Prime Mover - Alias Drivkraft

Bitrate: 320K/s
Year: 2004
Time: 38:13
Size: 88,1 MB
Label: Skivkraft
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Vykort Fran Sodern -  4:07
 2. Nagra bagateller -  4:49
 3. Utbrand - 11:08
 4. Oppen -  4:04
 5. Begagnat liv -  3:17
 6. Folk Ar Inte Kloka - 10:45

PRIME MOVER is a combination of Finnish and Swedish musicians. Their debut album "Put In Perspective" (2001) is a unique marriage of grunge and Progressive rock. The group throws quite a surprising range of influences and sounds into the melting-pot, but still comes out with something that makes sense. "Alias Drivkraft" (2004) Belonging to the Swedish minority in Finland, the musicians went on a voyage in search for their own musical identity, and started writing songs in their own native tongue. The music that evolved defies classification, making PRIME MOVER a true Progressive band since "Alias Drivkraft" (2004) pulls and fuses pieces of many different genres of music. Essentially, the music is a kind of jazzy Progressive folk-rock, spiced up with vintage flauvours. "Imperfekt" (2007) is another album that simply defies categorization. It has clear influences of classic symphonic Progressive rock, but includes the soaring vocals of pop music, various traces of electronic music, and pounding heavy-metal licks. The album has less folk music influences than its predecessor and a darker mood, somewhat closer to the Scandinavian School. To be discovered !

Alias Drivkraft

Zed Mitchell - Summer In L.A.

Bitrate: 320K/s
Year: 2010
Time: 55:57
Size: 131,8 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Dont Lie Me - 4:39
 2. Cadillac - 4:00
 3. Her Love - 4:26
 4. It's Killing Me - 3:49
 5. All Allone - 3:44
 6. Summer In L.A. - 3:42
 7. Billion Kisses - 3:03
 8. Good Night, Baby - 3:42
 9. Game Is On - 3:12
10. Friends Are Like Diamonds - 3:42
11. The Lady Lives The Blues - 3:57
12. Silence - 5:29
13. On The Road Of Life - 3:55
14. Somebody Told Me - 4:32


The bandleader, singer, guitarist and composer Zed Mitchell, from Belgrad, began his career as professional musician in 1970. In that time he played with many well know bands in Yugoslavia.
In 1974 with his own band “LAND”, he had his first international hit-single called “SHOSHANA” for POLYDOR Europe. After this big success and many radio sessions as well as TV, he played as support group on tours for bands such as “FOCUS”, “DEEP PURPLE”, “IAN GILLAN BAND” and many more. He played concerts all around Europe.
At the end of the seventy’s, he founded the ”School for Rock Guitar in Belgrad.
From 1988 he worked in ARCO - STUDIOS in Munich, with producers Malcolm Luker and film composer Nick Glennie-Smith right hand of Hans Zimmer who’s become two Oscars. He made projects with Tina Turner, Phil Collins, Pink Floyd etc. Zed Mitchell worked in that time as studio musician and he played guitar for Eros Ramazotti (“La musica e”), Natalie Cole, also with German stars and producer: Curt Cress, Udo Lindenberg and Leslie Mandoki.
One of the biggest success Zed celebrated, was working with MSSO (Munich Symphonic Sound Orchestra). He played all acoustic and electric guitars. This CD is sold more than one million copies (POLYDOR, POLYSTAR) !!!.
He worked with world know composer Elmar Bernstein and played guitars for the BLOCKBUSTER – “INDIANA JONES” . His knowledge makes him very “wanted” artist under other Artists and Producers on the pulse of the music scene in Germany. Musicans and people from the music business assert, while he is simply one of the best in Europe.
With his band he played as support group with big stars such Joe Cocker (1993), Santana (1993) and B.B. King (on his last tour in Germany 2006).
With his album „Springtime in Paris“ which he recorded with many of his musical friends of the blues and rock-scene in Germany (Blues company, Klaus „Mojo“ Kilian, Rolf-Dieter Schnapka, Greg Mc Coy, James Simpson, Billy Allen), the singer and guitarist presents his variety, that causes a wave of excitement. Through his 13 tracks Zed Mitchell plays bluesrock in all his musical style. At the same time the musican masters all styles of his genre perfectly.
Zed Mitchell can easily be mentioned among people like Eric Clapton, Stevie Ray Vaughan, Mark Knopfler, Gary Moore, Jimi Hendrix or Robert Cray.
His Blues comes deep out of his soul and you can feel it with every tone.

Summer In L.A.

Urban Soil - Sounds From The Underground

Bitrate: 320K/s
Year: 2016
Time: 51:20
Size: 118,3 MB
Label: City Dirt Productions
Styles: Rock/Roots Rock/Jam Band/Americana
Art: Front

Tracks Listing:
 1. Brother Bee - 4:58
 2. Alive - 5:27
 3. In Tune with the Moon - 5:35
 4. Erock's Jam - 3:12
 5. Never Enuff - 3:58
 6. Urban Swing - 5:34
 7. Equality of Light and Dark - 8:00
 8. Gotta Go - 3:31
 9. You Know - 7:22
10. Majik - 3:39

Many bands can jam, but Urban Soil avoids the dreaded "jam that won't end". Plus, no band has done more to advance the electric washboard than Urban Soil! Seriously-the songs and musicianship all come together on this album. See them live too- your ears will smile!
Urban Soil is a collaborative creative effort, sprouting from the streets of downtown Raleigh. Fusing new sounds and old. Young artists and... not so young artists, combining to create something new, refreshing and awesome for your listening pleasure. Urban Soil is focused on creating the best possible original music. The combination of all out, electrified, jam band inspired musical explorations and the more Americana, acoustic flavors makes Urban Soil truly unique. Sarah's powerful voice is complex and thought provoking, while being strong and soulful at the same time. Eric and the rest of the band provide a tight, concise backdrop for her to fully explore the sonic space. Sweet Americana Jam!
Sounds From The Underground

Resistor - Underground

Bitrate: 320K/s
Year: 2017
Time: 77:31
Size: 179,2 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

racks Listing:
 1. Arrival -  7:45
 2. Cathedral -  4:02
 3. Wire -  3:30
 4. Killers and Activists -  4:11
 5. Discovery -  7:01
 6. Running into Walls -  6:03
 7. Atonement -  5:34
 8. Transcendence -  6:03
 9. Blackout -  9:07
10. Halls of Home - 24:11

Underground is Resistor's seventh album. Underground is a progressive rock theme album about the story of "Underground". In 10 songs, the story of an amnesiac is told through his imprisonment in the "Underground" - an underground prison where killers and activists have their memories erased and are left to fend for themselves. Protagonist is abandoned at the entrance of Underground, which he enters having no-where else to go. The story / album chronicles his acceptance into that unique society, escape back to the city, and his discovery of his old life through the eyes of his new life. Which will he choose? Don't guess - buy the album!

Underground

The Mick Fleetwood Blues Band - Live At The Belly Up

Bitrate: 320K/s
Year: 2016
Time: 121:39
Size: 278,8 MB
Label: Belly Up Live
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Looking For Somebody -  6:11
 2. Fleetwood Boogie -  5:11
 3. Oh Well -  5:07
 4. Red Hot Gal -  6:36
 5. Rollin' Man Meets The Voodoo Woman -  5:33
 6. Love That Burns -  6:42
 7. Eyesight To The Blind -  5:16
 8. Black Magic Woman - 13:24
 9. Black Crow Blues -  4:43
10. Lucky Devil -  8:18
11. Passage East   World Turning - 17:20
12. Rattlesnake Shake -  7:45
13. You Can't Judge A Book By The Cover -  7:21
14. Shake Your Moneymaker -  8:12
15. Stop Messin' Around -  3:58
16. Carol -  4:58
17. Albatross -  4:58

At the front of the group is Rick Vito, veteran Bluesman and former Fleetwood Mac vocalist and lead guitarist. Rick adds his personal touch while staying true to the styling of early Fleetwood Mac front man Peter Green. “A lot of guys can play the licks but Rick has the tone and that’s so important in real blues,” says Mick Fleetwood.  With Fleetwood anchoring the band on percussion, the “other half” of the rhythm section is Lenny Castellanos on bass. As Mick points out, “I’ve played with John McVie for 40 years, any bassist who plays with me has big shoes to fill.” Lenny does a great job filling those shoes while complimenting Mick’s unique and revered drum style. Mark Johnstone ties everything together on the keys and backup vocals, infusing a vibrant energy to the group.
The album features Fleetwood Mac hits like “Oh Well” “Black Magic Woman” & “Albatross” as well as Blues Rock standards like “Carol” and Blues classics like “You Can’t Judge A Book By Its Cover” and “Shake Your Moneymaker.”

