blending of The Smiths and Black Sabbath w/ a splash of The Verve. The record was produced by Jason Martin (of Starflyer 59) and engineered by Randy Rose (of Mad At The World)

Called As Paul

Little Freddie King - You Make My Night

Bitrate: 320K/s
Year: 2017
Time: 59:43
Size: 137,2 MB
Label: Madewright
Styles: Mississippi Delta juke-joint blues
Art: Front

Tracks Listing:
 1. Hobo Blues - 5:43
 2. Can't Do Nothin' Babe - 6:05
 3. Tough Frog to Swallow - 5:15
 4. Bus Station Blues - 8:12
 5. Baby Please Don't Go - 5:35
 6. Chicken Dance - 3:57
 7. Big BossMan - 4:25
 8. Wang Dang Doodle - 5:10
 9. Standin' at Yo Door - 6:56
10. Josephine - 4:23
11. Sing Sang Sung - 3:58

Musicians:
Little Freddie King - guitar,vocal;
Bobby Lewis Ditullio - harp;
William Jordan - bass;
'Wacko' Wade Wright - drums.

'New Orleans musical tradition is usually steeped in jazz, R&B, and funk, which is why Little Freddie King is such a unique local treasure - he delivers nothing but authentic Mississippi Delta juke-joint blues, pure and uncut, presented with the kind of laidback stagger and sometimes frightening shaggy dog tales you only find in The City That Care Forgot. This live set showcases an unschooled master at work: his guitar leads are taut and springy, his vocals booming in the best field holler tradition, his spare three piece backing band tipping to catch him when his pawn shop guitar wanders off the beaten path. This is the pure gutbucket blues from a man who's lived the life, a fascinating and raucous document of one of the last truly unselfconscious blues moaners''….Offbeat Magazine

You Make My Night

Lovewar - Soak Your Brain

Bitrate: 320K/s
Year: 1993
Time: 48:48
Size: 113,3 MB
Label: Word Incorporated/Pakaderm
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Soak Your Brain - 5:09
 2. Golden Rule - 5:27
 3. Take Me - 4:48
 4. Welling Up - 5:35
 5. Space & Time - 4:15
 6. You Win - 4:14
 7. Keep Your Hands off My Stuff - 4:31
 8. In the Sea - 6:01
 9. Just the Same - 4:47
10. You Are Not Alone - 3:54

The one and only album that Lovewar ever released is mixture of King's X groove and Extreme commercialism. Together with the big production of John & Dino Elephante, it makes for a great listen. I wonder what happened to this band after this album as I never heard anything about them again. I received an update on the status of this band: You wanted to know what happened to these guys. Well Tim Bushong went on to form The Channel Surfers and toured again. He is now in the little town of Syracuse, Indiana with a studio at his home is keeping busy recording all kinds of national acts for the big boys in Nashville. Tim and I have been close friends for 20 years and he is still the best guitar player I have ever seen live but he gave it up for the family life. Lovewar did record 20 more tracks that I have that was never released you should try and get them they are good but not as good as Soak.

Soak Your Brain

Nations - Game of Price

Bitrate: 320K/s
Year: 1993
Time: 47:11
Size: 110,2 MB
Label: Way Bent Music Records
Styles: Hard Rock
Art: Full

Tracks Listing:
1.As the Ball Rolls - 5:54
2.Iron Horses - 4:44
3.Scooter Tramp - 4:51
4.To Find a Woman - 4:15
5.Going Downtown - 4:17
6.L.A. Gear - 3:42
7.Love to Live - 5:03
8.What She  Said - 4:00
9.Way Bent - 4:52
10.Long Gone - 5:29

Musicians:
Kevin Mark - Vocals;
Miles Watanabe - Guitar;
Kyle Stalkher - Bass;
Rick Deptula - Drums.

Profile Released in 1993 on the Way Bent Music Label, these four guys from Las Vegas, Nevada play metal which they describe adequately as “Rock Hard -N-Roll” with some Motley Crue and Bulletboys influences. Very enjoyable tune but not exciting. Rarity nowdays.

1993, These four guys play metal which they describe adequately as "Rock Hard -N-Roll" Coming from Las Vegas, Nevada, this is high energy guitar based kick A** rock, they remind me of the Bulletboys with a little Ratt thrown in.

