The Excellos - The Excellos

Bitrate: 320K/s
Year: 2009
Time: 48:12
Size: 111,7 MB
Label: Self Released
Styles: Juke Joint Blues/Rockabilly
Art: Front

Tracks Listing:
 1. I Got Love if You Want it - 3:17
 2. Catfish - 3:07
 3. You Don't Care - 3:06
 4. Jekyll and Hyde - 2:55
 5. Bad Boy Blues - 2:51
 6. Draw the Line - 3:22
 7. Black Betty - 2:43
 8. Cold Coffee - 3:15
 9. Jump - 3:04
10. Sonny Rising - 2:50
11. Kasbah - 3:15
12. Lucky Charm - 3:02
13. Suzy Q - 2:12
14. Scratch and Sniff - 2:53
15. Shake Your Hips - 3:06
16. Down in the Bottom - 3:05

Upbeat Raw Punky Rhythm & Blues Rockabilly....Kick ass raw rockin blues/
Yes, it's finally here, one of the most anticipated Cd releases of the past two years!! Their Single release on Rollin Records have had tongues a-wagging and legs a-boppin and their live performances have created a frenzied buzz..........to say the least. Now with the release of their first album everyone can see what the fuss is all about...........you won't be disappointed - these guys play some of the hardest Rockin low down dirty Rockin-Blues we've ever heard and what's more the energy and madness of their live performances is brilliantly captured on the CD. Turn this up to maximum volume and press repeat..........you will not be disappointed!
Features You Got Love if You Wan't it, Jekyl and Hyde, Jump and soo much more............
As one Boppin lunatic said of their performance at Hemsby earlier this week, ''This music messes with your head.''
No finer recommendation is needed!!

The Excellos

Pymlico - Nightscape

Bitrate: 320K/s
Year: 2018
Time: 40:55
Size: 93,9 MB
Label: Apollon Records
Styles: Instrumental Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Wide Awake - 5:16
 2. Gabagool - 5:17
 3. Tofana 10 am - 4:47
 4. Room with a View - 4:58
 5. Ghost Notes - 8:15
 6. Road Movie - 4:50
 7. Silver Arrow - 7:30

Following the success of «Meeting Point» (2016), the Norwegian instrumentalists keep diving into their love of different styles. Although they still sort of fit the description «Progressive Rock meeting Fusion», the songs on «Nightscape» have a more traditional, song-based structure, taking inspiration from some of the great pop music of the 20th century. Also adding more cinematic textures to the songs gives this release another dimension.

Bandet har hele tiden ligget i den litt mer funky fusion-delen av progressiv rock, med instrumentaler som har v?rt friske og engasjerende. Bandet ligger forsavidt fremdeles i dette landskapet, men mener selv at de pa det nye albumet har flortet litt mer med pop. Progressiv instrumental pop-fusion? Hmm…
Vel, vi kan jo leke oss med begreper, men selv synes jeg kanskje ikke at det er den store forskjellen pa denne skiva og de av de foregaende som jeg har hort (ma innromme at jeg ikke har hort hele katalogen til bandet, men mesteparten).
Men det skal innrommes at Pymlico har et lett og lekkert lydbilde, og at latene stort sett hele tiden har fengende hooks og rytmer. Det hele er veldig flinkt og prikkfritt utfort, og produksjonen slar meg som ganske glatt pa den maten at det mangler litt brodd og trykk. For en progger er dette ikke toft nok, det er veldig pent og pyntelig og jeg savner litt mer snert.
Det er gjerne slik at det live blir akkurat mer snert og trokk enn pa plate, det er noe med studio- og innspillingsprosessen som gjerne gjor det slik. Derfor tror jeg dette materialet rett og slett gjor seg best framfort live.
A spille instrumentalmusikk er en krevende aff?re. Det skal sa lite til for det blir kjedelig og man er avhengig av at latene er bygd opp slik at man nettopp unngar det.
Det betyr bade hyppige taktskift og toneskift, og en variert bruk av instrumentering. Her har Pymlico gjort en lur sak med a hente inn folk som floytisten Ketil Vestrum Einarsen og flankert sin egen Marie F?revaags saksofon med bade trombone og trompet. Det gir god variasjon.
Pa lata «Road Movie» heves en egentlig litt anonym lat betraktelig ved a bruke koring (aaaaa) i tillegg til instrumentene. A plutselig hore en stemme blant alle instrumentene var en overraskelse, og det fungerte veldig bra! Lata «Ghost Notes» blir kanskje min favoritt – selv om det, savidt jeg kan hore – ikke er sa mange av dem i lata.
Latmessig er det stor variasjon, men jeg blir likevel litt lei pa slutten, det er som sagt pent og flinkt, men det blir litt for mye instrumentalmusikk for meg. Det passer nesten bedre a hore pa plata innimellom, kanskje to-tre later av gangen, Pymlico klarer nemlig ikke a fange – eller fenge – meg sa bra at jeg ikke mister interessen innimellom. Latene er gode, men ikke sa gode.
En behagelig lytteopplevelse er det imidlertid uansett, men jeg skulle onske at de kanskje torde a utfordre meg litt mer.

Nightscape

Keith Stone with Red Gravy - Blues with a Taste of New Orleans

Bitrate: 320K/s
Year: 2018
Time: 49:11
Size: 113,6 MB
Label: Self Released
Styles: Funky Blues
Art: Front

Tracks Listing:
 1. Ain't That the Blues - 3:54
 2. Love Done Put Me Down - 4:25
 3. You Ain't Got Nothing - 6:15
 4. Red Gravy - 4:48
 5. Crazy in Love with You - 5:04
 6. Don't Count Me Out - 3:27
 7. Blue Eyed Angel - 3:18
 8. Time to Move On - 4:16
 9. Hard to Have the Blues - 6:40
10. Something in the Water - 6:58

Musicians:
Keith Stone  guitar, vocals;
Tom Worell - keyboards;
Kennan Shaw - bass;
Eddie Christmas - drums, percussion.
Special guests:
Jimmy Carpenter - saxophone;
Brent Johnson - slide guitar.

What is it about New Orleans that makes that city so bloody appealing to just about everyone? People I know who don’t travel at all talk about going to New Orleans. I haven’t been there in years, decades actually (geez, time is cruel), and yet I feel a connection to New Orleans perhaps as strong as if I’d spent my youth there. I think a big part of the draw is the music. The music seems to pulse through every aspect of the city, like the folks there are made of music as much as of skin and bone. And the rest of the country is able to pick up on that vibe. Maybe all we can get is a taste, but that taste is enough to keep us going, to keep us connected. And so an album titled Blues With A Taste Of New Orleans gets me excited and feels familiar even before I pop the disc in. Keith Stone With Red Gravy is made up of Keith Stone on guitar and vocals, Tom Worell on keys and backing vocals, Kennan Shaw on bass and backing vocals, and Eddie Christmas on drums. Their new album also features a couple of guest musicians on certain tracks. Blues With A Taste Of New Orleans contains all original material, written by the band.
The album opens with “Ain’t That The Blues,” which has kind of a standard blues rock sound. Brent Johnson joins the band on slide guitar for this track. “When you just can’t win or lose/Ain’t that the blues.” There is some good work on guitar, but this song is not nearly as interesting as what follows it. The next song, “Love Done Put Me Down,” is the track that really grabbed my attention the first time I listened to this album. It is funky blues with a great rhythm. Seriously, this track features some absolutely wonderful stuff on bass and drums. “Told me you loved me, but you told me a lie/Said you’d stay until the day I die.” It’s interesting that the woman is assuming he’ll die first. Don’t turn your back on this chick. This track also features some cool stuff on keys, particularly during that great jam section. This tune is a total delight.
Then “You Ain’t Got Nothing” has a more relaxed blues groove. “You ain’t got nothing/Nothing I want/You ain’t got nothing/Nothing I need/No, you ain’t got nothing/Nothing for me.” He then goes on to describe the woman as owning a lot, and casts some doubt on her method of obtaining her riches. I love the addition of sax on this track. That’s Jimmy Carpenter on saxophone, and he delivers a really nice lead part. This tune becomes a good blues jam, with more interesting work on guitar. Things never get too crazy here, but rather stay close to that groove. That’s followed by “Red Gravy,” a song about New Orleans, a song that feels and sounds like the dancing heart of the city. I love that groove, and I need to get back to that city at some point. This song, like a lot of New Orleans tunes, is about food. But these guys are also singing about themselves, aren’t they? After all, the song is titled “Red Gravy,” which almost gives them a spot on that list of bands that have songs sharing their names (along with groups like Bad Company, Black Sabbath, I See Hawks In L.A., and They Might Be Giants), except that the full name is Keith Stone With Red Gravy. “Way down in New Orleans/A city that loves to eat/We’ve got a special dish we make/With or without meat/Now you may call it sauce/But let me tell you something, baby/When you get down here, get the red gravy.” This song is a lot of fun, and that moment when Keith Stone laughs is perfect.
The band then turns romantic with a mellow, passionate, sweet, late-night number titled “Crazy In Love With You,” one of my personal favorites. This one features some nice work on keys and a heartfelt vocal performance. Plus, Jimmy Carpenter delivers a great saxophone part. This song makes me think of my beautiful girlfriend; I am crazy in love with her. “I want to find the words/To say what’s on my mind/But I can’t think straight/When I look in your eyes/Oh, I’m crazy, crazy in love with you.” The band gets back to a funky rhythm for “Time To Move On.” Yeah, the groove is king here, and will get you on your feet. “What worked don’t work no more/So it’s time for a change/If you keep doing things the same way/That’d be insane/And I got a feeling it’s time for me to move on.” Oh yes, we are all ready for a change! We are all ready to move on. This track also features Jimmy Carpenter on saxophone.
“Hard To Have The Blues” has a cool late-night vibe, with some delicious work on both keys and guitar right from the start. It then becomes a really good blues jam. “I did not know love could be this good/Please tell me that you feel it too/I cannot hide my love for you/’Cause you make it hard to have the blues.” The CD ends with another tune with a strong New Orleans vibe, “Something In The Water,” about New Orleans, its people and its music, and about the way that all works on us. “There must be something in the water/Giving music that beat/There must be something in the water/It’s got ‘em dancing in the street.” This one features more delicious stuff on keys, and there is a section in the middle with percussion and whistles, like a second line entered the studio, inviting us to join the party.