Live At The Belly Up

Tailbone Smitty - Bone Appetit

Bitrate: 320K/s
Year: 2005
Time: 38:26
Size: 88,2 MB
Label: Self Released
Styles: Rock/Southern Rock
Art: Front

Tracks Listing:
 1. Little Disaster - 3:38
 2. Dancin' - 3:47
 3. Water - 4:18
 4. Highway - 2:59
 5. Live To Ride, Ride To Live - 3:45
 6. Chi'ka - 2:45
 7. Mona Lisa's Eyes - 3:26
 8. Thunder - 3:44
 9. Sycamore - 4:30
10. Black September - 5:29

Guitar Rock is reborn in south Mississippi’s Tailbone Smitty. Their debut album “Bone Appetit” (August 2005) serves up a southern fried digital burrito that’s sure to warm the soul and feed the brain of everyone who thought real rock-n-roll was “resting in peace”. Tailbone Smitty is the best of ˜70’s arena rock ranging from Boston to Journey to BTO and that little ole band from Texas, the furry friendlies know as ZZ Top- Tailbone Smitty have crafted sing-able tunes with great melodies, great hooks and great guitar work. The massive wall of sound is rounded out by Tailbone Smitty's rhythm section; this CD will keep you content song after song...

Bone Appetit

The Cherry Valence - TCV3

Bitrate: 320K/s
Year: 2005
Time: 42:11
Size: 97,1 MB
Label: Bifocal Media
Styles: Rock
Art: Front

Tracks Listing:
 1. Sunglasses And Headlights - 3:38
 2. Minutes - 2:20
 3. Only Game In Town - 3:39
 4. I Sing No Blues - 3:13
 5. My Little Piece Of The Pie - 3:04
 6. Couldn't Stop It - 2:25
 7. 333 - 2:52
 8. Someway Somehow - 2:15
 9. Stayin' Out All Night - 3:37
10. Low Class Warrior - 2:48
11. Two Steps Forward - 3:44
12. You've Got To Wait - 2:06
13. Trees - 2:38
14. Caves Of Steel - 3:47

For their third album, 2005's TCV3, Southern hard rockers the Cherry Valence jump from Estrus to Bifocal Media and shuffle their lineup but otherwise they haven't changed much. There is still plenty of riffin'; there are songs that sound like they would fit quite snugly in the rotation of a mid-'70s AOR station next to Nazareth, Ted Nugent, and Led Zeppelin and they continue to sport dual drummer/vocalists, which still kicks serious rock & roll business. TCV3 kicks off with a trio of tunes that stake a claim right at the head of 2005's hard rock revival class. "Sunglasses and Headlights" motors like classic Montrose with some fierce guitar and a killer chorus, "Minutes" is more laid-back, riding a nicely funky groove much like the one the Black Crowes lost many years ago, and "Only Game in Town" is a tight rocker that jumps like something off of the MC5's Back in the USA. From there the record hits a relaxed groove that kind of lulls the listener into taking it for granted. Not that there is anything bad going on, but apart from the awesomely rocking "Couldn't Stop It," there just isn't anything quite as fierce and entertaining as the opening volley. Near the end of the record things slam back into focus with a batch of wall-rattling rockers ("Two Steps Forward," the super-catchy "You've Got to Wait," and "Caves of Steel") that leaves you in a sweaty pile by the conclusion and generally saves the record from mediocrity. Even pushes it toward above average, maybe. The patch of standard-issue CV tunes in the heart of the album could mean that the band is nearing the end of its run, but then again they also come up with some of their best songs as well. Hmm...well, why waste your time scratching your head over it, just load the six or seven songs that will shake your foundation on your iPod, or better still, a dusty old cassette, and blast them next time you need an retro-AOR fix.

TCV3

The Cherry Valence - Riffin

Bitrate: 320K/s
Year: 2002
Time: 33:43
Size: 77,7 MB
Label: Estrus
Styles: Rock/Hard Rock
Art: Front

Tracks Listing:
 1. Can't Get Enough - 2:34
 2. Riffin - 3:06
 3. Sweat, Sweat, Sweat (All Over You) - 3:00
 4. She Hooks Up - 2:49
 5. World Of Trouble - 4:52
 6. Undercovers - 3:40
 7. Get Wild Tonight - 2:14
 8. Ain't Nothin But A Th*ng - 3:45
 9. Summertime Chill - 4:14
10. Dressed In Purple Blues - 3:24

The Cherry Valence's Riffin' album -- recorded by the infamous Tim Green at Louder Studios in San Francisco -- lives up to its name. Every song -- complete with guitar, drum, bass, and even vocal riffs -- captures the intensity of the group's action-packed live performances. From the high-pitched Lemmy-like vocals on "Sweat, Sweat, Sweat (All Over You)" to the heavy beats created from dueling drum kits, it's apparent the Cherry Valence were road-tight when tracks for Riffin' were laid down. Nick Whitely and Brian Quast share time between drumming and singing, although sometimes they do it simultaneously. Much like 2000's self-titled release on Estrus, Riffin' delivers the goods. It runs the gamut between '70s classic rock and Southern rock, yet the Ampeg-cranked album is head-banging worthy from start to finish. It's a half-hour worth of songs comparable to, if not better than, their debut release's "Lose That Smile" track. It's no wonder they've toured with bands like the Fucking Champs and Tight Bros From Way Back When. In 33 minutes the Cherry Valence pack in as many guitar solos, "eewhs," and Led Zeppelin-esque breakdowns as physically possible. Who could ask for anything more? Certainly not S.E. Hinton, who penned The Outsiders, from which this group was named.

Riffin

The Cherry Valence - The Cherry Valence

Bitrate: 320K/s
Year: 2001
Time: 35:05
Size: 81,1 MB
Label: Estrus
Styles: Rock/Hard Rock
Art: Front

Tracks Listing:
 1. Lose That Smile - 2:34
 2. Bootyshakin' - 2:59
 3. Turn It (On) Up!! - 2:23
 4. Take It Easy - 3:33
 5. The Clap - 6:11
 6. Crashin', Burnin' - 2:19
 7. Guaranteed - 2:51
 8. Drunk - 2:59
 9. Action! - 3:00
10. It's Over, Baby - 3:06
11. Alright - 3:05

The   Cherry   Valence  make their Estrus debut in high style, cramming a two-fisted onslaught of cranked-up rock & roll with plenty of '70s sleaze to grease your insides. There's a mix of influences here, predominantly Ted Nugent. Imagine the Nuge fronting early Motley Crue doing Hellacopters songs, and you're pretty much there. Toss in some Rob Tyner and Motorhead into the cocktail, sprinkle in a bit of the groove, and you have a pretty potent potion.

TChV

Jack Sheldon Quartet & Quintet - Jack Sheldon Quartet & Quintet (Feat. Zoot Sims & Joe Maini)

Bitrate: 320K/s
Year: 2011
Time: 73:22
Size: 168,3 MB
Label: Fresh Sound Records
Styles: Jazz/Trumpet Jazz
Art: Front

Tracks Listing:
  1. Get Out Of Town - 2:29
 2. Ah Moore - 3:10
 3. Dozo - 2:39
 4. Cheek to Cheek - 3:28
 5. Mad about the Boy - 2:50
 6. Streets of Madashi - 3:04
 7. Toot Sweet - 2:49
 8. Jack Departs - 3:03
 9. What Is There to Say - 3:35
10. Groovus Mentus - 3:54
11. Beach-Wise - 3:09
12. Palermo Walk - 3:14
13. Blues - 4:43
14. Irresistible You - 3:56
15. Guatemala - 3:21
16. I'm Getting Sentimental Over You - 3:42
17. It's Only A Paper Moon - 7:17
18. Contour - 5:54
19. Leroy's Blues - 6:55

Trumpeter Jack Sheldons debut on record was undeniable proof that he had established himself among the most promising young talents of his era. He had an exciting conception, warm tone, and an earthier sound than his peer, Chet Baker. On the quartet session here, Sheldon is backed by the trio of the articulate, fleet, swinging pianist Walter Norris, who composed three of the originals included. Norris is also the pianist on the first quintet sides, with Sheldons fine horn and Zoot Sims hard-swinging tenor. In the final quintet here, the main assets include the fire and drive of pianist Kenny Drew and the Bird-influenced saxophonist Joe Maini.
Today, over fifty years after these first recordings by Jack Sheldon for producers Herbert Kimmel and Dick Bock, his well-earned reputation as one of the best trumpeters ever to grace the West Coast scene remains unchallenged.

