понедельник, 17 октября 2016 г.

Orion Dust - Duality

Bitrate: 320K/s
Year: 2016
Time: 58:43
Size: 135,0 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Cliffs of Moher -  6:01
 2. Burn Out -  7:14
 3. Absencia -  3:15
 4. Darkest Hopes -  3:58
 5. Duality -  4:15
 6. Happiness Inside - 11:07
 7. Narcotic Dream -  6:39
 8. Tightrope Walker -  4:11
 9. Selene -  8:37
10. The Rest -  3:22

Orion Dust est un projet qui va au-dela de la simple musique. Les six musiciens nous emmenent, grace a leurs compositions, a travers de veritables fresques relatant la complexite de l’etre humain.

Duality

Steve Clark - Ghostflyers

Bitrate: 320K/s
Year: 2010
Time: 46:23
Size: 106,7 MB
Label: Self Released
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. This Island Earth -  2:55
 2. Ghostflyers -  2:58
 3. Mother's Sons 500 -  4:35
 4. The Night Flight -  2:36
 5. Looking Out to Sea -  1:00
 6. Borderlines -  9:28
 7. Letter from Centaurus A -  3:40
 8. Commander Codfish -  3:22
 9. The Note She Wrote - 12:28
10. Skychaser -  3:18

First album released by Steve Clark in 2010. A number of the songs relate to the theme of 'flight.'

Ghostflyers

Jeanette Harris - Chocolate Vibez

Bitrate: 320K/s
Year: 2016
Time: 45:53
Size: 105,2 MB
Label: J&M Records
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Crown Royal - 4:12
 2. Chocolate Vibez - 3:56
 3. Foolin' Around - 4:31
 4. Alright - 4:16
 5. Steppin' Out (feat. Tim Watson) - 3:59
 6. Folkish - 4:06
 7. The Way It Feels - 3:58
 8. Sound Check - 4:04
 9. Square Biz - 4:59
10. Shrimp & Grits (feat. Patrick Olvera) - 4:12
11. Peaceful Journey - 3:34

This CD will take you on an unforgettable ride with nine original smooth jazz compositions that will automatically demand repeat performances. Catchy tunes, feet tapping beats and mellow vibes that will satisfy all your listening needs.

Chocolate Vibez

Hatebean - Fetusinfetu

Bitrate: 320K/s
Year: 2016
Time: 46:04
Size: 105,9 MB
Label: Pendarvis
Styles: Rock/Progressive Rock
Art: Front

Tracks Listing:
 1. In The Beginning - 1:32
 2. Heinous - 2:54
 3. Blue - 3:06
 4. Out Of Mind - 4:57
 5. Nightmare - 2:16
 6. Twin Within - 3:53
 7. Sunburn - 4:33
 8. Ventriliquist - 3:29
 9. Motionless and Obedient - 4:24
10. Round and Round - 3:40
11. Revelations - 3:02
12. Amen - 8:10

On a landscape ravaged by steam-powered machines and envy... an infant child, Dirt Bones, is made to think himself a monster. And - in truth - deep inside, a proxy lies in wait. Motionless... and obedient...
Inspired by Pink Floyd, Nine Inch Nails, Alice In Chains, David Bowie, comic books and horror movies ...HATEBEAN was born!
Mixed by Michael Patterson (Puscifer/Nine Inch Nails/Beck/Moby) and Mastered by Paul Logus (Anthrax/Pantera/Public Enemy)... this is what happens when you give the best musicians, producers and equipment... to someone with absolutely no musical ability.
Based on a story by Jason Ellis and Michael Tully, FetusInFetu is an album about Dirt Bones: A man fighting a dark secret in a post-apocalyptic world.
Think of it as a graphic novel in song form. A comic book for your mind.

Fetusinfetu

Larry Miller - Larry Miller

Bitrate: 320K/s
Year: 2016
Time: 70:04
Size: 162,4 MB
Label: Guitar Records
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. No More Mister Nice Guy -  6:40
 2. Still Ain't Done With The Blues -  3:59
 3. Black Oak Arkansas Hangman -  4:13
 4. Calling All The Angels -  4:48
 5. Come Hell Or High Water -  7:04
 6. Bathsheba -  7:40
 7. Keeper Of The Flame -  5:06
 8. Mississipi Mama -  5:33
 9. As Blue As Gets -  4:14
10. The Devil's In The Detail -  6:24
11. Yours And No Other -  3:04
12. The Wrong Name - 11:15

"`Wow, he can play! It's a standard reaction to a chance encounter with British blues man Larry Miller, and is typically followed by another thought: Why isn't he a superstar?` maybe that's the Unfinished Business' Miller is referring to.
A big live draw for many years, Miller is now starting to write albums that bottle the white heat of his shows, and you sense this latest effort is his best shot at the A-list. Back in 2008, we were impressed with Outlaw Blues, but Unfinished Business is even better: a taut, fiery, ambitious record. With stinging riffs dropping like mortar fire, there's a temptation to categorise Miller as a `guitar hero` but that's a disservice to his excellent original writing and battle-scarred voice box. Business is good."

Larry Miller

воскресенье, 16 октября 2016 г.

The Clarks - Let It Go

Bitrate: 320K/s
Year: 2000
Time: 47:25
Size: 109,3 MB
Label: Razor & Tie
Styles: Rock/Alt.Rock/Power Pop Rock
Art: Front

Tracks Listing:
 1. Snowman - 4:18
 2. I'm a Fool - 3:52
 3. Better off Without You - 4:36
 4. Born Too Late - 3:17
 5. Let It Go - 3:24
 6. Chasin' Girls - 3:51
 7. Flame - 4:46
 8. Butterflies and Airplanes - 3:47
 9. Think of England - 3:42
10. Highwire - 3:04
11. The Letter - 4:36
12. If Memory Serves - 4:06

Musicians:
Scott Blasey – lead and background vocals, rhythm guitar
Rob James – lead guitar, electric sitar, background vocals
Greg Joseph – bass, background vocals, lead vocal on "Butterflies and Airplanes"
Dave Minarik – drums, percussion, background vocals

Let It Go is the long-awaited fifth studio album by Pittsburgh band The Clarks, released on June 20, 2000. The album outsold many major national releases in the Pittsburgh area and generated huge local radio hits. The release was the band's first on Razor & Tie, the New York-based minor rock label. Let It Go has been critically acclaimed, despite being unknown to rock fans in most parts of the country. However, the success of the album's singles in the Pittsburgh market led to their spread to audiences in nearby Cleveland and Central Pennsylvania. "Better Off Without You," with its irresistible vocals was one of the region's biggest hits in 2000. Falling not far behind in terms of popularity was "Born Too Late," a powerful retrospective song. Most fans and critics believe that either of these songs could have been international hits if they were released by a major record company. "Snowman," with its purposely vague lyrics and solid hook, and the title track "Let It Go," which resembles a fast-paced 1960s rock song, were the other two singles. "Chasin' Girls" also saw some significant radio airplay.
"Let It Go" actually made several national appearances, although it did not bolster the song's national popularity. It appeared in the 2001 Warner Bros. film Summer Catch. It was also played during the closing credits of each episode of The Anna Nicole Show on the E! Network.
The track "Born Too Late" originally appeared on frontman Scott Blasey's 1999 solo album, Shine, but was then reworked by the entire band for its appearance on this album.
Music and Lyrics by Scott Blasey, except "Snowman", "Butterflies and Airplanes", and "Think of England" by Greg Joseph, and "Better Off Without You," Music by Rob James, Lyrics by Scott Blasey (Verses and Bridge) and Rob James (Chorus).

Let It Go

The Dermot Byrne Blues Combo - Raw Whiskey Blues

Bitrate: 320K/s
Year: 1998
Time: 56:22
Size: 129,8 MB
Label: Me & My Records
Styles: Blues
Art: Full

Tracks Listing:
 1. Line Em/Rollin' and Tumblin - 5:34
 2. Slow Train - 4:53
 3. Preachin' Blues - 3:00
 4. Raw Whiskey Blues - 5:03
 5. Walking Blues - 4:38
 6. Low Down Blues - 1:45
 7. Fortune Teller - 4:00
 8. Catfish to Kingbee - 5:59
 9. Borrow Love and Go - 1:52
10. Old Riley - 4:45
11. Death Letter Blues - 3:57
12. M&O Blues - 4:04
13. Going Down to Clarksdale - 3:19
14. John Henry - 3:26

The blues have been brought to Ireland by Dublin-born guitarist, harmonica player, and gritty voiced vocalist Dermot Byrne. Accompanied by his band, Dirt Road, featuring pianist/keyboards player Paul Miller, bassist Paul Byrne, and drummer Tim Creedon, Byrne continues to forge his own style based on the boogie rhythms of Jimmy Reed and the Delta blues of Son House and Willie Johnson. The American South remains a theme of Byrne's songs. His 2000 album, Lonesome to the Bone, included songs about the Southern lynch mobs of the 1960s and the first woman to be executed in Texas in more than a century. Byrne first attracted attention after forming his first band, the Dermot Byrne Blues Combo, featuring bassist Dave Ross and drummer Ed O'Callaghan, in 1995. A prolific songwriter, Byrne has released three albums of his tradition-rooted original tunes: Lonesome to the Bone, Raw Whiskey Blues, and The Acoustic Catalog.