 Blues with a Taste of New Orleans

Billy & The Bluesdemons - Alive and Dangerous

Bitrate: 320K/s
Year: 2018
Time: 42:45
Size: 98,5 MB
Label: SMG
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Hip Shaking Babe - 3:45
 2. She's Automatic - 3:45
 3. No Fightin' - 7:54
 4. I Cried My Eyes Out - 2:27
 5. Cut You Loose - 3:38
 6. Boogie Disease - 5:09
 7. She's Dangerous - 4:55
 8. I Got Lazy - 3:20
 9. Don't Boss Me - 3:16
10. Mama Please Come Home - 4:33

Een blues-formatie rond Richard Koster (artiestennaam Billy the Kid) en Hans van Lier. Naast covers van the Red Devils, the Fabulous Thunderbirds, Stevie Ray Vaughan, James Harman en anderen bevat het repertoire ook eigen nummers van de hand van Van Lier en Koster. Samen met Gerrit Veen, Bennie Timmer en Gerrit Kalkman neemt de groep op 17 januari 1999 een live-CD op in café Boven Jan in Groningen. In juni 1999 treden Van Lier en Koster op in Minnesota in de Verenigde Staten, bijgestaan door het zeven-koppige GB Leighton uit deze stad. Billy & the Blues Demons wint verder de eerste prijs in een blueswedstrijd in Hoogeveen.

Alive and Dangerous

Bob Margolin - Bob Margolin

Bitrate: 320K/s
Year: 2018
Time: 56:05
Size: 131,5 MB
Label: Vizztone
Styles: Blues
Art: Front

Tracks Listing:
 1. One More Day - 2:54
 2. I Shall Be Released - 3:43
 3. Detroit - 2:43
 4. Mercy - 4:07
 5. Best i Can Do - 6:27
 6. Blues Before Sunrise - 4:19
 7. Dallas - 3:23
 8. How Long, How Long Blues - 4:08
 9. Peace of Mind - 4:12
10. She's So Pretty - 2:16
11. Look What You Done - 2:37
12. Head Held High - 4:03
13. Goin' Away Baby - 3:42
14. My Road - 3:38
15. One More Mile - 3:47

VizzTone proudly announces the new eponymous album from our beloved co-founder, Steady Rollin' Bob Margolin!
With each new album, guitarist, singer, and songwriter "Steady Rollin'" Bob Margolin continues to expand the boundaries of modern blues. Margolin, a sideman for Muddy Waters from 1973 to 1980, was born on May 9, 1949, and raised in Brookline, MA, became enamored with the recordings of Chuck Berry while still in high school and began playing out a few years later while attending Boston University in the early '70s. Working with a variety of Boston-area blues bands and one he called the Boston Blues Band, he elected to pursue music full-time. In 1973, he joined Waters on the road and in the studio for seven years, playing festivals and clubs around the U.S., Canada, and Europe with the legendary bluesman, who died in 1983. Highlights of his career with Waters' band included the taping for The Last Waltz on Thanksgiving Day 1976, and performing at the White House for Jimmy Carter in August 1978.
In 1980, two years after getting his nickname from a Boston DJ, Margolin began leading a band under his own name and did so for nine years before recording his first album for Tom Principato's Powerhouse label. He later recorded a second album for Powerhouse, but both are now out of print. He continued touring before getting his second big break in 1993, signing up with Bruce Iglauer's Alligator label, which by then had grown by leaps and bounds and had secured stable worldwide distribution. Margolin's albums for Alligator are superb recordings that advance the traditional boundaries of the music: Down in the Alley (1993), My Blues & My Guitar (1995), and Up & In (1997). Each one is a delightful mix of familiar blues covers and Margolin's idiosyncratic, insight-filled, and sometimes funny original songs. Hold Me to It followed in 1999. In 2003 Margolin released All-Star Blues Jam, his first disc on Telarc Blues, which featured former members of Muddy Waters' band: Pinetop Perkins, Carey Bell, and Willie "Big Eyes" Smith. The mostly one-man-band effort In North Carolina appeared from Steady Rollin' in 2007. ~ Richard Skelly & Al Campbell
Bob played and sang every note, produced, recorded and mixed this album. Six new original songs are his Blues for today’s world. He also interprets nine songs he learned “back in the day” from his legendary friends Muddy Waters, The Band, Johnny Winter, Jimmy Rogers, Snooky Pryor, Pinetop Perkins and James Cotton.

Bob Margolin

Antietam - Antietam

Bitrate: 320K/s
Year: 1985
Time: 37:59
Size: 88,4 MB
Label: Homestead Records
Styles: Alt.Rock
Art: Front

Tracks Listing:
 1. Good Kirk, Bad Kirk - 3:33
 2. Orange Song - 2:18
 3. B.M.W. - 2:44
 4. Red, Black, And Blue - 3:18
 5. Shot In The Dark - 1:51
 6. New Crime! - 1:50
 7. The Gospel According To John B. - 1:53
 8. Extra Dry - 2:47
 9. Don't Go Back To Greenville - 3:44
10. Shively Spleen - 2:52
11. The Latest - 2:42
12. Mikey - 2:28
13. Ready, Swing - 3:27
14. Unhappiness Diminishes Intelligence - 2:25

A weak first album, Antietam features a handful of excellent songs, but even the best tracks are undercut by indifferent production (the record sounds horrible, and not even in a cool lo-fi way) and some mediocre musicianship, especially on the part of drummer Michael Weinert, who seems to be shooting for Moe Tucker but ends up closer to Helen Wiggin. Also, there's obvious filler among the 14 brief songs, including two unimpressive instrumentals and a poor remake of a song from singer/guitarist Tara Key and bassist Tim Harris' earlier group, the Babylon Dance Band. As for what's good, the key track is "Orange Song," Antietam's first great song and the track that got the most college radio attention. (Yo La Tengo did a faithful cover of it on President Yo La Tengo.) The opening "Good Kirk, Bad Kirk" is nearly up to that standard, as is the pounding "Extra Dry." One of those albums that could have been easily whittled down to a killer EP, Antietam only hints at what this group would be capable of starting with 1989's Burgoo.

Antietam

Blue Swede - Hooked On A Feeling

Bitrate: 320K/s
Year: 1973
Time: 29:43
Size: 68,9 MB
Label: Odeon Records

Styles: Pop Rock
Art: Front

Tracks Listing:
 1. Hooked On A Feeling - 2:44
 2. Pinewood Rally - 2:51
 3. Silly Milly - 2:50
 4. Lonely Sunday Afternoon - 3:06
 5. Gotta Have Your Love - 3:24
 6. Destiny - 2:25
 7. Something's Burning - 3:42
 8. Working In The Coal Mine - 2:33
 9. Never My Love - 2:25
10. (There's) Always Something There To Remind Me - 3:39

Hooked on a Feeling is an album by Swedish Rock band Blue Swede recorded in 1973 and released in 1974. They became known internationally recognized largely due to their 'ooga chaka' cover of Jonathan King's 1971 version of the 1968 Mark James song "Hooked on a Feeling".

Hooked On A Feeling

Clocks - Clocks

Bitrate: 320K/s
Year: 1982
Time: 36:00
Size: 83,4 MB
Label: Boulevard Records
Styles: New Wave/Power Pop
Art: Full

Tracks Listing:
 1. She Looks A Lot Like You - 2:34
 2. Here They Come - 3:32
 3. 19 - 3:42
 4. Without You - 3:56
 5. Nobody's Fool - 4:35
 6. When She Puts You Down - 4:21
 7. Someone (Not Me) - 4:36
 8. When Will I See You Again - 2:44
 9. Summer - 2:58
10. Feeling This Way - 2:57

I had never heard of this band but with some vague "new wave" cover art sucking me in I threw my dollar coin down on the counter anyway. As it turns out "Clocks" perhaps exemplify the best and the worst of the US skinny tie new wave power pop explosion in the wake of "The Knack" and "The Romantics". The big time is "big time" in the US. Why do you think all those English bands try to crack it? If you make it and are wise, you are set …. its a BIG market. Unfortunately if you don't you become the favourite of cultists, music archaeologists and punters who find you in the $1 bin. The market hasn't changed that much in 30 years in the US …there are many, many regional bands who never made it to the national charts but who put out worthwhile music. And you can make a living as a regional band if you have small cities with a million people every 100 miles or so and a lot of bands do. "Clocks" are one of these regional bands who had their shot at the big time.

