Showing posts with label blues. Show all posts
Showing posts with label blues. Show all posts
Monday, March 03, 2008
Monday, February 11, 2008
Buddaheads - Howlin' At The Moon (2004)
REVIEWBuddaheads - Howlin' At The Moon CD features 16 trax (78 minutes) of awesome top-shelf blues rock riffage from this amazing, gifted guitarist, that was recorded through the years. The music ranges from full-out killer blues/rock riff rippers, to classic mid- tempo in the back pocket blues burners, to cycodelic trippy hendrixy jams ("dance maria" is Alan's musical tribute to Jimi), to deep beautiful dynamic bluesy minor ballads and everything in-between. There is something here for everybody. And as an added bonus, the "Howlin' At The Moon" disc features "special guest" blues/rock axeslinger supreme & good musical brother Philip Sayce jamming hard on his strat with Alan Mirikitani & the BUDDAHEADS on the title track. A killer BUDDAHEADS jam worthy of the price of admission alone.
Alan Mirikitani is a "man on a blues-rock mission" and he sets the record straight on the "Howlin' At The Moon" disc. Not only is he an awesome guitarist and soulful, clean, melodic vocalist, what sets him apart from the rest is his strong ability to write incredible outstanding songs with lyrics that really mean something. Raw and powerful, yet melodically rich, the songs (and we mean "songs") on "Howlin' At The Moon" are classy, diverse, mature and full of depth complete with classic powerful heavy guitar riffage. This is REAL music for REAL people. The BUDDAHEADS are blues/rock at it's best. "Howlin' At The Moon" is an incredible musical document on this incredibly gifted guitarist and band.
Alan Mirikitani has been playing his axe since he was 4 years young(!!!) and he first hit the musical scene with the BUDDAHEADS back in 1994 with the major label (RCA RECORDS) debut, "Blues Had A Baby...", an awesome display of outstanding dynamic blues/rock riffage. Several other killer Buddaheads discs followed, including a record deal in Japan. Even though you may not have heard of him and you should have, Alan Mirikitani has been keeping busy through the years writing great outstanding music and also found success with film and t.v. soundtrack work. He also started up his own recording studio called DAWGHOUSE, where all of the trax for "Howlin' At The Moon" were recorded (...have you ever been to electric dawgland?!!!). Alan Mirikitani deserves all the credit he can get for his vast musical efforts.
The BUDDAHEADS: "Howlin' At The Moon" disc is HIGHLY RECOMMENDED to fans of ROBIN TROWER, JIMI HENDRIX, Z.Z. TOP, S.R.V., JOHNNY WINTER, RORY GALLAGHER, CLAPTON, DOYLE BRAMHALL, WARREN HAYNES and just about any other killer blues/rock axeslingers you have ever heard. The BUDDAHEADS are the "REAL" deal and Alan Mirikitani is definitely up there with the best of them. He is a powerful blues/rock force to be reckoned with and he "shines" on the "Howlin'At The Moon" disc.
Alan Mirikitani is a "man on a blues-rock mission" and he sets the record straight on the "Howlin' At The Moon" disc. Not only is he an awesome guitarist and soulful, clean, melodic vocalist, what sets him apart from the rest is his strong ability to write incredible outstanding songs with lyrics that really mean something. Raw and powerful, yet melodically rich, the songs (and we mean "songs") on "Howlin' At The Moon" are classy, diverse, mature and full of depth complete with classic powerful heavy guitar riffage. This is REAL music for REAL people. The BUDDAHEADS are blues/rock at it's best. "Howlin' At The Moon" is an incredible musical document on this incredibly gifted guitarist and band.
Alan Mirikitani has been playing his axe since he was 4 years young(!!!) and he first hit the musical scene with the BUDDAHEADS back in 1994 with the major label (RCA RECORDS) debut, "Blues Had A Baby...", an awesome display of outstanding dynamic blues/rock riffage. Several other killer Buddaheads discs followed, including a record deal in Japan. Even though you may not have heard of him and you should have, Alan Mirikitani has been keeping busy through the years writing great outstanding music and also found success with film and t.v. soundtrack work. He also started up his own recording studio called DAWGHOUSE, where all of the trax for "Howlin' At The Moon" were recorded (...have you ever been to electric dawgland?!!!). Alan Mirikitani deserves all the credit he can get for his vast musical efforts.
The BUDDAHEADS: "Howlin' At The Moon" disc is HIGHLY RECOMMENDED to fans of ROBIN TROWER, JIMI HENDRIX, Z.Z. TOP, S.R.V., JOHNNY WINTER, RORY GALLAGHER, CLAPTON, DOYLE BRAMHALL, WARREN HAYNES and just about any other killer blues/rock axeslingers you have ever heard. The BUDDAHEADS are the "REAL" deal and Alan Mirikitani is definitely up there with the best of them. He is a powerful blues/rock force to be reckoned with and he "shines" on the "Howlin'At The Moon" disc.
TRACKS
1 Long Way Down 5:16
2 Nothing to Lose 3:52
3 Howlin' at the Moon 4:31
4 Crawlin' Moon 5:49
5 Showdown 3:38
6 911 5:07
7 Better Day 4:53
8 Train Train 4:09
9 Mississippi Queen 4:12
10 Company Graveyard 4:32
11 When the Blues Catch Up with You 5:25
12 State of Grace 4:04
13 Dance Maria 6:29
14 Every Now & Then 5:36
15 Alana 6:53
16 Don't Cry
1 Long Way Down 5:16
2 Nothing to Lose 3:52
3 Howlin' at the Moon 4:31
4 Crawlin' Moon 5:49
5 Showdown 3:38
6 911 5:07
7 Better Day 4:53
8 Train Train 4:09
9 Mississippi Queen 4:12
10 Company Graveyard 4:32
11 When the Blues Catch Up with You 5:25
12 State of Grace 4:04
13 Dance Maria 6:29
14 Every Now & Then 5:36
15 Alana 6:53
16 Don't Cry
Buddaheads - Real (2002)
REVIEW(by Pat Benny)
If I hadn’t been a fan of BB Chung King and the Buddhaheads for years now, if I hadn’t seen BB perform countless times with various band members using any combination of the name (BB Chung King, The Buddaheads, even the Alan Mirikitoni Band), I might have been just a little nervous about reviewing this album. Why? Well, ahem, it’s about the liner credits; that thing about “Pro Tools.” What the hell is a Pro Tool? Is it like a rhythm machine, or Dolby? Ray Carver, the publisher of SBM, shakes his head and says, “Listen, Pat, you’ve got to get your head into the new millennium. Pro Tools is a high-tech, state of the art computer system used in recording, nowadays.” Computers, says Ray. Well Ray, I thought I told you that I wouldn’t take this job if there was any computer work involved. “You don’t have to operate it, says Ray, “You just have to review it,” says Ray. Well, here goes:
The name of this independently released album is “REAL.” As I mentioned, the Pro Tools stuff kind of throws me, especially when the first song, which bears the album title’s name, bursts through the speakers with a full horn section. I’m thinking to myself, is this live, or is it Pro Tools? But then, BB’s blazing guitar and Boyd Lefan’s throbbing bass take over and I know that I’m on solid ground-REAL solid ground, walking on tracks laid down by a guitar virtuoso-a REAL guitarslinger.
This album is one of many moods that showcase not only BB’s incredible guitar, but also showcases his ability to write a great contemporary blues song, something that is often found lacking with some of today’s blues artists. “911” is a haunting tune that may have to be retitled, as it has nothing to do with the events of this infamous day. This is a song about another kind of heartbreak. The guitar leads sound as if they came from deep in the soul and proceed to take the listener past the satellites and beyond the stars. “Better Day” is a slow tune which demonstrates the quality of BB’s voice, a voice that is much better than a guitarslinger of his ability requires. I’ve listened to his slow blues for years, trying to place who it is that his voice resembles. If Lionel Ritchie could sing the blues-I mean really sing the blues, this is how he might sound.
“Crawlin’ Man” and “57 Chevy” both have a lowdown, sinister quality that lures the listener, baiting him with a steady rhythm that serves as a launching pad for BB’s burning, and I mean finger shredding, string breaking guitar solos that have made him one of the premier blues guitarists of this era. Don’t bother to listen for Lionel Ritchie in either of these tunes!
I don’t want to sound like I’m bashing the Pro Tools thing. It’s just that it’s something new to me. Remember, Howlin’ Wolf hated his first electric guitar. And if the credibility of Pro Tools or any other new recording method must be judged by this writer or anyone else, we must first listen to “Dance Maria,” the band’s tribute to Jimi Hendrix. On this track, BB can be heard jamming along with the great Hendrix himself. The result is a surreal, ethereal and wonderfully nostalgic in its computer assisted, psychedelic way.
The twelfth and final cut on this album is a beautiful instrumental tune entitled “Alana,” named after BB’s daughter. This was a wonderful song to end the 58 minutes of piercing guitar licks.
Listen to this album. Read the liner notes and absorb the bond Alan Mirikitoni, a.k.a. BB Chung King has for his family, his friends and his music and know that this music is as REAL as it gets.
The name of this independently released album is “REAL.” As I mentioned, the Pro Tools stuff kind of throws me, especially when the first song, which bears the album title’s name, bursts through the speakers with a full horn section. I’m thinking to myself, is this live, or is it Pro Tools? But then, BB’s blazing guitar and Boyd Lefan’s throbbing bass take over and I know that I’m on solid ground-REAL solid ground, walking on tracks laid down by a guitar virtuoso-a REAL guitarslinger.
This album is one of many moods that showcase not only BB’s incredible guitar, but also showcases his ability to write a great contemporary blues song, something that is often found lacking with some of today’s blues artists. “911” is a haunting tune that may have to be retitled, as it has nothing to do with the events of this infamous day. This is a song about another kind of heartbreak. The guitar leads sound as if they came from deep in the soul and proceed to take the listener past the satellites and beyond the stars. “Better Day” is a slow tune which demonstrates the quality of BB’s voice, a voice that is much better than a guitarslinger of his ability requires. I’ve listened to his slow blues for years, trying to place who it is that his voice resembles. If Lionel Ritchie could sing the blues-I mean really sing the blues, this is how he might sound.