Game of Price

Ascension Theory - Answers

Bitrate: 320K/s
Year: 2005
Time: 46:04
Size: 106,2 MB
Label: Nightmare Records
Styles: Progressive Metal
Art: Full

Tracks Listing:
 1. Passion Of My Heart - 4:25
 2. Lockstep - 3:12
 3. Perfect Plan - 4:02
 4. Saturn's Reign - 5:50
 5. To Be Content - 3:35
 6. The Way Of Death - 4:08
 7. Decisions - 5:29
 8. Endgame - 5:05
 9. Refractions - 3:10
10. Answers - 7:05

Ascension Theory is a studio project founded in 2002 by Tim Becker (keyboards) and Leon Ozug (vocals, guitar and bass), two talented musicians who got their start in the progressive metal outfit Aztec Jade. Departing Aztec Jade in 2001 and 2003 respectively, Becker and Ozug joined forces with drummer Chad Lenig and recorded Ascension Theory’s debut Regeneration in 2002 before following up in 2005 with a sophomore effort entitled Answers. The album continues to find Ascension Theory moving in progressive metal territory, creating a heavy but melodic sound certain to appeal to fans of Threshold, Stride, Dream Theater, Shadow Gallery, Theocracy and Queensryche. It is without a doubt that a great deal of melody imbues the material here, the likes of progressive based numbers such as “Passions Of My Heart”, “Lockstep”, “Perfect Plan”, “Saturn’s Reign” and “Answers” all standing out with their catchy choruses. A more straightforward hard rock direction, on the other hand, is taken on the goth influenced “The Way Of Death” while the ballad “To Be Content” highlights a softer side to the bands songwriting skills.

Answers

Ascension Theory - Regeneration

Bitrate: 320K/s
Year: 2002
Time: 46:52
Size: 107,8 MB
Label: Nightmare Records
Styles: Progressive Metal
Art: Full

Tracks Listing:
 1. Warriors - 5:29
 2. Pieces - 5:37
 3. Eridani - 5:41
 4. Speaker - 6:50
 5. Lovers - 3:40
 6. Sleepers [one flys away] - 5:00
 7. Enemies - 4:37
 8. Reflection - 1:34
 9. Regeneration - 8:20

EXCELLENT MELODIC PROGRESSIVE METAL From LEON OZUG (Guitar/Vocals) and TIM BECKER (keyboards) both of AZTEC JADE. SPECIAL guest vocals on Trk's 1 and 5 by JODI ST. JOHN. THIS ALBUM is a very nice piece of work, reminding me a bit of early Dream theate/
Two interstellar civilizations are locked in a perpetual war. A veteran soldier from one side dreams of building a new colony, one far enough away from the fighting to live in peace. On his first attempt, he is dealt a devastating blow. His fleet is ambushed by the enemy and forced to crash on a desolate moon. There, he encounters a hospitable but previously unknown race of beings who are on the verge of fulfilling a dream of their own. With their help, he must find a way to revive the sleeping colonists, and overcome the despair and guilt of his failure.

Regeneration

Priam - Diffraction

Bitrate: 320K/s
Year: 2001
Time: 67:57
Size: 155,7 MB
Label: Musea Records
Styles: Progressive Rock/JRF
Art: Full

Tracks Listing:
1.Diffraction (Open limit) - 14:51
2.Congruatic blvd -  5:45
3.Granito rosa del oeste - 12:55
4.Sensitiviris (Chrysalid square) - 10:33
5.Stella ... -  5:30
6.... In pace -  7:07
7.Lakeside -  4:20
8.Feel d-fract -  6:53

Prologue. Most likely, Priam is the new band on the international Progressive Rock scene. I have never heard of them before. In that way, I think it would be correct to regard "Diffraction" as their debut album.