Clocks

Vapour Trails - Vapour Trails

Bitrate: 320K/s
Year: 1979
Time: 38:59
Size: 89,4 MB
Label: Warner Bros. Records
Styles: Westcoast Pop Rock
Art: Front

Tracks Listing:
 1. Do The Bossa Nova - 3:02
 2. Don't Worry Baby - 3:42
 3. Night People - 3:29
 4. True Love - 3:40
 5. It's All Right - 3:06
 6. Slow Dancing - 3:17
 7. Modern Love - 2:50
 8. Non Merci - 3:05
 9. Hold On To Something Good - 3:02
10. Strange Conversations - 3:29
11. Throw Down The Dice - 3:30
12. Falling - 2:42

The music of Vapour Trails may make you feel that they are one of typical late 70’s Westcoast Pop. However please be advised that Vapour Trails was the British group of 3 session musicians: John McBurnie, Andy Dalby & Phil Curtis.
In 1979, this one and only album, recorded at Room 335 Hollywood, Larry Carton’s private studio, was on sale. In spite of the excellent contents, this album did not sell well in the States at that time.
In April 1981, the epoch-making TV programme, “The Best Hit U.S.A.”, which played “Don’t Worry Baby” every week at the opening of the programme, had started. The programme continued by September 1989 and “Don’t Worry Baby” was also used as the opening theme by the last broadcasting, which made this song one of the most well-known non-Japanese song among Japanese.
In 1981, this album was on sale as “The VT’s / Autumn Breeze” with the different track order and the different LP jacket under Polystar Records here in Japan because Warner Bros USA had already ended their contract with Vapour Trails.

Vapour Trails

Glider - Glider

Bitrate: 320K/s
Year: 1977
Time: 35:53
Size: 82,5 MB
Label: United Artists Records (UA-LA814-G)
Styles: Rock
Art: Front

Tracks Listing:
 1. Midnight Flyer - 3:44
 2. It's Too Bad - 3:18
 3. Lost Horizon - 3:13
 4. Bustin' Out - 4:57
 5. Leaving Our Troubles Behind - 3:03
 6. You're Like a Melody - 3:15
 7. On the Line - 4:49
 8. Always The Last One to Know - 3:29
 9. Interlude - 0:54
10. High Fliers - 5:06

Glider were a studio project assembled by former The Lost & Chamaeleon Church (and briefly Ultimate Spinach) guitarist, Ted Myers. He quickly drafted Scott McCarl (Raspberries), Gene Barkin (The Grassroots), Eddie Tuduri (Boxer) & hotshot session men Steve Halter, Jeff Stillman and Jeff Eyrich to round out the lineup. The band were quickly signed in 1976 to United Artists Records and began production at Conway Recorders in Los Angeles. Subsequent sessions continued throughout most of the year at Sound City, Village Recorder, Studio 55, Whitney Recorders and Heider Filmways. Their self-titled album hit store shelves the following year, with lead-off single, "You're Like a Melody" making a valiant attempt at conquering the airwaves. Despite fairly solid songwriting, the single flopped and quickly the album faded into obscurity. The project was seemingly dead in the water before it really began. Members went on to work with Surf Punks, Tanya Tucker, Air Supply, Natalie Cole, Nick Gilder and John Cale. Myers later became a successful songwriter before eventually transitioning into A&R work for Rhino & Concord Records.
This nugget has been a curiosity for many AOR lovers over the last three decades. With a lavish front cover (courtesy Annie Neilson), one could only assume this is an exercise in pretentious pomp. Well, there's good news and there's bad news. The good news is this is NOT pretentious pomp. The bad news is that it's not a mindblowing collection of lost AOR classics either. Honestly what we have here is a decent batch of mostly MOR 70's pop. Nothing terrible, but nothing really commanding your attention either. To Myers' credit, the writing here is mostly good, but his occasionally tuneless vocal delivery does tend to dull the edges a bit. There are big standouts though...such as the cynical "It's Too Bad", the rootsy "Always the Last One to Know" & my personal favorite "You're Like a Melody". The track bears a certain Pete Townsend stamp that seems at odds with the majority of this album's lightweight material.

Glider

Theodis Ealey - Blues Is Calling My Name

Bitrate: 320K/s
Year: 2018
Time: 54:29
Size: 125,5 MB
Label: JB Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Blues is Calling My Name - 5:16
 2. Play Me That Old Time Blues - 6:27
 3. Hurtsville - 7:12
 4. The Goody Sack - 5:53
 5. Catfish Blues - 7:33
 6. Wanna Be Your Friend - 5:46
 7. Lil Brown Eyes - 4:56
 8. This is a Song for My Daughter - 3:17
 9. So Tired - 3:29
10. This is the Reason for the Season - 4:37

Blues singer, guitarist, and bandleader Theodis Ealey has earned his nickname as "The Bluesman Lover." Ealey first made his name working with some of the best names in the blues, but he's also won an avid following for his ribald R&B tunes about love and lovemaking. Ealey was born in Natchez, Mississippi in 1947. One of 11 children, Ealey learned to play guitar when he was four years old, after his older brother Y.Z. Ealey gave him his first lessons. About ten years later, the brothers were playing together in a band called Y.Z. Ealey & the Merrymakers, with the younger Ealey on bass and a third brother, Melwin Ealey, also in the lineup. About a year later, Ealey traded in the bass for a guitar and joined Eugene Butler & the Rocking Royals, another group that played in the Natchez region.
Eager to see more of the world, Theodis Ealey joined the Air Force, and spent six years stationed in Hawaii. After he was discharged, Ealey spent some time in Oakland before settling down in Atlanta in the early '90s. He became a journeyman guitarist, and as his reputation grew, Ealey landed gigs backing up Little Milton, Richard "Dimples" Fields, Charles Brown, and Johnny Clyde Copeland. Now known as a first-class sideman, Ealey began stepping out as a frontman. It wasn't long before Ichiban Records took notice of Ealey's musical skills and signed him to a deal. Ealey's solo debut, Headed Back to Huntsville, was released in 1992, and three more albums would follow in the next six years. During this period, Ealey toured Europe several times. In 1994, Ealey won the Male Vocalist Top Star Award in San Francisco, and three years later he was named the Mo' Better Blues Male Artist of the Year in Atlanta.
Ealey's run with Ichiban Records came to an end when the label went out of business, and he responded by launching his own label, IFGAM Records (standing for "I Feel Good About Myself"). His first album from IFGAM was 2002's It's a Real Good Thang, and that same year Ealey was introduced to the hip-hop audience when he appeared on the album On da Grind by Ghetto Mafia. In 2004, Ealey released the album Stand Up in It, and the title track, a playfully raunchy bit of bedroom advice, became a surprise hit single, spending 21 weeks on the R&B/Hip-Hop chart and peaking at number one. Arriving in 2006, I'm the Man You Need and the collection Let Me Put the Head in It offered more double (or single) entendre blues and soul numbers as he gave his new fans just what they wanted. Ealey documented the fire of his road band and his skill as a guitarist and stage performer with the 2009 album Live. Released in 2013, You and I, Together mixed Ealey's sexy style with numbers that evoked the sound of vintage soul and classic country.

Blues Is Calling My Name

Doyle Bramhall II - Shades

Bitrate: 320K/s
Year: 2018
Time: 55:58
Size: 129,2 MB
Label: Provogue
Styles: Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Love and Pain - 4:10
 2. Hammer Ring - 3:47
 3. Everything You Need (feat. Eric Clapton) - 5:02
 4. London to Tokyo - 4:36
 5. Searching for Love (feat. Norah Jones) - 6:24
 6. Live Forever (feat. Greyhounds) - 3:54
 7. Break Apart to Mend - 5:27
 8. She'll Come Around - 4:42
 9. The Night - 4:38
10. Parvanah - 3:55
11. Consciousness - 4:40
12. Going Going Gone (feat. Tedeschi Trucks Band) - 4:38