“Crawlin’ Man” and “57 Chevy” both have a lowdown, sinister quality that lures the listener, baiting him with a steady rhythm that serves as a launching pad for BB’s burning, and I mean finger shredding, string breaking guitar solos that have made him one of the premier blues guitarists of this era. Don’t bother to listen for Lionel Ritchie in either of these tunes!
I don’t want to sound like I’m bashing the Pro Tools thing. It’s just that it’s something new to me. Remember, Howlin’ Wolf hated his first electric guitar. And if the credibility of Pro Tools or any other new recording method must be judged by this writer or anyone else, we must first listen to “Dance Maria,” the band’s tribute to Jimi Hendrix. On this track, BB can be heard jamming along with the great Hendrix himself. The result is a surreal, ethereal and wonderfully nostalgic in its computer assisted, psychedelic way.
The twelfth and final cut on this album is a beautiful instrumental tune entitled “Alana,” named after BB’s daughter. This was a wonderful song to end the 58 minutes of piercing guitar licks.
Listen to this album. Read the liner notes and absorb the bond Alan Mirikitoni, a.k.a. BB Chung King has for his family, his friends and his music and know that this music is as REAL as it gets.
TRACKS
1 Real 3:57
2 911 5:04
3 Better Day 4:51
4 Bye Bye Bye 3:47
5 Crawlin'moon 5:49
6 '57 Chevy 5:14
7 Cold Hard Cash 4:12
8 Tied Up 5:22
9 Dance Maria 6:30
10 Train Train 4:05
11 Fallin' and Crawlin' 2:59
12 Alana 6:53
1 Real 3:57
2 911 5:04
3 Better Day 4:51
4 Bye Bye Bye 3:47
5 Crawlin'moon 5:49
6 '57 Chevy 5:14
7 Cold Hard Cash 4:12
8 Tied Up 5:22
9 Dance Maria 6:30
10 Train Train 4:05
11 Fallin' and Crawlin' 2:59
12 Alana 6:53
Saturday, February 09, 2008
Tommy Castro - Painkiller (2007)
BIOGRAPHY(Allmusic by Cub Koda)
According to all the press and hype and hoopla, Tommy Castro is pegged as the next big star of the blues. Long a favorite among Bay Area music fans, Castro — in the space of two album releases — has taken his music around the world and back again with a sheaf of praise from critics and old-time blues musicians alike. His music is a combination of soul-inflected rockers with the occasional slow blues or shuffle thrown into the mix to keep it honest. His vocals are laid-back and always a hair behind the beat, while his scorching guitar tone is Stevie Ray Stratocaster-approved. Crossover success does not seem out of the question.
Born and raised in San Jose, CA, Castro started playing guitar at the tender age of ten. Initially inspired by Mike Bloomfield, Eric Clapton, and Elvin Bishop, he started the inevitable journey into the roots of his heroes and discovered and quickly became enamored of B.B. King, Buddy Guy, Elmore James, Muddy Waters, and Freddie King. His vocal styling came from constant listening to Ray Charles, Wilson Pickett, James Brown, and Otis Redding. After playing with numerous Bay Area groups honing his chops, he landed a gig playing guitar for the San Francisco band the Dynatones, who were then signed to Warner Brothers. The two-year stint augured well for Castro, playing to the biggest crowds he had seen up to that point and backing artists as diverse as Carla Thomas and Albert King.
Returning to San Francisco, Castro formed his own group and in 1993 released his first self-produced album, No Foolin', on the dime-sized Saloon label. That same year also saw him winning the Bay Area Music Award for Best Club Band, an honor he duplicated the following year. Working as the house band on NBC's Comedy Showcase, airing after Saturday Night Live, only boosted his visibility and name value. In 1997, he won Bammies for Outstanding Blues Musician and for Outstanding Blues Album for his debut release on Blind Pig Records, Exception to the Rule. Also in 1997 Castro and his band began a three-year stint working as the house band on NBC's Comedy Showcase, which aired after Saturday Night Live.
Live at the Fillmore was released in early 2000, and with everyone from industry insiders to B.B. King singing his praises, Castro appeared to be headed for bigger and better things. It was not to be, however, as in 2001 he left Blind Pig Records and recorded Guilty of Love for the small 33rd Street label. Blind Pig closed the books on their association with Castro in 2002 by releasing the career retrospective The Essential Tommy Castro. Gratitude appeared from Heart and Soul in 2003, followed by Triple Trouble (with Jimmy Hall and Lloyd Jones) later that same year from Telarc. 2005 saw Castro return to the Blind Pig label for the release of Soul Shaker, followed by Painkiller in 2007.
Born and raised in San Jose, CA, Castro started playing guitar at the tender age of ten. Initially inspired by Mike Bloomfield, Eric Clapton, and Elvin Bishop, he started the inevitable journey into the roots of his heroes and discovered and quickly became enamored of B.B. King, Buddy Guy, Elmore James, Muddy Waters, and Freddie King. His vocal styling came from constant listening to Ray Charles, Wilson Pickett, James Brown, and Otis Redding. After playing with numerous Bay Area groups honing his chops, he landed a gig playing guitar for the San Francisco band the Dynatones, who were then signed to Warner Brothers. The two-year stint augured well for Castro, playing to the biggest crowds he had seen up to that point and backing artists as diverse as Carla Thomas and Albert King.
Returning to San Francisco, Castro formed his own group and in 1993 released his first self-produced album, No Foolin', on the dime-sized Saloon label. That same year also saw him winning the Bay Area Music Award for Best Club Band, an honor he duplicated the following year. Working as the house band on NBC's Comedy Showcase, airing after Saturday Night Live, only boosted his visibility and name value. In 1997, he won Bammies for Outstanding Blues Musician and for Outstanding Blues Album for his debut release on Blind Pig Records, Exception to the Rule. Also in 1997 Castro and his band began a three-year stint working as the house band on NBC's Comedy Showcase, which aired after Saturday Night Live.
Live at the Fillmore was released in early 2000, and with everyone from industry insiders to B.B. King singing his praises, Castro appeared to be headed for bigger and better things. It was not to be, however, as in 2001 he left Blind Pig Records and recorded Guilty of Love for the small 33rd Street label. Blind Pig closed the books on their association with Castro in 2002 by releasing the career retrospective The Essential Tommy Castro. Gratitude appeared from Heart and Soul in 2003, followed by Triple Trouble (with Jimmy Hall and Lloyd Jones) later that same year from Telarc. 2005 saw Castro return to the Blind Pig label for the release of Soul Shaker, followed by Painkiller in 2007.
REVIEW
(Allmusic by Al Campbell)
(Allmusic by Al Campbell)
Tommy Castro's sixth release for the Blind Pig label, Painkiller, picks up where his 2003 set, Soul Shaker, left off. This time around, producer John Porter — who has worked with Santana, Taj Mahal, B.B. King, and Buddy Guy — positions Castro's Delbert McClinton/Southside Johnny vocal grit in front of a punchy horn section and rounds out the date with a few guest artists. Unlike many similar modern blues projects of good intentions but lackluster performances, the combinations on Painkiller never sound forced. In particular, the Albert Collins track, "A Good Fool Is Hard to Find," has Coco Montoya and Castro trading vocal jabs and guitar riffs, and Angela Strehli's passionate vocal on Freddie King's "If You Believe (In What You Do)" is likewise another highlight of this overall triumphant rock 'n' soul album.
CREDITS
Lenny Castro /Percussion
Tommy Castro /Guitar, Vocals
Keith Crossan /Sax (Baritone), Sax (Tenor), Horn Arrangements
Keith Crossman /Horn Arrangements
Bonnie Hayes /Vocals (bckgr)
Teresa James /Piano, Vocals (bckgr)
Randy McDonald /Bass
Coco Montoya /Guitar, Vocals
Tom Poole /Trumpet, Flugelhorn, Horn Arrangements
Chris Sandoval /Drums
Tony Stead /Piano, Organ (Hammond), Wurlitzer
Angela Strehli /Vocals
TRACKS
1 Love Don't Care /Bowe, Castro/ 3:47
2 I'm Not Broken /Castro, Hall/ 3:45
3 Painkiller /Castro, Nicholson/ 3:49
4 Big Sister's Radio /Schermer/ 4:13
5 A Good Fool Is Hard to Find /Collins/ 4:40
6 Err on the Side of Love /Castro, Silbar/ 3:45
7 I Roll When I Rock /Castro, Hayes/ 3:36
8 If You Believe (In What You Do) /King/ 4:43
9 It's That Time Again /Castro/ 4:13
10 Goin' Down South /Castro, Wilson/ 3:40
11 Lonesome and Then Some /Castro, Silbar/ 4:44
12 It Ain't Easy Bein' Me /Bruton, Castro/ 3:05
DOWNLOAD
Lenny Castro /Percussion
Tommy Castro /Guitar, Vocals
Keith Crossan /Sax (Baritone), Sax (Tenor), Horn Arrangements
Keith Crossman /Horn Arrangements
Bonnie Hayes /Vocals (bckgr)
Teresa James /Piano, Vocals (bckgr)
Randy McDonald /Bass
Coco Montoya /Guitar, Vocals
Tom Poole /Trumpet, Flugelhorn, Horn Arrangements
Chris Sandoval /Drums
Tony Stead /Piano, Organ (Hammond), Wurlitzer
Angela Strehli /Vocals
TRACKS
1 Love Don't Care /Bowe, Castro/ 3:47
2 I'm Not Broken /Castro, Hall/ 3:45
3 Painkiller /Castro, Nicholson/ 3:49
4 Big Sister's Radio /Schermer/ 4:13
5 A Good Fool Is Hard to Find /Collins/ 4:40
6 Err on the Side of Love /Castro, Silbar/ 3:45
7 I Roll When I Rock /Castro, Hayes/ 3:36
8 If You Believe (In What You Do) /King/ 4:43
9 It's That Time Again /Castro/ 4:13
10 Goin' Down South /Castro, Wilson/ 3:40
11 Lonesome and Then Some /Castro, Silbar/ 4:44
12 It Ain't Easy Bein' Me /Bruton, Castro/ 3:05
DOWNLOAD
Friday, February 08, 2008
The Derek Trucks Band - Live At Georgia Theatre (2004)
REVIEW (Allmusic by Thom Jurek)
Derek Trucks is a world-class slide guitarist, still only 24 at the time of this recording. Most know him as a guitarist with the Allman Brothers Band. But here, with a smoking group of collaborators, he plays an incendiary, soulful, and wildly adventurous set that challenges all the accepted rock paradigms. This is the record to turn the heads of those who haven't gotten hip to Trucks' bottleneck magic. This performance is so inspired, so utterly spellbinding, it transcends the genre classifications it employs to get the music across. This is a musical first to boot: this show marks the first time the quintet recorded together. Kofi Burbridge (B-3, keys, and flute) and vocalist Mike Mattison join Trucks, drummer Yonrico Scott, and bassist Todd Smallie. Master percussionist Count M'Butu from Col. Bruce Hampton & the Aquarium Rescue Unit is also on board for the gig. The band showcases only four tunes from its catalog and all of these come from Joyful Noise, its last album. The rest is a rolling plethora of jazz, funk, soul, Eastern Sufi jams, and blues tunes by Rahsaan Roland Kirk ("Volunteered Slavery"), Wayne Shorter ("Angola"), Lightnin' Hopkins ("Feel So Bad"), Paul Pena ("Gonna Move"), Nusrat Fateh Ali Khan ("Sahib Teri Bandi"), and Curtis Mayfield ("Freddie's Dead"), among others.