The Album. Already after my initial exposure to Priam's "Diffraction" it becomes clear that, musically, the album consists of three parts, all of which are distinctly different from among themselves. The first one, which is the largest and best of them, includes all four of the first tracks on the album and also Lakeside 7:30 a. m. (track 7). Taken together, these five tracks last more than 45 minutes, which is the normal time of a full-fledged album. All of them were composed within the frame of a unified stylistics and represent a rather innovative manifestation of Classic Art-Rock. Relatively and only with regard to the overall musical atmosphere, some parallels can be drawn between (let's call those tracks) "Diffraction, part 1" and such albums as Uppsala's self-titled (1983) and Djam Karet's "Burning the Hard City" (1991). However, unlike both of those albums, the role of keyboards in Priam's music is as significant as that of an electric guitar. All five of the said best tracks on the album are filled with very diverse, hard-edged, and often atonal interplay between solos of an electric guitar and various keyboards, including at least a couple of synthesizers. Congruatic Boulevard (track 2) is, in addition, featured by wild solos of two saxophones and the clarinet. While Granito Rosa del Oeste (track 3) contains the excellent 'extra' solo of an electric violin. The guitar parts range from fluid and slow passages to rather heavy riffs and high-speed virtuosi solos. The chords, solos and passages of keyboards and synthesizers are for the most part of a purely symphonic character - regardless whether they're slow or fast. Frequent changes of tempo and mood, complex time signatures, and already the said uniqueness of the band's music in general, - all these details are also typical for this 'album within the album'. The second part includes In Pace and Feel Diffract (tracks 6 & 8). Both of them are featured by spacey and kind of avant-garde solos and interplay between various synthesizers and very diverse male and female vocalizes. Though, unlike In Pace, there are no percussion instruments on Feel Diffract. The remaining third part is, as a matter of fact, just a one-track part. Stella is kind of a short opera sung beautifully and very diversely by the mixed female and male choir with the accompaniment of the magic sounds of bells, but without any musical instruments.

Summary. What is interesting is that the intros to all compositions that are featured on the "Diffraction" album are full of various sound effects, including 'flying' ghostly sounds of synthesizers. This way, they're rather similar among themselves, which, undoubtedly, the band did especially. However, these intros can't help the album as a whole. Not the absence of a unified style, but a very distinct stylistic difference between the contents of the first and second halves of the album makes it slightly obscure on the whole. It's a pity that the order of the tracks had not been placed on the album a bit differently. In order to have a 'logical' musical picture of this album, program your CD player in the following track order: 1, 2, 3, 4, 7, 5, 6, and 8. Though, quite frankly, if there were only those five best tracks that last more than 45 minutes on "Diffraction", I'd rated it as an excellent album.

Diffraction

Summer & the Sinners - Boogie with the Devil

Bitrate: 320K/s
Year: 2006
Time: 48:31
Size: 111,9 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Breaking Up Somebody's Home - 3:42
 2. Natural Ball - 2:59
 3. 12 Bar Blues - 3:18
 4. Ti-Na-Ni-Na-Nu - 3:14
 5. Little Mixed Up - 3:48
 6. Big Boss Man - 4:03
 7. Phone Booth - 3:38
 8. Sinner's Boogie - 3:16
 9. Big Town Playboy - 3:56
10. Independent Blues - 2:47
11. Ooh Baby - 3:52
12. How Blue Can You Get - 6:45
13. Money Maker - 3:06

Hailing from Vancouver Island, Summer Hay helms a gutsy, guitar-heavy brand of blues rock with a five-alarm voice that is equal parts power and persuasion. These 13 hard-hitting tracks rock the roost as they tip the hat to the likes of Slim Harpo, Albert King and Elmore James. If this sounds like a tall order, it?s one that?s well within the band?s grasp, leaning heavily on a tight rhythm section, a crack guitarist (Buddy Love) or two (Dave Vidal) and some sensational keyboard action from Brendon Hedley. David Gogo ices the cake on a pair of tracks while Paul Wainwright?s tenor sax adds a smooth yet slippery swing throughout. Stand-out tracks include Luther Dixon?s "Big Boss Man? and a keyboard-heavy take on Robert Cray?s "Phone Booth.? However, here?s guessing it?s the rip-snorting, over-the-top renditions of songs like "Independence Blues? and "Money Maker? that play Summer?s voice off Love?s sinuous lead guitar to make the most impact live. These two were meant to play off each other and Boogie with the Devil is a surprisingly accomplished release with plenty of heart and no shortage of high-torque energy. (Orange/Universal)

Boogie with the Devil

Crazy World - The Return Of The Clown

Bitrate: 320K/s
Year: 2012
Time: 79:48
Size: 182,7 MB
Label: Presence Records
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Every good wish all to you - 10:10
 2. I think I saw my brother's eyes -  4:57
 3. The clown in a swing -  5:36
 4. You're so so vain -  7:56
 5. Pearls before swine -  3:41
 6. The could be your mother -  3:56
 7. From son to father -  3:51
 8. Clown's gotta go -  4:39
 9. Mrs politician -  6:05
10. The return of the clown -  8:55
11. Lay it down -  3:25
12. Since I've been loving you - 11:00
13. The clown in swing -  5:31

