The Swamp Born Assassins - Dead Man's Train

Bitrate: 320K/s
Year: 2019
Time: 48:49
Size: 114,3 MB
Label: Carnivora Records
Styles: Rock/Hard Rock/Southern Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Dead Man's Train - 5:20
 2. Blot Out The Sun - 5:05
 3. The Weeping Tree - 4:11
 4. Better Off Dead - 4:12
 5. Sharp Shot Johnny - 4:12
 6. Crank It Up - 4:47
 7. Shotgun Shells & Whisky - 3:11
 8. Rise Up - 5:09
 9. Run To The Wildfire - 5:19
10. The Madness Of His Reverence - 7:19

Musicians:
Charlie Moffat - Vocals/Harmonica;
Andy (Paws) Christie – Guitar;
Jamie Moffat - Guitar;
Allen Bell – Bass;
Stevie Craven - Drums;
Kirsty Moffat - Backing vocals.

With their origins in Glasgow a couple of years ago, SWAMP BORN ASSASSINS started life as a small group of musicians jamming together and putting out some heavy blues sounds. Needing a little polish and production before laying down their tracks, friends Alf Vesterelv and Tommy Granli from Norwegian band The Maudlin Hounds were enlisted to finalise the recording of their first CD ‘Smell The Mud’. And now, ready to build on their initial success with their second album, ‘Dead Man’s Train’, guitarist Andy Christie and bassist Allen Bell have been drafted in to give a big sound and larger than life stage presence for what should be a memorable album launch night in Glasgow on 14th June.The NorWeegie connection is still strong on the new album, as Andy Christie confirmed:
“Alf and Tommy really helped define the Swamp Sound, so there was no question when it came to who we wanted to mix and master the new album.”
Andy is a man of many bands, and will also be onstage early doors for the launch party with his other band LAST ALIBI, which also features Allen Bell, where they will be playing tracks from the bands new self-titled EP. LAST ALIBI are a completely different blend of rock, as Andy explained to me:
“I’m really lucky to be working with a lot of great bands and artists. Every band I’m in has amazing songwriters, players, and a strong front man/woman, who all have their own unique personalities and style.”
‘Dead Mans Train’ opens with the title track, featuring not only Tommy on bass, but Linkan Anderson on lead guitar, and Alf on backing vocals, allowing Moffat a little time to blow some howling harmonica. With so many musicians involved, it’s no surprise there is a big meaty sound to this album, and although this is a heavy blues southern album, ‘Dead Mans Train’ has a distinctive bass buzz that was Lemmys’ trademark for so many years.
‘Blot Out The Sun’ carries on with the heavy fuzzy guitar and deep bass, warning us of the environmental damage we are doing to our planet.
Third song in, is the first single taken from the album, ‘Weeping Tree’, which has a deep and dark throbbing bass dominating the track, with a light melodic chorus, interspersed with a little southern slide guitar.
‘Better Off Dead’ starts with a foreboding doom-laden bass, picked up on by the lead guitar, and carried into this horror film soundtrack. If there is a monster in the swamp, this is the beat he’s dancing to.
Alf Vesterely joins in again on lead guitar and backing vocals for the funky blues of ‘Sharpshot Johnny’. Moffat’s harmonica hits the sweet spot in the break, and Vesterly does his best Chuck Berry in this upbeat sequel to ‘Johnny B Good’, when Johnny goes bad!
‘Crank It Up’ is an extreme road trip, with the accompaniment of a heavy riff, and pounding drums, that sound like a pile up on the motorway, full of metal and mayhem.
Kicking off with a rousing rebel yell, ‘Shotgun Shells and Whisky’ is a good ol’ southern drink fuelled stomper that typifies the mantra of the Assassins, good time rock and roll.
Of all the songs on the album, I think ‘Rise Up’ sums up who and what the SWAMP BORN ASSASSINS are, a song that includes bagpipes, heavy riffs, the sounds of battle, and more rebel yells than a Billy Idol gig, it merges traditional Scottish music with Nordic rock, all blended together in a rebel song.
Channelling the best of the early Stones, when they were still young and cool, ‘Run To The Wildfire’ is a throwback to seventies rock, full of screaming harmonica, shredding guitar, and relentless drums.
Finally, to finish the album is the haunting, seven-minute epic ‘Madness Of His Reverence’. Almost Sabbath like with its dark and disturbing moody lyrics, and lengthy guitar solos.
The album pre order is open now, with the launch in Glasgow’s Audio on 14th June. The band will also be appearing at several festivals over the summer, and finishing the year at Winterstorm in Troon. I’ll leave the final word to Andy:
“The album launch is not to be missed, we will be performing the new album in its entirety, as well as some fans favourites from the first album. I don’t want to give too much away, but with it being such a special night for us, you can expect more theatrics and swampiness than ever before!”

Dead Man's Train

Nick Steed Five - Feeling for the Blues

Bitrate: 320K/s
Year: 2018
Time: 45:38
Size: 104,6 MB
Label: Self-Released
Styles: Blues/British Blues
Art: Front

Tracks Listing:
 1. Supercar Loan - 3:47
 2. Boom Baby Boom - 2:49
 3. Cas It Is What It Is - 3:10
 4. Take Your Time - 3:32
 5. Feeling for the Blues - 5:54
 6. Hot Shot Lady - 2:53
 7. I'm on a Roll - 4:12
 8. Cold Hearted Woman - 2:42
 9. Just Singin' the Blues - 4:24
10. Who's to Blame? - 3:36
11. In the Room - 4:43
12. Cryin' for You - 3:52

Musicians:
Nick Steed - Piano, Organ, Other keys, Vocals;
Peter Mason - Guitar;
John Sandham - Bass;
Kim Nishikawara- Saxophones;
Steve Gibson - Drums.
Guest Musicians:
Steve ‘Howie’ Hallworth - Trumpet;
Linda Jennings - Backing vocals;
Norman Beaker - Guitar – 1,8;
Nick Mellor - Slide guitar – 1,7,12;
Tony Nicholls - Piano solo – 2.