Jack Sheldon 

Delbert McClinton - The Early Years

Bitrate: 320K/s
Year: 2016
Time: 38:59
Size: 89,5 MB
Label: Maestro Entertainment
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Don't Let Go - 2:25
 2. A Picture Of You - 2:11
 3. Lose Your Money - 1:55
 4. I Cry 'cause I Care - 1:57
 5. You Got Me Hummin' - 2:46
 6. Nothing In The World Can Hurt Me (Except You) - 2:18
 7. Don't Cry No More (Feel Alright) - 2:38
 8. Lover In Demand - 1:43
 9. Cryin' Over You - 2:25
10. Singin' The Blues - 1:57
11. I Ain't Never - 2:05
12. Without You - 3:26
13. Wake Up Baby - 4:06
14. Lost In A Dream - 2:25
15. These Boots Are Made For Walkin' - 2:37
16. (Oh) Tina - 1:59

Delbert McClinton (born November 4, 1940) is an American blues rock and electric blues singer-songwriter, guitarist, harmonica player, and pianist.
Active as a sideman since 1962 and as a band leader since 1972, he has recorded albums for several major record labels and singles that have reached the Billboard Hot 100, Mainstream Rock Tracks, and Hot Country Songs charts. His highest-charting single was "Tell Me About It", a 1992 duet with Tanya Tucker, which reached number 4 on the Country chart. Four of his albums have been number 1 on the U.S. Blues chart, and another reached number 2.
He was inducted into the Texas Heritage Songwriters Hall of Fame in March 2011, along with Lee Roy Parnell, Bruce Channel, Gary Nicholson, and Cindy Walker.

The Early Years

Zed Mitchell - Autumn In Berlin

Bitrate: 320K/s
Year: 2013
Time: 51:04
Size: 120,3 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. One Night In Berlin - 4:26
 2. I'm In Vegas Tonight - 3:19
 3. This Is The End - 5:45
 4. Tears In Blue - 4:46
 5. Like You Do - 4:51
 6. Blue Heart - 4:27
 7. Up & Down - 4:08
 8. Early Morning Blues - 4:28
 9. Stranger In My Mirror - 5:17
10. People Asking - 3:53
11. Waiting For The Fire - 3:36
12. Good Morning, Angels - 2:03

The bandleader, singer, guitarist and composer Zed Mitchell, from Belgrad, began his career as professional musician in 1970. In that time he played with many well know bands in Yugoslavia.
In 1974 with his own band “LAND”, he had his first international hit-single called “SHOSHANA” for POLYDOR Europe. After this big success and many radio sessions as well as TV, he played as support group on tours for bands such as “FOCUS”, “DEEP PURPLE”, “IAN GILLAN BAND” and many more. He played concerts all around Europe.
At the end of the seventy’s, he founded the ”School for Rock Guitar in Belgrad.
From 1988 he worked in ARCO - STUDIOS in Munich, with producers Malcolm Luker and film composer Nick Glennie-Smith right hand of Hans Zimmer who’s become two Oscars. He made projects with Tina Turner, Phil Collins, Pink Floyd etc. Zed Mitchell worked in that time as studio musician and he played guitar for Eros Ramazotti (“La musica e”), Natalie Cole, also with German stars and producer: Curt Cress, Udo Lindenberg and Leslie Mandoki.
One of the biggest success Zed celebrated, was working with MSSO (Munich Symphonic Sound Orchestra). He played all acoustic and electric guitars. This CD is sold more than one million copies (POLYDOR, POLYSTAR) !!!.
He worked with world know composer Elmar Bernstein and played guitars for the BLOCKBUSTER – “INDIANA JONES” . His knowledge makes him very “wanted” artist under other Artists and Producers on the pulse of the music scene in Germany. Musicans and people from the music business assert, while he is simply one of the best in Europe.
With his band he played as support group with big stars such Joe Cocker (1993), Santana (1993) and B.B. King (on his last tour in Germany 2006).
With his album „Springtime in Paris“ which he recorded with many of his musical friends of the blues and rock-scene in Germany (Blues company, Klaus „Mojo“ Kilian, Rolf-Dieter Schnapka, Greg Mc Coy, James Simpson, Billy Allen), the singer and guitarist presents his variety, that causes a wave of excitement. Through his 13 tracks Zed Mitchell plays bluesrock in all his musical style. At the same time the musican masters all styles of his genre perfectly.
Zed Mitchell can easily be mentioned among people like Eric Clapton, Stevie Ray Vaughan, Mark Knopfler, Gary Moore, Jimi Hendrix or Robert Cray.
His Blues comes deep out of his soul and you can feel it with every tone.

Autumn In Berlin

Zed Mitchell - Winter In Amsterdam

Bitrate: 320K/s
Year: 2016
Time: 47:50
Size: 113,3 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Winter In Amsterdam - 3:21
 2. After Love - 5:27
 3. Child Of The Moon - 4:32
 4. Don't Talk About Love - 3:51
 5. One Day At A Time - 3:46
 6. I Play My Guitar - 4:00
 7. What's Done Is Done - 3:33
 8. I Didn't Forget You - 3:29
 9. Hidden In Someone's Heart - 4:28
10. If I Could Be Someone - 4:28
11. Do You Know - 3:42
12. Thank You, My Angels - 3:06

The bandleader, singer, guitarist and composer Zed Mitchell, from Belgrad, began his career as professional musician in 1970. In that time he played with many well know bands in Yugoslavia.
In 1974 with his own band “LAND”, he had his first international hit-single called “SHOSHANA” for POLYDOR Europe. After this big success and many radio sessions as well as TV, he played as support group on tours for bands such as “FOCUS”, “DEEP PURPLE”, “IAN GILLAN BAND” and many more. He played concerts all around Europe.
At the end of the seventy’s, he founded the ”School for Rock Guitar in Belgrad.
From 1988 he worked in ARCO - STUDIOS in Munich, with producers Malcolm Luker and film composer Nick Glennie-Smith right hand of Hans Zimmer who’s become two Oscars. He made projects with Tina Turner, Phil Collins, Pink Floyd etc. Zed Mitchell worked in that time as studio musician and he played guitar for Eros Ramazotti (“La musica e”), Natalie Cole, also with German stars and producer: Curt Cress, Udo Lindenberg and Leslie Mandoki.
One of the biggest success Zed celebrated, was working with MSSO (Munich Symphonic Sound Orchestra). He played all acoustic and electric guitars. This CD is sold more than one million copies (POLYDOR, POLYSTAR) !!!.
He worked with world know composer Elmar Bernstein and played guitars for the BLOCKBUSTER – “INDIANA JONES” . His knowledge makes him very “wanted” artist under other Artists and Producers on the pulse of the music scene in Germany. Musicans and people from the music business assert, while he is simply one of the best in Europe.
With his band he played as support group with big stars such Joe Cocker (1993), Santana (1993) and B.B. King (on his last tour in Germany 2006).
With his album „Springtime in Paris“ which he recorded with many of his musical friends of the blues and rock-scene in Germany (Blues company, Klaus „Mojo“ Kilian, Rolf-Dieter Schnapka, Greg Mc Coy, James Simpson, Billy Allen), the singer and guitarist presents his variety, that causes a wave of excitement. Through his 13 tracks Zed Mitchell plays bluesrock in all his musical style. At the same time the musican masters all styles of his genre perfectly.
Zed Mitchell can easily be mentioned among people like Eric Clapton, Stevie Ray Vaughan, Mark Knopfler, Gary Moore, Jimi Hendrix or Robert Cray.
His Blues comes deep out of his soul and you can feel it with every tone.

Winter In Amsterdam

Fair Herald - Familiar Streets

Bitrate: 320K/s
Year: 2008
Time: 48:54
Size: 112,8 MB
Label: Where Ends Meet Records
Styles:Rock/American Trad Rock
Art: Front

Tracks Listing:
 1. From Peotone - 5:14
 2. Whirlwind - 4:33
 3. Coyote Nowhere - 3:32
 4. One Smoke - 4:22
 5. Out The Door - 3:33
 6. Never Said Hello - 5:13
 7. Make Me Blue - 5:21
 8. Mythology - 4:26
 9. Saturday's Child - 5:05
10. Where Does She Go? - 7:30

Mixing the roots rock of the Jayhawks and Ryan Adams with the pop/rock sensibilities of R.E.M., Fair Herald are crafting their own blend of coarse, thoughtful tunes.
Fair Herald unites five budding talents formed through years of garage-rocking in a downtown Chicago coach house, embracing a straightforward approach to rock that conjures Neil Young and the Replacements with a little dose of alt-country via the Jayhawks. Behind a thick mesh of guitars, keyboards, and soaring harmonies, Fair Herald crafts a raw, organic sound that belies their urban surroundings. With the June '08 release of their self-produced Familiar Streets LP, recorded with Neil Ostrovsky of Chicago icons the Bon Mots, the five young lads have drawn comparisons to both Whiskeytown and Counting Crows. Placing their stamp on roots rock through youthful enthusiasm and keen musicianship, Fair Herald has established itself as a fast-rising band on the Chicago music scene.