When you start to pay attention to Crazy World there are a lot of 'weird' things that may come to your mind. Even more when you get The Return Of The Clown (2012) in your hands.
Firstly, no, this is not a revival of the famous Arthur Brown group as many people think. Secondly, it's quite unusual to see Lauri Porra, known as the Stratovarius' bass player, involved in a project like this one. Moreover, Crazy World is in fact a band/project. They're a kind of 'Finnish super group'. All the musicians involved in this project are known in their homeland. The band includes Lauri Porra (bass ? Stratovarius), Mika Järvinen (vocals - Five Fifteen), Esa Kotilainen (keyboards - Wigwam, Jukka Tolenen, Tasavallan Presidenti), Anssi Nykänen (drums - Pekka Pohjola) and Timo Kämäräinen (guitar ? solo). And last but not least, The Return Of The Clown (2012) is a Rock Opera, a concept album that tells a weird story about a motorcycle riding carnival clown and his son. To help you understand that, instead of lyrics or texts, the booklet of the CD is a comic book that tells us a bit of the unexpected story.
This is the second album of the project. It was recorded between 2010 and 2012 and produced by the band. The crazy and funny cover was made by Petri Hiltunen.
When it comes to the music, The Return Of The Clown (2012) is pretty much settled into the 70's Prog Hard Rock. They put one of their foot into the Prog waters but the other one remains on the Hard Rock solid ground. Bands like Deep Purple and Uriah Heep can be heard as influences. Songs like 'The Clown In A Swing' prove that. On the other hand, tracks like 'You're So So Vain' are charged with heavy-swingy wah-wah guitars (Jimi Hendrix heritage) and big Hammond organs, but with a twist on the chorus. Delicious Pop! 'Pearls Before Swine' continues on the same path.
'Clown's Gotta Go' is a Rockabilly homage, with exception to a crazy Hammond organ solo. When the synths of 'Mrs Politician' kick in, you know that the Prog came back to the menu. In the same line we have the title track 'The Return Of The Clown' that honestly, should be the final track on the album because 'Lay It Down' is a bit silly and has nothing special in it. As bonus we have two tracks recorded live. A version of Led Zeppelin's 'Since I've Been Loving You' and 'The Clown In The Swing'.
Crazy World's The Return Of The Clown (2012) is a delicious amalgam of 70's Hard Rock & Prog filled to the brim with fuzzy-swingy superb guitars and amazing keyboards. Moreover, that's exactly why the shining stars of the album are Esa Kotilainen's keyboards, Timo Kämäräinen's guitars and the well delivered vocals of Mika Järvinen. Only low point of the album is the drum sound, sometimes edging the irritating, like in 'She Could Be Your Mother' and 'From Son To Father'. Go for it if you're a 70's fan.

The Return Of The Clown

Crazy World - Crazy World

Bitrate: 320K/s
Year: 2005
Time: 54:00
Size: 124,1 MB
Label: Ranch 34 - 987469
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. No White Marble - 6:50
 2. Welcome To Crazy World - 0:43
 3. Long Hair Wildman Rides Again - 3:24
 4. Poor Alice - 6:17
 5. Out Of Me - 4:14
 6. Sweet Litle Ugly Duckling - 5:44
 7. Old Tambourine - 2:49
 8. Welcome To Crazy World (Slight Return) - 1:55
 9. Solvesborg Afternoon - 4:50
10. Good Times, Bad Times - 3:45
11. Misery Loves Company - 5:25
12. No White Marble (Alternate Version) - 8:00

Finnish band CRAZY WORLD is among those units that, at least on their home turf, is described as something of a super group. The members of this project band are Mika Jarvinen (vocals), Esa Kotilainen (Hammond organ, Moog, Mellotron), Timo Kamarainen (guitars, vocals), Anssi Nykanen (drums) and Lauri Porra (bass, backing vocals). All of them rather well known musicians in their native Finland and some of them also with an established international reputation. So far they have released two albums: A self-titled CD in 2005 and the rock opera "The Return of the Clown" in 2012.

Crazy World

Nexus - En el comienzo del Topos Uranos

Bitrate: 320K/s
Year: 2017
Time: 55:40
Size: 129,1 MB
Label: Record Runner
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. El Ultimo Dia - 6:12
 2. La Casa Del Invierno - 5:18
 3. Un Cristal Bajo El Agua - 7:41
 4. En El Tercer Planeta - 4:45
 5. En El Tercer Planeta - 2:48
 6. Soplo De Vida - 9:09
 7. El Color Qua Cayo Del Cielo (CD Bonus Track) - 7:01
 8. Heliotropo (CD Bonus Track) - 5:16
 9. Los Sacerdotes Malignos (CD Bonus Track) - 7:24

Musicians:
Lalo Huber - Keyboards;
Carlos Lucena - Guitars;
Luis Nakamura - Drums;
Jorge Mariño Martinez - Bass.