The jamming is tight and full of surprises, and there is no aimless guitar wankery. This is a band that plays like a single, flowing unit, where nuance, dynamic, and intuition are the order of the evening and the modus operandi for encountering and relaying this information to an audience. Trucks is its centerpiece, of course, but he understands the value and necessity of ensemble play. While there are no dogs on this two-hour smorgasbord, the standouts are the soulful rendition of "Gonna Move," the awesome medley of Khan's tunes "Sahib Teri Bandi" and "Maki Madni," the guttersnipe funk of "For My Brother," and "So Close, So Far Away." Unfortunately, Live at Georgia Theatre seems to be one of those albums created for fans only. It has nothing to do with the music or musicians, and everything to do with marketing by the conglomerates. Columbia Records, in association with iTunes, has made this fine recording an Internet-only purchase. You can download it, and you can order it in its physical form from the band's website, but you can't buy it in stores. What nonsense. The labels still don't understand how to use the Internet's potential. After all, wasn't it At Fillmore East, the Allman Brothers' third album, that put them into the mass consciousness and took them over the top? This is the right time for the Derek Trucks Band to issue a concert recording. The truth remains, however, that any way you cut it, this is a live album for the ages — it's too bad only people with credit cards get to hear it.
The jamming is tight and full of surprises, and there is no aimless guitar wankery. This is a band that plays like a single, flowing unit, where nuance, dynamic, and intuition are the order of the evening and the modus operandi for encountering and relaying this information to an audience. Trucks is its centerpiece, of course, but he understands the value and necessity of ensemble play. While there are no dogs on this two-hour smorgasbord, the standouts are the soulful rendition of "Gonna Move," the awesome medley of Khan's tunes "Sahib Teri Bandi" and "Maki Madni," the guttersnipe funk of "For My Brother," and "So Close, So Far Away." Unfortunately, Live at Georgia Theatre seems to be one of those albums created for fans only. It has nothing to do with the music or musicians, and everything to do with marketing by the conglomerates. Columbia Records, in association with iTunes, has made this fine recording an Internet-only purchase. You can download it, and you can order it in its physical form from the band's website, but you can't buy it in stores. What nonsense. The labels still don't understand how to use the Internet's potential. After all, wasn't it At Fillmore East, the Allman Brothers' third album, that put them into the mass consciousness and took them over the top? This is the right time for the Derek Trucks Band to issue a concert recording. The truth remains, however, that any way you cut it, this is a live album for the ages — it's too bad only people with credit cards get to hear it.
CREDITS
Kofi Burbridge / Flute, Keyboards, Vocals
Mike Mattison / Vocals
Count Mbutu / Percussion
Yonrico Scott / Percussion, Drums, Vocals
Todd Smallie / Bass, Vocals
Derek Trucks / Guitar
Kofi Burbridge / Flute, Keyboards, Vocals
Mike Mattison / Vocals
Count Mbutu / Percussion
Yonrico Scott / Percussion, Drums, Vocals
Todd Smallie / Bass, Vocals
Derek Trucks / Guitar
TRACKS CD 1
1 Kam-Ma-Lay Trucks 8:53
2 Gonna Move Pena 6:29
3 Volunteered Slavery Kirk 4:36
4 Sahib Teri Bandi/Maki Madni Khan 15:03
5 Leaving Trunk Estes 4:58
6 I Wish I Knew Gordon 5:29
7 Angola Shorter 10:12
8 Feel So Bad Hopkins 7:41
2 Gonna Move Pena 6:29
3 Volunteered Slavery Kirk 4:36
4 Sahib Teri Bandi/Maki Madni Khan 15:03
5 Leaving Trunk Estes 4:58
6 I Wish I Knew Gordon 5:29
7 Angola Shorter 10:12
8 Feel So Bad Hopkins 7:41
TRACKS CD 2
1 For My Brother Trucks 13:28
2 Sonido Alegre Ramirez 15:15
3 Joyful Noise Trucks 11:58
4 So Close, So Far Away Trucks 5:52
5 Freddie's Dead Mayfield 10:20
Thursday, February 07, 2008
John Mayall - Live From Austin, TX (1993) (2007)
CREDITS Rick Cortes: Bass, Vocals
David Grissom: Guitar, Guest Appearance
John Mayall: Guitar, Harmonica, Keyboards, Vocals
Coco Montoya: Guitar, Vocals
Joe Yuele: Drums
TRACKS
1 I Want to Go (Lenoir) 3:51
2 Ain't That Lovin' You Baby (Reed) 6:46
3 Maydell (Haynes, Neel) 4:05
4 Wake Up Call (Egan, Lewis) 5:04
5 I'm a Sucker for Love (Mayall) 7:13
6 Nature's Disappearing (Mayall) 5:38
7 I Could Cry (Blakemore) 7:13
8 The Bear (Mayall) 7:39
9 Mail Order Mystics (Smither) 8:25
Wednesday, February 06, 2008
Joe Pitts - Just a Matter of Time (2007)
BIOGRAPHYJoe Pitts is a powerful, soulful & multi-talented guitarist pulling influences from yesterday into today. Joe has been compared to guitarists like Warren Haynes, Larry McCray, Walter Trout and Joe Bonamassa. Although his influences range from Duane Allman and Jeff Beck to Roy Buchanan, Joe is becoming known worldwide for his slide guitar work with the band Liquid Groove Mojo. Joe is also heavily inside the groove with really funky rhythmic improvisations.
Studying at Berklee College of Music, set Joe up for the possibilities that are endless on a stringed instrument. Being a faithful follower of Col Bruce Hampton, ARU and the bands of HORDE, Joe's improvisational voice came into his own.
From funk to jazz to blues to rock, and everything inbetween, Joe is a musician's musician. Touted as one of Arkansas' best bands, this international touring artist has played hundreds of shows, touring Europe and the Midwest/Midsouth and Southeastern US constantly. Joe has been nominated for his vocal abilities, being chosen as one of the best vocalist's of the year, 2006 Indie Artist Radio awards. Joe has also appeared at the Crossroads Musical Exhibition, and the International Blues Conference.
The band, features Odessa Texas native and veteran musician Jimmy Lynn on Bass Guitar, and Nashville sessions drummer David Bishop rounds out the touring band power trio. The music is a workout in influences. From Rock, Blues and Jazz roots, the music of the JPB shines through. These guys really stretch out live. It truely is a musical extravaganza nightly, and something you don't want to miss, with every show different.
Studying at Berklee College of Music, set Joe up for the possibilities that are endless on a stringed instrument. Being a faithful follower of Col Bruce Hampton, ARU and the bands of HORDE, Joe's improvisational voice came into his own.
From funk to jazz to blues to rock, and everything inbetween, Joe is a musician's musician. Touted as one of Arkansas' best bands, this international touring artist has played hundreds of shows, touring Europe and the Midwest/Midsouth and Southeastern US constantly. Joe has been nominated for his vocal abilities, being chosen as one of the best vocalist's of the year, 2006 Indie Artist Radio awards. Joe has also appeared at the Crossroads Musical Exhibition, and the International Blues Conference.
The band, features Odessa Texas native and veteran musician Jimmy Lynn on Bass Guitar, and Nashville sessions drummer David Bishop rounds out the touring band power trio. The music is a workout in influences. From Rock, Blues and Jazz roots, the music of the JPB shines through. These guys really stretch out live. It truely is a musical extravaganza nightly, and something you don't want to miss, with every show different.
REVIEW
BellaDonna's Roadhouse: Press
Just a Matter of Time is an electrifying adventure. This CD is a musical voyage; traveling from soulful, sultry blues to powerful funk- rock jams. The songs tell tales of life; inviting listeners to dance, laugh, cry, share love and to be loved while celebrating the multiplicity and complexity of our existence.
Favorites on Just a Matter of Time include the powerful Shoulda Seen It Coming. This compelling, complex musical saga, is about a jilted lover accepting the crystal-clear warning signs, of a relationship about to come to an end. The music tells the heartbreak story beginning with an easy Reggae beat that evolves to a strong driving rock jam-entwined with blues. The smooth delivery of this complex musical arrangement illustrates how relationships begin carefree and effortless; become complicated and exasperating when ending.