Raw Whiskey Blues

суббота, 15 октября 2016 г.

Johnny Fritz - No End In Sight

Bitrate: 320K/s
Year: 2015
Time: 48:22
Size: 110,9 MB
Label: Self Released
Styles: Rock/Roots Rock/Country Rock/Americana
Art: Front

Tracks Listing:
 1. '70s Summertime - 4:24
 2. Bogeys & Beers - 3:50
 3. Endless Highway - 5:21
 4. Nashville Napkin - 4:55
 5. From Across the Room - 3:57
 6. Johnny B Goode - 4:02
 7. The Company You Keep - 4:27
 8. Road Rage - 4:02
 9. Confidence Waivers - 3:54
10. Weed! - 4:04
11. Endless Highway (Acoustronic) - 5:21

Johnny Fritz’s music ranges from classic rock to rock-country to easy listening. His formative years were the 1970s and 1980s, with early influences that included The Beatles, Elton John, The Eagles, Bob Seger, John Mellencamp and Blue Rodeo.
Johnny Fritz grew up in Milton, a small town about an hour northwest of Toronto, Canada. That small town environment, with plenty of open spaces and quality sports opportunities is what Johnny holds near and dear to this day. To his great fortune his formative early adult years were the 1970s and 1980s - in his mind, the greatest music era ever!
Music was very influential and still provides a link to great memories of the past. Early artist influences include The Beatles, Elton John, The Eagles and The Guess Who. Add to that list John Mellencamp, Matchbox 20 and Keith Urban from the last few decades.
Listening to music was great but there was always a nagging desire to learn how to play an instrument and create something of his own. In 2007, at the ripe old age of 46, Johnny took up guitar and 5 years later in 2012, penned his first tune. Since then it’s been like turning on some magical tap, as original songs just keep pouring out.

No End In Sight

The Lee Thomas Band - Forty Miles Of Bad Road

Bitrate: 320K/s
Year: 2000
Time: 71:53
Size: 165,1 MB
Label: Self Released
Styles: Rock/Southern Rock
Art: Front

Tracks Listing:
 1. Take A Little Time - 4:20
 2. Just Pretend - 5:30
 3. Pack My Bags - 9:14
 4. Tides Of Life - 4:25
 5. The Penguin - 4:19
 6. In Your Space - 6:17
 7. Jack Daniels - 5:32
 8. Blues For Julia - 6:25
 9. Lover In Every Crowd - 5:58
10. Crossroads - 6:55
11. Don't Shoot Me - 5:38
12. Blue To The Bone - 7:14

Musicians:
Joe Bear - guitars, vocals, keyboards that imitate other things, texturing;
David Lee Davis - vocals, guitar, trombone, blues harp, leadership;
Dan (Danny Dee) Dettwyler - keyboards, sax, flute, vocals, actualization;
Tom Lindsay - bass, vocals, fundament;
Dan (DJ) Jones - drums, vocals, percussion, propulsion.
As augmented by:
Beth Avedis - vocals, additional lyrics
Shawn Bisaillon - trumpet
Dayle Davidson - trombone
Mike Fogerty - percussion
Rollin' Tumblin' - piano

Back in the latter half of the decade known as ‘the eighties’, the Lee Thomas Band originated the form of music known as RockinBloozaBoogie. Throughout the years, the band has been subject to terrific triumphs and terrible tragedies. However, no nasty juju has yet been found that is strong enough to kill off this intrepid ensemble. The Lee Thomas Band remains to this day the definitive purveyor of RockinBloozaBoogie anywhere on the planet. The originators, and as yet unsurpassed standard bearers for this absolutely astonishing American Artform.

Forty Miles Of Bad Road

John Frick Band - K.02 Sessions

Bitrate: 320K/s
Year: 2015
Time: 54:40
Size: 125,3 MB
Label: Blueshine Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Bank Robber - 3:10
 2. Frankie - 3:57
 3. I Just Can't Go On - 3:53
 4. Inside Of Me - 3:30
 5. Got Me Going - 3:54
 6. Thrill Seeker - 5:16
 7. Storm Rolling In - 6:49
 8. Ride That Lonesome Train - 3:52
 9. Superficial Love - 4:47
10. Get Up And Go There - 3:28
11. Down In Mexico - 3:52
12. Go Baby Go - 3:28
13. March For Peace - 4:39

Musicians:
John Frick - vocals & guitar;
Nico Hart - bass;
Leo Birza - vocals & piano;
Tom Moerenhout - saxophone;
Michel De Man - drums.

It is kind of ironic that I listened to K.02 Sessions, the brand new release by the John Frick Band, for the first time on the night that B B King died. I’m not going to make the claim that a torch has been passed on from Riley to John yet I believe that John Frick represents not only a future of blues in the tradition of the late B B but also the type of innovation that King himself brought to blues when he started out.
John Frick is no novice to the blues and has been plying his trade for about 25, or more, years now. Over the two recent albums, from Urban Crossroads (2014) to K.02 Sessions (2015), John Frick is demonstrating to us that he is a musician maturing and even peaking as songwriter and instrumentalist. The fact that you might be a technically adept guitar player does not make you a good songwriter and ultimately one does not want to listen to just fleet fingered solos. If the songs are not memorable the experience of listening to an album becomes quite wearying if each song is no more than the empty vessel for a sequence of glib guitar solos.
As was the case with Urban Crossroads, the immediate impression is that Mr Frick is a really good, interesting and intriguing musician. He has the blue tropes down cold but the intricate and often unpredictable arrangements and quirky licks that are generously distributed over the length of the album are proof that John Frick is not merely a bloke who can replicate conventional blues licks very well but is a musician deserving of close attention.  
The second thing is the quality of the songwriting itself, with actual hooks that make the songs stick in the mind. The hard riffing horn arrangements add that cool element of classic Stax soul–blues.
The two tunes that are the immediate standouts from just that first listen are second track “Frankie” a tribute to the late Frank Frost, original drummer of the Blues Broers and father of master guitarist Albert Frost, and a narration of the history of the Blues Broers, and the last track “March for Peace,” which (to be honest) is a surprisingly low key and cliché-free plea for, well, peace. In the former track John Frick seems almost preternaturally delighted in his own delight in singing this exultant paean, with strong rockabilly echoes, and in the latter he has a more gentle, thoughtful tone and words of hope backed by an old timey string band supported by second line horns. These two tracks are head and shoulders above the rest because they are so individual and so viscerally engaging.
Having said that, there is not a single bad track on this album and each tune has something catchy to offer, such as the way the riffing horn, stinging lead guitar, wailing blues harp and tough rhythm section on opening cut “Bank Robber” set out the stall for the wares to follow; the opening riff and amazing tune of “I Just Can’t Go On” (K.02 Sessions’ equivalent of the indelible “The Same Way Too” from Urban Crossroads); the soul pop insouciance, powered by Tom Moerenhout’s horn and organ, of the chorus of “Inside of Me”; the cool jazz swing of “Got Me Going”; the guitar riff, horns (again) and stone groove of “Thrill Seeker”; the slow blues bravura of “Storm Rolling In” (which seems meant to be the centre piece of the album both in its positioning in the set and in the emotional impact); the ‘Booker T & The MGs fronted by Elmore James’ locomotion of “Ride That Lonesome Train”; the delicious interplay between the almost heavy guitar riff, keyboards, the horns and the backing vocals of “Superficial Love” (yet another smart soul-pop groove); the slide guitar filigrees of “Get Up And Go There”; the delicate yet driving piano and blues harp of “Down In Mexico”; the Stax soul power of “Go, Baby, Go” (probably the weakest track on the album because it has the feel of a jam rather than as a proper song, with only the punchy performance to carry it); and, finally, the New Orleans-influenced string band sound of “March for Peace”  with the horns playing a swinging counterpoint against Dobro bottleneck.
And I’m just mentioning some highlights. As I’ve said, each track has plenty more to offer. The band is on top of its game, with particular emphasis on Tom Moerenhout, Leo Birza and old comrade-in-arms Rob Nagel as the soloists alongside John Frick himself. There is a hard edged, whip smart toughness on display that can only be achieved by a group of musicians that play well together, have years of experience and the chops to show for it and are not afraid to just play the damn blues without restrictions. The rhythm section is so on point it is a subtle and sassy sum of its parts. The lyrics are good and John Frick sings unrestrainedly, more so than on the previous album, as if he has finally discovered his voice and is letting it speak, so to speak, for itself.
I am really enthralled by this album of modern blues with plenty of gutsy innovation and yet with deep roots in various genres I love.  It’s an album to listen to with wonderment, admiration and joy. It’s an album that proves that blues can bring a smile to one’s face from the sheer thrill of being a spectator to masters of the form doing what they do extremely well.