Manchester based Nick Steed, in case you don’t know about him, is a hard working keyboard player and vocalist who has traversed Europe and the UK adding his keys to performances with the likes of Norman Beaker Band, Larry Garner, Chris Farlowe, Sonja Kristina, Van Morrison, Steve Hackett and Ginger Baker, to name but a few. He has now assembled a band of like-minded musicians and formed The Nick Steed Five and together they have assembled twelve original tracks encompassing many hues of blues, rock and funk with the odd country twang for good measure. Called Feeling For The Blues, his recent album gives us the opportunity to see him front and centre rather than in a support role. All of his work with other bands means he has also assembled a number of significant talents as guests to add to the solid and skillful base the Five have put together.
On the opening track, Supercar Loan, the band lay down a jaunty base for the slide of Nick Mellor to slink around. The vocals are reminiscent of Knopfler in the spoken/sung way, although the song itself is a complex weave of an almost big band sound as the keys swirl and horns occasionally impose while the clever bass and drum patterns make this different from most songs of this kind. Boom Baby Boom keeps this feeling whilst changing the pace for a fairly languid and soulful blues with great piano sprinkling behind the verses. Nicholls’ piano solo is the highlight as it segues into a sax solo with a sultry feel to it. Next is Cas It Is What It Is which, I think, should read ‘Cos rather than “Cas”, but the track listing has it as this and who am I to argue? It’s another piano burbling, horn backed and pacey blues with sax and organ solos to give nice light and shade. Take Your Time is a slow burning soulful blues with a great piano, bass and organ intro before the rest join in. It’s a bit of an anomaly this one as it is very original and yet sounds like so many soul ballads. OK, the organ solo pulls it up a bit and the sentiment is beyond reproach but I may be skipping this one when I play the album next time. Title track, Feeling For The Blues dispels that minor disappointment as the jazz phrasing and brilliant bass and drum patterns give it a gentle blues feel that makes for a great lay back and drink atmosphere while you reflect on the lyrics and soak in the various elements…subtle guitar, sax solos, piano solo and that dazzling bass line. Hot Shot Lady ups the pace again with boogie piano and horns generating energy you can’t help but relish. The organ is subtle but essential behind the horn punctuations and neat piano and guitar solos. I’m On A Roll is next with more piano/organ overlays and horns with multi-tracked vocals and too little slide backing it all up. Cold Hearted Woman benefits from a typically class Beaker guitar solo in this short and fun track. Just Singin’ The Blues is back to the slow organ driven blues…this certainly works well even if the piano solo conjures up a funeral on Beale Street! Who’s To Blame? follows with some funk driven by tasty wah-wah guitar from Pete Mason who, thankfully, doesn’t fall into the Shaft trap and then we get another strong sax and organ solo too. In The Room takes us into a more rocky territory as, after a lovely drum intro, the horns, bass and keys play a blues rock phrasing that belies the actual instruments; the Hammond sounding organ solo and the varied and clever solo by Pete Mason has a rock edginess which more than reinforces this feeling and easily marks it as the best one for my tastes. The album closes with Cryin’ For You, which stays with a blues rock ethos as Mellor’s slide guitar sets the tone. It has nice sparse instrumentation behind the vocals and develops into a close runner for best track. In fact, these last two tracks leave me with a higher opinion of the album as a whole than might have been and it is these two I will return to again and again.
From that comment, you can probably guess that my summary for this release is mixed…there are highlights aplenty but feelings of what if and if only also impinge. This is their first album together remember and it is a very accomplished and enjoyable release and I am confident that the next one will be even better. A worthwhile addition for anyone who loves key and horn-driven blues with superb musicianship throughout, so saddle up and give it a try… sorry, it had to happen even after the Enid Blyton reference in the title; sometimes I can’t help myself! Oh, by the way, a bit more guitar for me next time if possible chaps?!

Feeling for the Blues

Bob Margolin - This Guitar and Tonight

Bitrate: 320K/s
Year: 2019
Time: 41:37
Size: 96,0 MB
Label: VizzTone
Styles: Acoustic Blues
Art: Front

Tracks Listing:
 1. This Guitar and Tonight - 5:23
 2. Evil Walks In Our World - 4:44
 3. Over Time - 3:56
 4. Dancer's Boogie - 3:16
 5. Blues Lover - 4:01
 6. Good Driving Song - 2:59
 7. I Can't Take Those Blues Away - 6:05
 8. Together - 3:01
 9. Predator - 8:07

VizzTone is proud to announce multi-Blues Music Award Winner Bob Margolin’s upcoming new album THIS GUITAR AND TONIGHT to be released on October 25, 2019.“THIS GUITAR AND TONIGHT is my first all-acoustic album. Inspired by my 1935 parlor guitar, Muddy Waters (known for his electric playing) telling me 40 years ago he actually preferred acoustic guitar, and Amy Brat’s idea that an all-acoustic album would be a fresh adventure, this album made itself. New original songs came easy. My guests on one song each are harp master Bob Corritore and guitar virtuoso Jimmy Vivino. The recording approach is pure, the music sounds right in front of you, no added sugar. No artificial ingredients.”— Bob Margolin, multi-Blues Music Award Winner

This Guitar and Tonight

Andreas Diehlmann Band - Point of No Return

Bitrate: 320K/s
Year: 2019
Time: 43:50
Size: 100,5 MB
Label: Mountain Meadow / MM101901
Styles: Rock/Blues Rock
Art: Front

Tracks Listing:
 1. You Are My Woman - 4:06
 2. Point of No Return - 3:59
 3. Don't Go - 6:47
 4. Long Forgotten Nightmare - 4:46
 5. Sweet Mama - 4:36
 6. Nothing But the Blues - 3:43
 7. I'm a King Bee - 5:16
 8. Deadman Walking - 6:56
 9. Here Comes the Rain - 3:38

Musicians:
Andreas Diehlmann - vocals, guitar, organ;
Volker Zeller - bass;
Tom Bonn - drums.

Bluesrock uit Duitstalige landen leverde de afgelopen jaren al diverse sterke acts op zoals Kai Strauss, Henrik Freischlader en Timo Gross, Andreas Diehlmann is de volgende op dit lijstje. Het trio uit het Duitse Kassel, naast Diehlmann bestaande uit bassist Volker Zeller en drummer Tom Bonn, is met ‘Point Of No Return’ niet toe aan zijn proefstuk: in 2017 verscheen ‘ADB‘, een jaar later ‘Your Blues Ain’t Mine’ en begin dit jaar ‘Live 2019‘.
Diehlmann biedt zijn gehoor prettig rockende blues waarin zijn  geweldige gitaarspel en rauwe, rasperige stem in de trant van Walter Trout, Danny Bryant en Julian Sas de hoofdrol opeisen. Daarbij komt als pluspunt dat de Duitser slechts een keer een beroep doet op andermans werk, maar zelfs met een toch redelijk doodgespeelde cover als Slim Harpo’s I’m A King Bee weet hij wel raad.
You Are My Woman is een heerlijke opener waarna in het titelstuk de bas van Zeller de boventoon voert. Dan is het tijd voor de traditionele slowblues, maar ook Don’t Go is om je vingers bij af te likken evenals de soepel swingende ZZ Top-achtige rocker Long Forgotten Nightmare. Aparte vermelding ten slotte voor de twee afsluiters: na een fantastische openings-riff ontpopt Deadman Walking zich tot een van de hoogtepunten van het album. Here Comes The Rain trapt ook al af met zo’n magnifiek gitaarmotiefje en houdt je als luisteraar aan je cd-speler gekluisterd.
Ja, ja, heren Strauss, Freischlader en Gross: jullie mogen een stukje inschikken om plaats te maken voor Andreas Diehlmann ! (https://www.bluesmagazine.nl/recensie-andreas-diehlmann-band-point-of-no-return/)

Point of No Return

Tauk - Homonculus

Bitrate: 320K/s
Year: 2013
Time: 47:23
Size: 109,7 MB
Label: Self-Released
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Dead Signal - 3:32
 2. Afro-Tonic - 4:57
 3. Hello Narwhal - 4:42
 4. The Spot - 5:28
 5. The Chemist - 3:24
 6. Dirty Mouth - 5:56
 7. Curtain Calls - 3:57
 8. Carpentino's Rebirth - 5:43
 9. When In Doubt - 4:26
10. In The Basement Of The Alamo - 5:16

The Oyster Bay, NY-bred rock-fusion four-piece is comprised of guitarist Matt Jalbert, bassist Charlie Dolan, keyboardist/organist Alric “A.C.” Carter and drummer Isaac Teel. The all-instrumental blend of prog rock, hip-hop, + jazz proves to be powerfully hypnotic + intensely thought-provoking. Homunculus is TAUK’s most sonically  expansive work to date.