Familiar Streets

Automatic - Transmitter

Bitrate: 320K/s
Year: 1996
Time: 53:05
Size: 122,7 MB
Label: Murmur
Styles: Rock/Alternative Rock
Art: Front

Tracks Listing:
 1. Another Up - 2:42
 2. It's Like Sound - 3:27
 3. Blown - 5:47
 4. Five - 3:05
 5. Does She Kiss Like You? - 3:46
 6. Sick - 4:42
 7. Fade Away - 2:55
 8. Slipstream - 3:43
 9. Girl With a Million Minds - 5:08
10. What If... - 3:29
11. Aeon Flux - 3:29
12. Sharma Sharma - 4:07
13. Never Coming Down - 6:38

Depending on who you talk to, Australian rockers are stereotyped as either AC/DC-ish headbangers or quirky new wavers a la Men At Work. But neither stereotype fits Automatic, a hard-driving alternative rock unit that was formed in Ocean Grove, Australia (two hours west of Melbourne) in 1994. Produced by Nick Launay (who had worked with everyone from the Posies to Midnight Oil to INXS), Transmitter is a riveting disc that's far from predictable. Whether tearing into catchy, punky power-pop grooves on "Five," "Fade Away" and "Slipstream" or being more abstract on "Does She Kiss Like You, ""Blown" and "Aeon Flux," Automatic is gutsy and risk-taking. Launay clearly did right by the promising band.

Transmitter

Catherine Wheel - Chrome

Bitrate: 320K/s
Year: 1993
Time: 53:58
Size: 123,9 MB
Label: Mercury
Styles: Shoegazing, alternative rock
Art: Front

Tracks Listing:
 1. Kill Rhythm - 3:51
 2. I Confess - 3:55
 3. Crank - 3:45
 4. Broken Head - 4:46
 5. Pain - 6:31
 6. Strange Fruit - 3:07
 7. Chrome - 3:54
 8. The Nude - 3:52
 9. Ursa Major Space Station - 5:09
10. Fripp - 7:35
11. Half Life - 4:08
12. Show Me Mary - 3:19

The original title, Crank, would have been apt. Producer Gil Norton (Pixies, Echo & the Bunnymen) was brought in to toughen this band's sound and set them apart from the wave of U.K. upstarts who were pounding U.S. shores. That he did. But it's not necessarily progress; Talk Talk's master experimentalist, Tim Friese-Greene, gave  Catherine   Wheel's  brilliant debut, Ferment, a dripping beauty, opulent textures illuminating barely hidden firepower. On even the most angry, aggressive tracks, such as "Texture" and "Shallow," this shimmering, shuddering mist was still ever-present. Many of those glistening touches have indeed been subtracted by Norton, and they're missed. That  Chrome  is still a terrific LP proves  Catherine   Wheel  capable of eclipsing the overload. Like another sharp LP that "cranked" for an hour without much sonic letup,  Chrome  reminds one of Sugar's Copper Blue. Not because  Catherine   Wheel  covered Husker Du on the 30 Century Man EP; it's because that was the last LP that combined this kind of songwriting prowess, raging playing, dynamics, pop tunes gone kablooey, and huge, bonfire sound. And unlike that toasty Sugar LP, this twin-guitar quartet knows how to bring it down: both the spindly single "Crank" and the resplendent "The Nude" seem almost tearful, they're so pretty through the thickness, and the knockout "Strange Fruit" is as fulsome as it is fierce. Rob Dickinson sings as if to choke on his words, yet never loses a gritty determination backed soundly by his and Brian Futter's guitars. Add in heavier versions of previous B-sides-that-deserved-better "Half Life" and "Ursa Major Space Station," and you've got a double play from a band too resolute to fall victim to sophomore slump wimp out, too talented to write half-baked tunes in two minutes, and too strong to glaze out in a shoegaze haze some pigeonholed them in after Ferment.

Chrome

Sugar Ray and the Bluetones - Seeing is Believing

Bitrate: 320K/s
Year: 2016
Time: 48:04
Size: 110,3 MB
Label: Severn Records, Inc.
Styles: Blues
Art: Front

Tracks Listing:
 1. Sweet Baby - 3:54
 2. Seeing is Believing - 3:49
 3. Noontime Bell - 3:51
 4. Keep on Sailing - 5:00
 5. Blind Date - 3:39
 6. You Know I Love You - 4:39
 7. Misses Blues - 2:43
 8. It Ain't Funny - 6:09
 9. Not Me - 3:56
10. Got a Gal - 4:25
11. Two Hundred Dollars Long - 2:54
12. It's Been a Long Time - 2:58

Not as good as seeing this band live, but a terrific CD. Ray Norcia is one of best blues singers today. Mike Welsh's cover of B. B. King's Darling i Love You is worth the price alone. Whoever rated that song does not know great guitar music. This band is tight and plays with lots of energy...just a job well done/

Seeing is Believing

VietNam - VietNam

Bitrate: 320K/s
Year: 2007
Time: 54:30
Size: 124,9 MB
Label: Kemado Records
Styles: Rock
Art: Front

Tracks Listing:
 1. Step On Inside -  3:11
 2. Priest, Poet & The Pig -  5:00
 3. Apocalypse -  4:51
 4. Mr. Goldfinger -  4:07
 5. Toby -  7:28
 6. Gabe -  2:31
 7. Welcome To My Room -  5:30
 8. Hotel Riverview -  4:43
 9. Summer In The City -  5:02
10. Too Tired - 12:04

We are proud to present the brand new lush symphonic opus of Brooklyn's own VietNam. Introducing a fresh sound, this self-titled debut full-length album is their most complete and exciting piece of work to date. Be ready to engage in an intense cathartic and refreshingly original rock journey.
Switching to Kemado after a brief stay at Vice Records, where they released their impressive debut EP, The Concrete's Always Grayer on the Other Side of the Street, Vietnam returned with their self-titled full-length. While they're still playing the same kind of hazy, narcotic poet-rock they introduced on the EP, this time around the results are hit-and-miss. One of the biggest problems with the album is its sound. While The Concrete's Always Grayer on the Other Side of the Street wasn't lo-fi, its sweaty, gritty production gave Vietnam's songs warmth and conviction. Vietnam was recorded in Los Angeles' famed Sound City studio, and unfortunately this more polished approach diminishes the band, making their sound thinner and more shrill than it was before. This doesn't do the ambitious sprawl of their music any favors. Though "Step on Inside" makes good use of the album's wall-of-sound production, more often it tends to show how big the gap between the band and the sound they're reaching for is. Tracks like the anti-materialism lament "Mr. Goldfinger" and lengthy junkie requiem "Toby" (one of many references on the album to near-fatal overdoses) come off as heavy-handed. Not all of Vietnam feels this strained, though. "Too Tired" and "Apocalypse" originally appeared on The Concrete's Always Grayer on the Other Side of the Street, and sound nearly as good here as they did on the EP, and the band sounds much more genuine when they're having fun instead of trying for a grand gesture. "Welcome to My Room" chugs along on a heavy, Velvet Underground-inspired groove, then pauses for breath only to rev up again, while "Gabe" revels in the possibilities of a Spanish vacation. "The Priest, the Poet and the Pig" is a rousing highlight with some inspired guitar solos -- in fact, the consistently great guitar work is probably the best thing about the album. Vietnam is uneven and more than a little disappointing compared to the band's previous work, but despite its frustrating moments, it still shows that they have potential.

VietNam

Sammy Nestico and the SWR Big Band - No Time Like The Present

Bitrate: 320K/s
Year: 2007
Time: 76:54
Size: 176,3 MB
Label: SWR Classic
Styles: Jazz/Swing/Big band
Art: Front

Tracks Listing:
 1. Ya Gotta Try ... Harder - 5:41
 2. Freckle Face - 6:00
 3. Tangerine - 4:31
 4. No Time Like the Present - 5:54
 5. Charlie the Whale - 5:30
 6. Satin 'n' Glass - 4:31
 7. The Blues Machine - 9:41
 8. Night Flight - 5:20
 9. Crosswinds - 6:33
10. A Warm Breeze - 7:11
11. Smack Dab in the Middle - 7:19
12. After You've Gone - 5:03
13. Strike Up The Band - 3:34

Famous for his arrangements for the Count Basie orchestra, Sammy Nestico -- a cousin of tenor saxophonist Sal Nistico -- has always had a productive, if lesser-known, solo career. Self-taught on the trombone, at age 17 Nestico was skilled enough to be a studio musician in Pittsburgh. He served in the military, gained a music degree at Duquesne University in 1950 and was staff arranger for the U.S. Air Force Band for many years. Nestico was also a busy freelance arranger: he worked with the U.S. Marine Band starting in 1963 and led the orchestra that performed at functions at the White House. Nestico started contributing arrangements to Basie in 1967 and during the next 15 years would occasionally write for an entire Basie album (including Have a Nice Day, ) Prime Time, Warm Breeze and the big band tracks on 88 Basie Street). Nestico has also written extensively for films and television, has been a significant jazz educator and recorded one album as a leader: Dark Orchid (a 1982 Palo Alto release).