K.02 Sessions

Carolyn Walsh - Rise

Bitrate: 320K/s
Year: 2015
Time: 47:41
Size: 110,3 MB
Label: Self Released
Styles:  Roots Rock/Americana
Art: Front

Tracks Listing:
 1. Somewhere - 5:14
 2. All I Can Take - 4:26
 3. Give Me a Minute - 4:02
 4. All in Its Place - 5:15
 5. Burned On My Soul - 3:26
 6. Nothing - 3:56
 7. Rise - 4:40
 8. Push It Down - 4:36
 9. Da-Da - 3:28
10. Full of Thorns - 4:53
11. Willing - 3:41

Songwriter with a powerful, dynamic voice sings tales of love, loss, strength, change, and moving on. Highly relatable, relevant, and real. Hear your own story in hers. A new collection of songs by Carolyn Walsh that are rich, poetic, raw, pastoral, stark and/or lovely compositions revealing stories and relatable life lessons. With a driving piano sound and powerful voice, Carolyn rocks through one song and lilts through the next. She is complemented by acoustic guitars, pedal steel and lap steel guitars, accordions and strings, as well as bass guitars and drums. Jazz great Rodney Jones creates an otherworldly soundscape on the title track "Rise." Mike “slo-mo” Brenner smoothly bends the pedal steel guitar into submission on Full of Thorns even as his lap steel is on the attack. Carolyn’s organ/piano combination on Push it Down is haunting. Songs of falling in and out of love, a truncated youth, a testament to the healing Colorado wilderness can bring - just some of the emotions expressed via country-rock arrangements or solo piano. And every song features that amazing voice!
Lots of textures to enjoy here.

Rise

The Barcodes - Live! In Session For The BBC

Bitrate: 320K/s
Year: 2006
Time: 78:01
Size: 180,8 MB
Label: Note music (NCD 1013)
Styles: Blues
Art: Front

Tracks Listing:
 1. Statesboro' Blues - 4:33
 2. Parchman Farm - 4:41
 3. Sweet Lovin' Mama - 7:38
 4. Crazy Life - 5:39
 5. Halfway To Nowhere - 4:25
 6. That's Alright - 6:42
 7. Comin' Home Baby - 4:58
 8. 7th Son - 4:43
 9. Outskirts Of Town - 7:01
10. Back At The Chicken Shack / T-Bone Suffle - 5:46
11. Checkin' On My Baby - 6:10
12. Be Cool - 3:29
13. Undercover Lover - 4:42
14. The Snitch - 5:12
15. I Don't Worry About A Thing - 2:16

A safe start to the album with a title borrowed from Blind Willie Mc Tell, ‘Statesboro’ Blues’, on which Bob Haddrell on keyboard and Nick Newall, a special guest for that evening, on the sax  alternate solos, which foretells that this quartet is on fine form this fated 17th of September 2006.
This great evening of blues was brought to life by BBC recording. For ‘Parchaman Farm’, the brilliant Bob gives another flavour demonstrating his talents, a true magician of the black and white keys, fabulously seconded by Alan Glen and his six-strings and Dino Coccia on drums. A few gems from the harmonica are slipped in here and there, just in time to continue with a great version of‘Sweet Lovin’ Mama’ from the illustrious Johnny Guitar Watson, who would have undoubtedly appreciated Dino Coccia on drums whilst Alan Glen was throwing himself on the harmonica. It’s spicy, it’s furious, it’s dynamite bursting your eardrums with countless colours, it’s like a beautiful fireworks display.
But the Barcodes’ talent is also knowing when to switch tempos and  dive in a raging blues and going seamlessly into a slow track, perfect for those special evenings with the love of your life: ‘Crazy Life’ and its saxophone solo makes you believe you’re in the deepest of cellars listening to the best sound in slow blues around. Another track, co-written by Alan Glen, ‘Halfway To Nowhere’ and a faster pace which increases the temperature before the quartet follows up with another two beautiful pieces, ‘That’s Alright’ then ‘Comin’ Home Baby’ in which Nick Newall does marvels with the flute to then make space for the excellent Alan Glen, playing a brilliant solo with his six-string on one of the best cover version of ‘7th son’ I have ever heard. It is then followed by a  more mellow, more ‘London Club’ atmosphere with ‘Outskirts of Town’ when Alan Glen shows us how he can make his six-string shiver before rushing off again to treat us to a medley by Jimmy Smith and T Bone Walker and a superb combination: ‘Back at the Chicken Shack + T Bone Shuffle’.
You think you’ve heard the best of what this trio and their ‘special guest’ can offer? How wrong you are, check out this unbelievable version of ‘Checkin’ On My Baby’ during which Bob Haddrell on keyboard and Nick Newall playing the flute make you shiver with pleasure and then, wait for it, it’s Alan Glen’s turn to get you to going with ‘Be Cool’, one of his compositions and its terribly choppy and swinging rhythms. The following two tracks, written by Dino Coccia, are superb and prove you can be an (excellent) drummer and have the gift of writing.
The evening of the 17th of September ends the same way it started on a fast pace, just so you know you should have been there and that not only you shouldn’t miss their CD but especially you have to go to their next concerts.
This CD is the consecration of a group you can’t afford to ignore! An absolute must!

Live! In Session For The BBC

Cousin Curtiss - Here and Now

Bitrate: 320K/s
Year: 2015
Time: 49:08
Size: 112,6 MB
Label: Self Released
Styles: Rock/Roots Rock/Americana
Art: Front

Tracks Listing:
 1. This Road - 4:01
 2. Here and Now - 4:23
 3. The Best Times - 4:57
 4. Safe and Sound - 4:12
 5. Canvas - 4:01
 6. Run - 5:06
 7. Nowhere - 7:11
 8. Love Of Your Life - 5:13
 9. Roll On Home - 5:26
10. Sun In The Sky - 4:34

An album designed for cross-country expeditions. Turn it on, turn it up, roll the window down, and cruise to this new, cultivated sound that blends Americana, Blues, and Rock together like the love child of Amos Lee and Blues Traveler.
Here and Now is the best album Cousin Curtiss has released to date. Inspired by 15,000 miles on the road in 11 weeks, Here and Now is an album designed for the adventurous road tripper. From the start of the album to the end, Here and Now is a powerfully elegant blend of Americana, Blues, and Rock.

Here and Now

The Black Moods - Medicine

Bitrate: 320K/s
Year: 2016
Time: 36:13
Size: 83,2 MB
Label: Another Century
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Someone To Save Us - 3:19
 2. Say It For The Last Time - 2:34
 3. How Long - 3:02
 4. Paralyzed - 3:01
 5. So Good - 3:30
 6. Too Late Now - 2:43
 7. Right Now Anywhere - 2:37
 8. Without A Warning - 2:36
 9. Can't Sleep - 3:15
10. Killers In The Night - 2:29
11. Within Without - 3:02
12. Whenever It Rains - 4:00