After taking a 15-year break between solo albums, Doyle Bramhall II promised that 2016's Rich Man signaled a return to active duty. And he's making good on that with his new Shades, out on Oct. 5 and premiering in its entirety exclusively below.
"I think with this record I wanted to get into the flow of touring throughout the year and then at the end of that year going in and making a record and putting it out the next year," Bramhall tells Billboard. "I would love to make an album a year. I don't know if that's possible, but if it is that's what I'm going to shoot for from now on."
Bramhall, of course, has kept busy on the road not only with his own shows but touring with Eric Clapton and Roger Waters and also working in the studio with the Tedeschi Trucks Band, Sheryl Crow, the late Gregg Allman and others. Those collaborations eclipsed Bramhall's own work for a time, but he's worked to regain some balance during the past few years.
"I'm pretty prolific," Bramhall -- who plays on Clapton's new holiday album Happy Xmas -- says. "Even though I took a 15-year sort of detour into accompanying other artists, I'm always coming up with ideas for songs, daily. I record a lot of them but I never get to the record-making stage with them. I've been just sort of stockpiling. But now it feels really good. It feels like all the parts of the machine are firing up at the same time."
Bramhall started work on Shades while on the road supporting Rich Man, hunkering down in hotel rooms in Europe and testing things out at sound checks -- and even hitting a studio in Hamburg last summer when a few U.K. gigs fell through and left Bramhall and his band "stranded" for a bit. One song, "Consciousness," had been demoed for Rich Man, while the other 11 were crafted specifically for the album, which features guest appearances by Clapton, Tedeschi Trucks (on a cover of Bob Dylan's "Going Going Gone"), Norah Jones and the Greyhounds.
"When I make albums I really like to sort of take snapshots of whatever time period I'm doing through," Bramhall says, "'cause I feel like the songs and the albums and the music really represent life expressions." Those on Shades also demonstrate Bramhall's artistic breadth as he weaves rock, blues, R&B and more into a genre-splicing mix.
"I think it just sort of happens innately now," Bramhall explains. "These songs are naturally what come up. It's not like I'm trying to wear a hat for each sound; They seem to be pretty diverse, and it's all pretty open. It's a pretty wide spectrum of a wheelhouse. I grew up listening to Stevie Wonder albums and Sly Stone albums and the Beatles; Their music was all encompassing, and that's what I aspire to as well.
"I think the continuity for me in all that... is just me. I do feel like I have my own sound, and it encompasses a lot of different styles."
Shades' release will take Bramhall back on the road, but true to his word he's "already thinking" about what comes next. "It's hard to fathom I would already be thinking about making my next album when I haven't played these songs live yet," he says with a laugh, "but, yeah, I'm already thinking of things now, and I've been writing a few songs already for it." Meanwhile we'll also be hearing his playing on Clapton's Happy Xmas, coming out a week later on Oct. 12. "I've done so many different styles of records with him that it didn't surprise me at all," Bramhall says. "My first thought was that he would want to do that for his kids, and when we actually started getting into it the band was great -- Jim Keltner, myself, Nathan (East) on bass. And when I heard it back...it was so good. I'm in line to buy it, for sure."

Shades

Left Hand Smoke - So Many Faces

Bitrate: 320K/s
Year: 2001
Time: 60:18
Size: 138,3 MB
Label: Mackadoshis
Styles: Rock/Roots Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Paradise Blues - 3:38
 2. Annie - 4:34
 3. Another Gypsy Rose - 4:05
 4. Play it for Me - 5:08
 5. Temporary Lovin - 5:08
 6. Keep on Calling - 5:38
 7. Noise Like Tambourines - 4:21
 8. Step Outside - 5:24
 9. Wake Me up - 4:16
10. Blood Runs Hot - 3:51
11. Hey Mama - 4:17
12. Roll Away - 4:50
13. Let the Wind Ride - 5:01

Left Hand Smoke's second album continues to flaunt conviction and chops beyond the band's years. Re-recordings of three songs from their debut suggests a lack of fresh material, but "Another Gypsy Rose" is a great Stones-ey rocker, an excellent follow-up to "Blue Eyes Shinin'," and the most convincing rock & roll the group has recorded. "Paradise Blues" starts things off with a bang, while "Wake Me Up" is a friendly, anthemic rocker in the vein of "Step Outside." Ben Mish's shouting strains on occasion, but by and large he is starting to assume a more natural identity as a singer, and Will Mish fattens the mix with incredibly funky riffs and solos. Prior to this album's completion Left Hand Smoke finally added the permanent rhythm section of Andrew Scaglione (bass) and Andrew Cloutier (drums).
Left Hand Smoke's 1999 debut announced the arrival of one of the best unsigned bands in the country. Powered by the punchy lead guitar work of Will Mish and the soul-styled shouting and keyboard playing of his older brother Ben, the band's organic grooves immediately struck a chord with Seattleites craving a return to clean, well-played rock & roll that flew in the face of local indie rock hipsters.
Formed in late 1997 while Ben Mish and Ronan O'Mahony (guitar) were attending the University of Washington, by 2000, Left Hand Smoke began to dominate the Seattle scene, breaking house records at local clubs and generating exuberant word-of-mouth buzz as the next band poised to break out of the Pacific Northwest.
A self-produced debut, Left Hand Smoke, began to receive widespread regional airplay after one of its songs, the Allman Brothers-inspired rocker "Blues Eyes Shinin'," was featured on the hit TV show ER. Soon after, the band had their second local hit with "Step Outside," a ballad whose subtle groove proved even more successful.
In April 1999, original bassist Chris Jensen left the group. The band continued to tour, hiring musicians by the job throughout 1999, before eventually recruiting the permanent rhythm section of bassist Andrew Scaglione and drummer Andrew Cloutier. Only a few steps from stardom, the band's second album, So Many Faces, appeared in February 2001 to strong reviews. - Jim Smith, All Music Guide
So Many Faces review
Metro, San Jose CA
[May 17, 2001] With an enthusiastic college fan base, this friendly young band delivers hip bluesy rock with a smile. The band's album So Many Faces grooves and jams in all the right places and the energentic songs are vound to get the dance floor going from start to finish. Elements of bands like Van Morrison, the Rolling Stones, the Allman Brothers and the Black Crowes blow into LHS's cohesive sound which burn with some of James Brown's attitude and Marvin Gaye's lilting romantic soul. This is one band that, much like Dave Matthews band, should appeal to just about everbody.

So Many Faces

AG Weinberger - Reborn

Bitrate: 320K/s
Year: 2018
Time: 56:51
Size: 130,4 MB
Label: BigFoot Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Wang Dang Doodle - 5:22
 2. Sweet Little Number - 4:35
 3. On the Wrong Side - 4:22
 4. The Fool's Lucky Day (feat. Bob Margolin) - 3:42
 5. It Wouldn't Be Enough - 4:22
 6. Slippery Slope - 5:58
 7. Just One Minute - 5:31
 8. Cadillac Blues - 4:12
 9. Shoot - 3:54
10. Caroline - 4:25
11. Reborn - 7:35
12. I am the Water - 2:47

Attila Weinberger, popularly known as A.G., is absolutely peerless in his mastery of the American blues, a musical genre that has taken Romania, his native country, by storm. A self-taught guitarist from age 11, he garnered several prestigious Romanian awards by age 20. In the mid-80s, A.G. made the transition from rock guitarist to blues guitarist and has been on a roll ever since. In 1991 he puts together his own band to promote the Blues throughout the country, organizing concerts, setting up instructional workshops, and supporting the development of neophyte blues musicians. Along his touring band he regularly plays to packed houses countrywide and has attracted rave reviews in rock, jazz and blues festival from USA to Germany and Israel. Weinberger pursues his promotion of the Blues with missionary zeal. He advocates the Blues as a bold symbol of freedom and individualism and sees his music as an ideal vehicle for transferring these values to the Romanian youth. Through his art he aspires to create a bridge between American blues devotees and their Romanian counterparts whose numbers are increasing daily.
A guitar player, singer, harmonica player, producer for airplay shows and albums, initiator of the so-called “Club Movement”, he represents a definite authority in his field. After a short career with a renowned rock band – Metropol where Weinberger thinks of himself only as a “session man”, in 1986 he starts his solo career. It is in this period that he builds the first Blues band in Romania Transylvanian Blues Community. Ignoring the censorship imposed by the communist regime, they succeed in performing in many tours throughout Romania, where tickets sold out immediately particularly because they were considered “outlaws”. During the same period he is invited to work together on their albums with well-known performers in Romania. After 1990, when the borders opened, he is offered the opportunity to perform in tours in Germany, Switzerland, Israel, Turkey and Hungary where in 1992 he performs as a supporting act for Al DiMeola in Budapest.
Another unique musical activity of Weinberger is his co-operation with several theatres in Romania. There he wrote music for: R. Nash- “The Rainmaker” (1985), “Cinderella” (1986), Allan Ginsberg, Jacques Prevert- ” Death Father Blues” (1992) Camil Petrescu- “Procust’s Bed” (1996) and many others. In 1991 A.G. builds his own Blues band, called Weinberger Blues Machine, where along the years he has had the honor of performing with several musicians belonging to diverse attitudes and ways of thinking, which helped A.G. along his evolution.