Homonculus

Brother Magnum - Meet Me in My Day Dream

Bitrate: 320K/s
Year: 2008
Time: 39:57
Size: 92,0 MB
Label: Self-Released
Styles: Blues/Texas Blues
Art: Front

Tracks Listing:
 1. Have a Good Time - 3:12
 2. I Should Have Known - 3:03
 3. Cocaine Sheila - 3:58
 4. The Real Thang - 3:47
 5. Good Lovin' Feeling - 3:54
 6. Mexico - 3:13
 7. Love Wrong Blues - 3:29
 8. What I Need - 3:27
 9. Nee-mo Money - 2:48
10. Everything I Wanted - 4:33
11. Don't Get Me Talkin - 4:29

Southern soul singer song writer with a touch of the blues/
The city of Austin,Texas is full of musicians and entertainers with stories as unique as theweather is hot. If you’ve been hiding under a rock it’s still possible to have seen Brother Magnum. Playing over 130 shows yearly and releasing three CD’s you’ve probably seen him belting out whiskey throated vocals or picking one of his many guitars at a summer festival, corporate event or night club in Texas.
Brother Magnum is a soulful singer/songwriter who combines a unique blend of blues, classic soul, and roots rock bathed in good-timing lyrics about the trials and tribulations of life. Inspired by the greats such as Buddy Guy, BB King, Jimmi Hendrix, Otis Redding and Albert King, fans and critics alike have compared him to the likes of Robert Cray, Otis Redding, and Sly Stone. A California native who moved to Texas as a teen via a military father, he experienced the culture of America and the world moving where ever Uncle Sam would send his family. Magnum laughs, ”I don’t think we ever lived anywhere longer than two years during my childhood. That’s why the road is soothing for me.” Surrounded by his seven older siblings they spent many a night in new towns pretending to be anyone from the Jackson 5 to Kiss.
By the age of twelve he taught his self how to play drums, piano, and guitar. At age sixteen he started writing songs just to “make new friends” as he describes it. After years of playing fraternity houses throughout the states of Texas, Louisiana and Oklahoma he has focused his attention on his own material. Despite the tremendous amount of success, he is still as humble as the first time he stepped on stage. “When I’m on stage I’m just part of one big party man. I just happen to have a microphone and it’s my turn to tell a story, that’s all”.
His latest release Titled “Meet Me In My Day Dream”, was released in Spring 2008 on his own label Bad Fun Publishing.
Don’t waste your time with the latest thing, check out the real thing called Brother Magnum.

Meet Me in My Day Dream

Murray Kinsley & Wicked Grin - Murder Creek

Bitrate: 320K/s
Year: 2018
Time: 48:34
Size: 111,3 MB
Label:  Phoenix Records
Styles: Blues/Blues-Rock
Art: Front

Tracks Listing:
 1. This Old Dawg (feat. Tom Bona & Sonny Del Rio) - 4:01
 2. Fly Fly Fly - 4:04
 3. Dance the Blues (feat. Jesse O'Brien & Ted Peacock) - 5:29
 4. Trouble Coming - 4:31
 5. Take Me Down (feat. Mary Jane Russell) - 4:26
 6. So Long, Too Soon (feat. Jesse O'Brien) - 5:38
 7. Murder Creek (feat. Ted Peacock) - 4:40
 8. My Own Way (feat. Jesse O'Brien, Darcy Hepner & Ted Peacock) - 3:45
 9. Dark Nights (feat. Jesse O'Brien & Mary Jane Russell) - 4:20
10. Freedom (feat. Jesse O'Brien & Mary Jane Russell) - 7:36

Murray Kinsley & Wicked Grin bring blues-rock from Ottawa, Canada featuring Murray’s blistering guitar skills and gruff vocals. The musicianship is fine, but the lyric writing department is the weak link here. Tired clichés and road sagas galore. Wicked Grin consists of Rod Williams on harmonica, Leigh-Anne Stanton on bass and Bruce Saunders on drums. They are all more than competent on their given instruments. The guests that provide keyboards, horns, percussion and background vocals are of the same caliber. Murray is an inventive and energetic guitar man.
Perhaps the strongest track is the driving “Trouble Coming”, a song that was written in reaction to the Parkland, Florida school shooting that occurred while the band were writing and rehearsing this CD. Rod’s harmonica burns here along with Murray’s slide guitar. Another worthy track is “Take Me Down” were the narrator seeks repentance for his boozing life. The harmonica and guitar playing are outstanding here. Murray utilizes a nicely textured guitar tone on “So Long, Too Soon”, a tribute to artists that have left us too early. The title song is a murder saga based on a true story with a little artistic license thrown in. Jesse O’Brien contributes rollicking piano to “My Own Way”.
Murray’s skill as a guitarist can’t be denied. His playing has a driving and earnest quality to it. This along with Rod’s blistering harmonica set against a rock steady rhythm section are the saving grace of this CD. Maybe a few choice lesser known covers and some outside writing would make this a stronger outfit. With a little tweaking this crew could produce some really forceful and meaningful material. Here’s wishing them the best.