THE BLACK MOODS are a throw-back, transporting us to a time when bands earned their stripes on the live circuit rather than behind a studio console. They have mastered the nuances of turning every stage into a celebration of music, and transforming every audience into a bristling extension of the band.
"Growing up, nothing affected me or had an impact on me as much as music - my dad played music and I knew, for as long as I could remember, that's what I wanted to do," says frontman and guitarist Josh Kennedy. "Now I'm able to see the impact our music has on other people, and there's no better feeling in the world. We aren't trying to reinvent the wheel, we just want people to feel good, have a good time, and get turned on by what we do - music is the medicine for our soul, and we want to share it with as many people as we can."
With the October 14 release of Medicine, their debut album for Another Century, THE BLACK MOODS blend a potent brew of the infectious melodies, razor-sharp hooks, and sing-along choruses that have been inciting crowds around the band's Tempe, AZ hometown for years. "Someone To Save Us" opens the offering with a magnificent wash of cascading guitars and velvety vocals, introducing the lyrical theme that strings the album's 12 tracks together - whether we're talking about bathroom sex ("Right Now Anywhere"), one night stands ("Paralyzed," "So Good"), pure bliss ("Within Without"), or crimes of passion ("Without A Warning," "Killers In The Night"), it's all about the relationships. "That's where all these songs come from - not necessarily romantic, just how we relate to people, and how those people affect us mentally," says Kennedy.
Those mental breakdowns are where THE BLACK MOODS were born. "We are always watching music documentaries in the studio, and there was a Doors documentary where Ray Manzarek said, 'watch out, Jim [Morrison] is in one of his black moods...'" says drummer Chico Diaz of his band's name. "That inspired us to write a song called 'Here's To Black Moods' - the name of the band evolved from there."
Kennedy moved to the southwest from Wheaton, MO as a teen, pursuing an opportunity to tech for one of his favorite bands. A few years, bands, and a bevy of experiences later, he met drummer Chico Diaz, another fixture on the local scene. As diametrically opposed as the two may appear - Diaz embracing a more modern vibe than Kennedy's pegged jeans and Robert Plant visage - the two are closer than most brothers. The trio is completed by bassist Johannes Lar, an Army combat veteran trading the sands of Afghanistan for the desert heat of Arizona.
Blurring the lines between the '70s icons that inspired them, the turn of the century acts that transformed them, and the modern sounds that they call home, it is time for THE BLACK MOODS to introduce their 'Medicine' to the world...

Medicine

пятница, 14 октября 2016 г.

John Pinamonti - End of Smith

Bitrate: 320K/s
Year: 2009
Time: 43:10
Size: 99,2 MB
Label: Self Released
Styles: Roots Rock/Americana
Art: Front

Tracks Listing:
 1. End of Smith - 4:09
 2. It Wasn't/the Rain - 5:52
 3. Eye On You - 3:16
 4. The Burrow - 5:54
 5. Spaceman Blues - 3:03
 6. San Marino - 4:40
 7. Mean to Me - 4:15
 8. Subprime Blues - 3:22
 9. Use Me For Parts - 2:31
10. 300mm Man - 2:21
11. Dreamland - 3:47

John Pinamonti is known for his songwriting, instrumental prowess, and eclectic interpretation of American music. Long a stalwart of the Brooklyn roots music scene, he grew up in California, Texas and Oregon, spent years playing and touring the U.S. and Canada, and has recorded and released 5 CDs, the latest being End Of Smith. He continues to perform throughout the New York area.

“…Good storytelling sense and deep commitment; what marks Pinamonti as his own man is effectively straightforward language and scintillating acoustic guitar technique”
- MusicHound Essential Album Guide

“Pinamonti displays a proficient and alluring storytelling gift… wry, detailed stories are deftly drawn and winning”
- Performing Songwriter Magazine

“Superb… Live, Pinamonti is a mild-mannered and unassuming frontman who packs a wollup with his songcraft”
- The Village Voice

End of Smith

Smack Daniel - On Queasy Street

Bitrate: 320K/s
Year: 2016
Time: 53:58
Size: 125,8 MB
Label: Self Released
Styles: Funk/Blues/Americana
Art: Front

Tracks Listing:
 1. Venus Cave - 3:09
 2. Hand to Mouth - 4:42
 3. Hip Shootin' Boogie - 3:15
 4. Crazy Fuckin' World - 3:38
 5. Moonlit Nile - 4:31
 6. Showdown - 4:59
 7. Queasy Street - 3:52
 8. Horse Beater Blues - 3:59
 9. Dog Y Bone - 3:30
10. Old Porch Swing - 3:34
11. Riding the Dog - 3:49
12. Do It with You - 3:33
13. The Blues Bad - 3:00
14. Best Thing - 4:20

Skid Row Riddim & Blues with a short detour through Uptown Funk!
Smack Daniel is the nom de guerre of you-know-who wishes to remain as anonymous as is now impossible. Born up north, heading south ever since, with never expected stops along the way ….
Smack is a New Yorker through and through, tried and true: born in Buffalo, bred in the Metropolitan area. After a youth misspent on the North Shore of Long Island where he first began penning original material, he made his way across the Sound to SUNY Purchase, where he was a Film major. Fired from his job as late-nite college-DJ on his first day for playing Jim Morrison’s “Ode To My Cock” (turns out there was someone listening, who in this case just happened to be the Dean) he was soon thereafter strongly advised to take a time-out from his studies. Which he did, using his student loan to start (with his song-writing partner-in-crime: the ace guitarist, producer/engineer extraordinaire Paul Schellack) The Relics, soon to become The Scandals, punk’n’roll rebels on their way to rock bottom. After the band’s break-up, he drifted into NYC’s The New School, where a fellow poetry workshopper steered him toward The Jack Kerouac School of Disembodied Poetics in Boulder, Colorado. There he played guitar and sang back-up for Allen Ginsburg, Naropa Institute’s fearless Buddhist enabler; worked the graveyard shift cleaning movie theaters, as a roller-skating waiter at The Last American Diner’s early-bird breakfast; and best of all as Ginsey’s Poet Pick-up & Delivery Service, whose roster of Beat luminaries included Bob Creeley, Ed Sanders, Gary Snyder, Marianne Faithful and Jim Carrol (who borrowed Smack’s Strat and needed blow to get through teaching his course on Rock Lyric Writing) to name but a few. Later, to placate parents for whom a college degree meant everything, he enrolled at CU Boulder, graduating many years later by correspondence from the jungles of Guatemala. During his time in the academic wilderness, he traveled wherever, whenever, and however he could, doing whatever it takes to keep the spirit alive. Ravaged by dysentery, he barely made it to San Francisco, where he found a job making costume jewelry over the Golden Gate Bridge in San Rafael. A year of living on Skid Row, south of Market, was seared into his soul, at which point he took a friend’s offer of sanctuary in Normandy, fell in love, got married, had two kids, moved to Italy and there resides on Queasy Street, where he is bound to end his days in dedicated debauchery, playing the dive bars he now calls home. At present he is working on a novel based on his misadventures which will most likely never see the light of day. He is also an abstract nature photographer, has worked as cook, car salesman, book peddler, high school English teacher, landscaper, carpenter, stonemason, boat painter and espresso jockey.

On Queasy Street

Vapors Of Morphine - A New Low

Bitrate: 320K/s
Year: 2016
Time: 44:07
Size: 101,3 MB
Label: Self Released
Styles: Rock/Progressive Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. Wind up Radio - 0:55
 2. Renouveau/Daman N'Diaye - 4:38
 3. Sheila - 3:32
 4. Baby's on Fire - 3:36
 5. The Other Side - 5:13
 6. Sombre Reptiles - 2:57
 7. If - 3:45
 8. Red Apple Juice - 3:56
 9. Souvenir - 6:21
10. Rowdy Blues - 5:44
11. Interstellar Overdrive (Live) - 3:26

Vapors of Morphine is an American rock band founded in 2009 by the surviving members of the alternative rock band Morphine Dana Colley and Jerome Deupree and blues guitarist Jeremy Lyons.
The band was officially formed in 2009, when Dana Colley was asked to bring a group to Nel Nome Del Rock Festival in Palestrina, Italy. Ten years earlier, Morphine's frontman Mark Sandman had suddenly died of a massive heart attack while performing in that venue.
After some deliberation, Colley invited Jeremy Lyons to sing and play the 2-string slide bass, along with drummer Jerome Deupree. Lyons asked a friend to build a 2-string bass for him and started learning the Morphine repertoire. The process wasn't easy as Lyons had to master a new instrument while singing below his natural voice range.
In the beginning, they couldn't agree on a name, and they alternated between “Members of Morphine & Jeremy Lyons” and the “Elastic Waste Band,” which eventually morphed into “The Ever Expanding Elastic Waste Band”. Early in 2014 someone asked Lyons if he didn’t “play with the… the ‘vapors’ of Morphine?”, inspiring the band's name as it is currently known.
Vapors of Morphine have toured through the United States, South America and Europe. Some highlights have been Mes Da Cultura Independente (Sao Paulo, Brazil, 2014), The New Orleans Jazz & Heritage Festival (USA, 2012); Virada Cultural Festival in Sao Paulo, Brazil (2012), New Orleans’ Voodoo Experience (USA, 2011); and Maquinaria Festival in Santiago, Chile (2011).
The band is basically formed by original Morphine members Dana Colley in baritone sax and Jerome Deupree in drums, with Jeremy Lyons in vocals and 2-string slide bass.
Former Morphine's drummer Billy Conway often plays as a guest, and occasionally the band appears as a quartet, with both Deupree and Conway playing drums, but the former is the primary drummer of the group. Jeff Allison is also part of the band as an auxiliary drummer.