Reborn

The Bob Lanza Blues Band - Kids Dogs & Crazy Women

Bitrate: 320K/s
Year: 2018
Time: 41:35
Size: 95,3 MB
Label: Blues/Electric Blues
Styles: Connor Ray Music
Art: Front

Tracks Listing:
 1. Kids Dogs and Krazy Women - 3:46
 2. Little Momma - 3:39
 3. Not The Man I Use to Be - 5:24
 4. Walking After Midnight - 2:53
 5. Full Time Lover - 4:56
 6. Hey Cotton - 2:38
 7. Problems - 4:13
 8. Every Side of Lonsome - 4:24
 9. Let Me In - 2:53
10. Hey Baby - 3:08
11. Raritan River Stomp - 3:35

Bob Lanza hails from New Jersey. This is his fifth studio recording and third for the Connor Ray Music label. His last album was 2016’s “It’s Time To Let Go”. Once an artist has full control of their music and has several successful recordings under their belt, he or she may decide to enlist a producer. Lanza has known Anthony Krizan since 1990. Lanza states “thru the years we crossed paths many times, as I watched his career as a performer and producer soar…I always thought about what doing a record with him would sound like”.
Krizan had been the lead guitarist for The Spin Doctors from 1994 thru 1996. He co-authored that band’s third album; and five of Krizan’s songs are included on the Spin Doctors greatest hits collection. After leaving the Spin Doctors Krizan’s songs began to appear on numerous artist albums, film soundtracks and television shows. The two guitarists eventually wound up on the same bill. At the end of the show, they jammed and sounded as if they had been together for years. “That day I asked if he’d be interested in recording us”. Shortly thereafter Lanza would bring his rhythm section to Krizan’s Sonic Boom Recording Studio in Raritan, N.J. the same studio that recorded Pat Travers and Robert Randolph.
As co-producers Lanza and Krizan gathered the current members of the band. Lanza, guitar and vocals; Krizan, guitar, vocals, drums and percussion; John Ginty, the keyboardist who had worked with Randolph as a member of The Family Band, and with Krizan on numerous other projects; and Lanza’s rhythm section of Dave Lockhart, bass; and Vin Mott, drums and harmonica.
Lanza has written four new songs including the title track featuring twin guitars with Krizan on slide; “Little Momma” with Mott on harp; “Not The Man I Used To Be” with a great solo from Lanza, and “Hey Baby”. He has also co-authored two more songs with Krizan including a tribute to the late harp master James Cotton called “Hey Cotton” once again featuring Mott.
Selected covers include “Walking After Midnight”, written by Alan Block and Donn Hecht, and the first hit single for Patsy Cline selling over a million copies in 1957.  “Full Time Lover”, written by Frankie Scott and Frankie Lee James, was recorded by Little Frankie Lee and The Saxtons in 1964; and by the Fabulous Thunderbirds in 1979. Also from that same 1979 Thunderbirds recording session is Kim Wilson’s “Let Me In”.
“Every Side of Lonesome” is from Trudy Lynn, while “Problems” is from Little Mike Markowwitz. Krizan says “Bobby Lanza is the real deal and a true bluesman, he plays guitar with fire and emotion; on top of that, his voice and songwriting abilities are stellar, as well. We tracked this record live with no studio tricks to masque the rawness of the session. You can feel the energy on the tracks and you can feel the band laying it down together in the room! We used all old-school recording equipment, like ‘60’s Neve pre-amps and Olympic modules and we used all vintage guitars and amplifiers!”
Krizan has captured Lanza at his old school best as they blend their swampy blues and roots music. This recording just screams to be heard.~ Richard Ludmerer (https://www.makingascene.org/the-bob-lanza-kids-dogs-krazy-women/)

Kids Dogs & Crazy Women

Galactic - We Love 'Em Tonight: Live at Tipitina's

Bitrate: 320K/s
Year: 2001
Time: 73:11
Size: 169,2 MB
Label: Volcano
Styles: Jazz/Fusion/Jazz-Funk/Jam Band
Art: Full

Tracks Listing:
 1. Crazyhorse Mongoose - 6:36
 2. Moog Marmalade - 5:20
 3. Bobski/Jeffe 2000 - 2:48
 4. Villified - 3:50
 5. I Get Lifted - 3:57
 6. My Mind Is Hazy - 5:17
 7. Baker's Dozen - 9:27
 8. Blue Pepper - 5:28
 9. Lumpology - 4:20
10. Working In The Coal Mine - 2:53
11. Shibuya - 9:50
12. Two Clowns - 8:56
13. Sweet Leaf - 4:25

The New Orleans-based jazz-funk ensemble Galactic formed in 1994; originally an eight-piece, the group soon pared down to an instrumental sextet comprised of guitarist Jeff Raines, organist Rich Vogel, bassist Robert Mercurio, saxophonists Ben Ellman and Jason Mingledorff, and drummer Stanton Moore. Later adding Crescent City music scene vet Theryl deClouet on vocals, Galactic built a fervent local following on the strength of a relentless live schedule that included opening slots for group heroes including the Meters, Maceo Parker, and Medeski, Martin & Wood. In 1996 Galactic issued their debut LP, Coolin' Off; upon signing to major-label Capricorn, they re-released the album two years later, soon followed by the all-new Crazyhorse Mongoose (after which Mingledorff left). Since then, they have released a slew of albums including Late for the Future in 2000, Ruckus in 2003, and From the Corner to the Block in 2007. The band itself released a pair of live albums of its sets at Jazz Fest in 2008 and 2009.
In 2010, they issued their most ambitious project to date with Ya-Ka-May, a wholesale New Orleans recording featuring guest appearances by everyone from Irma Thomas and Big Chief Bo Dollis to the Rebirth Brass Band and Walter "Wolfman" Washington. Galactic decided to explore the various connections between New Orleans' annual Mardi Gras and the nearly nationwide Carnivale of Brazil. Carnivale Electricos did exactly that. Enlisting help from Cyril and Ivan Neville, rappers Mystikal and Mannie Fresh, Mardi Gras Indian Big Chief Juan Pardo, the KIPP Renaissance High School Marching Band, and Al "Carnival Time" Johnson. Galactic stretched itself toward Brazil's native samba by covering Carlinhos Brown's "Malagenha." They composed two tunes that bridged the continents: "Guero Bounce," fusing NOLA bounce and Brazilian rhythms, and "Julou," titled for the band's own outsider Mardis Gras parade. They also include the traditional Carnivale number "O Coco da Galinha" with the help of samba poet Moyseis Marques on vocals. Carnivale Electricos was issued on Mardis Gras Day in 2012; it was their last recording for Anti. Over the next couple of years, the band toured and its members either pursued solo projects or collaborated, both in the studio or on-stage, with other musicians In May of 2015, Galactic announced a label deal with Provogue and a new album entitled Into the Deep. Produced by Ellman and Mercurio, the set featured guest appearances by a range of vocalists including Macy Gray, Mavis Staples, and Maggie Koerner. "Right On," with soul singer Charm Taylor, and the title cut featuring Gray, were both pre-released in June; the album followed in late July. ~ Jason Ankeny & Thom Jurek

We Love 'Em Tonight: Live at Tipitina's

Gordon Michaels - Stargazer

Bitrate: 320K/s
Year: 1979
Time: 35:14
Size: 81,6 MB
Label: Horizon Records
Styles: Rock/Soft Rock/Pop Rock
Art: Front

Tracks Listing:
 1. Stargazer - 4:02
 2. Monkey Mother - 3:14
 3. Indoor Lovers - 3:34
 4. This Is Love - 4:22
 5. Turnin' Brown - 3:12
 6. Find The Angle - 3:11
 7. Bermuda - 2:59
 8. Ugly Ramona - 3:36
 9. Danny Dies In Dublin - 3:40
10. Favorite Songs - 3:20

Brilliant little obscure gem. Produced By Hugh McCraken & harboring brilliant musicians such as Tony Levin, Stargazer had everything going for it. Gordon's songs & vocal delivery is everything you want from a 70's pop rocker, at times sounding like Graham Nash fronting the Raspberries. Even on his lighter side, he was still in the neighborhood of a Pilot B-Side... Which isn't a bad neighborhood to be in at all!

Stargazer

Colin James - One More Mile

Bitrate: 320K/s
Year: 2018
Time: 43:29
Size: 99,8 MB
Label: True North Records/Stony Plain Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. One More Mile - 3:23
 2. Still a Fool - 4:01
 3. Dig Myself a Hole - 3:23
 4. I Will Remain - 3:07
 5. 40 Light Years - 4:18
 6. Ooh Baby Hold Me - 3:27
 7. Black Night - 4:42
 8. Soul of a Man - 3:20
 9. See That My Grave Is Kept Clean - 3:03
10. I Need Your Love So Bad - 3:52
11. Tears Came Rolling Down - 3:47
12. One More Mile (Bonus Acoustic) - 3:00