El nuevo álbum de Nexus (En el comienzo del Topos Uranos), editado el pasado 4 de abril, es un extraordinario álbum instrumental de rock progresivo clásico, de la vieja escuela sinfónica. Como resultado de esto ha tenido un éxito rotundo, ya que se ha agotado la primera tanda de la edición en vinilo, a pocos días de salir a la calle. También hay una edición en cd, con tres bonus tracks, editada por Record Runner, y distribuida en Argentina por Melopea Discos. Nexus es un grupo de rock progresivo argentino, formado a mediados de los 70 en Morón, en el Oeste del Gran Buenos Aires, y que, desde fines de los noventa ha desarrollado una discografía sostenida y consecuente con el clásico rock progresivo, con influencias que van desde Emerson, Lake & Palmer hasta el recordado grupo argentino Crucis, todo matizado en álbumes conceptuales que dan cuenta de un profundo mensaje que apunta al conocimiento holístico de la experiencia humana, la mente, el aprendizaje y la superación. Ahora, en este 2017, a más de cuatro décadas de empezar a tocar, Nexus sigue adelante con sus tres miembros originales de siempre –Luis Nakamura (batería), Lalo Huber (teclados) y Carlos Lucena (guitarras)- junto al bajista Jorge Mariño Martínez. Estos son los músicos que llevaron adelante la grabación de este octavo álbum del grupo (el primero editado en vinilo). Una producción de Rock Progresivo con mayúsculas, sin añadidos ni fusiones electrónicas superfluas, de aquel que no necesita etiquetas infantiles como “verdadero” o “tradicional”, ni mucho menos coritos de enanitos eunucos o cantantes neurasténicos…

En el comienzo del Topos Uranos

Gerry Hundt - Since Way Back

Bitrate: 320K/s
Year: 2007
Time: 50:28
Size: 115,7 MB
Label: Blue Bella Records
Styles: Blues/Chicago Style
Art: Full

Tracks Listing:
 1. Since Way Back - 4:17
 2. Ready to Go - 4:04
 3. Bad Water - 5:16
 4. The Union Meetin' - 2:27
 5. Hard Road - 4:27
 6. Whiskey Makes Me Mean - 3:01
 7. That Woman! - 4:29
 8. Burning Fire - 3:55
 9. You're the One - 2:46
10. Trying Hard - 5:07
11. The Lakewood Bump - 3:27
12. Here In Chicago - 4:48
13. End of the Day Blues - 2:18

Fans of Nick Moss & the Flip Tops' brand of authentic Chicago Blues won't want to miss this amazing ensemble release! Not only has Gerry Hundt contributed musically to a good portion of Blue Bella Records' entire catalog on guitar, mandolin, harmonica, bass and keyboards, but he has provided engineering skills and even laid the floor tile in the studio restroom. For his own debut as the leader, Hundt brings a rousing, brash album to the welcome mini-revival of blues mandolin recordings, seasoned with the raw vintage Chicago blues flame also kept so well by the Flip Tops. Featuring Nick Moss on bass, Willie Oshawny on keys, Bill Lupkin on harp, Kilborn Alley's Josh Stimmel on guitar and Bob Carter on drums. Piano ace Barrelhouse Chuck guests on one track.
Mandolin has a long, if obscure, history with the blues. Some may know blues mandolin from Jim Schwall's work with the Siegel-Schwall Band in the mid-'60s, or be familiar with long gone Chicago legends Yank Rachell and Johnny Young, but today blues mandolin retains its aura of mystery. Gerry Hundt, part of the Nick Moss/Blue Bella gang, hopes to change all that. Hundt is a versatile bluesman, adept on bass, guitar, and harmonica, as well as mandolin, but Since Way Back it's all about the mandolin. The set includes both full band outings and piano/mandolin duets in the style of the Johnny Young/Otis Spann classic "Keep Your Nose Out of My Business." The most remarkable thing about Hundt's playing here is how he avoids the obvious temptation to play in the style of the older generation to follow his own path. Hundt's style is as country as it is Chicago, with a laid-back feel on the mandolin that's complemented by his aggressive vocal attack. Backed by Flip Tops Nick Moss on bass and acoustic guitar, Willie O'Shawny on piano, and drummer Bob Carter as well as lead guitarist Josh Stimmel, and Barrelhouse Chuck on, what else, piano, Hundt provides a primer of his own style of mandolin blues. On "Since Way Back" he tunes the mandolin Rachell style, with the fourth string tuned down a step or two. Bill Lupkin's forceful harmonica complements the big, chiming sound of Hundt's mandolin. "That Woman!" is an instrumental that gives the ensemble time to stretch out and features impressive solo work by Stimmel, Lupkin, O'Shawny, who is particularly impressive, and Hundt, who moves between slurred notes, rippling arpeggios, and single-note runs. "Burning Fire," an Otis Spann tune, gets a soulful reworking as a duet with O'Shawny's smoky piano; Hundt delivers a smoldering vocal and more sterling work on mandolin. "You're the One" has a loose, Jimmy Rogers-style groove and a nonchalant vocal by Hundt. "Trying Hard" has a Howlin' Wolf feel and builds steam with Hundt and Lupkin delivering solos that slowly move from relaxed to incendiary. The instrumental duet with Barrelhouse Chuck on "End of the Bay Blues" demonstrates how two pros can create a remarkably full sound. Hundt's mandolin dances in and around Chuck's slow, left hand bass pulse, and his frenetic, rippling right hand, and closes the piece with the pair playing undulating harmonic runs in unison. The cover art is a riff on the classic Blue Note album art of the early '60s, and gives the package a hip, retro feel.