Well Morph-friends,
It took us a while to finish, but we got it out before our predicted release date of 2026…:-)
We are happy to announce the release of our fresh new recording, A New Low!!!!
Produced in collaboration with Pete Weiss of Verdant Studio, recorded at Armory Sound, Dimension Sound Studios and Milk Row Cemetery, with art work by Lisa Deupree; songs by some our favorite artists, including Brian Eno, Latin Playboys and Dock Boggs. Our auxiliary drummer Jeff Allison played on two tracks and produced the opening Wind Up Radio. And our dear friend, Malian musician Boubacar Diabate who sings on an alternate version of the track Renouveau/Daman N’Diaye, which will be released as a single later this year; his voice is sampled for the album version. We are our own worst critics, and we are really very happy with the way this thing turned out. Really, REALLY happy. We actually like listening to it!

A New Low

Jake Flint - I'm Not Ok

Bitrate: 320K/s
Year: 2016
Time: 47:49
Size: 109,7 MB
Label: Tate Music Group
Styles: Americana
Art: Front

Tracks Listing:
 1. Allyn From Allen - 4:06
 2. Cowtown - 3:58
 3. Drownin' - 3:02
 4. Hurry Up And Wait - 4:38
 5. First Impressionism - 5:11
 6. I Wonder Why I Wander - 5:36
 7. Let Me Be - 5:09
 8. Whole New Kind Of Blue - 4:39
 9. The Fly Song - 3:28
10. Why God - 3:40
11. Cold Cold World - 4:16

Inspired by everything from classic Texas Singer/Songwriters to 90's grunge rock, Jake Flint's debut album "I'm Not OK" offers it all. From gut wrenching love ballads to upbeat drinking songs that will move your heart, stimulate your mind and definitely make your toe tap.

I'm Not Ok

Donny McCaslin - Fast Future

Bitrate: 320K/s
Year: 2015
Time: 55:36
Size: 127,7 MB
Label: Green Leaf/Greenleaf Music
Styles: Jazz
Art: Front

Tracks Listing:
 1. Fast Future - 5:54
 2. No Eyes - 5:55
 3. Love and Living - 9:30
 4. Midnight Light - 6:38
 5. 54 Cymru Beats - 2:16
 6. Love What is Mortal - 5:56
 7. Underground City - 6:58
 8. This Side of Sunrise - 4:32
 9. Blur - 1:28
10. Squeeze Through - 6:25

Saxophonist Donny McCaslin’s 11th release as leader, and fourth on Dave Douglas’ independent imprint Greenleaf, is well-named. Fast Future explores a newer kind of fusion, blending post-bop with breakbeats, rhythms and tones from electronica and EDM. McCaslin is known for bending apart expectations, so it’s no surprise to hear thoroughly modern music on these ten tunes (eight written or co-composed by McCaslin). Fast Future reprises McCaslin’s structure from his 2012 record, Casting for Gravity, and also utilizes the same personnel: McCaslin on tenor sax; keyboardist Jason Lindner (electric and acoustic piano; synth); electric bassist Tim Lefebvre and drummer Mark Guiliana. Another element which McCaslin returns to on Fast Future is intriguing covers of electronica songs. On Casting for Gravity, McCaslin effectively re-did an Aphex Twin cut, and here he sets his interpretive skills to another Aphex Twin tune, the brief and frantic “54 Cymru Beats,” which is like a mutated, free-jazz deviation. More beats are twisted on “No Eyes,” which is by Baths (the alter-ego of electronica musician Will Wiesenfeld). This edgy piece moves in several directions, from a fusion-rimmed opening; to copious horn action and Binney’s wordless melodies; to an ambient mid-section which courses with quietly simmering synth, breathy tenor sax noises, and progressive production techniques. “Underground City” is suffused with an electronic-sounding beat, created by Guiliana as he layers a vigorous rhythm and beat which goes beyond typical jazz and into drumming which is suggestive of machine-made percussion. Reggae and dub saturate “Squeeze Thru.” McCaslin and his band head into ballad territory on the plush “Midnight Light,” which has a late-evening vibe replete with beautiful, high tenor sax notes. Another melodic number is “Love What Is Mortal,” which includes evocative tenor sax, an agile groove, and an unexpected spoken-word segment. Fast Future is quite an experience. It has a malleable, nearly non-jazz tonality which is different than the norm, but wholly fits McCaslin’s aesthetic.

Fast Future

Larry Coryell - Barefoot Man: Sanpaku

Bitrate: 320K/s
Year: 2016
Time: 51:59
Size: 119,2 MB
Label: Purple Pyramid
Styles: Jazz/JRF
Art: Front

Tracks Listing:
 1. Sanpaku - 10:39
 2. Back to Russia -  6:09
 3. If miles were here -  6:55
 4. Improv on 97 -  5:03
 5. Penultimate -  6:28
 6. Manteca -  8:21
 7. Blue your mind -  8:22

Jazz guitar icon Larry Coryell, one of the most respected and celebrated guitarists of his generation, offers this album of seven original compositions! In addition to Coryell's signature guitar playing, this album features the talents of award-winning pianist Lynne Arriale, longtime Coryell collaborator John Lee on bass, Dan Jordan on saxophone and flute, and drummer Lee Pierson. Coryell continues to draw massive audiences everywhere he plays, both stateside and abroad.

Barefoot Man: Sanpaku

Captain Crimson - Remind

Bitrate: 320K/s
Year: 2016
Time: 42:24
Size: 97,1 MB
Label: SR
Styles: Rock/Hard Rock/Stoner Rock
Art: Front

Tracks Listing:
 1. Ghost Town - 4:39
 2. Bells from the Underground - 5:29
 3. Love Street - 3:13
 4. Black Rose - 3:16
 5. Money - 5:05
 6. Drifting - 3:39
 7. Remind - 4:14
 8. Let Her Go - 4:12
 9. Alone - 4:12
10. Senseless Mind - 4:19

Musicians:
Stefan Lillhager - vocals;
Andreas Eriksson - lead guitars;
Chris David - bass;
Mikael Lath - drums.
Guest musician:
Timo Tilli - harmonica/

Swedish four-piece Captain Crimson make their debut on Small Stone Records with their third album, Remind. It’s a record that begs the question of just what we’re being reminded. Comprised of 10 boogie-laden, grooving, swinging, catchy tracks, it follows just two years behind 2014’s Ageless Time (on Moving Air and Nasoni) and four behind the band’s 2012 Dancing Madly Backwards debut that found them paying so strongly to their namesakes in Captain Beyond and King Crimson. Now working with the lineup of vocalist Stefan Lillhager (ex-Blowback), guitarist Andreas Eriksson, bassist Chris David and drummer/organist Mikael Lath, the Orebro natives have come unquestionably into their own throughout these tracks, moving well beyond the ‘70s worship for which their hometown is so known in favor of a full sound, marking a less dramatic shift than that of, say, Witchcraft, but mostly because Captain Crimson were less of a directly vintage mindset to start with. In any case, what they arrive with on Remind is a 42-minute collection of tightly written, smoothly executed cuts that seem to be vying with each other to occupy space in the listener’s consciousness. Will it be “Black Rose” or “Let Her Go” stuck in someone’s head? I don’t know, but there’s a good chance that something here will hit a nerve among the converted, as Captain Crimson favor quality songcraft over the trappings of hyper-stylization, and so have no need of the latter as they make their way through, energetically and deftly using the momentum of one track to push through the next. In the album’s ultimate affect, it feels ahead of the curve in such a way as to recall (which is not to say “remind”) of young-gun countrymen rockers and labelmates Jeremy Irons and the Ratgang Malibus, who made their debut in 2011 and have followed a similar stylistic trajectory in taking what more vintage-minded outfits have been able to accomplish over the last decade-plus and carry it forward, blending with ’90s influences, yes, but coming across with something new from that mixture. In the case of Captain Crimson, there are elements at play in early pieces like opener “Ghost Town” or “Bells from the Underground,” which immediately follows and is the longest inclusion at 5:29, that tie them further into the long legacy of quality Swedish heavy rock; most notably in what they’re able to do with the hooks of these songs and the ease of their transitions one might liken their work here to Greenleaf‘s earlier days, or specifically for “Bells from the Underground,” from some of what Astrosoniq had on offer with their last outing, Quadrant, at least on some superficial level, but neither does Remind lack its own personality. The 10 tracks break evenly onto two neatly-structured vinyl sides, and though each song seeks to deliver an impact, and succeeds on one level or another, they tie together fluidly as well, as one can hear in the crisp jive of “Love Street,” on which Eriksson‘s guitar leads a strut bolstered by layered vocals in the chorus and punchy bass, and the subsequent “Black Rose,” which pulls back on some of the thrust initially to lock in a sleek, classically metallic groove, easily turns into an acoustic break, and emerges with newfound vigor to lead to the side A closer “Money.”  Bluesier licks permeate, backed by serene organ flourish, and a flowing jam ensues, more patient than any of the faces Captain Crimson have yet shown, and so a decent setup for some of side B’s expansion of the album’s overall scope. Of course, before they get there, it’s only fair to match “Money” with a barnburner, and “Drifting” opens Remind‘s second half in raucous form, effectively reestablishing the momentum of “Ghost Town” as side B begins to unfold. There’s some twang underlying the title-track, which follows, but the focus remains on the chorus, cleanly realized with push coming from Lath‘s kick drum, a prominent but not ever really out of place element across the record. Stomp suits Captain Crimson, and “Let Her Go,” with its blues-inflected harmonica (a guest performance from Timo Tilli), backs that up, finding a comfortable pace that allows them to continue to spread out their sound from its foundation of craft and structure in subtle and intriguing ways that become clearer on repeat listens. Then there’s the more drastic change brought on by the penultimate “Alone.” Almost snuck in before closer “Senseless Mind” reaffirms the decades-spanning stylistic meld, the acoustic-led alone offers Lillhager a showcase in which to shine and he does not disappoint. With vocals and guitar, Captain Crimson depart from the rest of the album toward a different level of emotional resonance, but the presentation is still clear, and there’s never any sense of control lost. Maybe “Senseless Mind” is meant to work as a reaction to that, or maybe it’s just the drastic contrast between the final two songs, but the ending feels especially riotous by the time it’s over. Before that, like “Black Rose” earlier, it cuts to a quieter interlude, but when the four-piece slam into the final thrust, there’s little doubt the apex has been reached. Like the record as a whole, they telegraph their intentions there, but three albums in, I don’t think there’s anything one could call to question in their intentions.
They clearly know what they’re doing, in the construction of their material, in putting together a record, and in filtering out anything that doesn’t best serve the song at hand. That makes Remind a strong depiction of a group who’ve clearly hit their stride, and leaves one to suppose that perhaps the title is referring to how much of a force such a group can be when captured at their best.