Pitts makes Roy Buchanan’s Nickel and a Nail his own. Without a doubt, Joe Pitts is a extraordinary guitarist, however, Nickel and a Nail proves Joe Pitts is a mesmerizing singer.
The unforgettable, hauntingly beautiful song, Lonesome Boy From Yesterday is an undeniable tribute to friendship and loss. Pitts lament is clear in his lyrics, the sorrow in his voice unmistakable; while his guitar cries fervently. It's hard to listen to this song and not relate it to someone in life we pray and weep for.
Masterfully engineered and mixed by Rhonda Pitts and Jeff Brocaw, Just a Matter of Time is a creative and technological victory. Every note, every sound is real, and genuine; free of computers, looping or dubbing. The way every song sounds on the CD is just how they will sound live! The process of recording and mixing a record analog, is a method not frequently used in today's music. The outcome is a CD that sounds authentic, clear-cut and real.
The Joe Pitts album was recorded with the help guest musicians and friends; John Davies on Bass Guitar and Jahleel Eli on drums. Additional guest, and Pitts's good friends include; Michael Burks: Guitar on Rolling with the Blues (Appears courtesy of Alligator Records), Wayne Sharp: Hammond B-3 Organ on Nickel And A Nail and Rolling With The Blues and Stephen Winter- Keys on Ice Cream Cakes.
Destiny brought Joe Pitts, Jimmy Lynn, and David Bishop together for an impromptu jam session at the Parrot Beach Café in North Little Rock, Arkansas. The chemistry was so intense; the trio did not leave the stage until they all agreed to become a band. From that spontaneous jam, The Joe Pitts Band was born. The newly formed power trio enthusiastically embraced the music on Just a Matter of Time, making each song their own. Now, The Joe Pitts Band is currently touring and spreading their joy, enthusiasm and authentic talent to the masses.
Just a Matter of Time is available to order at www.cdbaby.com , or from Joe Pitts MySpace page at www.joepitts.com.
Let the music move you, and enjoy the voyage. You will not be disappointed!
Donna Deady - BellaDonna's Journal
Favorites on Just a Matter of Time include the powerful Shoulda Seen It Coming. This compelling, complex musical saga, is about a jilted lover accepting the crystal-clear warning signs, of a relationship about to come to an end. The music tells the heartbreak story beginning with an easy Reggae beat that evolves to a strong driving rock jam-entwined with blues. The smooth delivery of this complex musical arrangement illustrates how relationships begin carefree and effortless; become complicated and exasperating when ending.
Pitts makes Roy Buchanan’s Nickel and a Nail his own. Without a doubt, Joe Pitts is a extraordinary guitarist, however, Nickel and a Nail proves Joe Pitts is a mesmerizing singer.
The unforgettable, hauntingly beautiful song, Lonesome Boy From Yesterday is an undeniable tribute to friendship and loss. Pitts lament is clear in his lyrics, the sorrow in his voice unmistakable; while his guitar cries fervently. It's hard to listen to this song and not relate it to someone in life we pray and weep for.
Masterfully engineered and mixed by Rhonda Pitts and Jeff Brocaw, Just a Matter of Time is a creative and technological victory. Every note, every sound is real, and genuine; free of computers, looping or dubbing. The way every song sounds on the CD is just how they will sound live! The process of recording and mixing a record analog, is a method not frequently used in today's music. The outcome is a CD that sounds authentic, clear-cut and real.
The Joe Pitts album was recorded with the help guest musicians and friends; John Davies on Bass Guitar and Jahleel Eli on drums. Additional guest, and Pitts's good friends include; Michael Burks: Guitar on Rolling with the Blues (Appears courtesy of Alligator Records), Wayne Sharp: Hammond B-3 Organ on Nickel And A Nail and Rolling With The Blues and Stephen Winter- Keys on Ice Cream Cakes.
Destiny brought Joe Pitts, Jimmy Lynn, and David Bishop together for an impromptu jam session at the Parrot Beach Café in North Little Rock, Arkansas. The chemistry was so intense; the trio did not leave the stage until they all agreed to become a band. From that spontaneous jam, The Joe Pitts Band was born. The newly formed power trio enthusiastically embraced the music on Just a Matter of Time, making each song their own. Now, The Joe Pitts Band is currently touring and spreading their joy, enthusiasm and authentic talent to the masses.
Just a Matter of Time is available to order at www.cdbaby.com , or from Joe Pitts MySpace page at www.joepitts.com.
Let the music move you, and enjoy the voyage. You will not be disappointed!
Donna Deady - BellaDonna's Journal
TRACKS
1 Blue Light Rain (Pitts) 6:15
2 Nickle and a Nail (Buchanan) 4:36
3 Lonesome Boy from Yesterday (Pitts) 4:38
4 Just a Matter of Time (Pitts) 4:22
5 Ice Cream Cakes (Beck) 6:34
6 Zambified (Pitts) 4:58
7 Soulda Seen It Coming (Pitts) 6:31
8 Rolling with the Blues (Mayall) 7:42
9 Sealed Inside Good Intentions (Pitts) 4:27
10 Sublime Angel (Pitts) 5:02
11 Funked Up (Pitts) 13:25
1 Blue Light Rain (Pitts) 6:15
2 Nickle and a Nail (Buchanan) 4:36
3 Lonesome Boy from Yesterday (Pitts) 4:38
4 Just a Matter of Time (Pitts) 4:22
5 Ice Cream Cakes (Beck) 6:34
6 Zambified (Pitts) 4:58
7 Soulda Seen It Coming (Pitts) 6:31
8 Rolling with the Blues (Mayall) 7:42
9 Sealed Inside Good Intentions (Pitts) 4:27
10 Sublime Angel (Pitts) 5:02
11 Funked Up (Pitts) 13:25
Liquid Groove Mojo - Cradle to the Grave (2005)
REVIEWLiquid Groove Mojo
Cradle To The Grave
© 2005 Kijam (837101027489)
LGM's latest album, "Cradle to the Grave" has been released worldwide. The title track single from the album is now receiving airplay on the Walmart Worldwide Radio Network, Indie Artist Radio and and is available at all digital download sites. It has been released to XM and Sirius Satellite Radio Networks. German, French and Polish music stores are carrying the new album, and it is also been released to over 100 radio markets nationally, along with all the major music publications.
The album was mixed by recording engineer, Jeff Brocaw, whose credits include 34 gold and platinum albums (Robert Cray, BB King). Jeff has also been nominated three times for Grammy awards. Mastering was performed by Greg Calbi at Sterling Sound in NYC. This year alone, Sterling Sound was nominated for a total of sixty-three Grammy Awards. As Greg Calbi put it, this album has "captured the Gov't Mule/Allman Brothers sound".
Liquid Groove Mojo is: Joe Pitts, Darrell Davis, Al Hagood and Brian Blankenship. These four musicians have a unique ability to come together and play as tight as a three piece power trio and turn right around and jam with improvisational guitar solos reminiscent of the legendary guitarists that have inspired them. Pitts and Davis has a strong musical background with having played over 600 shows together. Pitts has studied music at Berklee College of Music and Davis has studied music at the University of Arkansas. The rhythm section is nothing short of phenomenal. Hagood and Blankenship are a well oiled machine with a huge low end and a powerful drum groove that is considered to be one of the best rhythm sections around. Monsterous guitar tones, soaring slide guitar work, and soulful vocals round out this quartet's musical abilities. Prolific songwriting makes this bands' sound timeless as well as contemporary.
"Cradle to the Grave", was written mostly by Pitts and Davis, either individually, or as a writing team. Also, included on the album, is a song by Warren Haynes (Gov't Mule/Allman Brothers), and a song by the legendary Kinsey Report. It was recorded at Lonesome Oak Studio, in Arkansas, over a 6 month period.
The band also has an ever dynamic website at www.liquidgroovemojo.com or www.myspace.com/liquidgroovemojo.
CREDITS
Joe Pitts: Guitar & Vocals
Darrell Davis: Guitar & Vocals
Al Hagood: Bass
Bryan Blankenship: Drums & Percussion
Joe Pitts: Guitar & Vocals
Darrell Davis: Guitar & Vocals
Al Hagood: Bass
Bryan Blankenship: Drums & Percussion
TRACKS
1 Long Walk 4:35
2 High Price 3:58
3 Hello Goodbye 6:16
4 Cradle to the Grave 3:41
5 Storm Warning 7:06
6 Time Is Running Out 3:42
7 Sunshine 4:16
8 Back to Memphis 5:03
9 If Heartaches Were Nickels 5:46
10 Aces High/Deuces Low 4:02
DOWNLOAD
Tuesday, February 05, 2008
Jonny Lang - Turn Around (2006)
BIOGRAPHY ALLMUSIC (by Stephen Thomas Erlewine)
Modern blues in the '90s had a weird phenomenon of teenage blues guitarists rocketing to popularity with their first album. The entire trend culminated with Jonny Lang, a guitarist from Fargo, North Dakota, who released his solo debut album Lie to Me when he was 15. At the age of 12, he attended a show by the Bad Medicine Blues Band and began playing with the group. Several months later he had become the leader, and the newly re-named Kid Jonny Lang & the Big Bang relocated from Fargo to Minneapolis and released their debut album, Smokin, in 1995. The LP became a regional hit, leading to a major-label bidding war and culminating in Lang's signing to A&M Records in 1996. Early in 1997, his major-label debut, Lie to Me, was released to mixed reviews; Wander This World followed late the next year.