No Time Like The Present

Jimmy McGriff - Let's Stay Together

Bitrate: 320K/s
Year: 1972
Time: 32:10
Size: 73,8 MB
Label: Groove Merchant
Styles: Soul-Jazz/Jazz-Funk
Art: Front

Tracks Listing:
 1. Let's Stay Together - 2:41
 2. Tiki - 4:16
 3. Theme From Shaft - 3:56
 4. What's Going On - 4:30
 5. Old Grand Dad - 5:03
 6. Georgia On My Mind - 6:40
 7. April In Paris - 5:01

This early-'70s title features a mixed program by the great soul-jazz organist Jimmy McGriff. McGriff not only digs into some Jimmy Smith-style, early '60s-era organ trio numbers like his original "Old Grad Dad" and Hoagy Carmichael's "Georgia on My Mind," but he also includes the kind of contemporary soul fare he had turned to by the late '60s; McGriff spares no expense, going for the heart of soul royalty with Al Green's "Let's Stay Together," Isaac Hayes' "Theme From Shaft," and Marvin Gaye's "What's Going On." Inspired by their attractive melody lines and challenging chord sequences, McGriff and band enliven these already great songs with fine horn arrangements and superb solos (Harold Bennett's passionate and assured flute solo on "What's Going On" especially stands out). McGriff registers some nasty, in-the-pocket solos himself and contributes one of the hottest tracks here, the chicken-shack cooker "Tiki." Let's Stay Together is a great set by one of the masters of the Hammond B-3 organ sound.

Let's Stay Together

Sojourner - Wings Like An Eagle

Bitrate: 320K/s
Year: 1979
Time: 35:33
Size: 82,1 MB
Label: Self Released
Styles: Rock/Xian
Art: Front

Tracks Listing:
 1. Hello Everybody - 4:07
 2. One Way Out - 3:37
 3. Grandeur - 3:49
 4. Stumble Bumble - 6:15
 5. Wings Like An Eagle - 2:25
 6. Cool Breeze - 3:05
 7. Jesus You're The One - 4:41
 8. Hear The Music - 3:59
 9. Thank You - 1:24
10. May The Lord - 2:06

Longhaired Jesus-rocking male foursome from Baton Rouge, Louisiana scores big with this homemade 500-press item. Keyboards are well represented (organ, piano, synthesizer, clavinet, orchestron) combining with some good lead electric guitar for a nice exuberant middle-ground progressive FM rock sound, not unlike the first couple DeGarmo & Key albums in that respect. Especially noteworthy is the classic six-minute hard-edged upbeat ‘Stumble Bumble’. ‘Cool Breeze’ glides along with a melodic folkrock groove. Balanced with some quieter material, like the moody acoustic ballad ‘Grandeur’. ‘Thank You’ states “we hope that you have found the WHOOSH!! that Jesus Christ can bring”. Cool custom-looking eagle cover. (The Archivist, 4th Edition by Ken Scott).

Wings Like An Eagle

Lane Baldwin - Dig the Hole

Bitrate: 320K/s
Year: 2014
Time: 75:51
Size: 173,8 MB
Label: Raven Records
Styles: Blues/Blues-Rock
Art: Front

Tracks Listing:
 1. Time of My Dyin', Pt. 1 - 5:07
 2. Black Sheep - 3:58
 3. Gravedigger Jones - 6:05
 4. Highway 61 Revisited - 6:06
 5. Stormfront - 9:30
 6. Hound Dog - 6:02
 7. Coupe De Ville - 4:28
 8. Wish - 3:42
 9. Sober Up or Die - 8:59
10. I'd Die for You - 3:30
11. Daddy's Pier - 6:35
12. Time Of My Dyin', Pt. 2 - 6:28
13. Underground - 5:15

Blues and Blues Rock from a master storyteller, that many have called "the best Blues in decades," will capture your heart and soul like nothing you've ever heard.
Thirteen tracks of pain, joy, loss, renewal and redemption – guaranteed to make you Blue to the Bone!
This album is a re-release of Deeper Blues "Dig the Hole." All tracks are exactly the same. Only the CD cover artwork has been changed.
This is the CD that brought Lane's music to the world. After spending years touring with top Blues artists, Lane finally focused on his own material, creating an album that many have called the "best Blues in decades."
"This is going to hurt some, but it’ll be worth it, I promise you. You’re going to experience not just our pain; you’re going to feel your own pain deeper than ever before. But feeling it, really feeling it, and then letting it go, will give you a sense of renewal like no other. And that, my friend, is the purpose behind the Blues. It’s what makes the Blues different than everything else. And when you hear this band play, you’re going to hear Blues the way it was meant to be felt!” ~~ Lane Baldwin

Dig the Hole

Freedom - When I First Saw You

Bitrate: 320K/s
Year: 1980
Time: 31:05
Size: 72,2 MB
Label: Morning Star MSR 002
Styles: Rock/Xian
Art: Front

Tracks Listing:
 1. Running - 2:38
 2. Crazy - 3:03
 3. Where Has He Gone - 3:51
 4. When I First Saw You - 2:54
 5. Evermore - 2:18
 6. Back-Sliding Blues - 3:17
 7. Wayfaring Stranger - 3:24
 8. Hell-Bound Train - 2:51
 9. Halleljah Brother - 3:51
10. Harvest Time - 2:53

A good chunk of this obscure private press has solid rocking tracks that recall the ?uid guitar/keyboard groove of early DeGarmo & Key. Examples are ‘Running’, ‘Back Slidin’ Blues’ (not the Petra song) and “Wayfaring Stranger’, all strong numbers with good electric and acoustic guitar leads. There’s a meaty cover of Randy Matthews’ “Hallelujah Brother’ that’s highlighted by a burning hard—rock guitar solo. Other selections like ‘Crazy’ and the title track pull in horns, clavinet, electronic drum blips and ‘70s synths for a lively funk/disco sound. Also a few mellow ballads, including the closing version of Chuck Girard’s ‘Harvest Time’. Four guys and one girl in the group. Arlene Salte makes an appearance, supplying bass and “rhythm axe” for ‘Hell Bound Train’. Front cover says “When I First Saw You…”, continued on the back with “. . . Change Began”. (The Archivist, 4th edition by Ken Scott).

When I First Saw You

Ryan Whitehead - Ryan Whitehead

Bitrate: 320K/s
Year: 2012
Time: 31:30
Size: 72,1 MB
Label: Self Released
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. On The Clock - 4:55
 2. Ba-Dee-Dum - 6:01
 3. Incandescent - 1:55
 4. Dreamin' (Feat. Joe Gransden) - 5:06
 5. Sam's Jig (Feat. David Ellington) - 4:26
 6. Transmigration - 4:39
 7. On The Clock (Alt. Take) - 4:25

The CD, self-titled, "Ryan Whitehead", is New Jazz. Among the players are some of Atlanta's finest including David Ellington, Marlon Patton and Mark Strowbridge. The first track sums up what Ryan has been doing with his life since his departure from school. "I didn't choose the music as much as it chose me. Atlanta is a groove-oriented town with a steep history in R&B and soul. My passion for jazz and fusion mixes with this like a smooth cocktail."

Ryan Whitehead

The Bias - Break the Light

Bitrate: 320K/s
Year: 2012
Time: 37:32
Size: 86,2 MB
Label: Ruska Records
Styles: Rock
Art: Front

Tracks Listing:
 1. In Time - 4:15
 2. Nine Lives - 3:38
 3. Never Turn Me On - 4:11
 4. Patience Please - 5:35
 5. Better Friend - 4:58
 6. Embers - 2:58
 7. Dinosaur - 3:17
 8. Little Girl - 3:18
 9. The River - 5:18

1960s/70s Influenced rock with garage elements, loud guitars and occasional surprises
Since their formation in late 2010 in the Bay Area, The Bias has kept on unleashing their own brand of garage rock and roll to the world. 2011 saw them playing shows on the West and East coasts of USA and Northern Europe as well as the self-released debut album "Rebels". Now the band is back with their second full length, and first physical release, for Ruska Records. Titled "Break The Light", the record is a collection of songs full of loud guitars, catchy bass lines and infectious energy and also sees the group exploring their more mellow side. A must for anyone who wants their rock music in a more primal state in this age of overproduction and correctness. Now after relocation to Finland the tour dates for Europe are in the works for early 2013.