Murder Creek

Junior Watson - Nothin' to It But to Do It

Bitrate: 320K/s
Year: 2019
Time: 51:41
Size: 118,5 MB
Label: Little Village Foundation
Styles: Blues
Art: Front

Tracks Listing:
 1. Up and Out - 3:20
 2. Don't Freeze Me Out (feat. Lisa Leuschner Andersen) - 3:12
 3. Louella - 4:20
 4. Caravan - 3:27
 5. A Shot in the Dark (feat. Alabama Mike) - 5:13
 6. Whole Lot of Lovin' (feat. Lisa Leuschner Andersen) - 3:13
 7. Summer Love - 2:50
 8. That's Tough feat. Alabama Mike) - 3:37
 9. One Way Street (feat. Lisa Leuschner Andersen) - 3:08
10. Well, You Know - 3:54
11. Space Flight - 2:35
12. I Found You (feat. Lisa Leuschner Andersen) - 3:53
13. So Glad She's Mine - 2:18
14. The Pee Wee Classic - 3:23
15. You're Gonna Need Me Before I Need You (feat. Lisa Leuschner Andersen) - 3:09

With nearly forty years of experience, Junior Watson has reached cult status. Junior has done what all great artists have done: melting diverse styles to create a style all his own. With influences as diverse as Tiny Grimes, Oscar Moore, Bill Jennings, Rene Hall, Robert Jr. Lockwood, Jimmy Rogers, Eddie Taylor, Guitar Slim, Earl Hooker and others he has truly created one of the most unique and original guitar voices to come along in years. Besides his mastery of blues and swing he often adds his own cartoon-like twist to everything he plays. You'll never know what he will do and when asked he doesn't know himself. His energy and playing gives you a feeling of reckless abandonment. As he was once quoted "like a train off the tracks".
His artist resume is as large as it is impressive. A founding member of The Mighty Flyers he stayed with the band for ten years. He then left to join Canned Heat for ten years. He then toured for a while with LA-based harmonica player/vocalist Lynwood Slim. All along the way he has backed up and recorded with the who's-who of the blues. His list of musical endeavors include backing up and recording with Big Mama Thorton, George Smith, Jimmy Rogers, Shakey Jake, Luther Tucker, Charlie Musselwhite, Kim Wilson, William Clark and many more.
While Junior Watson has appeared on hundreds of recordings, his solo releases are few. The latest release, Nothin' To It But To Do It shows Watson's command of the instrument - either when soloing or playing rhythm. His voice shines on the recording and, as with his previous Long Overdue recording Nothin' To It But To Do It features other vocalists as well - in this case the greats Alabama Mike and Lisa Leuschner Andersen. Also featured on the recording are saxophone great Sax Gordon along with organ master and Little Village Foundation founder Jim Pugh. Watson features his first boss Gary Smith, the godfather of SF Bay Area blues harmonica. The rhythm section consists of longtime bass player Kedar Roy and drummer Andrew Gutterman.

Nothin' to It But to Do It  

Kim Simmonds and Savoy Brown - Still Live After 50 Years Vol. 2

Bitrate: 320K/s
Year: 2019
Time: 53:45
Size: 124,5 MB
Label: Panache Records
Styles: Blues/Electric Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Nothing Like the Blues - 4:36
 2. Monday Morning Blues - 5:53
 3. Shot in the Head - 4:19
 4. I'm Tired - 8:01
 5. Black Night - 5:27
 6. Street Corner Talking - 9:43
 7. Ride on Babe - 7:57
 8. Savoy Brown Boogie / Whole Lot Of Shaking Going On - 7:47

Savoy Brown was formed by guitarist Kim Simmonds in 1965 in London, England. Simmonds has been the group’s guiding hand from the first singles released in 1966 through the band’s newest effort, their fortieth album, to be released in 2019.
Energetic blues has been the calling card of the band from the beginning. “Blues rock” became the catch-all phrase in the late 1960s to describe the band’s music along with that of contemporaries such as Cream, Fleetwood Mac and Jimi Hendrix. In fact, in the 2013 drama film “Jimi Hendrix: All Is By My Side”, a Savoy Brown song co-written by Simmonds was included in the sound track.
Many of the band’s singles and albums have appeared on the Billboard charts. Through the 1960s, 1970s and 1980’s songs such as “I’m Tired”, “Train to Nowhere”, “Tell Mama” and “Lay Back In The Arms Of Someone” became Hot 100 entries. Two of the band’s albums in the 1970s, “Looking In” and “Hellbound Train”, appeared on the Billboard Top Forty charts. This pattern continues today, culminating with “Witchy Feelin'”, the band’s 2017 album, reaching #1 on the Billboard Blues chart.
Along the way, Savoy Brown has toured continuously, making it one of the longest running blues/rock bands in existence. Through the years, the band has headlined concerts at many prestigious venues including Carnegie Hall, the Fillmore East, the Fillmore West and Royal Albert Hall in London. The band, having established national status in the 1970s, provided other groups opportunity. Kiss opened the bill on a Savoy Brown national tour as did ZZ Top, The Doobie Brothers and many, many more acts.
Former members, having cut their teeth under Simmonds’ leadership, have gone on to complete their careers with other bands. Among others, these include singer Dave Walker with Fleetwood Mac, Andy Pyle with the Kinks and Paul Raymond with UFO. Three other band alumni, Lonesome Dave Peverett, Roger Earl and Tony Stevens, were founding members of the multi-platinum act Foghat.
A resident of the USA since 1980, bandleader Simmonds has received many accolades himself. These include placement on the front cover of Guitar Player magazine, enshrinement on the Hollywood Rock Walk of Fame and acceptance in many regional “Halls of Fame” in the USA and Canada.
Said Simmonds, “I have always opted for a non-mainstream, yet complimentary, music route … one that would allow me personal and artistic freedom. In the end, it seems I’ve had the best of both worlds.”
Savoy Brown helped spawn the 1968 UK blues boom and later opened the eyes of many 1970s American teenagers to their own home territory blues artists. More than 50 years later, they still remain a progressive blues/rock force. The three-piece lineup includes Kim Simmonds on guitar and vocals, Pat DeSalvo on bass and Garnet Grimm on drums. This trio has established itself as the longest-running consistent lineup in the band’s history, now going strong for more than 10 years. Their legacy continues with the 2019 release of “City Night” on the California label, Quarto Valley Records.
Savoy Brown and Kim Simmonds have a body of work that is matched by only a small portion of musical artists. As they continue to tour the world, young and old find inspiration in their timeless music, classic style and ageless performances.
Still Live After 50 Years (Volume 2) from Kim Simmonds and Savoy Brown is a live recording from 2014 at the Palace Theater in Syracuse N.Y. – the group's home base city.
It features guitarist and vocalist Kim Simmonds along with his long time band members Pat DeSalvo and Garnet Grimm once again playing a mix of classic band hit songs along with newer material from the recent past.
Kim Simmonds and Savoy Brown are going through a revitalizing period with a recent 2017 number one Billboard blues album hit.
"Still live after 50 years" (volume 2) captures the wonderful chemistry and musicianship of the band, showing them at the top of their game....over fifty years after Kim Simmonds’ and Savoy Brown's first 1966 recordings.