Remind

Jace Pawlak - Promise

Bitrate: 320K/s
Year: 2016
Time: 42:10
Size: 96,6 MB
Label: Kivel Records
Styles: Melodic Rock/AOR
Art: Front

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

Musicians:
Jace Pawlak - vocals, keyboards, bass, drums;
Dennis Pawlak - guitar, backing vocals;
Trevor Pawlak - guitar.

Journey, Night Ranger, Bryan Adams, Bad English, big guitars, big hook,s big vocals, melody/harmony worship music done right.
In a climate of ever changing musical trends and unrecognizable genres, there is a longing for a sound that so many of us grew up attached to. A style and sound that sparked emotion and excitement. Music that inspired and help create a memory for our youth. Well look no further than Jace Pawlak. As he Promises to do just that. With his aptly titled release, PROMISE on Kivel Records. Jace weaves a tapestry of upbeat AOR that would make bands like Night Ranger, Nelson and Bad English nod with approval. In fact, dare we say, you may check to see if these are unreleased songs by the above mentioned bands, as that's how close to the mark he nails that respected genre sound. Jace proudly wears his influences on his sleeve and this album is a badge of that honor and pride. A MUST for any fan of the AOR genre.

Promise

четверг, 13 октября 2016 г.

Davy Knowles - Three Miles From Avalon

Bitrate: 320K/s
Year: 2016
Time: 39:00
Size: 91,6 MB
Label: WTAN
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Ain't Much Of Nothin' -  4:51
 2. What You're Made Of -  3:54
 3. Falling Apart -  4:52
 4. Never Gonna Be The Same -  2:40
 5. Gov't Row -  3:13
 6. Oxford, Ms -  3:15
 7. Three Miles From Avalon -  4:22
 8. What In The World - 11:49

Blues rock guitarist, Davy Knowles‘ newest album, Three Miles From Avalon, is set for release on October 14th. Taking from the Arthurian legend, the album title has become Knowles’ personal metaphor for things just out of his grasp. After listening to it, its our conclusion that the world is within his grasp.
Born on the Isle of Man just 29 years ago, Knowles began teaching himself guitar at the age of 11. The first song he learned to play by ear was the Dire Straits hit, “Sultans of Swing.” Pretty damned impressive for a pre-teen who wasn’t even interested in music until he heard that song. From that point, he began rifling through his father’s record collection and was influenced by artists such as Cream, Robert Johnson, and Rory Gallagher.
Now, with 7 albums under his belt, Knowles is returning to his roots and the music that first inspired his passion. Recorded in his adopted hometown of Chicago, Three Miles From Avalon is a gutsy, eight track offering of guitar driven blues rock with a tinge of Celtic influence. When you grow up 50 miles from Ireland and are influenced by Rory Gallagher at a young age, that’s to be expected. What we didn’t expect was the pleasant smack in the face, straight out of the gate.
We recognized a familiar, vintage sound on the first couple of tracks, and for good reason. When going into the studio, Knowles wanted to get back to the basics of recording. “My favorite sounding records are certainly older ones, recorded to tape, with minimal fuss or overdubs,” he said. “I wanted that lovely warm, vintage sound that only tape and glowing tubes can do.”
The first song, “Ain’t Much of Nothin’,” leads off with Knowles’ attention grabbing guitar work. You know from the outset this man means business. Drummer, Michael Caskey starts clacking out the time signature when, seemingly out of nowhere, the soaring organ of Andrew Toombs takes the track to a whole other level. Caskey and bassist, Bryan Doherty kick in hard and fast, creating a heart pounding rhythm section. Knowles doesn’t have a powerhouse voice like many of his predecessors in the genre, but it is clean, soulful, and fits perfectly with his cleverly written lyrics.
Track number two, “What You’re Made Of,” is another high energy rocker, written as a tribute to Gallagher, in his sweeping, guitar driven style. You get the feeling of a live performance, adding more credence to the decision to record the band live, in the studio, with minimal takes.
There are some darker, more menacing songs as well. “Falling Apart,” with its growling, effect laden guitar work, church like organ, and nightmarish lyrics is a bit unsettling. The title track is a brilliantly written tune, with lyrics painting a picture of determination, but, eventually, hopelessness. The true stuff of blues done in a rock ballad style.
Our favorite track is “Oxford, MS.” Its a story song, touching on gambling, violence, murder, and eventual regret, in which the protagonist begs for forgiveness for his sins. The sagacity of this song is in its performance as a true, Mississippi Hill Country gospel hymn. Complete with foot stomping, hand clapping rhythms, and chorus vocals furnished by the Chicago based, female acoustic trio, The Oh Yeahs.
Another gem of a tune comes with the closing track, “What in the World.” The only cover song on the album, Knowles and company pay mad respect to the Willie Dixon classic. Replete with the haunting sound of Toombs’ Hammond B3 and Knowles soulful guitar, this is the music you hear in a dark club, after closing, when the staff is putting up the chairs for the night, but the band doesn’t want to stop.
In the long heritage of UK blues, Mayall, Clapton, Gallagher, Davies, Korner, et al. have left some big shoes to fill. Davy Knowles has now been trying them on for over 10 years, and with Three Miles From Avalon, he’s slipped into them most comfortably. This must have album will hold a special place in your collection. If you ever take it out of the player that is.
Although not available until mid October, advance orders can be placed at the sites linked below.