Break the Light

The Bias - Rebels

Bitrate: 320K/s
Year: 2011
Time: 39:40
Size: 91,2 MB
Label: Self Released
Styles: Classic Rock, Garage Rock, Hard Rock
Art: Front

Tracks Listing:
 1. Runaway Eyes - 5:02
 2. The Insider - 4:02
 3. Rebels - 5:08
 4. Needle of Doubt - 3:40
 5. Wasted on You - 3:37
 6. Angel - 5:20
 7. High Street - 3:02
 8. Chase Away (The Dawn) - 4:46
 9. Comedown - 5:00

Musicians:
Ville Vilpponen - Guitars, Vocals, Keys;
Mina Eliott - Bass;
Jaakko Vilpponen - Drums, Percussion.

The birth of The Bias can be traced to late 2010. It was then that Jaakko and Ville Vilpponen, accomplished musicians in the San Francisco scene, recruited Mina Elliott on bass for their long running project known as Antenna. The resulting line-up performed their first show in the turn of the year and soon started to build a reputation for themselves as a not-to-be-missed live act around the Bay Area. Still called Antenna, their first single as well as a tour of the East Coast and Eastern Europe followed the next spring. After recording and mixing their debut album in summer/fall of 2011 the band changed their name to The Bias. “Rebels” will be released digitally in November 2011.
The Bias plays music that mixes the energy and rawness of 60s and 70s garage rock with more modern sense of atmospherics. It’s something you want to experience for yourself. So make sure you buy the album, see a show and tell your friends what they’re missing out on.

Rebels

Charlie Apicella & Iron City - The Business

Bitrate: 320K/s
Year: 2011
Time: 46:34
Size: 106,8 MB
Label: Carlo Music
Styles: Jazz-Blues/Funk
Art: Front

Tracks Listing:
 1. The Business - 5:24
 2. 64 Cadillac - 6:11
 3. Donny Brook - 6:04
 4. Ironicity - 4:43
 5. Can't Help Falling In Love - 4:44
 6. Cantaloupe Woman - 5:13
 7. Shaw Shuffle - 4:36
 8. Stanley's Time - 9:36

Charlie Apicella & Iron City recently released “The Business.” Apicella may not be a household word yet but he has assembled a hard grooving band to play behind his funky and soulful guitar playing. Dave Mattlock is on organ, Alan Korzin plays drums. Stephen Riley is on tenor saxophone and Mayra Casales on percussion.
The opening and title cut’s groove is infectious. The Business features the rhythm section behind Apicella and Riley’s guitar and tenor unison. Apicella solos first over the sparse, yet driving organ pads of Dave Mattlock. Riley follows with his own funky tenor ala Eddie Harris. His sound is truly unique. There is air and spit in his sound, as though he is holding back but it’s a GREAT sound! He plays just enough – never playing chops just for the sake of playing chops. Refreshing indeed.
As soulful and funky as the opening cut is, 64 Cadillac reveals itself to be it’s own funky cha-cha groove. Again Riley’s airy tenor sound is wonderful over the percolating rhythm section. Again, he sounds original here although one is reminded of the great Stan Getz bossa nova recordings of the 60s. As before, Stephen Riley never overplays, just states the facts. Mayra Casales also gets a well-deserved solo spot on percussion prior to the last melodic statement.
Donny Brook starts with the tenor and guitar in unison and then light harmony. Riley’s tenor in the upper register gives the melody an airier quality and almost sounds like soprano and guitar at first. Dave Mattlock solos on organ following Apicella on guitar. As the others often demonstrate, Mattlock plays with great restraint as well. The vamp between solos remains relaxed and the rhythm section chugs along dutifully behind Riley’s tenor. Riley remains faithful to the bluesy nature of the song and only briefly displays a few tasteful, bebop style licks.
Ironcity features the now signature sound of Apicella’s guitar and Riley’s tenor in unison. For the first time on “The Business” Stephen Riley airs it out. He demonstrates the depth and understanding he has of the jazz language. His vocabulary is precise as he weaves through descending ii-Vs – all the while never straying far from his blues inclinations.  Apicella and Mattlock solo as well before the final chorus played to the end.
Can’t Help Falling in Love of Elvis Presley fame is uniquely covered by Charlie Apicella & Iron City. The traditional jazz ballad style with Alan Korzin’s brushwork gives Apicella’s solo guitar a subtle bed in which to solo over. As noted in the liner notes, Stephen Riley is absent here.
Cantaloupe Woman seems to tip the proverbial hat to Herbie Hancock’s Cantaloupe Island.  With the quirky and funky groove, this group plays as though they have lived through the 60s. However, I suspect this is not the case with these relatively young talents. Man, I love listening to Stephen Riley. His sound is traditional and unique both at the same time – what a talent.
Sonny Stitt’s Blue String is a wonderful shuffle played by Korzin on the drums and Mattlock's walking left hand on organ. This gives Apicella and Riley an opportunity to stretch out where they sound like they are having the time of their life! I know I am while listening – can’t stop bouncing in my seat!
Mattlock’s original composition The Shaw Shuffle retains much of the same quality of the other songs here. It is funky with a tinge of Latin flavor. Only the bridge strays from this well-worn path Apicella and Iron City travel.
Stanley Turrentine’s Stanley’s Time begins with Cassales’ and Korzin’s percussion and Riley’s solo tenor. They are joined by Apicella and Mattlock to finish out this appealing Afro-Cuban minor blues. Once again, spirited solos are taken all around and no notes wasted.
What a true pleasure it has been to become better acquainted with the music of Charlie Apicella & Iron City. Each of the members of this group is worthy of further listening. Saxophone players out there will surely enjoy the breath of fresh air which Stephen Riley’s tenor saxophone brings.

The Business

Charlie Apicella & Iron City - Sparks

Bitrate: 320K/s
Year: 2010
Time: 45:51
Size: 105,1 MB
Label: Carlo Music Records
Styles: Jazz-Blues/Funk
Art: Front

Tracks Listing:
 1. Sookie Sookie - 6:05
 2. Sparks - 5:33
 3. Blues In Maude's Flat - 6:36
 4. Play It Back - 5:02
 5. Caracas - 5:12
 6. A Decade In The Making - 6:17
 7. Billie Jean - 5:51
 8. Sweet And Sounded - 5:11

New York  City-based  guitarist  Charlie   Apicella  is the leader of the organ group  Iron   City .
Thank god for groove music. In an era when needless complexity often dominates, it's nice to encounter a throwback record that's built on feel-good rhythms and soulful declarations. Sparks (Carlo, 2009) set things in motion for this band, as guitarist-leader Charlie Apicella planted his flag in soul jazz territory by delivering direct-and-honest originals and covering the music of organist Dr. Lonnie Smith, guitarist Grant Green, and saxophonist Lou Donaldson.

Sparks

Dramarama - Vinyl

Bitrate: 320K/s
Year: 1991
Time: 50:45
Size: 116,5 MB
Label: Chameleon
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Until The Next Time - 3:29
 2. Haven't Got A Clue - 4:08
 3. What Are We Gonna Do? - 3:59
 4. Classic Rot - 4:25
 5. Memo From Turner - 3:47
 6. Train Going Backwards - 6:17
 7. I've Got Spies - 4:34
 8. In Quiet Rooms - 2:40
 9. Ain't It The Truth - 3:50
10. Tiny Candles - 6:32
11. (I'd Like To) Volunteer, Please - 5:51
12. Steve Is Here - 1:08

Finding itself on a major label for the first time in its career,  Dramarama  maintained the overall course of its career with  Vinyl , combining smart pop/rock kicks and a sense of hip cool for grand overall results. With Brian Macleod taking over the drum duties from departed sticksman Jesse and keyboard/guitar player Tommy T stepping in on a track or two, the otherwise still-in-one-piece group creates and performs up to the best of its considerable abilities. Guest help doesn't hurt either, most often coming from Tom Petty keyboardist Benmont Tench, but  Vinyl  is still clearly  Dramarama's  vision rather than anything else. "Haven't Got a Clue" keeps up the winning streak of brilliant first singles from the band's releases, starting with a sample from the legendary Tube Bar crank call series and hitting a great mid-paced groove with a gently descending glam melody. "I've Got Spies" is equally brilliant, a nugget of romantic paranoia that rivals the Who's "I Can See for Miles," with delicious singing from Easdale and a great main melody. Another great moment comes with "Classic Rot" -- a knowing trashing of groups that have lasted way too long, it draws the line clearly between simply re-creating and re-listening to the same old hash and, as the band itself does, taking inspiration from the past and creating their own sound. Even tastier is the identity of the guest guitar player -- as the liner notes proudly say, "THE Mick Taylor, of Rolling Stones fame." The Stones themselves -- or more accurately Mick Jagger -- are the beneficiaries of the cool cover version this time out, in this case a fine take on "Memo From Turner." All in all,  Vinyl  shows  Dramarama  still in rude creative health, right down to the neat artwork and the bold Marc Bolan song lyric on the back of the CD booklet: "John Lennon knows your name/and I've seen his."