Still Live After 50 Years Vol. 2

The Sly Geralds Band - New York's My Home

Bitrate: 320K/s
Year: 2019
Time: 50:20
Size: 115,4 MB
Label:
Styles: Blues/Electric Blues/Funky Blues
Art: Front

Tracks Listing:
 1. Let Me Talk To You - 4:32
 2. Just Like Superman - 3:44
 3. Shark With No Teeth - 3:30
 4. Loose My Mind - 4:06
 5. New York's My Home - 3:23
 6. Hit The Ground Runnin' - 4:12
 7. Dirty Little Secret - 7:43
 8. 4-Letter Word - 3:53
 9. Troubled Man - 3:56
10. She's Got A Mojo Workin' - 5:19
11. Wishes - 5:58

Musicians:
Sly Geralds - Bass/Vocals
John Carddoso - Drums
Alex Richman - Keys/Vocals
Michael Ernst - Guitar/Vocals
Daniela Atanasova - Sax/Vocals
Susan Lowett Marten - Vocals

He’s a singer and songwriter who has traveled the world and back with some of the most influential musical artists of our time. He has spent the last several years recording and sharing the stage with musical giants such as Maceo Parker, Al Green, Levon Helm, Richie Havens and Bob Dylan to name a few. He has now put his many years of experience to use as the leader and front man of the Sly Geralds Band. Sly has gathered a group of seasoned professionals to help bring his original music to life. Their style seamlessly blends elements of blues, funk, soul and rock. Sly’s music gives a nod to the masters of roots music while still maintaining a contemporary feel. His time spent in New Orleans has influenced his writing, as has living in New York City for most of his life. The experience of seeing a live performance of the Sly Geralds Band borders somewhere between a rock show, dance party, Mardi Gras parade and tent revival. The rhythm section throws down an infectious groove driven by Sly’s thunderous bass while the guitar and horns soar high above. Sly’s banter with the audience is equally impressive. He cajoles the audience into leaving their workday worries behind and joining him on the dance floor to “shake what their mama gave them! The band is also up to the task when it comes to entertaining the crowd by playing “the hits. You never know when they’ll break into a smoldering version of a “classic song” by Al Green, James Brown, The Rolling Stones or any number of blues, funk, rock or soul standards. The Sly Geralds band makes regular appearances in the hottest clubs in the New York metropolitan area as well as blues festivals around the U.S. and abroad. The Sly Geralds Band is a Rootsy, Blues laden six piece funky horn driven band, whose blend of “the New Orleans sound” meets the “urban funk” of New York City. The Sly Geralds Band’s highly infectious grooves have kept the crowds rocking internationally for the past several years.

New York's My Home 

Kevin Campbell - Nostalgia

Bitrate: 320K/s
Year: 2019
Time: 44:13
Size: 101,7 MB
Label: Self Released
Styles: Blues/Blues-Rock
Art: Front

Tracks Listing:
 1. The Rub - 5:11
 2. Caught in My Feelings - 3:57
 3. This Ain't No Fairytale - 4:07
 4. Back When - 4:28
 5. Keep That in Mind - 4:58
 6. Can't Stop Thinking - 5:40
 7. I Keep Dreaming - 3:39
 8. Nostalgia - 4:43
 9. You Got Me - 3:31
10. Lucky - 3:54

Musicians:
Kevin Campbell- Guitar, Vocals, BGVs
Tommy Hazerian- Synths, Drum Programming
Padre Holmes- Bass & BGVs
Bobby Jones- Drums
Dominique Holmes- BGVs
Matt Margucci- Horns
Giovanna Clayton- Cello

A soulful blend of rock, folk and blues.“Singing from his soul, Kevin pulls in elements of Blues, Folk and Soul that you have to experience.”

Nostalgia

Stratus Luna - Stratus Luna

Bitrate: 320K/s
Year: 2019
Time: 46:50
Size: 107,9 MB
Label: Music Magick
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. Nimue - 6:04
 2. O Centro Do Labirinto - 7:56
 3. Zarabatana - 9:34
 4. Pandas Voadores - 5:52
 5. Nrem-1 - 2:15
 6. Onirica - 7:31
 7. Efemera - 7:34

This is an amazing first album by this young band. Very talented musicians. They reminded me of Camel in their early days. Great understanding between keyboard and guitar and very tight rhythm section. This is music very well structured that also allows the freedom for these musicians to showcase their individual talent.
I cannot point out any favourite tracks because they are all wonderful, beautiful and exciting. No doubt this band's inspiration is from 70's prog rock. This filters to a rich and solid modern prog rock that I hope will last for many albums to come from these young musicians.
I encourage any lover of music, especially lovers of Prog Rock to support this band. Your music collection will benefit with this album.

Stratus Luna

Goldschatz - Salt Of The Sea

Bitrate: 320K/s
Year: 2019
Time: 25:38
Size: 58,8 MB
Label: Self Released
Styles: Blues/Americana
Art: Front

Tracks Listing:
 1. North 49 - 3:11
 2. Take It Easy - 3:32
 3. Darkest Times - 3:22
 4. Tried and True - 3:30
 5. Thick as Thieves - 3:17
 6. You Can Sleep While I Drive - 2:57
 7. Absolutely Right - 2:25
 8. Goldschatz - 3:21

"Salt Of The Sea," is the debut offering from Swiss/Canadian duo Goldschatz. Written in the wilderness and recorded in Toronto, it's a catchy collection of honest road stories with wisps of Blues and Americana.

Salt Of The Sea

Ryan Foret and Foret Tradition - The Tradition Lives On:Live at Pat’s Atchafalaya Club

Bitrate: 320K/s
Year: 2019
Time: 56:37
Size: 129,9 MB
Label: BSE Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Hello Josephine (Live) - 3:02
 2. Valley of Tears (Live) - 3:15
 3. Kidnapper (Live) - 3:12
 4. Bartender Blues (Live) - 4:44
 5. Sick & Tired (Live) - 3:09
 6. Mathilda (Live) - 3:28
 7. All These Things (Live) - 4:58
 8. Haterz (Live) - 3:57
 9. What Do You Think a Heart Is for (Live) - 3:28
10. Before I Grow Too Old (Live) - 2:46
11. Bony Moronie (Live) - 3:18
12. Going to the River (Live) - 2:56
13. Ain't It a Shame (Live) - 2:37
14. Teenie Weenie Bit (Live) - 3:11
15. Looking for a Fool (Live) - 2:45
16. Tee Nah Nah (Live) - 3:38
17. America the Beautiful (Live) - 2:06

The Tradition Lives On is the name of the new album by the legendary Foret Tradition. This album was recorded live as the band performed at Pat's Atchafalaya Club in Henderson a few months back. It was mastered and now is ready for everyone to hear.  I had the pleasure of listening to a sneak peek of the album, and I personally have not hear a live album this cleanly recorded in quite a long time. The vocals and harmonies are crystal clear to the point that is sounds like studio quality. The live set features songs you know and love by Foret, don't worry it includes Te Na Na.Read More: Ryan Foret and Foret Tradition Announce New Album Release | https://gator995.com/ryan-foret-and-foret-tradition-announce-new-album-release/?utm_source=tsmclip&utm_medium=referral

The Tradition Lives On: Live at Pat’s Atchafalaya Club

Eugene "Hideaway" Bridges - Live In San Antonio (Special Edition)

Bitrate: 320K/s
Year: 2010
Time: 103:10
Size: 239,2 MB
Label: Armadill
Styles: Blues
Art: Front