REVIEW ALLMUSIC
(by Thom Jurek)
On 2003's Long Time Coming, Jonny Lang made the first turn from his rap as an itinerant blues-rocker to being a spiritually inspired rock and pop songwriter. Producer Marti Frederiksen took Lang's tunes and glossed them to the breaking point, leaving the album an unfocused, gobbledygook set of songs that had no center. Three years later, Lang returns with Turn Around. And the title does not refer to him turning back to his blues guitar slinger roots. Instead, the title refers to the biblical term that is the definition of the word "repent." (No mistake.) Lang's overt spirituality comes ringing through the mix created by Drew Ramsey Lang and Shannon Sanders. Turn Around is funkier, dressed in contemporary gospel, gritty rock and yes, the blues. Lang's still got a way to go as a songwriter, but the material here is infinitely better than it was on his last outing. The gospel underpinnings help because his "the Jonny Lang Thankful Choir" is no less than 13 voices strong. Unfortunately, the "anthem" on this record, "One Person at a Time," is just plain corny, talking about wishing for triple-platinum success, but if it "only reaches one set of ears/I will have fulfilled my purpose here...." C'mon. Nice sentiment, but as a song it's just plain lousy. Tracks like "Thankful," which utilizes the choir very effectively and employs duet vocalist Michael McDonald, is startlingly good. Another track that works well is "My Love Remains," which takes its opening riff from a very big radio hit of the '90s, and then inverts it. The track's real surprise is in Lang's falsetto vocal performance, which reveals a new depth for him as a singer. "Don't Stop for Anything," proves that Lang should just give up trying to be a hard rocker; he simply can't pull it off. Much better are his attempts at gritty soul, such as on "Anything's Possible (Don't Let 'Em)," which once again has dumb lyrics but as a singer's tune is a delight. It's as if he needs to prove to someone — perhaps only to himself — that he's arrived as a musician. The funky gospel and soul of "On My Feet Again" blends all of his talents as a singer, guitarist, and songwriter — with killer horns and choir in the pocket — and offers a real view of what this man is capable of. His acoustic numbers, such as "That Great Day" with mandolins, steel guitars, and a country gospel flavor are also noteworthy. Lyrically, he's singing from the heart, not his resentments on these tunes; he has nothing to prove to anybody anymore. It should also be noted that A&M is to be applauded for sticking by him with such a bold move. Ultimately, Turn Around is a great leap from Long Time Coming, and is an exciting if somewhat flawed hint at what is on the horizon as Lang develops further, becoming more confident in his role as a veteran instead of a boy wonder.
CREDITS
David Angell: Violin
Jim Anton: Bass
Michael Bland: Drums
Sam Bush: Mandolin
Danelle Corbin: Choir, Chorus
David Davidson: Violin, String Arrangements
Ametria Dock: Choir, Chorus
Melinda Doolittle: Vocals (bckgr)
Chris Dunn: Trombone
Jason Eskridge: Vocals (bckgr)
Dean Esther: Choir, Chorus
Barry Green: Trombone
Jim Horn: Sax (Baritone)
Matthew Emery Johnson: Choir, Chorus
Kim Keyes: Vocals (bckgr), Choir, Chorus
Anthony LaMarchina: Cello
Haylie Lang: Vocals
Jonny Lang: Guitar, Piano, Vocals, Choir, Chorus, Producer
Cynthia Matthews: Choir, Chorus
Michael McDonald: Piano, Vocals
Buddy Miller: Guitar
Doug Moffett: Sax (Tenor)
Aaron Pearce: Choir, Chorus, Wurlitzer
Shannon Sanders: Organ, Choir, Chorus, Producer
Chimere Scott: Choir, Chorus
Rebecca Shocklee: Choir, Chorus
Javier Solís: Percussion
Quentin Ware: Trumpet, Horn Arrangements
Sara Watkins: Fiddle
Kristin Wilkinson: Viola
Jackie Wilson: Choir, Chorus
TRACKS
1 Intro 0:17
2 Bump in the Road (Lang, Ramsey, Sanders) 3:40
3 One Person at a Time (Lang, Ramsey, Sanders) 3:02
4 The Other Side of the Fence (Lang, Ramsey, Sanders) 3:04
5 Turn Around (Lang, Pierce, Ramsey) 4:41
6 My Love Remains (Chapman, Lang, Ramsey, Sanders) 3:51
7 Thankful (Lang, Ramsey, Sanders) 4:04
Performed by: Lang, Michael McDonald
8 Only a Man (Lang) 4:15
9 Don't Stop (For Anything) (Lang, Ramsey, Sanders) 5:00
10 Anything's Possible (Lang, Ramsey, Sanders) 3:48
11 Last Goodbye (Lang, Ramsey) 3:56
12 On My Feet Again (Carney, Lang, Ramsey, Sanders) 4:23
13 That Great Day (Lang, Ramsey) 4:36
14 It's Not Over (Lang, Ramsey, Sanders) 5:32
15 Outro 0:50
David Angell: Violin
Jim Anton: Bass
Michael Bland: Drums
Sam Bush: Mandolin
Danelle Corbin: Choir, Chorus
David Davidson: Violin, String Arrangements
Ametria Dock: Choir, Chorus
Melinda Doolittle: Vocals (bckgr)
Chris Dunn: Trombone
Jason Eskridge: Vocals (bckgr)
Dean Esther: Choir, Chorus
Barry Green: Trombone
Jim Horn: Sax (Baritone)
Matthew Emery Johnson: Choir, Chorus
Kim Keyes: Vocals (bckgr), Choir, Chorus
Anthony LaMarchina: Cello
Haylie Lang: Vocals
Jonny Lang: Guitar, Piano, Vocals, Choir, Chorus, Producer
Cynthia Matthews: Choir, Chorus
Michael McDonald: Piano, Vocals
Buddy Miller: Guitar
Doug Moffett: Sax (Tenor)
Aaron Pearce: Choir, Chorus, Wurlitzer
Shannon Sanders: Organ, Choir, Chorus, Producer
Chimere Scott: Choir, Chorus
Rebecca Shocklee: Choir, Chorus
Javier Solís: Percussion
Quentin Ware: Trumpet, Horn Arrangements
Sara Watkins: Fiddle
Kristin Wilkinson: Viola
Jackie Wilson: Choir, Chorus
TRACKS
1 Intro 0:17
2 Bump in the Road (Lang, Ramsey, Sanders) 3:40
3 One Person at a Time (Lang, Ramsey, Sanders) 3:02
4 The Other Side of the Fence (Lang, Ramsey, Sanders) 3:04
5 Turn Around (Lang, Pierce, Ramsey) 4:41
6 My Love Remains (Chapman, Lang, Ramsey, Sanders) 3:51
7 Thankful (Lang, Ramsey, Sanders) 4:04
Performed by: Lang, Michael McDonald
8 Only a Man (Lang) 4:15
9 Don't Stop (For Anything) (Lang, Ramsey, Sanders) 5:00
10 Anything's Possible (Lang, Ramsey, Sanders) 3:48
11 Last Goodbye (Lang, Ramsey) 3:56
12 On My Feet Again (Carney, Lang, Ramsey, Sanders) 4:23
13 That Great Day (Lang, Ramsey) 4:36
14 It's Not Over (Lang, Ramsey, Sanders) 5:32
15 Outro 0:50
Monday, February 04, 2008
Kenny Wayne Shepherd - 10 Days Out Blues From The Backroads (2007)
BIOGRAPHY ALLMUSIC (by Steve Huey & Richard Skelly)Kenny Wayne Shepherd and his group exploded on the scene in the mid-'90s and garnered huge amounts of radio airplay on commercial radio, which historically has not been a solid home for blues and blues-rock music, with the exception of Stevie Ray Vaughan in the mid-'80s. Shepherd was born June 12, 1977, in Shreveport, LA. The Shreveport native began playing at age seven, figuring out Muddy Waters licks from his father's record collection (he has never taken a formal lesson). At age 13, he was invited on-stage by New Orleans bluesman Brian Lee and held his own for several hours; thus proving himself, he decided on music as a career. He formed his own band, which featured lead vocalist Corey Sterling, gaining early exposure through club dates and, later, radio conventions. Shepherd's father/manager used his own contacts and pizzazz in the record business to help land his son a major-label record deal with Irving Azoff's Giant Records. Ledbetter Heights, his first album, was released two years later in 1995. Ledbetter Heights was an immediate hit, selling over 500,000 by early 1996. Most blues records never achieve that level of commercial success, much less ones released by artists who are still in their teens. Although Shepherd — who has been influenced by (and has sometimes played with) guitarists Stevie Ray Vaughan, Albert King, Slash, Robert Cray, and Duane Allman — is definitely a performer who thrives in front of an audience, Ledbetter Heights is impressive for its range of styles: acoustic blues, rockin' blues, Texas blues, Louisiana blues. The only style that he doesn't tackle is Chicago blues, owing to Shepherd's home base smack dab in the middle of the Texas triangle. 1998's Trouble Is... earned a Grammy nomination; Live On followed a year later. In 2004 The Place You're In was released on Reprise Records, the first album that featured Shepherd doing the majority of the lead vocals (singer Noah Hunt handled the lead vocals on the previous two albums). Shepherd's next project saw him traveling in the American South with a documentary film crew and a portable recording studio as he backed up several veteran blues players on their home turf. The resulting album and film, 10 Days Out (Blues from the Backroads), appeared in 2007.