Vinyl

Alan Paul - Shu Bop

Bitrate: 320K/s
Year: 2015
Time: 30:07
Size: 69,2 MB
Label: Self Released
Styles: Pop/50's Pop
Art: Front

Tracks Listing:
 1. So Much In Love - 2:55
 2. Lonely Way - 2:05
 3. All of a Sudden (My Heart Sings) - 2:52
 4. To Be Loved - 3:19
 5. Shu Bop - 4:17
 6. Can I Come Over Tonight - 2:22
 7. Only You - 2:44
 8. I'm a Fool to Want You - 3:55
 9. A Cottage for Sale - 5:34

A tribute album to Doo Wop and popular music of the 1950s.
I was just a kid when Rock ‘n’ Roll emerged in the 1950s. At the age of seven my older sister Rona was a teen screaming her head off in front of our black & white Emerson television when Elvis Presley made his debut on Ed Sullivan. I realized at that moment that there was something extraordinary happening, even if I didn’t understand it.
America was going through a major cultural and musical revolution and the generation gap that was unprecedented, created tremendous tension and conflicts nation wide. After WWII, the big band popularity diminished as returning veterans settled into their new lives as husbands, wives and parents. Musicians formed smaller ensembles and created a very expressive form of jazz called be-bop. Radio, for the most part, was segregated and the biggest stations leaned towards an easy listening format that catered primarily to an older, white audience.
At its best easy listening included many of my greatest influences — Sinatra, Bennett, Ella, Nat King Cole, Sarah Vaughan, Vic Damone, Billy Eckstine — a glorified tip of an otherwise huge iceberg. And at its worst, you had the likes of Sing-Along-With-Mitch Miller.
In stark contrast to this favorable genre of popular music, Rock ‘n’ Roll was radical. It was threatening to the establishment and had a new vibrancy and passion never before heard or experienced. It took very brave visionaries like Ahmet Ertegun at Atlantic Records and DJ Alan Freed to cross the racial barrier and bring Rock ‘n’ Roll and Rhythm & Blues to the masses.
With the outing and ultimate popularization of such a risque genre came the rise of many other forms of music that reined in popularity during the 50s and 60s. One such byproduct of Rhythm and Blues was doo-wop. I didn’t really get into doo-wop until I was in high school. A friend of mine Terry Forer was a serious record collector of doo-wop groups and I’d go over to his house with a couple of other guys and we’d do our best to replicate the harmonies we heard. Terry turned me on to a lot of esoteric groups like The Dells, The Paragons, Nolan Strong and The Diablos, The Valentines and The Cadillacs, but the singers and groups that I resonated most with were more mainstream like Frankie Lymon and The Teenagers, Dion and The Belmonts, Jimmy Beaumont and The Skyliners, The Platters and the great Jackie Wilson. I believe having these influences helped me to get cast as Teenangel in original Broadway production of Grease. I auditioned with The Platters Only You, which is one of the cuts on this CD.
From Rock ‘n’ Roll to easy listening crooners, R&B and undoubtedly doo-wop, I had the opportunity during these formative years to take it all in with open and unbiased ears. My preferences narrowed solely by that which I felt was good from that which was obviously not. The link that tied the different musical genres together for me coalesced in the artistry, the craft and the soulfulness expressed.
This album has been a labor of love and a long time coming. It is my homage to music that I grew up on and pays honor to some of the singers, vocal groups, arrangers and producers that inspired and impacted me from the 1950’s.
Alan

Shu Bop

BoDeans - Joe Dirt Car

Bitrate: 320K/s
Year: 1995
Time: 62:24 +54:02
Size: 143,4 MB + 124,2 MB
Label: Reprise / Slash Records
Styles: Rock/Roots Rock/Alt.Rock
Art: Front

Tracks Listing:
CD1
 1. Idaho - 5:15
 2. Say About Love - 4:32
 3. Fadeaway - 7:14
 4. Paradise - 4:20
 5. Still The Night - 4:28
 6. Feed The Fire - 5:18
 7. The Ballad Of Jenny Rae - 5:38
 8. Naked - 5:06
 9. Closer To Free - 3:30
10. Good Things - 8:59
11. You Don't Get Much - 4:49
12. Lookin' For Me Somewhere - 3:08
CD2
 1. Ooh (She's My Baby) - 4:04
 2. Far Far Away From My Heart - 5:52
 3. Black, White & Blood Red - 4:40
 4. She's A Runaway - 3:53
 5. Going Home - 3:51
 6. Texas Ride Song - 4:59
 7. True Devotion - 4:58
 8. Go Slow Down - 4:47
 9. Misery - 5:01
10. I'm In Trouble Again - 4:18
11. Walking After Midnight - 2:54
12. Good Work - 4:39

Kurt and Sammy  BoDean  sing like slightly tarnished angels. You haven't heard harmonies this pure and unaffected since the Everly Brothers, and that's no exaggeration. Sure, their lyrics run to bathetic claptrap like "Say About Love" ("Some say love is just a freaky trip/That's what they say/Say about love"), but for every line like those there's a gem of hokey brilliance like "Idaho" (despite its recycled tag line) or the yearning "Lookin' for Me Somewhere." Kurt is a nifty guitar player with more taste than originality (which is also true of James Burton, bear in mind); Sammy has a sharp tenor voice that covers a spectrum of two or three emotions but wrings each of them dry.  Joe   Dirt   Car  is an album with clear limitations, certainly -- two hours' worth of non-stop catharsis is too much for almost anybody -- but it's still well worth your attention.

Joe Dirt Car

Michael Dease - Grace

Bitrate: 320K/s
Year: 2010
Time: 68:42
Size: 157,6 MB
Label: Jazz Legacy / Jazz Legacy Productions
Styles: Trombone jazz
Art: Front

Tracks Listing:
 1. Discussao - 1:42
 2. Blues on the Corner - 6:31
 3. In a Mist - 5:40
 4. I Talk to the Trees - 8:26
 5. Four - 7:10
 6. Tippin' - 4:09
 7. Setembro - 5:30
 8. 26-2 - 5:28
 9. Toys - 5:56
10. Love Dance - 5:56
11. Grace - 6:16
12. Salt Song - 5:53

Since he arrived in New York City, trombonist Michael Dease has made his mark on the New York City jazz scene, even though he is still in his twenties. Earning a Bachelors and Master's degree as a part of Juilliard's jazz program, Dease has worked with bandleaders Illinois Jacquet, Slide Hampton, Wycliffe Gordon, and Wynton Marsalis, among others, while he has appeared on recordings by Jacquet, the Charles Tolliver Big Band, Claudio Roditi, and the Dizzy Gillespie All-Star Band, in addition to numerous other sessions as a sideman and several dates as a leader. Jazz masters and critics alike have pegged Dease as one of the most impressive trombonists of his generation and a player of unlimited potential. Grace is remarkable in its diversity of styles. Working with veteran producer John Lee (who invited him to join the Gillespie All-Stars), they focused primarily on songs that had not been overly recorded. With Dease and Lee working together as co-arrangers, they uncover new approaches to each song while recruiting a first-rate rhythm section of Cyrus Chestnut, Rufus Reid, and Gene Jackson, plus a number of special guests. Bix Beiderbecke's "In a Mist" was penned as a solo piano vehicle, but this updated chart begins in a slow Impressionist setting and evolves into a rollicking post-bop vehicle. McCoy Tyner's loping "Blues on the Corner" opens with Dease accompanied by Rufus Reid's walking bass, gradually simmering its delectable recipe with potent solos by tenor saxophonist Eric Alexander, Chestnut, and Reid. Dease and his friends dive head-first into Oscar Peterson's rapid-fire blues "Tippin'," with the leader showing a strong J.J. Johnson influence in his flawless execution, followed by Chestnut's rollicking solo and Roy Hargrove's spirited effort. His interpretation of Herbie Hancock's challenging "Toys" will likely provoke other jazz musicians to investigate this long-overlooked treasure. Dease plays both trombone and valve trombone (adding harmony in spots on the latter) in the richly textured setting of Antonio Carlos Jobim's gently swaying samba "Discussao," also featuring Gillespie bandmate Claudio Roditi on flugelhorn and guitarist Mark Whitfield. Another hidden gem from South America is Ivan Lins' "Setembro," where Dease's elegant, spacious playing gives the impression of a jazz master active for decades. The trombonist's Juilliard classmate Sharel Cassity has separate solos on both alto sax and alto flute, adding to the luster of the arrangement. Dease's breezy "Grace" is the icing on the cake, providing ample proof that this accomplished young trombonist is equally skilled as a composer. Highly recommended!