Since Way Back

ZZ Ward - The Storm

Bitrate: 320K/s
Year: 2017
Time: 36:07
Size: 82,8 MB
Label: Hollywood Records
Styles: Blues and hip-hop/Singer-Songwriter
Art: Front

Tracks Listing:
 1. Ghost - 2:58
 2. Cannonball (Feat. Fantastic Negrito) - 3:57
 3. Help Me Mama - 3:05
 4. The Storm - 3:13
 5. Domino - 2:49
 6. Let It Burn - 3:06
 7. Bag of Bones - 3:17
 8. She Ain't Me - 2:49
 9. If u Stayed - 3:33
10. Hold On - 3:12
11. Ride (Feat. Gary Clark Jr.) - 4:02

ZZ Ward returns for her sophomore album, The Storm, which follows her well received debut album, Til The Casket Drops. It’s been five years since ZZ’s debut album and The Storm is well worth the wait. While ZZ Ward has definite pop appeal, she certainly isn’t leaving her blues influences behind.
ZZ Ward grew up on the blues listening to Howlin’ Wolf, Robert Johnson and Big Mama Thornton, and that influence is clear from the get-go. “Ghost” is the opening track, which is raw, folksy, and bluesy and that theme continues on “Cannonball.”  2017 Grammy Award winner Fantastic Negrito joins Ward on the track, which showcases ZZ on harmonica. The single, “Help Me Mama” follows and highlights ZZ’s powerhouse vocals. Next up is the title track, which begins with just ZZ’s vocals and piano and is about weathering through the tough times in life.
The pace changes a bit on “Cannonball,” which features an appearance by Fitz before heading back into the blues direction with the slide guitar on “Let It Burn.” Sometimes less is more and Ward goes with a stripped down approach on “Bag Of Bones.” Much of the album is pretty raw as far as instrumentation goes, but that really just puts the spotlight on ZZ’s impressive vocals. The album closes with the upbeat single, “Ride,” featuring Gary Clark Jr. on guitar.
There’s no sophomore slump on The Storm. Once again, ZZ Ward delivers with powerful vocal performances and well crafted songs. After the success of Til The Casket Drops, Ward could have easily gone in a different direction, but she should be applauded for continuing to make music inspired by her roots. The Storm is another winner from ZZ Ward.

The Storm

Davey and the Blu Dog - Wake Up Call

Bitrate: 320K/s
Year: 2017
Time: 67:20
Size: 154,4 MB
Label: Self Released
Styles: Blues
Art: Full

Tracks Listing:
1. Just one More - 7:05
2. Get on Home - 5:14
3. My Two Uncles - 5:46
4. My Dog Drives Me Crazy - 7:55
5. Spare Change - 6:02
6. On the Line - 6:49
7. Stars and Stripes - 5:18
8. Angry Waters - 4:51
9. Don't Wanna Let You Go - 6:24
10. Fine Line - 5:50
11. Wake Up Call - 6:00

Jazz and rock influenced blues.Davey And The Blu Dog produces original music that pulls from a variety of musical genres, building on a blues foundation to creatively tell stories about real life...