Three Miles From Avalon

Beth Hart - Fire on the Floor

Bitrate: 320K/s
Year: 2016
Time: 48:29
Size: 111,3 MB
Label: Provogue/Mascot Label Group
Styles: Blues
Art: Front

Tracks Listing:
 1. Jazz Man - 3:52
 2. Love Gangster - 4:09
 3. Coca Cola - 3:38
 4. Let's Get Together - 3:39
 5. Love Is A Lie - 3:13
 6. Fat Man - 3:50
 7. Fire On The Floor - 5:13
 8. Woman You've Been Dreaming Of - 4:23
 9. Baby Shot Me Down - 3:22
10. Good Day To Cry - 4:30
11. Picture In A Frame - 4:41
12. No Place Like Home - 3:53

Beth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Beth’s latest album, Fire On The Floor (out 14 October on Provogue/Mascot Label Group): a release that even this fiercely self-critical artist describes as “pretty frickin’ good”.
Fire On The Floor is sure to build on her breakneck momentum. As the singer explains, this latest record gave her an emotional release following the bitter-sweet sessions for Better Than Home. If there’s a theme that ties these twelve songs together, it’s a sense of escapism following the hardest of times. “We were still in the mixing stages for that album and I knew I had to make another record. Making Better Than Home was so painful, because one of the producers, Michael Stevens, was dying of cancer. It was a very emotional record to write and to make. I wanted the songs for Fire On The Floor to get born real quick.”
Take a spin of Fire On The Floor and you’ll see exactly why. These twelve new songs run the gamut of genre, reflecting Beth’s eclectic teenage influences, which took in everything from gospel, soul and classical to the seismic rock of Soundgarden. “As a writer,” she nods, “I feel really stifled if I’m trying to write in the same style. I just can’t do that. Growing up as a kid, I was raised all over the place stylistically, loving so many different genres.”
Fire On The Floor is the album that Beth Hart needed to make. Likewise, it’s a record that you need to hear. “I’m so pleased with it,” she concludes. “I recently had to organise the sequence of the record, and while I was doing that, I was thinking to myself, ‘Y’know, this is pretty frickin’ good…!’”

Fire on the Floor

Colin James - Blue Highways

Bitrate: 320K/s
Year: 2016
Time: 44:42
Size: 102,6 MB
Label: True North Records
Styles: Modern Electric Blues
Art: Front

Tracks Listing:
 1. Boogie Funk - 3:12
 2. Watch Out - 4:38
 3. Big Road Blues - 3:02
 4. Bad Bad Whiskey - 3:58
 5. Going Down - 3:37
 6. Gypsy Woman - 3:50
 7. Goin' Away - 4:31
 8. Lonesome - 2:05
 9. Hoodoo Man Blues - 2:48
10. Riding In The Moonlight/ Mr Luck - 2:57
11. Don't Miss Your Water - 4:01
12. Ain't Long For Day - 3:18
13. Last Fair Deal - 2:40

August 4, 2016 (Toronto, ON) - Juno Award Winning Singer-songwriter Colin James will release his 18th album, Blue Highways, on October 14 via True North Records.
Blue Highways was co-produced by Colin and Dave Meszaros (Wake Owl, Old Man Canyon) and recorded at The Warehouse Studios in Vancouver.
Blue Highways pays tribute to some of the singer/ guitarist s longtime blues idols including Howlin Wolf, Jimmy Reed, Freddie King, Jr. Wells & Buddy Guy, Peter Green, Robert Johnson and William Bell to name a few.
In the Spring of 2015 Colin wrapped up his Hearts on Fire tour. After a couple of months of straight touring, Colin was loving playing with the band and really happy with the sound they had created on stage. What better time to make a record? Especially the record Colin had been itching to make for years - a collection of some of his favorite blues tracks. In less than a week Colin and his touring band went into The Warehouse Studios in Vancouver and in just 2 days, Blue Highways was born.
The lead single, Going Down inspired by the great Freddie King features; Geoff Hicks (Drums), Steve Pelletier (Bass), Jesse O Brien (Piano), Craig Northey (Rhythm Guitar), and of course Colin James (Vocal/Guitar).
Colin James has been named as an inductee into the 2016 Western Canadian Music Hall of Fame presented by FACTOR. In addition to this honour, Colin will be headlining the Western Canadian Music Awards Show at Casino Regina on October 13, kicking off BreakOut West's 14th year of celebrating western Canada's talent.

Blue Highways

суббота, 8 октября 2016 г.

Betsy Olson - Lonely Woman Blues

Bitrate: 320K/s
Year: 2009
Time: 38:42
Size: 95,4 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Long Time - 3:01
 2. Never Again - 3:35
 3. Heartless - 5:40
 4. Waitin' - 4:31
 5. Get Your Gun - 6:51
 6. Killer - 3:15
 7. Lonely Woman Blues - 3:54
 8. So Lonely - 3:00
 9. Look At The City - 4:52

Montana raised, but now residing in Seattle, Betsy Olson borrows some dirt and grunge from her chosen home city, and applies it liberally to her debut, Lonely Woman Blues. As the title suggests, Olson's record is blues-based, though it's to bands like Led Zep, Canned Heat and Big Brother, plus contemporaries like The Black Keys, that much of her music nods to, rather than the purist stuff.
Good `n' raw - she plays live as part of a duo - she gets her point across with the minimum of fuss, but with plenty of gumption. "Long Time", the album's opening cut, showcases Olson's formidable guitar groove and sets up a collection which convinces at every turn.

LWB

The Tragically Hip - Trouble at the Henhouse

Bitrate: 320K/s
Year: 1996
Time: 52:37
Size: 120,9 MB
Label: Atlantic Records
Styles: Rock/Alt.Rock/Hard Rock
Art: Front

Tracks Listing:
 1. Gift Shop - 4:58
 2. Springtime in Vienna - 4:37
 3. Ahead by a Century - 3:43
 4. Don't Wake Daddy - 5:08
 5. Flamenco - 4:06
 6. 700 Ft. Ceiling - 3:39
 7. Butts Wigglin - 3:47
 8. Apartment Song - 3:57
 9. Coconut Cream - 3:20
10. Let's Stay Engaged - 4:53
11. Sherpa - 5:15
12. Put It Off - 5:11

The Tragically Hip's stratospheric success is probably the thing about Canada that most confuses tourists. Gord Downie is a highly individual vocal stylist, but the Hip's songs can seem, relative to the accepted standards of rock & roll, atonal and tuneless. After 1993's Fully Completely, the Kingston band's albums were increasingly split between smart, polished singles that sounded great on the radio (partly because they didn't sound like anyone else) and cryptic, rambling album tracks that were much harder to love. While Trouble at the Henhouse suffers similarly, its best song, "Ahead by a Century," instantly became a radio and concert staple. A midtempo, largely acoustic number with one of Downie's greatest-ever choruses, it wouldn't have been out of place on R.E.M.'s Reckoning. Other songs have an offhand charm (like the irresistibly titled "Butts Wigglin"), but on most of Trouble at the Henhouse the band sounds constricted by an overly tried-and-true songwriting approach. --Jason Anderson --This text refers to an out of print or unavailable edition of this title.

Trouble at the Henhouse

Illusion - Sleight Of Hand

Bitrate: 320K/s
Year: 2005
Time: 55:38
Size: 127,6 MB
Label: Legacy Media Group
Styles: Progressive Metal
Art: Full

Tracks Listing:
 1. Honor Amoung Theives - 5:06
 2. Silent Valor - 4:33
 3. Insomnia - 3:16
 4. The Lake - 5:21
 5. Burning Bridges (Full Circle Ch. IV) - 3:25
 6. Caravan To Midnight - 1:13
 7. Damnesia - 4:24
 8. Will O The Wisp - 5:02
 9. Down Here - 2:10
10. Broken - 4:41
11. Kayleen - 5:08
12. The Hidden - 6:55
13. Dead Scientist - 4:17

Detroit, Michigan's own ILLUSION returns with "Sleight of Hand," a powerful new CD from the seasoned progressive rock quartet. Originally known for their unique brand of original classic rock, the band has developed a darker, heavier style on their second full-length release. "Sleight of Hand" features 13 original tracks that range from dense, guitar-heavy rockers ("The Lake," "Silent Valor"), to moody acoustic-driven pop ("Kayleen"). Hammond organ, mandolin, and percussion are among the diverse instrumentation used to create a collection of songs reminiscent of the glory days of FM radio. ILLUSION drifts effortlessly between light and dark. Dynamic arrangements and lyrics effectively draw the listener into the story like a well-crafted movie...