Tracks Listing:
 1. I Got the Blues (Live) - 4:13
 2. Woke Up This Morning (Live) - 3:45
 3. Little Boy Blue (Live) - 3:48
 4. Learn How to Let You Go (Live) - 4:24
 5. Giving Up On Love (Live) - 6:10
 6. Real Hero (Live) - 4:49
 7. Rome Wasn't Built In a Day (Live) - 2:37
 8. Won't Be Your Fool (Live) - 5:34
 9. Movin' and a Groovin' (Live) - 4:17
10. I Know That You Love Me (Live) - 6:54
11. I Found It (Live) - 4:22
12. Bluesman (Live) - 4:08
13. How Can I Win (Live) - 4:57
14. You're the One (Live) - 3:46
15. Jump the Joint (Live) - 5:10
16. Baby Your Love (Live) - 3:48
17. Life Has No Meaning (Live) - 4:36
18. Always Remember You (Live) - 5:15
19. Love Got the Best of Me (Live) - 7:30
20. In Your Arms Tonight (Live) - 3:57
21. I'm Going Back (Live) - 3:24
22. Pay the Rent (Live) - 5:36

So you’ve got the CD by Eugene Hideaway Bridges Live In San Antonio and you want to hear more. Well now you can, we have released a Special Edition of the album on iTunes with seven extra tracks.
Baby Your Love (Live), Life Has No Meaning (Live), Always Remember You (Live), Love Got The Best Of Me (Live), In Your Arms Tonight (Live), I’m Going Back (Live), Pay The Rent (Live) and more...

Live In San Antonio (Special Edition)

Johnny Rawls - I Miss Otis Clay

Bitrate: 320K/s
Year: 2019
Time: 37:12
Size: 86,5 MB
Label: Self Released
Styles: Soul Blues
Art: Front
Source: kmn

Tracks Listing:
 1. California Shaking Again - 3:17
 2. Can't Read Your Mind - 3:25
 3. Give A Toast To The Blues - 3:35
 4. Giving You Something You Can Feel - 3:30
 5. I Can't Let Nobody - 3:57
 6. I Miss Otis Clay - 4:32
 7. Kissing And Hugging - 3:42
 8. Motion Of The Ocean - 4:08
 9. Slow Roll It - 3:14
10. The Wind - 3:47

Singer, songwriter, guitarist, arranger and producer Johnny Rawls draws on the 1950s' and '60s' deep soul-blues tradition in his guitar playing, yet his lyrics and singing are completely 1990s.
Rawls got his early musical education from his grandfather, John Paul Newson, a blind guitarist who played around the Hattiesburg area. Rawls began playing clarinet and saxophone in third grade, and by the time he was in his teens, the band instructor hired Rawls to play in his band. As a teen, Rawls had the opportunity to back singers like Joe Tex and Z.Z. Hill. He began playing guitar at age 12, learning as much as he could from players in other area blues bands. After leaving Mississippi for a year when he was 17, he returned, determined to form his own blues/soul ensemble. They found work backing up touring musicians and by the mid-1970s, Rawls joined O.V. Wright's band, working with Wright until his death in 1980. After Wright's death, the band continued to perform his music for 13 years as the O.V. Wright Band, opening shows for people like B.B. King, Little Milton Campbell and Bobby Bland. In the mid-1980s, the O.V. Wright Band also toured with Little Johnny Taylor, Latimore, B.B. Coleman, Blues Boy Willie, and others, including Lynn White. Working with guitarist L.C. Luckett, Rawls recorded 45 rpm singles for his own label, Touch Records, and continued working around the South, touring regionally with soul-blues singers. In 1994, Rawls and Luckett recorded their first album, Can't Sleep at Night, for the Rooster Blues label. In 1995, Rawls parted with Luckett to lead a new group and found a record company that was interested, the London-based JSP label. Here We Go, his debut for JSP Records, was recorded in 1996, and since then, he's followed it up with Louisiana Woman, a 1997 release.
Rawls carries on the soul-blues tradition of people like O.V. Wright, Otis Redding and Z.Z. Hill in his singing style and guitar playing, but his arrangement, production and lyrics are steeped in the 1990s techniques and subject matter. Rawls is a true soul-blues renaissance man and with any luck. ~Richard Skelly
https://music.apple.com/us/album/i-miss-otis-clay/1482444497

I Miss Otis Clay

Jordsjo - Nattfiolen

Bitrate: 320K/s
Year: 2019
Time: 40:07
Size: 92,0 MB
Label: Karisma Records
Styles: Progressive Rock/Symphonic Prog
Art: FFull

Tracks Listing:
 1. Ouverture - 1:20
 2. Stifinner - 7:53
 3. Solens Sirkulare Sang - 7:40
 4. Septemberbål - 1:49
 5. Mine Templer II - 6:32
 6. Til Våren - 9:04
 7. Ulvenatt - 5:45

The only disappointing thing I can say about this album is the title track being left off, thankfully you can download it over at Bandcamp, but that piece is so amazing it shouldn't have been left off the album, it would have fit fine on the CD, but since the vinyl LP was also in mind, Håkon Oftung had to make the decision to leave it off and not have to disappoint buyers in either the CD or LP camp.
I am so pleased that I didn't have to wait so long for a Jordsjø release, not like Wobbler where you had to wait six years between releases (Rites at Down, From Silence to Somewhere). Which I love about Jordsjø since discovering them in September 2017 is that organic approach to prog, with a frequent pastoral approach that I really dig, often rooted in Nordic folk, giving it that Scandinavian feel that I so enjoy from prog from that area of the world. I also love how they completely avoid that sterile digital approach that plagues way too much prog these days (neo prog obviously being the most guilty). As usual Oftung gets help from Kristian Frøland on drums and various guests as needed. "Ouveture" is a simple piano and flute intro, but "Stifinner" is the first real song on the album. Starts off with this loud Mellotron passage, but then calms down with acoustic guitar, with vocals in Norwegian (in fact all the vocals are in Norwegian). I really like that organ and flute passage later on. "Solens Sirkulære Sang" is a lengthier piece demonstrating the band's more ambitious side, but Håkon Oftung also knows his limits, as Jordsjø as never been about playing a million notes per second (too much prog since the 1990s has been like that, and even before then ELP was frequently accused of that as well), like Camel, Jordsjø is more focused on the emotional part, unlike Camel, they give it that Nordic touch. "Septemberbål" is an unaccompanied acoustic guitar piece, much like a Nordic version of "Mood For a Day", but unlike that famous piece, it's more influenced by Nordic folk than classical guitar like what you get from Steve Howe. "Mine Templer II", a sequel of "Mine Templer I" (from 2016's Jordsjø II, later appearing on the self-entitled double album compilation). Instead of rehashing the original, it's completely brand new song and it's truly a stunning piece. I only imagine the lyrics having a same them that connects the two (but lost on me not knowing Norwegian) Really dig that flute intro, sounds so '70s you think it was recorded in the '70 (funny how that flute intro reminded me of that incidental music I heard on the original 1970s Land of the Lost TV series as I frequently heard similar sounding flute, although in the case of Håkon Oftung, it's likely just a coincidence as he was clearly not alive in the '70s, and lives in Norway). Then the song starts with a wonderful pastoral approach, nice vocals in Norwegian, and that nice use of piano to go with it, but I love how things change, with an intense organ passage, then the vocal theme reappears, this time, without vocals, but jazzy guitar parts instead, then a wonderful theme to close this piece. "Til Våren" is a really ingenious piece. There's the vocal section, and then when the flute section kicks in, it took me several listens to discover the flute theme is the same as the vocal section. Jordsjø sure has a way with creating a theme, and changing it drastically until it dawns on you it's a different take on that theme. Regardless this is truly one of the album's highlights. "Ulvenatt" is an atmospheric number that's very much in Pink Floyd territory, also Camel and even Sebastian Hardie. Håkon Oftung even does that David Gilmour style of guitar playing (also a bit in the style of Andy Latimer and Mario Millo). It ends with Geir Opdal giving some brief sound effects off his Buchla Music Easel.
And just in case you don't know Jordsjø, their music is very highly recommended if you enjoy bands like Wobbler, Änglagård, White Willow, Sinkadus, Tusmørke, and Landberk.
As mentioned, the omission of the title track is the album's only disappointment, had this been made in, say 2005, it would have been likely included as it would have been likely only issued on CD because 2005 would have been before the vinyl resurgence. If it was included it certainly would have been a highlight, but as it stands, the album, even without the title track, still blows me away. It's certainly one of the finest releases of 2019 so far.