With his 18th studio album, Miles to Go (out Sept. 21), Colin James is getting back to the blues.
Wait a minute, you ask: hasn’t Colin James always played the blues? Well, yes, but back when he was signed to his first record deal in 1988, his producer—who’d worked with Ray Charles and Derek and the Dominoes—explicitly told him not to play any blues, because the label expected a pop hit. When James later made one of the biggest albums of his career—1993’s Colin James and the Little Big Band, released years before the so-called “swing revival”—his label hated it, as did critics and many fans before it went on to go triple platinum in Canada. Then there was the acoustic blues album National Steel in 1997, made with Colin Linden, which was the first time James made a full-on blues album, which landed him on folk festival bills alongside the likes of John Prine and John Hiatt. It was an explicit embrace of the blues James had loved since the Regina-born guitarist was 16 years old and was blown away by James Cotton at the Winnipeg Folk Festival. A song that Cotton played that night, “One More Mile,” became the title track to the new album: bookending it in electric and acoustic versions.
It wasn’t until 2016’s Blue Highways that James found himself on a blues chart: the album spent 10 weeks at No. 1 on the Roots Music Report’s Blues Chart. It also landed him one of his biggest hits: “Riding in the Moonlight,” a Willie Dixon song that James once covered when busking in the streets and subways of Toronto and Montreal, landed on a Spotify playlist and garnered millions of streams.
When James set out to make Blue Highways, an album of blues covers recorded with his touring band, he always intended it to be the first of two installments. Now we have Miles to Go, in which James records nine new covers of his favourite artists (Howlin’ Wolf, Muddy Waters, Blind Willie Johnson, Blind Lemon Jefferson, Little Willie John, Robert Johnson, etc.) and adds two originals, “I Will Remain” and “40 Light Years.” “Blues has always been a pass-it-forward kind of thing,” says James. “It’s also surprisingly hard to write. You have to be careful how modern you get in your phrasing. Certain writers can write a song that sounds like it was done 40 years ago, but it’s deceptively hard.”
To be a blues musician is to always have a dialogue with the past.  As with much blues music, it’s the performances on the original versions rather than the actual song that drew James to them. That said, what could he possibly bring to them in 2018? “You bring what you can,” he says. “If I feel like I’ve brought enough, then I put it out. I knocked a bunch of songs off this record when I realized that I can’t bring anything to them that isn’t there already. All my life I’ve tried to bring vitality to older songs. Hopefully my dedication to it is what floats it over the mark. That’s a subjective thing; some people will always prefer the original. However, there’s always a group of people coming up to see me after a show who might say, “Oh, I never would have heard ‘One More Mile’ by James Cotton—nothing in my life would have pointed me there.”
So much of Colin James’s career has pointed him to this moment: joyfully tangled up in the blues, which, as he notes, “is the only genre where you can maintain a young profile at the age of 53.”

One More Mile 

Buddy Guy - The Dollar Done Fell

Bitrate: 320K/s
Year: 1980
Time: 56:17
Size: 129,0 MB
Label: JSP Records
Styles: Blues/Electric Blues
Art: Front+ Back

Tracks Listing:
 1. Buddy's Blues (Part 1) -  4:03
 2. I've Got A Right To Love My Woman -  8:08
 3. Done Got Over You -  4:12
 4. Tell Me What's Inside Of You -  9:20
 5. Trouble With My Woman -  4:12
 6. The Things I Used To Do -  3:19
 7. You Don't Know How I Feel -  3:12
 8. The Dollar Done Fell - 16:21
 9. Buddy's Blues Part 2 -  3:26

Musicians:
Buddy Guy – guitars, vocals;
Phil Guy – guitars;
Little Phil Smith – guitars;
J.W. Williams – bass;
Ray Allison – drums.

Additional musician:
L.C. Thurston – vocals on "Don't Answer the Door" and "Knock on Wood"

The Dollar Done Fell is the second live album by Buddy Guy.After Buddy Guy recorded an album for the French label Isabel, Englishman John Stedman, the owner of JSP Records, suggested to record a live show. They recorded it in Chicago at Guy's club, Checkerboard Lounge. The band was the same as on the Isabel session, plus a third guitarist Phil Smith and L.C. Thurman (co-owner of Checkerboard) added a few lead vocals as a guest. Nine tracks were released on "The Dollar Done Fell" LP in 1980 by JSP.[1] First released on CD in 1988, also on JSP, but with an alternate track list, titled "Live at the Checkerboard Lounge". The CD version was missing one track ("Trouble with My Women"), and the 16-minute title track ("The Dollar Done Fell") fades out at 6:36. Two more tracks were added to the CD version, "Don't Answer the Door" featuring lead vocals by L.C. Thurston, and an alternate version of "Tell Me What's Inside of You". "I've Got A Right To Love My Woman" fades out at 8:05 on the original vinyl, but the CD includes the full-length version. There are three more CD reissues with the same track listing as on the original CD release, but with three alternate covers. It was first released in the U.S. in 1995.All lead guitar are played by Buddy Guy, except 1st lead of "Buddy's Blues Part 1", 1st lead of "Done Got Over You", main lead of "Don't Answer the Door" by Phil Guy, lead in the middle of "Don't Answer the Door" by Little Phil Smith. Buddy Guy didn't play on "Don't Answer the Door" at all. "You Don't Know How I Feel" is actually the blues standard "I'll Take Care of You", but it was retitled. The music of "Tell Me What's Inside Of You" is based on Eric Clapton's "Strange Brew". The music of "The Dollar Done Fell" is based on the funky standard "Chicken Heads".
"Buddy's Blues (Part 2)" is the last 3 minutes of the 20-minute song "Knock on Wood", which was released completely on another JSP release in 1981, simply titled "Buddy & Philip Guy". That release also includes "Don't Answer the Door".

The Dollar Done Fell

Mark Ford & The Blue Line (feat. Robben Ford) - Mark Ford & The Blue Line

Bitrate: 320K/s
Year: 1998
Time: 56:02
Size: 129,1 MB
Label: Blue Rock'it Records
Styles: Modern Electric Blues/Harmonica Blues
Art: Full

Tracks Listing:
 1. Gimme Some - 5:49
 2. Try'n to Get Away - 4:44
 3. Get a Woman That Loves Me - 5:51
 4. Illusory World - 6:17
 5. Heart of Stone - 5:36
 6. Words of the Preacher - 5:28
 7. Breakin' in the Fast Lane - 4:05
 8. Don't You Love Me - 3:25
 9. Feelin' Disconnected - 4:40
10. Projecting My Love - 5:26
11. Wanna Be the Man - 4:37

The youngest of the three Ford brothers, Mark Ford had a span of 15 years between his first album and this one. It features him on harp and vocals with brother Robben on guitar, and Robben's Blue Line members Roscoe Beck on bass and Tom Brechtlein on drums. It was produced by eldest brother Patrick, owner of Blue Rock'It Records. Mark's voice is very similar to Robben's -- perhaps a little deeper, but less soulful. When it comes to his harp playing, he seems to gravitate toward the high notes. The CD consists mostly of high-energy modern blues, with plenty of Robben's trademark guitar for his fans to soak up (particularly on "Get a Woman That Loves Me"). All of the tracks were written by Mark. "Gimme Some" is just plain funky, while "Feelin' Disconnected" has a Latin beat, a jazzy guitar, and a catchy harp lick. "Get a Woman That Loves Me" is the "deepest" blues cut here, a 12-bar tune with a Delta flavor. "Illusory World" has a killer bass solo from Beck, one of the best in the business and a hero to many bass players. There's also "Breakin' in the Fast Lane," a steady-rockin', '50s-style song. The only true weak spot here is "Words of the Preacher," a steadily thumping, repetitive screecher which tends to annoy in a manner similar to nails on a chalkboard. Patrick Ford describes this as music that is "performed from the heart without worrying about how blues music 'should' or 'shouldn't' be played." In other words, blues purists should avoid this one, but it should satisfy just about everyone else.

Mark Ford & The Blue Line

Joe Bonamassa - Redemption

Bitrate: 320K/s
Year: 2018
Time: 64:56
Size: 149,1 MB
Label: J&R Adventures
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Evil Mama - 5:29
 2. King Bee Shakedown - 4:22
 3. Molly O' - 6:06
 4. Deep in the Blues Again - 4:45
 5. Self-Inflicted Wounds - 6:36
 6. Pick up the Pieces - 3:55
 7. The Ghost of Macon Jones - 5:24
 8. Just 'Cos You Can Don't Mean You Should - 6:40
 9. Redemption - 5:57
10. I've Got Some Mind Over What Matters - 5:50
11. Stronger Now in Broken Places - 4:33
12. Love is a Gamble - 5:15

Two-Time GRAMMY-Nominated Blues Rock Guitarist Joe Bonamassa Redeems himself with New Studio Album
Joe Bonamassa Announces New Album Redemption, Following achieving Twenty #1 Hit Blues Album Releases
Title Track ‘Redemption’ penned by Bonamassa and American Rock & Roll Legend Dion DiMucci, Released as first Single Today.

Redemption

Rollercoaster - Blues for LB

Bitrate: 320K/s
Year: 2018
Time: 42:03
Size: 96,4 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Let Your Conscience Be Your Guide - 3:00
 2. Mean Old World - 4:02
 3. Give Me All Your Love - 2:41
 4. Still a Fool - 3:43
 5. Sloppy Drunk - 3:10
 6. Darling You Know I Love You - 3:55
 7. Please Love Me - 2:48
 8. Tell Me Pretty Baby - 3:51
 9. Mathilda - 2:50
10. Let Me Be - 2:29
11. Double Trouble - 5:41
12. Blues for LB - 3:48

A soulful collection of rhythm and blues.We wanted to make this album as a celebration of the joy playing the blues together brings us. Whenever we play live, either as the father-son duo, or as the trio, it's never the same show and we really wanted to bring that 'live' feel to the album. The blues is an important thing, and we feel really grateful to be playing it and to have even heard it in the first place: to us the blues is all about love. That's what this album is all about, our love for the music, each other and of course the album's namesake Little Blue; our late family dog. This one's for you.
(https://store.cdbaby.com/cd/rollercoaster22)

Blues for LB

Dennis Herrera - You Stole My Heart

Bitrate: 320K/s
Year: 2018
Time: 52:42
Size: 120,8 MB
Label:  Prescott Kabin Records
Styles: Blues/West Coast Blues
Art: Front