CREDITS
Kenny Wayne Shepherd - vocals, guitar
Tommy Shannon - bass guitar
Chris Layton - drums
Guests:
B.B. King
Clarence "Gatemouth" Brown
Pinetop Perkins
Hubert Sumlin
Henry Gray
Bryan Lee
Etta Baker
Buddy Flett
Muddy Waters Band
Cootie Stark
Henry Townsend
George "Wild Child" Butler
Neal Pattman
John Dee Holeman
Jerry "Boogie" McCain
Tommy Shannon - bass guitar
Chris Layton - drums
Guests:
B.B. King
Clarence "Gatemouth" Brown
Pinetop Perkins
Hubert Sumlin
Henry Gray
Bryan Lee
Etta Baker
Buddy Flett
Muddy Waters Band
Cootie Stark
Henry Townsend
George "Wild Child" Butler
Neal Pattman
John Dee Holeman
Jerry "Boogie" McCain
TRACKS
1. Prison Blues (Cootie Stark/Kenny Wayne Shepherd/Neal Pattman)
2. Potato Patch (Jerry "Boogie" McCain/Kenny Wayne Shepherd)
3. Honky Tonk (Buddy Flett/Kenny Wayne Shepherd)
4. The Thrill Is Gone (B.B. King/Kenny Wayne Shepherd)
5. Tina Marie (Bryan Lee/Kenny Wayne Shepherd)
6. Born in Louisiana (Clarence "Gatemouth" Brown/Kenny Wayne Shepherd)
7. Chapel Hill Boogie (John Dee Holeman/Kenny Wayne Shepherd)
8. Tears Came Rollin' Down (Henry Townsend/Kenny Wayne Shepherd)
9. Knoxville Rag (Etta Baker/Kenny Wayne Shepherd)
10. Big Daddy Boogie (Beal "Big Daddy" Pattman/Kenny Wayne Shepherd)
11. U-Haul (Cottie Stark/Kenny Wayne Shepherd)
12. Red Rooster (Henry Gray/Howlin' Wolf Band/Kenny Wayne Shepherd)
13. Sittin' on Top of the World (Howlin' Wolf Band/Hubert Sumlin/Kenny Wayne Shepherd)
14. Spoonful (George "Wild Child" Butler/Howlin' Wolf Band/Kenny Wayne Shepherd)
15. Grindin' Man (Muddy Waters Band/Pinetop Perkins/Kenny Wayne Shepherd)
Sunday, February 03, 2008
Anthony Gomes - Music Is The Medicine (2006)
TRACKS1 Music Is the Medicine (Gomes) 3:41
2 Bluebird (Gomes) 3:38
3 Now She's Gone (Gomes, Peterik) 3:31
4 Stand Up (Gomes, Keagy) 4:04
5 War on War (Gomes, Selby) 5:11
6 Love Is the Answer (Gomes, Huffman) 4:21
7 Everday Superstar (Gomes, McCabe) 4:03
8 Testify (Gomes, Miller, Selby) 3:26
9 Waiting for a Sign (Gomes, Peterik) 3:58
10 What If? (Gomes, McCave) 3:47
11 Run (Gomes, McCabe) 4:15
12 When the Right Woman Does You Wrong (Gomes, Peterik) 6:10
Craig Erickson - Big Highway (2007)
BIOGRAPHY ALLMUSIC (by John Bush)Blues/funk guitarist Craig Erickson learned to play while working in his father's record store in Cedar Rapids, Iowa. He formed his first band at 13, and began playing around the area. Erickson signed a contract with Blues Bureau Intl. in the early '90s, releasing Roadhouse Stomp! in 1992 and Retro Blues Express the following year. Though the albums featured John Onder on bass and Atma Anur on drums, Erickson's regular band — with which he has supported blues legends such as Koko Taylor, Little Ed & the Blues Imperials, Elvin Bishop and Lonnie Brooks — includes bassist Al Robinson and drummer Kerri Collings. Erickson recorded Two Sides of the Blues for a 1995 release, and followed up with Force Majeure one year later. He appeared on tribute albums to Stevie Ray Vaughan and Albert King (Hats Off to Stevie Ray, Fit for a King), and also co-wrote and played on Blues, the solo album by Glenn Hughes (Deep Purple, Trapeze).
Craig Erickson: “Big Highway”, publicado em 22/05/2007
Por Rafael Sartori
Por Rafael Sartori
Para quem gosta de Blues e Rock n’ Roll simples, direto e ‘old school’, Craig Erickson é o cara. O vocalista e guitarrista norte-americano mantém um estilo de compor e tocar muito próximo ao que se fazia há algumas décadas, o que agrada muito os mais puristas.
Sua música, com jeitão ‘old school’, é contagiante e executada com maestria. Os solos e ‘riffs’ não trazem nada de novo, mas são honestos, além de combinarem com a voz grave, e às vezes agressiva, de Erickson. Acompanhando o músico estão Fred “Fingers” Benson no baixo, Jeremy Ackley na bateria e Jason Leroy, convidado especial que toca guitarra e faz backing vocals em algumas faixas.
“Big Highway” é daquele tipo de disco que parece ter sido lançado na década de 70. O mais incrível é que as composições soam poderosas mesmo tão fora de época. Isso porque todas têm cara de clássicos.
Após a abertura matadora com “River Keeps On Rollin”, “Take Me Home” e a faixa-título, Craig Erickson respira um pouco com a balada “Matter Of Time”, com uma base de violão e linhas de voz caprichadas.
Imperdível para os fãs do gênero, ainda mais por tratar-se de um lançamento. Basta ouvir apenas alguns segundos para sacar a intenção e o estilo de Craig Erickson. E não muito mais que isso para ser conquistado pela sonoridade do artista. Afinal, não é qualquer um que consegue ser comparado pela crítica a nomes como Jimi Hendrix, Johnny Winter e Stevie Ray Vaughan.
Sua música, com jeitão ‘old school’, é contagiante e executada com maestria. Os solos e ‘riffs’ não trazem nada de novo, mas são honestos, além de combinarem com a voz grave, e às vezes agressiva, de Erickson. Acompanhando o músico estão Fred “Fingers” Benson no baixo, Jeremy Ackley na bateria e Jason Leroy, convidado especial que toca guitarra e faz backing vocals em algumas faixas.
“Big Highway” é daquele tipo de disco que parece ter sido lançado na década de 70. O mais incrível é que as composições soam poderosas mesmo tão fora de época. Isso porque todas têm cara de clássicos.
Após a abertura matadora com “River Keeps On Rollin”, “Take Me Home” e a faixa-título, Craig Erickson respira um pouco com a balada “Matter Of Time”, com uma base de violão e linhas de voz caprichadas.
Imperdível para os fãs do gênero, ainda mais por tratar-se de um lançamento. Basta ouvir apenas alguns segundos para sacar a intenção e o estilo de Craig Erickson. E não muito mais que isso para ser conquistado pela sonoridade do artista. Afinal, não é qualquer um que consegue ser comparado pela crítica a nomes como Jimi Hendrix, Johnny Winter e Stevie Ray Vaughan.
CREDITS
Craig Erickson - guitar & vocals
Fred "Fingers" Benson - bass
Jeremy Ackley - drums
Special Guest: Jason Leroy - second guitar on track 7, background vocals on tracks 4 & 10
TRACKS
01. River Keeps On Rollin’
02. Take Me Home
03. Big Highway
04. Matter Of Time
05. In The Sky
06. Through With You
07. For Your Love
08. Miracle
09. Midnight Light
10. Driverless Train
11. Stratus
Craig Erickson - guitar & vocals
Fred "Fingers" Benson - bass
Jeremy Ackley - drums
Special Guest: Jason Leroy - second guitar on track 7, background vocals on tracks 4 & 10
TRACKS
01. River Keeps On Rollin’
02. Take Me Home
03. Big Highway
04. Matter Of Time
05. In The Sky
06. Through With You
07. For Your Love
08. Miracle
09. Midnight Light
10. Driverless Train
11. Stratus
Friday, February 01, 2008
Quem é Lance Lopez?
Espetacular e inusitado, são as duas palavras com as quais eu descreveria esse rapaz. Ele toca muito, absurdamente. Seu estilo é à la Hendrix/SRV, lembra bastante os mestres influentes. Já tocou com muitos considerados mestres do blues/jazz e seguiu em turnê com os membros da Double Trouble e da Band of Gipsys (respectivamente as bandas de SRV e Hendrix) fundando até uma banda chamada Band of Trouble em homenagem. Bom, falar mais o que? Só ouvindo pra saber mais...
Lance Lopez - Live (2007)
REVIEWKiller “Live” disc from bad-ass Dallas blues/rock stratmaster Lance Lopez featuring 8 tracks (65 minutes) of brain-damaging, over-the-top, raw, gut-wrenching, Hendrix- inspired, blues/rock heavy guitar power trio fury captured “live without a net”. Recorded “Live in Holland” on his Euro-2000 tour, L.L. goes straight for the jugular and takes no prisoners as he unleashes a torrential downpour of killer riffage and mind-blowing licks from his beat-up Strat. The “LIVE” disc is further proof and a testament to the fact that Lance Lopez reigns supreme in the world of serious bluesy heavy guitar rock.
Coming straight out of the gate with a killer, heavy version of "Spanish Castle Magic" by James Marshall Hendrix, Brother Lance Lopez makes his presence known and pays “homage” to our “Main Man” and does the “Father of Heavy Guitar” proud with his raw, hard-assed, unabashed version. LL is “on fire” as he rips his poor axe apart like a “pitbull on steroids” on this track & thru-out the killer “Live” disc, ending the disc on a good bluesy note with a phenomenal 12 minute “slow blues burner” in the form of the classic, self-penned “Everytime I Turn Around”. Complete with an outstanding 5 minute instrumental slow blues guitar intro jam featuring the Dallas stratmaster diggin’ deep in his back pocket for dynamic, fluid blues licks on par with the late, great SRV, ”Everytime I Turn Around” is what the REAL blues are all about and this stellar track is L.L.’s ultimate “musical tribute” to the blues. As an added bonus and as our way of saying thanks, we have included a mind-bending, awesome, over-the-top, extended Live version of “Hear My Train A Comin’” as a “HIDDEN BONUS TRACK” on the “Live” disc where Lance Lopez takes his guitar rite over the edge and into a new heavy guitar dimension. L.L. plays his guitar on this killer Hendrix jam like a man possessed and as if his damn life depended on it. As if the “Live” disc wasn't kool enough, this killer heavy guitar “bonus” jam alone is worth the price of admission. Somewhere in Heavy Guitar Heaven Brother Jimi is smiling down upon us.