Nattfiolen

Il Giardino Onirico - Apofenia

Bitrate: 320K/s
Year: 2019
Time: 77:54
Size: 178,6 MB
Label: Lizard
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Onironauta - 12:14
 2. Scivolosa simmetria -  7:57
 3. Aletheia - 12:51
 4. Mushin - 10:35
 5. Apogeo - 10:39
 6. Un nodo all'anima -  9:39
 7. Lacrime di stelle - 13:57

After the excellent results of “Perigeo” and “Complesso K”, the band from Lazio reaffirms its epic space-oriented instrumental neo-prog atmospheres, but this time it surprises us with a couple of the most beautiful and important voices of the Italian progressive scene: Alessandro Corvaglia (“Scivolosa Simmetria” and “Un nodo all’anima”) and Jenny Sorrenti (“Mushin”), to which we add the silken vocality of Jenna “Sharm” Holdway (“Lacrime di stelle”), the sax by David Morucci (“Aletheia” and “Apogeo”) and Claudio Braccio(“Lacrime di stelle”) and the choir Fuori dal Coro (“Aletheia”). Many guests to embellish an album (7 tracks, 5 over 10 minutes) already full of fascinating sounds: modern prog-symphonic atmospheres, at times pulsating and majestic, at times visionary and ethereal (in special harmony with Marco Marini’s graphics), fed by the double keyboards by Emanuele Telli and Dariush Hakim. A talented band, completed by Stefano Avigliana (guitars), Ettore Mazzarini (bass), Massimo Moscatelli (drums), who makes a remarkable contribution to the tradition and regeneration of the actual Italian prog-rock scene !!

Apofenia

IQ - Resistance

Bitrate: 320K/s
Year: 2019
Time: 52:57 + 55:38
Size: 123,7 MB + 128,7 MB
Label: Giant Electric Pea
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
CD1
 1. A Missile -  6:39
 2. Rise -  6:49
 3. Stay Down -  7:54
 4. Alampandria -  3:47
 5. Shallow Bay -  6:21
 6. If Anything -  6:02
 7. For Another Lifetime - 15:21
CD2
 1. The Great Spirit Way - 21:44
 2. Fire And Security -  5:25
 3. Perfect Space -  8:33
 4. Fallout - 19:54

Musicians:
Peter Nicholls – Vocals
Michael Holmes – Guitar
Tim Esau – Bass
Neil Durant – Keyboards
Paul Cook – Drums

5 years…this has been the span between the last few IQ albums – The Road of Bones in 2014, Frequency in 2009 and Dark Matter in 2004. Like The Road of Bones, the band’s latest and twelfth studio album, Resistance, is a lengthy double album with a second disc of material “that didn’t quite gel with the atmosphere of disc one” according to founding member and guitarist Michael Holmes. He goes on to say, “This has been an interesting album to work on – years of talking about it and putting down all the different ideas in demo form, and then a frantic period of trying to finish it for the scheduled release date. It would have been quite easy to put out ‘The Road of Bones Part 2’ but it felt a bit different this time and we just let the music dictate to us the kind of album it should be.”
Resistance returns the same lineup as the previous album and exudes quality at every juncture with the instantly recognizable sound of Peter Nicholls’ vocals, Michael Holmes’ elegant guitar, Neil Durant’s silken keyboards and the impressively tight rhythm section of drummer Paul Cook and bass player Tim Esau, an impressive collection of musicians as you could wish for. They are all on top form here, as is the production.
The album opens with the powerful and dark track “A Missile”. The keyboards and drums drive this one as Nicholl’s unique phrasing cuts through. The second track “Rise” continues with the barrage of heaviness from the album’s opener. This is IQ at their most aggressive. Other highlights that will go on to be fan favorites include the epic progressive brilliance of triumvirate “For Another Lifetime”, “The Great Spirit Way” and “Fallout”, each over 15 minutes in length, while the winsome beauty of “If Anything” and the melodic “Shallow Bay” cannot be denied.
This is a solid album but perhaps lacks the immediacy of its predecessors. It requires a few listens to fully absorb.  There is no such thing as a bad or an average IQ release, however, Resistance might just sit behind the recent albums mentioned earlier. In the same way that generally only Apple fans will upgrade to the latest iPhone model, Resistance will immediately appeal to the band’s loyal fanbase. For those that have never been fans it will not change their minds and, for those new to the band, I’d resist this album before searching out some of their classic albums in their catalog first.