Tracks Listing:
 1. You Stole My Heart - 4:53
 2. Takes Money - 3:49
 3. Fore - 5:37
 4. With No Refrain - 4:19
 5. Look out - 4:50
 6. Recovery - 5:01
 7. You Can Name it - 4:41
 8. Backed-up - 4:11
 9. My Past Time - 4:47
10. Run With the Losers - 6:57
11. Bittersweet - 3:31

Definitive passionate original blues songs drenched in signature tone & timing with a humble nod to traditional/contemporary blues deftly recorded at Ardent Audio & Greaseland Studios with inspired performances resulting in a thoroughly indispensable album/

You Stole My Heart

Phideaux - Infernal

Bitrate: 320K/s
Year: 2018
Time: 42:08 + 46:51
Size: 97,7 + 108,4 MB
Label: Bloodfish Music
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
CD1
 1. Cast Out And Cold - 5:32
 2. The Error Lives On - 7:14
 3. Crumble - 0:55
 4. Inquisitor - 8:22
 5. We Only Have Eyes For You - 4:00
 6. Sourdome - 1:30
 7. The Walker - 4:39
 8. Wake The Sleeper - 1:29
 9. C99 - 3:24
10. Tumbleweed - 4:59
CD2
 1. The Order Of Protection (One) -  4:35
 2. Metro Deathfire -  4:57
 3. Transit -  1:13
 4. In Dissonance We Play -  2:48
 5. The Sleepers Wake -  5:22
 6. The Order Of Protection (Two) -  4:34
 7. From Hydrogen To Love - 14:03
 8. Eternal -  5:45
 9. Endgame - An End -  3:29

Yes, it is that good. Another super addicting release from Phideaux. If one album was not enough, almost 90 minutes of music should satisfy any progressive rock fan with Infernal. And 90 minutes is always a safe length when we discuss double albums. I never feel it is too long or too short, but just right. Of course there is excellent musicianship in Infernal, but Phideaux really shines with the witty lyrics. For me, I just take them in as there are many memorable lines that rhyme. I often do not focus on lyrics when listening to progressive rock, but Phideaux ropes me into the lyrics just like Peter Hammill does. And that is a good thing. The fact that there is a cello, trumpet, sax, and other guest performances should tell you how much variety is packed into this double album. It is all about the art, and using the right instruments to create the moods is Phideaux putting the music first. Album creation is not about him, and he even leads the album off with female led vocals. It is all about that art, and that is what makes Phideaux an amazing modern prog rock artist. I spent that last few days listening to Infernal and the back catalog, and it fits in nicely with the other releases. Every note is just right, and I feel like I have been listening to it for years. Highly recommended.

Infernal

The Raconteurs - Consolers of the Lonely

Bitrate: 320K/s
Year: 2008
Time: 55:09
Size: 127,0 MB
Label: Warner Bros.Records
Styles: Rock/Classic Rock/Alternative Rock
Art: Front

Tracks Listing:
 1. Consoler of the Lonely - 3:23
 2. Salute Your Solution - 2:59
 3. You Don't Understand Me - 4:52
 4. Old Enough - 3:54
 5. The Switch and the Spur - 4:30
 6. Hold Up - 3:23
 7. Top Yourself - 4:24
 8. Many Shades Of Black - 4:23
 9. Five On The Five - 3:31
10. Attention - 3:38
11. Pull This Blanket Off - 1:59
12. Rich Kid Blues - 4:26
13. These Stones Will Shout - 3:52
14. Carolina Drama - 5:50

Consolers of the Lonely is the second album by American rock band The Raconteurs. It was released on March 25, 2008 on Warner Bros. Records in most parts of the world, and a day earlier on XL Recordings in the UK. The band did no promotion before the album's release, and its existence was only confirmed a week before.  The album earned a nomination for Best Rock Album at the 51st Grammy Awards.
The band premiered "Five on the Five" during their last tour. The title of the record comes from the inscription in the side of a Washington, D.C. post office written by Charles William Eliot, which reads in full: Messenger of sympathy and love, servant of parted friends, consoler of the lonely, bond of the scattered family, enlarger of the common life.
According to the band, the album was finished during the first week in March and was released less than three weeks later. For a band of their stature, the release of Consolers of the Lonely with no promotion was highly unorthodox. Music critics and commentators largely saw it as a way to eschew critics and deal directly with fans. The Observer called it "one of the most exciting musical events of 2008." Despite the already rapid release time and efforts to secure the date, the record was briefly available for purchase on iTunes Friday, March 21.
Critique of Consolers of the Lonely was mostly positive; much of it centered on the chaotic sound and diverse nature of the album as well as its resemblance to albums by Led Zeppelin and The Who. According to The Toronto Star, "White's bent Americana and Benson's British invasion-isms yields wonderfully unpredictable results". Kitty Empire of The Observer called the album "lively" and said it "finds [the Raconteurs] luxuriating in fancy stuff with kid-in-a-sweetshop enthusiasm. Minimalism is out, bombast is in; the detail, is, as ever, lip-smacking." Commenting on the band's chemistry and freeness, Rolling Stone said the album is "a blissfully stoned conversation between White and Benson about their favorite bands: Led Zeppelin, the Who, Badfinger", though it added, "that freedom is not always satisfying." Austin-American Statesmen said "it's a weirdly overblown and curiously dull album," and complained about its production. The New York Times echoed those statements about the "chaos" of the album, but concluded that "that desperation only makes the crunch of the music more euphoric."The Guardian found that on Consolers of the Lonely, the Raconteurs "establish a firm, emotionally charged identity of their own" and called the effort "flawed but ragged glory."[24] Allmusic concluded that the album is a "lop-sided, bottom-loaded album that's better and richer than their debut."
The album was nominated for Best Rock Album and won Best Engineered Album, Non-Classical at the 51st Grammy Awards. The album ranked No. 44 on Rolling Stone's year-end critic's list and No. 35 on Spin Magazine's year-end Top 40 albums.
The album was ranked the #4 Album of the Decade by Glide Magazine.

Consolers of the Lonely

Don Nix - Living By the Days

Bitrate: 320K/s
Year: 1971
Time: 37:35
Size: 86,5 MB
Label: Electra
Styles: Southern Rock/Roots Rock/Gospel
Art: Full

Tracks Listing:
 1. The Shape I'm in - 5:42
 2. Olena - 4:19
 3. I Saw the Light - 3:55
 4. She Don't Want a Lover (She Just Need a Friend) - 4:22
 5. Living by the Days - 3:18
 6. Going Back to Iuka - 4:28
 7. Three Angels - 3:43
 8. Mary Louise - 2:45
 9. My Train's Done Come and Gone - 5:00

It s only a slight stretch to say that without Don Nix, there might not have been a Stax Records or a Memphis Sound. Nix started out as a saxophonist in the Mar-Keys, and, when the Mar-Keys splintered into Booker T & the MGs and the Memphis Horns, stepped into a producer/executive role at Stax while continuing to play as a sideman on numerous sessions. Later, he befriended Leon Russell and recorded for Russell's Shelter label while continuing to produce artists like Delaney & Bonnie, Joe Cocker, Tracy Nelson, Albert King, Freddie King and others for Stax, Shelter and Memphis' Ardent Studios. This album, released in 1971, featured the Muscle Shoals rhythm section, plus Duck Dunn (a high school classmate of Nix s), and the "Shelter People" Nix brought with him from his time at the Shelter label, including Don Preston, Jeanie & Marlin Greene, Claudia Lennear and Kathi McDonald (and, to top it off, bluesman Furry Lewis as narrator)! With a line-up like that, it will come as no surprise to learn that Living by the Days is soul and gospel-dipped Americana (Nix's Civil War garb on the front cover is another tip-off), and springboard for the legendary Alabama State Troupers road show Nix put together with Lonnie Mack and Lewis. What will come as a surprise, however, is that this album has never been on CD in America (copies of its short-lived Japanese release fetch around $250). Our Real Gone reissue features the original gatefold artwork and new notes by Grammy-winning writer Colin Escott. Essential, roots-rockin' American music!

Living By The Days

Dennis Jones & Dennis Jones Band - Dennis Jones Band: We3 (Live)

Bitrate: 320K/s
Year: 2018
Time: 67:21
Size: 154,8 MB
Label: Blue Rock Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Blue over You - 5:07
 2. When I Die - 4:16
 3. Passion for the Blues - 7:57
 4. Stray Bullet - 4:09
 5. Hot Sauce - 4:04
 6. Don't Worry About Me - 4:17
 7. Super Deluxe - 6:11
 8. Enjoy the Ride - 3:46
 9. You Don't Know a Thing About Love - 4:40
10. Kill the Pain - 4:46
11. Big Black Cat - 3:54
12. Devil's Nightmare - 4:11
13. I'm Good - 3:01
14. Born Under a Bad Sign - 6:55

Musicians:
Dennis Jones - guitar, vocals;
Sam Correa - bass, backing vocals;
Raymond Johnson - drums.