Grace

Greg Skaff - Blues And Other News

Bitrate: 320K/s
Year: 1996
Time: 50:54
Size: 116,7 MB
Label: Double-Time Records
Styles: Jazz/Jazz guitar
Art: Front

Tracks Listing:
 1. Walk The Walk - 5:26
 2. Johnny Come Lately - 4:51
 3. Red Dirt - 3:34
 4. My Man's Gone Now - 6:06
 5. Ya Dig - 6:30
 6. In Walked Bud - 4:57
 7. Knaptown Vibe - 5:43
 8. Comin' At Ya - 3:32
 9. Highway 70 - 6:12
10. Jig Saw - 4:00

Debut by guitarist from Stanley Turrentine & Bobby Watson's group is mostly original material in the modern bebop style with touches of the blues sprinkled about in a quartet setting.
Recording information: Sear Sound Studios, New York, NY (06/20/1994).

Blues And Other News

The Cutler Waterworth Band - King Cotton

Bitrate: 320K/s
Year: 2005
Time: 45:41
Size: 104,8 MB
Label: Blues Matters
Styles:  Contemporary blues
Art: Front

 1. Get Thee Behind Me - 6:37
 2. The Hawk - 4:32
 3. Mean Woman Blues - 3:28
 4. Chain Gang - 4:04
 5. Long Legged Woman - 4:28
 6. Mississippi Rain - 5:00
 7. Repossesion Blues - 5:38
 8. Don't Fancy Yours - 4:00
 9. Hotdogs - 5:54
10. Long Legged Woman Reprise - 1:57

The brainchild of Tony Cutler and Paul Waterworth the King Cotton project is their 'baby' after 30 years of musical experience which has seen them involved with the likes of Little Richard, Denny Laine (Wings), Victor Brox, The Commitments, Jerry Donaghue and The Animals and playing as support for Peter Green, Bernie Marsden, Elkie Brooks, The Hamsters, Dr. Feelgood, Tina Turner, The Rolling Stones, The Kinks, Booker T & the MG's, Donovan and more! You can see there is pedigree here and musical ideas that have been fermenting away to culminate in the creation of King Cotton.

King Cotton

Rain Parade - Beyond The Sunset

Bitrate: 320K/s
Year: 1985
Time: 34:29
Size: 80,2 MB
Label: Island Records
Styles: Alternative Rock/Psychedelic Rock
Art: Front

Tracks Listing:
 1. Night Shade - 2:46
 2. Prisoners - 3:31
 3. This Can't Be Today - 4:00
 4. Blue - 2:31
 5. Eyes Closed - 2:34
 6. Ain't That Nothing - 4:09
 7. Don't Feel Bad - 3:22
 8. 08 1 & ? Hours Ago  - 4:11  
 9. No Easy Way Down - 6:27
10. Cheap Wine - 5:04


Digitally remastered edition of this 1985 live release from the L.A.-based band, one of the spearheads of the Paisley Underground movement. The band was founded by college roommates Matt Piucci (guitar, vocals) and David Roback (guitar, vocals) in 1981. David's brother Steven Roback (bass, vocals) joined the band shortly thereafter. The band soon added Will Glenn (keyboards and violin) and Eddie Kalwa (drums). They self-released their debut single, 'What She's Done to Your Mind' on their Llama label in 1982. David Roback left after their debut album (later to resurface as 1/2 of Mazzy Star) and the rest of the band continuing to record as a four piece. Beyond the Sunset was recorded live in Tokyo, Japan in 1984. This first-time-on-CD release comes complete with a booklet containing extensive sleeve notes by Classic Rock's Malcolm Dome. Lemon. 2010.

Beyond The Sunset

Charlie Apicella & Iron City - Payin' The Cost To Be The Boss

Bitrate: 320K/s
Year: 2016
Time: 47:27
Size: 108,8 MB
Label: CArlo Music Records
Styles: Jazz/Funk/Jazzy Blues
Art: Front

Tracks Listing:
 1. You Upset Me, Baby - 4:13
 2. I'm King - 5:30
 3. Rock Me, Baby - 7:16
 4. Mosaics - 6:19
 5. Delia Soul - 7:23
 6. Outer Space - 5:33
 7. Farid - 5:28
 8. Over In The Gloryland - 5:41

Musiciaans:
Charlie Apicella - guitar
Stephen Riley - tenor, alto saxophones
Freddie Hendrix - trumpet
Dave Braham - organ
Mayra Casales - congas
Alan Korzin - drums

"Apicella is a lithe, swinging guitarist with an affinity for the contrasting styles of both Grant Green and Wes Montgomery... An all-around impressive debut by a guitarist of substance." - Mark Gardner, Jazz Journal
"Apicella is a no-nonsense player of unquestioned chops and whose soul drips from each note... This is 'organic' music, and Apicella is an exciting young player." - John Heidt, Vintage Guitar

Payin' The Cost To Be The Boss

The Blue Mules - Move On

Bitrate: 320K/s
Year: 2016
Time: 30:58
Size: 71,1 MB
Label: Self Released
Styles: Blues/Blues-Rock
Art: Front

Tracks Listing:
 1. I Need You - 4:37
 2. The Congregation - 5:04
 3. Work! - 3:11
 4. In the Morning - 4:06
 5. Never Wrong - 3:54
 6. Dot #4 - 4:03
 7. A Better Man - 3:13
 8. Shirley - 2:47

Rocking blues with a touch of groove !If straight ahead groove oriented rhythm and blues what you need? Then The Blue Mules are for you !
The Blue Mules Are three guys who love to jam the blues.The band has been playing since 2013. The band’s focus has been touring clubs and festival through out Western Canada.
The band will continue to play several festivals and venues through the West this year . Touring Europe is the plan for 2017. The Blue Mules have received extensive airplay from their debut cd The Blues Ain’t That Bad.
The band has had extensive airplay in Sweden, Switzerland, Norway, Germany, Canada and the U.S. Over 100 radio stations have played The Blue Mules to date. Two new albums will be released by the band this year!
Come catch a Blue Mules show when they are in your area. Let the guys show you; The blues ain’t that bad.

Move On

Lisa Biales - The Beat Of My Heart

Bitrate: 320K/s
Year: 2017
Time: 46:57
Size: 107,6 MB
Label: Big Song
Styles: Blues/Jazzy Blues
Art: Front

Tracks Listing:
 1. Disgusted - 2:42
 2. What A Man - 3:17
 3. I Don't Wanna Hear It - 2:42
 4. Be My Husband - 4:42
 5. Messin' Around With The Blues - 4:15
 6. Said I Wasn't Gonna Tell Nobody - 4:15
 7. Crying Over You - 3:52
 8. Wild Stage Of Life - 3:35
 9. Don't Let Nobody Drag Your Spirit Down - 4:28
10. Romance In The Dark - 3:44
11. I Should've Known Better - 5:02
12. Brotherly Love - 4:17

This highly anticipated album is a breath of fresh air that weaves a vernacular of blues, jazz, and gospel. Each song grooves in it's own delicious vibe. There is a surprise. Crank it up, you're gonna love this one. It has a heart beat of it's own.
"Lisa Biales has a voice that is always inviting. Sometimes it invites you to nod in agreement. Sometimes it invites you inside a song you’ve never heard before. Sometimes it invites you to sing along. And sometimes, you could swear that it invites you to go back in time to an era when a sexy lady at the mic in front of a live band seemed to be singing to just you alone, and supplying you with answers to all the big questions you have about life and love and all that jazz." - Gregory Victor, Parcbench NY
Produced by Tony Braunagel, engineered by Johnny Lee Schell at Ultratone Studio in Studio City, CA. With and all star musical cast of players: Larry Fulcher, Larry Taylor, Chuck Berghofer groove on bass, Darrell Leonaard, Joe Sublett,Lee Thornberg and Tom Peterson add tone cool on horns, Jim Pugh is a master on the Hammon Organ, Wurlitzer electric piano, and Steinway baby grand piano, Paul Brown and Johnny Lee Schell give rich texture with guitars, Maxayn Lewis, Kudisan Kai, Leslie Smith, and Will Wheaton add the sparkle on background vocals, Tony Braunagel sets the tone on drums and percussion, This album has all the right stuff, crank it up, you'll love this album!

The Beat Of My Heart