Resistance

Miss Bix & The Blues Fix (feat.Leslie Bixler) - We Don't Own the Blues

Bitrate: 320K/s
Year: 2019
Time: 54:44
Size: 125,9 MB
Label: Lesliebixlermusic
Styles: Blues/Rockin' Blues
Art: Front

Tracks Listing:
 1. Follow Me Down - 5:20
 2. Slave to the Grave - 4:54
 3. If You're Doing What I'm Thinking - 3:44
 4. Gotta Get off This Ride - 3:52
 5. Black Widow - 5:02
 6. Voodoo Man - 5:24
 7. Crazy Bout You - 4:49
 8. You're a Child - 3:37
 9. We Don't Own the Blues - 3:53
10. It Wasn't Me - 5:21
11. Baby Come Back - 4:17
12. All the Time - 4:26

Sultry blues-influenced rock and soul with great grooves and powerful lyrics.
The concept of this collection of songs is inspired by the home of the blues, the Crossroads in Clarksdale, Mississippi. Leslie Bixler (aka Miss Bix) spent several months there soaking in the culture and learning the blues from the founders themselves. The songs reflect the culture that permeates the south, “Voodoo Man”, “Black Widow”, “Slave To The Grave”, and “Crazy Bout You” all have the smoky sensuous sound of the bluesy south. At the same time, Bixler creates a sound and voice that is all her own, and each song tells a different story. The Hendrix inspired “You’re A Child” harkens back to the excitement of early rock days, and features the amazing RHCP drummer, Chad Smith, with whom Leslie has worked before on a children’s album, “Rhythm Train”. The opening track “Follow Me Down” draws the listener in with a trance-like psychedelic groove and from there the excitement continues to build. Along with Leslie Bixler and co- producer Ralph Carter,( previously with Eddie Money and Sugaray Rayford) who brings bass, percussion, guitar and keys to many of the songs, the rest of the players are top notch, including John ‘JT’’ Thomas (keyboardist with Hornsby), Gary Mallaber (drummer previously with Van Morrison, Steve Miller and more), blues guitarist extraordinaire Franck Goldwasser (aka Paris Slim), Sax man Bill Bixler, and harp player RJ Mischo. There are no mercenary performances on this album. You can feel the passion and commitment in every musician’s contribution, as well as in Bixler’s soulful and intimate vocal delivery. This is a rare find, 12 songs that pack a punch, in a conceptual flow, reminiscent of days past, when albums told a story.
Artistic influences like Sheryl Crow, Bonnie Raitt, Peter Gabriel, Sting, John Mayer, and many others weave together in this altogether new package. Hints of motown are perceptible in the R&B feel of “Baby Come Back”, and the ending cut is a sensitive homage to the muse herself, that never ends, in “All The Time”. The title cut “We Don’t Own The Blues” is a playful look at the nature of love and heartbreak, and is destined to become a blues classic, as is the romping “If You’re Doing What I’m Thinking”. The vocal stylings of the heartbreaking ballad “It Wasn’t Me’ are beautifully framed with the gorgeous keyboard virtuosity of John JT Thomas.

We Don't Own the Blues

Michael Grimm - Live Tribute to Otis Redding

Bitrate: 320K/s
Year: 2019
Time: 40:10
Size: 92,1 MB
Label: Mattikay Music
Styles: Soul/Blues-Soul
Art: Front

Tracks Listing:
 1. Dock of the Bay (Live) - 3:42
 2. Mr. Pitiful (Live) - 2:36
 3. The Happy Song (Dum-Dum) [Live] - 3:11
 4. Dreams to Remember (Live) - 3:58
 5. Down in the Valley (Live) - 2:52
 6. I've Been Loving You Too Long (To Stop Now) [Live] - 3:25
 7. Hard to Handle (Live) - 2:53
 8. Try a Little Tenderness (Live) - 4:23
 9. Fa Fa Fa Fa Fa (Sad Song) [Live] - 2:54
10. These Arms of Mine (Live) - 2:49
11. Love Man (Live) - 2:35
12. A Change Is Gonna Come (Live) - 4:47

This album is a collection of the best of the king of soul, Otis Redding, recorded by award-winning Southern Soul singer Michael Grimm. Recorded live in Las Vegas.This album is special to Michael as it is a collection of his favorite songs by his personal idol Otis Redding. The album was designed visually and musically to capture the 60s era and the essence of Otis. Michael Grimm succeeds without question in honoring and capturing the power of the king of soul.

Live Tribute to Otis Redding

The Dame - Losing Sight Of What You Want

Bitrate: 320K/s
Year: 2018
Time: 61:58
Size: 141,9 MB
Label: Self-Released
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Water Tumbles Down -  7:22
 2. General Disarray -  5:32
 3. Faking It In Monaco -  7:30
 4. The Last Dance -  5:40
 5. Losing Sight Of What You Want - 11:19
 6. Thy Father's Bidding -  5:33
 7. Conveniently Distant - 18:59

The Dame is a band from The Hague, the Netherlands. The band consists of Marian van Charante (lead & backing vocals, guitar), Stephen de Ruijter (lead guitar), Michel Krempel (bass), Thijs de Ruijter (keyboards) and Ruben Meibergen (drums). Losing Sight Of What You Want is their debut. All lyrics are written by Marian and most of the music is written by Stephen. The Dame is a female fronted band. When I read their website I read they the band wants to go back to the twenties of the twentieth century. If you take a look at the pictures in the booklet, they succeed in it. What kind of music they played in that years, I really don't know. That everything needed to be challenging becomes clear by the pictures and the text at the last page of the booklet, where you can read: let's misbehave! Right, the vibe is clear. And how about the music, what can you expect?
Water Tumbles Down is the opening song and has a quiet intro. Directly the beautiful voice of Marian comes to mind. The music makes a conflicting impression; the piano sounds depressing while the guitar moves me. And to tell you of the lovely bass lines, wow. Again, the singer has a really beautiful voice. After the last verse, you will hear the good rhythm section while the guitar tells you its own tale, deep and entraining. I conveniently change the song title to 'the guitar tumbles you down'. Good opening song with space for every instrument. A joy to listen to. In General Disarray you will hear a funky bass line and you will take notice of a tough text. Halfway it becomes firmer with a keyboard solo together with a guitar solo. There is a lot of guitar work in the song, lovely. Faking It In Monaco starts with footsteps and a humming Marian, directly followed by a beautiful guitar solo. Marian sings her lyrics really threatening, what they need, well done! Also in this song you will hear a lot of long guitar solos. As if The Dame has patent on guitar solos, great. The Last Dance has some melodic music with now and then a lovely bass line. Good to mention that in this song the keyboard is more important than in other songs, especially in the first part of the song. Good job. Losing Sight Of What You Want is the second longest track on the album, more than 11 minutes long. It has a relaxed intro. The lyrics are really funny, just read them and you will know what I mean. After about four minutes there is another great guitar solo, this time with great bass lines. The guitar solo takes about one and a half minutes and never has a dull moment. This is not the last long solo in the song because there is another one that gives you goosebumps while you are hypnotised by the bass playing. In this song the chorus is repeated too much in my opinion. Instead of 11 minutes the song was'better' when it finished after about 8 minutes. However, because of the guitar the song could have lasted forever and ever....In Thy Father's Bidding, that opens with threatening piano sounds, you will hear a child's choir, nicely done. There is a lot of threatening in the song, as you can hear in the lyrics. So that is a good combination. At the end there is an addictive guitar solo, another one!! I know where I can find the repeat button. The last track is the longest epic. To be short; there are too many lyrics in this song and the music is less important. Too bad, because the rest of the album is to be feasted. My conclusion is that The Dame delivers a good album with Losing Sight Of What You Want. I hear a lot of potential for future albums. I think the next one will be the surprise of the year, believe me!!

Losing Sight Of What You Want