Na vijf studioalbums vond Dennis Jones Band het eens tijd worden voor een live album. En ik vind het tijd worden dat wij in Nederland dit prima bluesrock trio ook eens gaan ontdekken! Gitarist Dennis Jones uit L.A. was nog lid van The Zac Harmon Band toen deze band de International Blues Challenge won in 2004. Daarna vond Dennis het tijd worden om solo te gaan en richtte hij zijn eigen band op met bassist Sam Correa en drummer Raymond Johnson.
Dit album werd opgenomen in de Beaver Creek Brewery in Wibuax, Montana en geeft een prima overzicht van de vijf voorgaande albums. Hier is echt sprake van een muzikale eenheid. Deze mannen zijn prima op elkaar ingespeeld waardoor het vlammende gitaarspel van Dennis ten alle tijden ondersteund wordt door een hechte groovende ritmesectie.
Ze gaan van start met Blue Over You, een funky bluesrock nummer met een hoog soul en Robert Cray gehalte. Loom groovend met prima funky bas en vlammend gitaarwerk van Dennis. When I Die is een krachtige shuffle met rauwe hoekige riffs. Een nummer waarin Dennis aangeeft, dat hij nog genoeg te doen heeft. “I got plenty of time to sleep when I die”. Hopelijk wacht Dennis daar nog even mee! In de lui pompende shuffle Passion For The Blues laat Dennis een aantal van zijn muzikale helden voorbijkomen zoals Robert Johnson, Muddy Waters, B.B. King en Etta James. Stray Bullet zit weer in het soulvolle Robert Cray hoekje. Een mid-tempo nummer met fraai huilend gitaarwerk. In de pittig stomende rocker Hot Sauce duiken ook rockabilly geluiden op. De voorkeur voor gekruide sauzen komt er in deze zeer gekruide rocker prima uit middels het snijdende gitaarwerk van Dennis. In de luie funky grooves van Don’t Worry About Me is in de constant brandende gitaarriffs het geluid van Jimi Hendrix te horen. Het Hendrix geluid is ook te horen in de soepel swingende shuffle Super Deluxe en dat komt dan mede door de lome zang van Dennis. Op zijn gitaar tovert hij er zowel bijtende als jazzy soli uit. In de funky shuffle Enjoy The Ride tref je een goed voorbeeld aan van hoe hecht de ritmesectie is. De blues krijgt in You Don’t Know A Thing About Love een licht samba sausje waardoor een loom deinend soulblues nummer ontstaat.
De pompende shuffle Kill The Pain begint als “Black Velvet” van Alannah Myles tot het hard vlammende spel van Dennis het heft in handen neemt en hij het nummer doorspekt met sublieme Hendrix injecties. Big Black Cat is een gesmeerd swingende shuffle met een ietwat jazzy geluid en uiteraard met gierend gitaarwerk.
Na de luchtig swingende funkblues van Devil’s Nightmare en de hoekig pompende bluesrock shuffle I’m Good sluit Dennis het album af met de cover van Albert King’s Born Under A Bad Sign. Dit nummer krijgt een messcherpe harde en funky bewerking met loeiend gitaarwerk van een hoog Hendrix gehalte. Het is dan ook niet verwonderlijk dat Dennis stiekem wat “Voodoo Chile” door het nummer heen gooit.
Op dit album is er echt te maken met een rockende eenheid. Dennis kan zijn gitaar zowel krachtig laten loeien als subtiel soulvol laten klinken. We hebben hier weer te maken met een echte aanrader voor alle blues(rock) fans!

Dennis Jones Band: We3 (Live)

Wilson - Right To Rise

Bitrate: 320K/s
Year: 2015
Time: 41:13
Size: 94,6 MB
Label: Razor & Tie Recordings
Styles: Hard Rock/Heavy Metal/Alt.Rock
Art: Front

Tracks Listing:
 1. Right To Rise - 3:53
 2. Guilty (you're already dead) - 3:37
 3. Crave - 3:33
 4. Windows Down! - 3:36
 5. All My Friends - 3:50
 6. Satisfy Me - 3:11
 7. The Flood - 2:57
 8. Hang With The Devil - 2:56
 9. I Am The Fly - 3:27
10. Give 'Em Hell - 3:12
11. Waiting For The World To Cave In - 2:34
12. Before I Burn - 4:21

Musicians:
Chad Nicefield – vocals;
Jason Spencer – guitar;
Kyle Landry – guitar;
James Lascu – bass;
Matt Puhy – drums.

Detroit rock ‘n roll party crashers Wilson put out a stellar debut album called ‘Full Blast Fuckery’ in 2013 and followed it up with extensive touring to present insanely high-energy and fun-filled shows anywhere and everywhere they could. Now, they are back with their sophomore full-length effort ‘Right To Rise’, set for release on June 29th via Razor & Tie. On this album, they maintain the rawness and exuberance that dominated the debut, but have successfully channeled it into a set of catchy, massive-sounding tunes that embody the spirit of their homeland. The album begins on a lively note with the title track itself, and with tracks like ‘Guilty’ and ‘Crave’, wastes no time in getting into a solid groove. The riffs and the rhythm section are simple yet effective, the solos are well-crafted, and the vocals range between clean and aggressive segments and adjust excellently with the varying expression of the music and the lyrics. The production approach is crisp and definitely modern, but fits the band’s style perfectly and brings the best out of the sound Wilson is going for on ‘Right To Rise’. The album flows seamlessly but its second half boasts of the better musicial compositions, ‘Hang With The Devil’ standing out as one of the highlights.
With the songwriting style and lyrical subject matter, Wilson certainly showcase a great degree of pride in their Detroit roots, and their attitude undoubtedly rubs off on the listener. For that reason, Wilson look poised to add to the crop of successful ‘blue-collar rock’ bands going around at present. Fans of the likes of AC/DC, Steel Panther, Motorhead and Crobot would find instant appreciation in what Wilson stands for. This kind of music has been made by several bands for decades, and there is no reinvention of the wheel here, but as is evident from this album, Wilson clearly excel at playing the music they know and love best. ‘Right To Rise’ is Wilson’s honest, whole-hearted attempt at anti-hipster rock ‘n roll, and a thoroughly enjoyable one.

Right To Rise

Jonathon Long - Jonathon Long

Bitrate: 320K/s
Year: 2018
Time: 37:34
Size: 86,2 MB
Label: Wild Heart Records
Styles: Southern Rock/Electric Blues
Art: Front

Tracks Listing:
 1. Bury Me - 2:55
 2. Shine Your Love - 3:11
 3. That's When I Knew - 3:57
 4. The Light - 3:40
 5. Living the Blues - 3:18
 6. Natural Girl - 2:36
 7. The River - 3:46
 8. Pour Another Drink - 3:35
 9. This Road - 2:49
10. Where Love Went Wrong - 3:19
11. Pray for Me - 4:21

We should know better than try to predict what Samantha Fish will do next.  This is her first foray in the producer chair and as label owner.  That’s right.  She’s started her own label, Wild Heart Records.  And, conventional wisdom (let’s say from two or three years ago) would suggest that she sign a blues-rocker for her first artist.  But that was then.  Samantha has become one of the most unpredictable genre-crossing artists recently.  Sure enough, her first signee, Louisiana’s Jonathon Long, is another genre-crosser.  While there are clearly some blues present on two or three tracks, for the most part Long wears the mantle of an outlaw country singer-songwriter except that his guitar playing would be the envy of almost any of them.
Long hails from Baton Rouge and at 29 years old, he has established himself regionally in an area rich with blues legacy tracing to Buddy Guy, Kenny Neal, Tabby Thomas, Lightnin’ Slim and others. Yet, Long doesn’t try to emulate any one of them.  He is writes his own personal, spirited songs and there are ten of them here, the other written by Detroit’s Kenny Tudrick, a Fish cohort and drummer for the Detroit Cobras. Most of the album is done in trio format with Chris Roberts on bass and Julian Civillo on drums.  Samantha plays guitar on three tracks and sings on the Tudrick tune, “The River.”  The 11 tracks were cut live at NOLA Recording Studios in the Crescent City following Mardi Gras.
Many of the songs are around three to minutes long, the riffs are familiar but put together in fresh ways, as Long runs the gamut between utter despair and limitless hope.  Take the opening track “Bury Me” with these lyrics – “All that I know how to do is take a pen and a sheet of paper or two/write a few words about peace and love/ Louisiana and the heavens above/Bury me when I am gone/with my guitar and some cheap cologne/all that’s left is a pile of bone/remember me through the words of my song.” Long can play an endless string of guitar notes or comfortably strum on his acoustic all support of the song. His resume and former nickname, Boogie, indicate that he can be the guitar hero when the occasion calls for it, but this effort is clearly about the songs.
Several of these songs are outstanding.  “The Light” features Michael Harvey on fiddle (note credits seem incorrect) and is a beautiful uplifting Americana piece. Even “Living the Blues” has more of a country feel than blues. Phil Breen adds his organ to “Natural Girl,” making this two and half minute up-tempo song one of the disc’s strongest rockers as Long churns out a fiery economical guitar solo. “The River” becomes a centerpiece of sorts, with Breen again on keys and Fish joining on guitar and vocals. The ill-chosen drinking song “Pour Another Drink” follows. Long has better fare than resort to it. Yet, he more than compensates in the high energy blues rocker (yes, he can do that too) “Pray for Me.”
Jonathan Long sings with as much passion as he brings to his guitar playing.  Demonstrating some strong songwriting for his debut effort, this is his opportunity to break out.

Jonathon Long