Wake Up Call

Bodacious DF - Bodacious DF

Bitrate: 320K/s
Year: 1973
Time: 39:53
Size: 91,8 MB
Label: RCA Records
Styles: Folk Rock, Psychedelic Rock
Art: Full

Tracks Listing:
 1. Drifting - 3:56
 2. Good Folks - 7:27
 3. The Witcher - 6:30
 4. Roberta - 4:22
 5. Second Hand Information - 4:52
 6. Drivin' Me Crazy - 7:05
 7. Twixt Two Worlds - 5:38

Musicians:
Marty Balin – lead vocals
Mark Ryan – bass, background vocals
Greg Dewey – drums, percussion, background vocals on "Second Hand Information"
Vic Smith – guitars, background vocals
Charlie Hickox – keyboards, background vocals on "Second Hand Information"
Additional personnel:
Rhani Kugel, Anna Rizzo, Trish Robbins – background vocals on "Good Folks"
Boots Hughston – saxophone on "The Witcher"

Bodacious D.F. was the second group that singer Marty Balin became involved with after leaving Jefferson Airplane in 1970. First, he directed the activities of Grootna, with whom he did not perform on their sole album. Then, he became involved with Bay Area band Bodacious D.F. -- Mark Ryan (bass, vocals), Dewey Dagreaze (drums, vocals), Vic Smith (guitar, vocals), and Charlie Hickox (keyboards, vocals). Bodacious D.F. recorded one self-titled album in 1973, which represented Balin's first LP appearance since Jefferson Airplane's 1969 Volunteers album. But, in 1974, Balin rejoined some of his old Jefferson Airplane cohorts in Jefferson Starship, leaving Bodacious D.F. a one-shot effort.

Bodacious DF

White Lie - True Confessions

Bitrate: 320K/s
Year: 1980
Time: 37:05
Size: 86,6 MB
Label: Streetwise
Styles: Rock/Indie AOR
Art: Full

Tracks Listing:
 1. Don't Ruin Me - 3:07
 2. Written-By - 3:39
 3. Substitute - 2:47
 4. Are You My Lady - 3:06
 5. Hold On - 3:07
 6. You - 3:11
 7. Show Me - 2:43
 8. Holiday - 3:29
 9. Don't Tell Me - 3:23
10. Ravina - 5:52
11. Mr. Chips - 2:37

Musicians:
Krystel Love - lead vocals, keyboards, guitars;
Ken Schroder - lead vocals, bass;
Scott Finch - guitars, keyboards, vocals;
Steve Gregg - guitars, vocals;
Gregg Saber - drums, percussion, vocals.

Indie AOR from Wisconsin, White Lie recorded just one album which was more than enough in my opinion, but we'll get to that in a minute. From what I gather, White Lie had been working for a while prior to this record, playing in and around the Milwaukee area and soaking up various musical styles along the way. Spearheaded by guitarist Scott Finch with drummer Gregg Saber, Finch has since gone on to record several psychedelic blues CD's as a solo artist and with his group Gypsy. I haven't heard anything he's done in this area, but apparently he has an extensive following.
I have encountered so many private label AOR albums over the years that I think I've become desensitized to the good, the bad and the ugly. How many reputed 'classics' fetching big bucks have you bought only to be disappointed with nothing more than cheap bar band rock? Exactly.. and that's what we have with 'True Confessions' and a cover that tells the tale. That's lead vocalist Krystel Love being interrogated by the band and it's sad to say, she's the only attractive aspect about the record and I'm not talking about her voice. Alright, she's not that bad, but a little more excitement in her vocals would have helped. Songs like 'Don't Ruin Me' and '29' are average, but listenable while 'Are You My Lady' is a nice little pop ditty that sounds more 1982 than 1980. Fans of Sue Saad & the Next and Pearl Harbor & the Explosions will appreciate the new wave vibe and cheesy synths, but I just can't escape the image in my minds eye of White Lie playing between a red shag carpeted stage and a low Styrofoam ceiling in a wood paneled and empty VFW hall somewhere in darkest Milwaukee.
Recently copies of True Confessions' have been showing up on a couple reputable dealers web sites. Someone must have found a box somewhere and in light of Scott Finch's growing reputation, there's going to be people who'll buy it only to be very, very disappointed. Don't be one of them.