~ Sleight Of Hand ~

Warren Greig Trio - Warren Greig Trio

Bitrate: 320K/s
Year: 2004
Time: 49:10
Size: 113,1 MB
Label: Olive Tree Music
Styles: Jazz/Guitar Jazz
Art: Front

Tracks Listing:
 1. Sonnymoon For Two - 4:01
 2. Manha De Carnaval - 5:58
 3. Minority - 4:38
 4. It Could Happen To You - 5:38
 5. Melissa - 5:11
 6. Two-Part Strut - 6:11
 7. Invitation - 6:41
 8. Cianciana - 4:35
 9. Jersey Bounce - 6:13

With the release of his debut CD, the “Warren Greig Trio”, Toronto jazz guitarist Warren Greig steps out from the shadows of sideman and into the spotlight as leader. It is a role that appears to suit him just fine as he leads his organ trio on an enthusiastic, inviting, and musically expressive date of nine tunes, (six standards and three originals penned by Greig) that showcases Greigs’ deep-rooted appreciation for the straight-ahead jazz line. From the first tune, “Sonnymoon for Two” to the last, “Jersey Bounce”, Greig’s warm and woody tone (played on a gorgeous vintage ES-175) swings with fervor and delight as he exhibits a strong melodic playing style that is exceedingly musical, developed, and right on the money. From burn (“Minority”, “Melissa”), to bluesy (“Sonnymoon for Two”, “Jersey Bounce”), to bossa (“Manha De Carnival”), Greig is a dynamic guitarist who sounds right at home with the tunes he has chosen for this date. His playing style is fluid and smooth as he navigates through the changes with a confidence and ease that speaks of musical maturity and skill which is what I enjoyed most about Greig’s playing. His lines are clearly developed with a logical direction that speaks volumes about dedication to one’s craft. This is player who has obviously listened to the best and has learned his lessons well. Plus he can write cool tunes (“Melissa”, “Two-Part Strutt” and “Cianciana”). It’s no wonder he was a popular sideman for so long.
And speaking of sidemen, where would the “Trio” be without the remaining members of Greig’s group: Paul Wiggins on organ and Harry Ellis on drums. Both players take their roles as musical supporters very seriously as they lay down the harmonic and rhythmic foundations for Greig’s melodic musings. And in true organ trio fashion, organ and guitar share the solo spotlight as each player lends his own particular personality to the changes with Wiggins’ displaying an amusing penchant for quoting other tunes in his solos (check out Greig’s original composition “Melissa” for a taste.) Through all this, Ellis keeps the time steady and the tunes energized, while getting to shine during a few “trading fours” sections, making this CD a definite enjoyable listen.
If you are a student or fan of jazz guitar and appreciate those who are trying to keep the jazz flame burning bright, then pick up a copy of Warren Greig’s “Warren Greig Trio”. It makes a wonderful addition to any music lover’s collection.
Go to www.warrengreig.com to purchase “Warren Greig Trio” or to see what else Warren Greig has to offer.

Warren Greig Trio

пятница, 7 октября 2016 г.

Aynsley Lister - Eyes Wide Open

Bitrate: 320K/s
Year: 2016
Time: 65:40
Size: 150,5 MB
Label: Straight Talkin' Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. All Of Your Love - 4:41
 2. Everything I Have To Give - 5:41
 3. Il Grande Mafioso - 7:07
 4. Won't Be Taken Down - 5:56
 5. Time - 4:51
 6. Dishevelled - 5:26
 7. Troubled Soul (Intro)/Kalina - 5:57
 8. Handful Of Doubt - 4:53
 9. Right As Rain - 5:01
10. Other Part Of Me - 5:08
11. Stay - 6:01
12. Hold You To It (Bonus Track) - 4:52

Aynsley Lister has a lot going for him.  He’s a top quality singer, with a clear voice that’s easy on the ear.  As a guitar player, he’s even better, capable of real fireworks.  When he puts his mind to it, he’s an imaginative songwriter.  He has a crack band, with Bennett Holland on keys, Boneto Dryden on drums, and Steve Amadeo on bass.  Oh yeah, and he’s a good-looking sod too.
Eyes Wide Open is an album that shows what Lister is capable of, with songs that explore different avenues and are delivered with style, but the opening couple of tracks show off some typical Lister qualities.  ‘All Your Love’
enters with pulsing bass and a steady beat over which some injections of guitar climb, but it’s the clear and easy vocal that marks him out – Lister has a distinctively English singing voice, lacking any American affectations.
‘Everything I’ll Have To Give’ meanwhile, is a piece of soulful blues that’s right in his wheelhouse, with a rolling, easy rhythm and a piercing guitar solo with enough twists and turns to keep Jeremy Clarkson happy.
But he mixes it up a bit after that.  ‘Il Grande Mafioso’ has a cinematic vibe, with a Mediterranean feel instigated by the acoustic guitar intro, some seriously twangy guitar work, and piano lines that evoke the Harry Lime Theme.  Later, the halting and moody ‘Dishevelled’ recalls his previous cover of Nina Simone’s ‘I’m Feeling Good’.  It may not have the climactic peaks of the latter, but it does have a sinuous guitar solo, woven around the melody and elaborated with changes of pace.  It also evokes a late night sleazy bar encounter beautifully, Lister’s languid vocal perfectly.
In between these, Lister occupies more straightforward territory with ‘Won’t Be Taken Down’ and ‘Time’.  The former has a restrained verse, offset by a surging chorus with seriously big guitar chords bringing the oomph.  The latter is light and sprightly, with twitchy guitar licks and one of the best hooks of the album in its soaring chorus.
For me, the second half of the album doesn’t quite maintain sustain the standard set over these first six songs.  This isn’t to say that the track list includes any duds; Lister is far too professional for that, and there are always interesting things going on, not least in his guitar work.  But a ruthless advisor might have advised pruning a couple of the slighter songs in order to push the quality threshold to the max.
As I say though, he still does interesting things.  ‘Troubled Soul (Intro)’ is a delicate, Mark Knopfler-ish guitar vignette. ‘Kalina’ has a lovely, mellow guitar refrain, and here as elsewhere the interplay of Lister’s guitar with Bennett Holland’s keys is delightful.  I’d have liked a stronger melody and chorus, but it still achieves lift off by means of Lister’s guitar solo.  Meanwhile ‘Other Part Of Me’ is a relationship celebration with a tune and arrangement that bathe the lyrics in sunshine – the Commodores ‘Easy Like Sunday Morning’ springs to mind.
Aynsley Lister isn’t easy to pigeonhole.  He shifts shape fluidly around a soulful, bluesy, rocky style.  I’m beginning to think he might be Britain’s answer to Robben Ford – someone who wants to push the songwriting envelope and find new ways of expressing himself, and has the top-drawer musicianship to match.

Eyes Wide Open 

четверг, 6 октября 2016 г.

Mary Jo Curry - Mary Jo Curry

Bitrate: 320K/s
Year: 2016
Time: 35:21
Size: 81,1 MB
Label: Self Released
Styles: Electric Blues
Art: Front

Tracks Listing:
 1. Ooooo Weeee - 3:37
 2. Husband No. 2 - 3:59
 3. Little by Little - 3:26
 4. Wrapped Around My Heart - 3:19
 5. Steppin' - 5:32
 6. Voodoo Woman - 4:23
 7. When a Woman's Had Enough - 3:58
 8. Homewrecker - 4:12
 9. Smellin' - 2:51

Mary Jo Curry is an electrifying, engaging, entertaining, powerhouse blues vocalist based in Central Illinois. Legendary, BMA nominated, international recording artist, James Armstrong, said that “Mary Jo has a voice, confidence, and stage presence that is hard to find these days.”
Mary Jo’s newly released CD entitled “Mary Jo Curry” has been getting significant air play and rave reviews. Peter Merrett, PBS106.7, Melbourne, Australia said, “Mary Jo Curry was born to sing the Blues because this voice cannot be taught to you but rather has to come from deep down in one’s soul. Apart from possessing a mesmerizing voice Curry can write one helluva’ Blues song.” Blues Blast Magazine said, “Mary Jo Curry is a powerful debut release of the first order.” The CD was produced by the incomparable James Armstrong. The album provides the listener a great cross section of the type of music you will hear when you attend a Mary Jo Curry live performance. The CD features 4 original songs written or co-written by Mary Jo, and 5 outstanding blues compositions where Mary Jo puts her stamp on songs previously recorded by female blues greats that have inspired her. For three weeks the album hit #1 on the RMR Top 50 Classic Blues Album chart. Also for the second week the song “Husband #2” from the same album was #1 on the RMR Top 50 Classic Blues Song chart with “Steppin’” appearing at #6 and “When A Woman’s Had Enough” at #7. That’s Three songs in the Top 10! Mary Jo’s talent has been recognized by having the honor of receiving the 2016 Kankakee Area Music Awards, “Best Blues Artist.”   Ms. Curry’s college training was in theater performance and voice. Her professional career started as lead singer in a popular rock cover band. While doing a show with a local theater group, Mary Jo was “discovered” by theater talent scouts who wanted Mary Jo to audition for a role in a major touring troupe; this audition led to a stint as a professional theater performer. Five years ago she fell in love with blues music, and was soon invited to join a Central Illinois blues band. The band quickly realized that Mary Jo was the real deal, and the band restructured itself to feature Mary Jo as the lead vocalist.  Mary Jo is joined onstage by her husband, Michael Rapier, who plays lead guitar, acts as band leader, and shares in the songwriting duties. The last 5 years have been the incubator to allow Mary Jo to shape her sound and her direction as a blues performer, and she is now ready to bring her blues to the world.

Mary Jo Curry