The Lance Lopez: "Live" disc is a killer slab of brain-damaging, blues/rock heavy guitar madness that is HIGHLY recommended to fans of HENDRIX (long live the musical spirit of JIMI), FRANK MARINO, ROBIN TROWER, ERIC GALES, KING'S X, S.R.V., DOYLE BRAMHALL, EDDIE HAZEL, LENNY KRAVITZ (imagine Lenny Kravitz meets Hendrix!!!), STEVIE SALAS, RICHIE KOTZEN, JOE BONAMASSA, (early vintage) ZZ TOP, INDIGENOUS, CRAIG ERICKSON, BUDDAHEADS, SKY HIGH & CLAS YNGSTROM, WES JEANS, KAMCHATKA and just about any other killer get-down rippin' blues/rock axeslingers you have ever heard. Fans of his four previous killer Grooveyard discs: “Wall of Soul”, “Simplify Your Vision”, “Higher Ground” & “First Things First” will heavily dig the awesome “Live” disc. You can run but you can’t hide from the blues/rock heavy guitar fury of the bad-ass Dallas axeripper. L.L. is gonna getcha on the “Live” disc.
Coming straight out of the gate with a killer, heavy version of "Spanish Castle Magic" by James Marshall Hendrix, Brother Lance Lopez makes his presence known and pays “homage” to our “Main Man” and does the “Father of Heavy Guitar” proud with his raw, hard-assed, unabashed version. LL is “on fire” as he rips his poor axe apart like a “pitbull on steroids” on this track & thru-out the killer “Live” disc, ending the disc on a good bluesy note with a phenomenal 12 minute “slow blues burner” in the form of the classic, self-penned “Everytime I Turn Around”. Complete with an outstanding 5 minute instrumental slow blues guitar intro jam featuring the Dallas stratmaster diggin’ deep in his back pocket for dynamic, fluid blues licks on par with the late, great SRV, ”Everytime I Turn Around” is what the REAL blues are all about and this stellar track is L.L.’s ultimate “musical tribute” to the blues. As an added bonus and as our way of saying thanks, we have included a mind-bending, awesome, over-the-top, extended Live version of “Hear My Train A Comin’” as a “HIDDEN BONUS TRACK” on the “Live” disc where Lance Lopez takes his guitar rite over the edge and into a new heavy guitar dimension. L.L. plays his guitar on this killer Hendrix jam like a man possessed and as if his damn life depended on it. As if the “Live” disc wasn't kool enough, this killer heavy guitar “bonus” jam alone is worth the price of admission. Somewhere in Heavy Guitar Heaven Brother Jimi is smiling down upon us.
The Lance Lopez: "Live" disc is a killer slab of brain-damaging, blues/rock heavy guitar madness that is HIGHLY recommended to fans of HENDRIX (long live the musical spirit of JIMI), FRANK MARINO, ROBIN TROWER, ERIC GALES, KING'S X, S.R.V., DOYLE BRAMHALL, EDDIE HAZEL, LENNY KRAVITZ (imagine Lenny Kravitz meets Hendrix!!!), STEVIE SALAS, RICHIE KOTZEN, JOE BONAMASSA, (early vintage) ZZ TOP, INDIGENOUS, CRAIG ERICKSON, BUDDAHEADS, SKY HIGH & CLAS YNGSTROM, WES JEANS, KAMCHATKA and just about any other killer get-down rippin' blues/rock axeslingers you have ever heard. Fans of his four previous killer Grooveyard discs: “Wall of Soul”, “Simplify Your Vision”, “Higher Ground” & “First Things First” will heavily dig the awesome “Live” disc. You can run but you can’t hide from the blues/rock heavy guitar fury of the bad-ass Dallas axeripper. L.L. is gonna getcha on the “Live” disc.
TRACKS
1. Spanish Castle Magic
2. There Is Love
3. Killing Floor
4. Mr. Rattlesnake
5. The Brick
6. I'm Doin' Fine
7. Walk It
8. Every Time I Turn Around
1. Spanish Castle Magic
2. There Is Love
3. Killing Floor
4. Mr. Rattlesnake
5. The Brick
6. I'm Doin' Fine
7. Walk It
8. Every Time I Turn Around
Lance Lopez - Wall Of Soul (2004)
REVIEW"Wall Of Soul", the second studio disc from young, gifted blues/rock axeslinger Lance Lopez of Dallas, Texas, features 12 killer trax (62 minutes) of outstanding,
powerful, intense, bad-ass, funky, bluesy, retro-70's Hendrixy heavy guitar power trio rock of the highest order.
On "Wall Of Soul" (his first disc for GROOVEYARD RECORDS, a new label dedicated to TOTAL GUITAR), Lance Lopez digs deep and produces an amazing set of awesome powerful bluesy heavy guitarriffage that is all his own and easily hits classic status. Lance Lopez is a true heavy guitar hero andriffmaster supreme. He also has an amazing powerful soulful voice that is the perfect match for his tough, bad-ass heavy guitar riffage. The "Wall Of Soul" disc is by far his finest hour and ultimate musical statement to date.
In creating the music for the "Wall Of Soul" disc, Lance Lopez has found the ultimate rhythm section to round out his heavy power trio in the form of John Garvin on drums and Daniel Williams on bass. Two awesome players in their own rite who lay down the perfect foundation / groove for brother Lance to trip his awesome heavy guitar riffage upon. And as an added bonus, the "Wall Of Soul" disc features special guests and good musical brothers ERIC GALES and DOUG PINNICK (KING'S X) on several killer trax. Eric Gales co-produced and lends his mega-awesome rippin' Hendrixy heavy guitar riffage on 3 killer trax and Doug Pinnick sings lead vocals on the epic classic last track: "Time", an amazing deep nine minute musical document that features both Eric Gales and Doug Pinnick along with brother Lance. "Time" is the perfect way to wind-down this amazing disc. The "Wall Of Soul" disc also features two killer heavy bad-ass cover trax in the form of "Spanish Castle Magic" by Jimi Hendrix and "Shame The Devil", a way-kool obscure Robin Trower track. Brother Lance gets down hard and does musical justice on both trax.
"Wall Of Soul" is an awesome heavy guitar disc that is HIGHLY recommended to fans of JIMI HENDRIX (long live the musical spirit of JIMI), ROBIN TROWER, FRANK MARINO, ERIC GALES,KING'S X, S.R.V., DOYLE BRAMHALL, EDDIE HAZEL, LENNY KRAVITZ (imagine Lenny Kravitz meets Hendrix!!!), STEVIE SALAS, RICHIE KOTZEN, JOE BONAMASSA, SKY HIGH and just about any other killer get-down rippin' blues/rock axeslingers you have ever heard. Lance Lopez is the "real" deal and he's definitely right up there with the best of them.
Combining a kool youthful funky image with musical skills that are unparalleled in the genre, Lance has played guitar with Buddy Miles & Lucky Peterson, gigging regularly in and out of Texas with his trio. He has also done several tours of Europe, opening for such notables as B.B. King and Steve Vai. Lance Lopez has built up a solid reputation as one of the up and coming heavy guitar stars on the scene.
The "Wall Of Soul" disc is the perfect platform for this rising young guitar star to step upon and reach the wider recognition and credit that he truly deserves. Never has there been a better time to take a musical trip with Lance Lopez on the "Wall Of Soul".
powerful, intense, bad-ass, funky, bluesy, retro-70's Hendrixy heavy guitar power trio rock of the highest order.
On "Wall Of Soul" (his first disc for GROOVEYARD RECORDS, a new label dedicated to TOTAL GUITAR), Lance Lopez digs deep and produces an amazing set of awesome powerful bluesy heavy guitarriffage that is all his own and easily hits classic status. Lance Lopez is a true heavy guitar hero andriffmaster supreme. He also has an amazing powerful soulful voice that is the perfect match for his tough, bad-ass heavy guitar riffage. The "Wall Of Soul" disc is by far his finest hour and ultimate musical statement to date.
In creating the music for the "Wall Of Soul" disc, Lance Lopez has found the ultimate rhythm section to round out his heavy power trio in the form of John Garvin on drums and Daniel Williams on bass. Two awesome players in their own rite who lay down the perfect foundation / groove for brother Lance to trip his awesome heavy guitar riffage upon. And as an added bonus, the "Wall Of Soul" disc features special guests and good musical brothers ERIC GALES and DOUG PINNICK (KING'S X) on several killer trax. Eric Gales co-produced and lends his mega-awesome rippin' Hendrixy heavy guitar riffage on 3 killer trax and Doug Pinnick sings lead vocals on the epic classic last track: "Time", an amazing deep nine minute musical document that features both Eric Gales and Doug Pinnick along with brother Lance. "Time" is the perfect way to wind-down this amazing disc. The "Wall Of Soul" disc also features two killer heavy bad-ass cover trax in the form of "Spanish Castle Magic" by Jimi Hendrix and "Shame The Devil", a way-kool obscure Robin Trower track. Brother Lance gets down hard and does musical justice on both trax.
"Wall Of Soul" is an awesome heavy guitar disc that is HIGHLY recommended to fans of JIMI HENDRIX (long live the musical spirit of JIMI), ROBIN TROWER, FRANK MARINO, ERIC GALES,KING'S X, S.R.V., DOYLE BRAMHALL, EDDIE HAZEL, LENNY KRAVITZ (imagine Lenny Kravitz meets Hendrix!!!), STEVIE SALAS, RICHIE KOTZEN, JOE BONAMASSA, SKY HIGH and just about any other killer get-down rippin' blues/rock axeslingers you have ever heard. Lance Lopez is the "real" deal and he's definitely right up there with the best of them.
Combining a kool youthful funky image with musical skills that are unparalleled in the genre, Lance has played guitar with Buddy Miles & Lucky Peterson, gigging regularly in and out of Texas with his trio. He has also done several tours of Europe, opening for such notables as B.B. King and Steve Vai. Lance Lopez has built up a solid reputation as one of the up and coming heavy guitar stars on the scene.
The "Wall Of Soul" disc is the perfect platform for this rising young guitar star to step upon and reach the wider recognition and credit that he truly deserves. Never has there been a better time to take a musical trip with Lance Lopez on the "Wall Of Soul".