True Confessions

Philharmonie - Les Elephants Carillonneurs (The Elephant Bell-Ringers)

Bitrate: 320K/s
Year: 1993
Time: 53:06
Size: 122,7 MB
Label: CD-Cuneiforme-Rune 54
Styles: Progressive Rock/Eclectic Prog
Art: Front

Tracks Listing:
 1. Les Elephants Carillonneurs -  5:09
 2. Philharmonie -  3:38
 3. Hippocampe -  3:48
 4. Amazone - 10:15
 5. Phoenix -  5:21
 6. L'auto Heritage De Robert -  6:14
 7. Rappelez-nous -  3:22
 8. Vif-Argent -  9:34
 9. Mamies & Papies -  5:41

The Philharmonie crew described the pressing and distribution of their first album as quite an achievement.Label offers were hard to come and they ended up publishing the record via a totally unknown publisher from Marseilles.Once the album saw the light, Cuneiform Records became interested in signing the French guitar trio.Apparently things became much easier for the recordings and output of ''Les elephants carillonneurs'', Philharmonie's second album, released in 1993.
This sophomore work by the French guitarists sounds rather different from their first effort and this fact alone marks them as a totally unique band in my books.After all, how many styles can you play on guitar and at the same time come up with a listenable record?What really differs from the first release is the fact that ''Les elephants carillonneurs'' sounds a lot more shiny and positive of a listening experience.There are still many KING CRIMSON references to the sound and the jazzy spices can be found everywhere in this work, but I can hear a definite switch towards strongly atmospheric soundscapes, which offer plenty of dreamy chords and ethereal textures.It's also fairly more laid-back with a soft guitar jazziness, but what really shocks is some, what should I call them, pre Post-Rock tunes, a term not even defined in early-90's.The album has an obvious ambiental atmosphere, which works very well despite its length, on the other hand there are these less interesting moments, which hurt the consistency of this work with the band sounding a lot like throwing an academic seminar of guitar exercises.No bass, no drums.Just lovely guitar spelling with some nice and smooth playing. Again the album's length is not a positive assess.The best moments of ''Les elephants carillonneurs'' deserve a wide exposure, but the lack of coherence makes this a simply recommended effort, which will be loved by guitar heroes worldwide.

Les Elephants Carillonneurs (The Elephant Bell-Ringers)

Ultime Atome - Dark Visions

Bitrate: 320K/s
Year: 2003
Time: 54:41
Size: 125,6 MB
Label: Musea Records
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
1. Meine Liebe - 14:07
2. Battlefield - 22:08
3. Eternal Warrior -  8:39
4. Dreamland -  9:46

Musicians:
Jean Marc Tesorio - vocals;
Walter Ginanneschi - guitars;
Bruno Vente - bass;
Isabelle Decamps - keyboards;
Patrick Delmas - drums.

"Dark Visions" is the debut album by the French band Ultime Atome.
Synopsis. Many years have passed since Marillion, the best of the bands influenced by the most influential band of the 1970s, Genesis, took hold of the baton and became the most influential band itself. The 54-minute "Dark Visions" features four long tracks, only one of which: Meine Leibe (1) is marked with a completely original music representing a moderately complex Prog-Metal with elements of Symphonic Art-Rock. As for the music on all three of the other tracks and all the vocals on the album in general, they're just not unlike that of Marillion and those of Fish respectively. And while I hate any wannabe-ism, I must admit that Ultime Atome is the only Marillion-wannabe band whose music I like (and I like it very much). In other words, Ultime Atome can easily be regarded as the very first real clone of Marillion, especially since their music is by all means on par with that of Marillion, except for the great "Brave", of course. (As for the difference between "clone" and "imitation", my comprehension of these things is expounded in one of the Key Reviews and may be known by reading >it. These French guys had a clear idea of what they want to from the outset. Having had big ideas to become on par with their idols in every aspect, they've accomplished that task as successfully as >Xitizen Cain. However, a clone of Marillion is not the same as a clone of Genesis, so it would be irrational to rate this album with more than five stars.
There is no need to be a prophet to foretell that "Dark Visions" will have a really huge popularity. Furthermore, I think it will be such a great popularity that none of the other bands influenced by Marillion ever had. I only hope that, like the same Marillion, Ultime Atome will be able to continue their creation with a more original style and, perhaps (who knows!), become the most influential band of the 2000s.

Dark Visions