TRACKS
1. Love/Hate Relationship
2. Looks So Good
3. Didja
4. Cardboard Sign
5. Alone In Love
6. I Don't Want No More (with ERIC GALES)
7. Shame The Devil
8. What Goes Around Comes Around
9. Quarter, Nickel Or A Dime (with ERIC GALES)
10. Idle Time
11. Spanish Castle Magic
12. Time (with DOUG PINNICK & ERIC GALES)
Download
1. Love/Hate Relationship
2. Looks So Good
3. Didja
4. Cardboard Sign
5. Alone In Love
6. I Don't Want No More (with ERIC GALES)
7. Shame The Devil
8. What Goes Around Comes Around
9. Quarter, Nickel Or A Dime (with ERIC GALES)
10. Idle Time
11. Spanish Castle Magic
12. Time (with DOUG PINNICK & ERIC GALES)
Download
Thursday, January 31, 2008
North Mississippi Allstars - Hernando (2008)
REVIEW ALLMUSIC (by Steve Leggett)The North Mississippi Allstars have stripped things down a bit for Hernando, their fifth studio album and the first for the group's recently launched label Songs of the South, merging their usual Southern folk blues sound with elements of metal and even a touch of swing, all of it done with the lean efficiency of a maturing power trio. Led by Luther Dickinson's soaring slide guitar work and anchored by a thundering rhythm section of brother Cody Dickinson on drums and Chris Chew on bass, NMA on Hernando are no less than an obvious continuation of the late-'60s blues-rock tradition of Cream and the Jimi Hendrix Experience, with a little bit of AC/DC strut thrown in, and while the result isn't perhaps their best album, it isn't far off the mark, either. Recorded and produced by the legendary Jim Dickinson (father of Luther and Cody) at his Zebra Ranch Studio in Coldwater, MS, just a stone's throw up Highway 51 from the band's hometown of Hernando (hence the title), the sound is crisp and thundering, but still retains the ragged looseness that is a NMA trademark and is also one of its biggest strengths. This is blues-rock done Mississippi style, and if NMA swaps out a little of its hometown R.L. Burnside/Otha Turner leanings for the Led Zeppelin side of the equation, it isn't a drastic shift, and songs like "Keep the Devil Down" and "Eaglebird" (which features Cody Dickinson on electric washboard of all things and carries a co-writing credit for Kid Rock's bass player Aaron Julison) would fit seamlessly into any of NMA's live sets from the past ten years. Other highlights include the energetic skip-a-long "Mizzip," "Come Go with Me" (with a guest vocal from James Mathus), and a startling version of Champion Jack Dupree's "I'd Love to Be a Hippie" (sung by bassist Chew and featuring piano from East Memphis Slim) that is easily the most striking track on Hernando. Cut after cut veers off in interesting ways, and Luther Dickinson's guitar leads are always dangerously reckless and thrilling, echoing early Hendrix at times. The only thing missing on Hernando is that North Mississippi fife and drum tradition that NMA have so wonderfully updated for the rock era on past albums. It's understandable that the band might want to move on from that approach a little (and truthfully, it stills hovers here intangibly in the background), but they have always done it so well that Hernando seems strangely incomplete and unfinished without it.
CREDITS
Chris Chew: Bass, Vocals
Cody Dickinson: Guitar, Drums, Vocals, Washboard
Jim Dickinson: Producer
Luther Dickinson: Guitar, Vocals
East Memphis: Slim Piano
Amy LaVere: Bass (Upright)
James Mathus & His Knockdown Society: Vocals
TRACKS
1 Shake North 3:00
(North Mississippi Allstars)
2 Keep the Devil Down 3:50
(Malcolm, North Mississippi Allstars)
3 Soldier 5:59
(North Mississippi Allstars
4 Eaglebird 2:17
(Boyce, Julison, North Mississippi Allstars)
5 I'd Love to Be a Hippy 4:54
(Dickinson, Dupree)
6 Mizzip 2:47
(Dickinson)
7 Blow Out 1:34
(North Mississippi Allstars)
8 Come Go with Me 3:35
(Mathus, North Mississippi Allstars)
9 Rooster's Blues 3:23
(Dickinson, Selvidge)
10 Take Yo Time, Rodney 3:53
(Evans, North Mississippi Allstars)
11 Long Way from Home 5:13
(Finney)
Chris Chew: Bass, Vocals
Cody Dickinson: Guitar, Drums, Vocals, Washboard
Jim Dickinson: Producer
Luther Dickinson: Guitar, Vocals
East Memphis: Slim Piano
Amy LaVere: Bass (Upright)
James Mathus & His Knockdown Society: Vocals
TRACKS
1 Shake North 3:00
(North Mississippi Allstars)
2 Keep the Devil Down 3:50
(Malcolm, North Mississippi Allstars)
3 Soldier 5:59
(North Mississippi Allstars
4 Eaglebird 2:17
(Boyce, Julison, North Mississippi Allstars)
5 I'd Love to Be a Hippy 4:54
(Dickinson, Dupree)
6 Mizzip 2:47
(Dickinson)
7 Blow Out 1:34
(North Mississippi Allstars)
8 Come Go with Me 3:35
(Mathus, North Mississippi Allstars)
9 Rooster's Blues 3:23
(Dickinson, Selvidge)
10 Take Yo Time, Rodney 3:53
(Evans, North Mississippi Allstars)
11 Long Way from Home 5:13
(Finney)
Thursday, January 24, 2008
Todd Wolfe Blues Project - Live From Manny's Car Wash (1999)
Review
Todd Wolfe spent five years playing guitar behind pop songstress Sheryl Crow. Now he fronts his own band, a strongly blues-based rock outfit whose first recording, Live From Manny's Car Wash, delivers heavyweight guitar heroics from the old school. The players are finely tuned and capable of expressive dynamics: bassist Eric Massimino and drummers Yves Gerard and Paul Unsworth don't sound strictly like moonlighting rockers, while keyboardist Mike Lattrell, with his supportive rhythm work and strong soloing, is a tremendous asset. Wolfe's guitar sensibility is a rock 'n' roller's, bringing a searing quality to the band's Cream-y explorations. That's a useful point of comparison for Wolfe's style: Drop the needle (as it were) anywhere on Live, and you'll hear strong echoes of Eric Clapton's playing. Wolfe has adopted the legato note-cramming and highly ornamented approach of latter-period Clapton. He's imaginative, varying his attack song by song, and it's refreshing to discover a guitarist who doesn't smack of Texas or the West Coast. Wolfe's tone isn't far from Clapton's, though judging from the high noise level in his signal, his compression comes from a high-gain amp rather than from his pickups. Wolfe doesn't sound like a natural singer, but he gives a spirited and relatively unmannered performance. The set list is a traditional, with selections such as "Same Thing," "Evil," "I Can't Quit You Baby" and "Homework." A high-energy "Stop Messin' Round," from Fleetwood Mac (possibly via Gary Moore), keeps the Brit Flag flying. Wolfe shows his songwriting hand only on "Four Walls," a Son House-style Delta slider arranged for a band, and the excruciating warp-speed power boogie "On the Run." So Live serves as a calling card, introducing Wolfe and his guitar but revealing little of the artist. For many that will be enough, and this is quite a good album in "gunslinger" terms. TOM HYSLOP
Credits:
Guitar/Vocals: Todd Wolfe
Bass: Eric Massimino
Keyboards: Mike Lattrell
Drums/Back Vocals: Yves Gerard
Drums {1,2,5,7}: Paul Unsworth
Tracks:
1 I Can't Quit You Baby (Dixon) 7:08
2 Evil (Dixon) 6:19
3 Stop Messin' Round (Adams, Green) 2:55
4 On the Run (Bryan, Lawrence, Massimino, Weintraub, Wolfe) 4:28
5 Same Thing (Dixon) 11:24
6 You Gonna' Wreck My Life (Burnett) 8:17
7 Four Walls (Wolfe) 4:44
8 Homework (Clark, Perkins, Rush) 4:25
9 Eyesight to the Blind (Williamson) 8:24
George Thorogood and The Destroyers - The Hard Stuff (2006)
George Thorogood é um típico guitarrista norte-americano de blues-rock. Sua carreira, que cobre mais de três décadas liderando a banda The Destroyers, o levou ao topo da pirâmide do blues, criando os clássicos "Bad to the Bone", "I Drink Alone" , "Get a Haircut" e "One Bourbon, One Scotch, One Beer", entre muitos outros. Este novo álbum renova seu talento, além do esperado, com músicas novíssimas como "The Hard Stuff" - que dá nome ao disco - e "Anytown USA", e os sucessos "Huckle Up" de John Lee Hooker, e "Hello Josephine", de Fats Domino. Não deixe de conferir!Tracks
1 Hard Stuff (Hambridge, Suhler, Thorogood) 3:51
2 Hello Josephine (Bartholomew, Domino) 3:05
3 Moving (Burnett) 4:13
4 I Got My Eyes on You (Morgan) 3:32
5 I Didn't Know (Hambdrige, Thorogood) 2:56
6 Any Town USA (Hambridge, Suhler, Thorogood) 4:16
7 Little Rain (Abner, Reed) 4:09
8 Cool It! (Suhler) 3:01
9 Love Doctor (Fleming, Hambdrige) 3:39
10 Dynaflow Blues (Shines) 3:45
11 Rock Party (Smith) 4:22
12 Drifter's Escape (Dylan) 3:15
13 Give Me Back My Wig (Taylor) 4:25
14 Takin' Care of Business (Toombs) 4:12
15 Huckle up Baby (Besman, Hooker) 3:59
Credits:
Billy Blough: Bass
Tom Hambridge: Percussion, Vocals (bckgr)
Jeff Simon: Drums
Rick Steff: Piano, Accordion
Jim Suhler: Guitar
George Thorogood: Guitar, Vocal
Wednesday, January 23, 2008
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