Artist: The Shadows
     Album: It Ain't Easy Being Sleazy
     Label: Ichiban
     Year: 1993
     Genre: Blues
     Tracks: 15
     Format: mp3, Bitrate: @ VBR 320
     File Size: 62 MB + 62 MB

     Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob. In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released. Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running. ~ Jason Birchmeier, All Music Guide

     Artists: V.A
     Album: Big Blues Extravaganza - The Best Of Austin City Limits
     Year: 1998
     Label: Sony
     Genre: Blues
     Bitrate: Mp3 - CBR 320
     Size: 155,04 MB

     Here's a bountiful blues buffet from deep in the heart of Texas, courtesy of the long-running Austin City Limits television series. Texas talents--including Lightnin' Hopkins, represented by a suitably idiosyncratic "Rock Me Baby"; the razor-sharp Albert Collins, ripping through "Travellin' South" in front of a horn-powered band; and W.C. Clark, the godfather of the Austin blues scene, who sparkles on a song by hometown hero Willie Nelson--make the most of their spotlight time. And, naturally, there's Stevie Ray Vaughan, who leads Double Trouble through a tight and tasty "Love Struck Baby." Jimmie Vaughan's tribute to his blues brother, "Six Strings Down," follows in an example of the collection's creative sequencing. In like manner Gatemouth Brown's "Born in Louisiana" leads into Dr. John's New Orleans version of "Since I Fell for You," and Clark's rendition of "Ain't It Funny How Time Slips Away" segues into B.B. King's personalized cover of Nelson's classic "Night Life." The honorary Austinites, including a rambunctious Buddy Guy and a solo Rory Block, also make considerable contributions, the best probably being Taj Mahal bouncing through "Queen Bee" with Ben Harper on slide guitar, although Keb' Mo's straightahead "Tell Everybody I Know" isn't far behind. ~ Michael Point

     Format : DivX 5.0
     Video: 640x480, 25 fps, 1493 Kb/s
     Audio: Mp3 192 Kb/s, 2CH, 44 Hz
     Time: 52:58 min
     Size: 642 MB


     В этом фильме можно не только послушать таких представителей Boogie 30-х, как: Albert Ammons, Meade 'Lux' Lewis и даже Count Basie, но и посмотреть на их виртуозные манеры исполнения.

     Artist: Rory Gallagher
     Album: Photo Finish
     Year: 1978
     Genre: Blues
     Format, bitrate: 160 кбит/сек
     Size: 57 Мб

Предлагаю вашему вниманию еще один альбом ирландского гитариста Рори Галахера. На мой взгляд один из его лучших альбомов.

Remixed and expanded (with two additional tracks recorded but chopped off the vinyl version) for its debut on CD in 1999, this is a sturdy, workmanlike Rory Gallagher release. Reverting back to a trio, Gallagher toughens up his sound and blazes through some robust blues rockers like "Last of the Independents," "Shadow Play," and "Brute Force & Ignorance" (one of his best hard rock riffs) with nervy energy. Gallagher's swampy side emerges on "Cloak & Dagger," another song that explores his fascination with B-movie gumshoes, a common theme for the Irish blues-rocker. His guitar work is typically excellent throughout, especially on "Overnight Bag," as he overdubs himself on acoustic. Still, the album has a samey feel due to some of the songwriting not being quite up to snuff, and a few tracks, like the moody, slow-burning "Feel to the Fire," stretched well past its breaking point to over six minutes. Of the two additional tunes, "Early Warning" is a typically rugged chunky rocker, and "Juke Box Annie" explores the guitarist's jaunty, slightly funky country style. Neither is essential, but both will be important finds for the Gallagher collector. Brother Donal's liner and track notes are short yet informative, and the sound is an enormous improvement over the original version. There is a remarkable clarity and fullness to the bass, along with a definition that exposes heretofore unheard instruments like the mandolin on "Brute Force..." and hand claps on "Cruise On Out," both previously buried in the mix. Not a great Rory Gallagher album, but a rock-solid one that won't disappoint established fans. Hal Horowitz, AMG

     Artist: Stevie Wonder
     Album:Talking Book
     Label: MOTOWN
     Year: 1972
     Genre: Rhythm-n-Blues
     Format, bitrate: 192 кбит/сек
     Size: 59,5 Mb

Заметил, что талантливейший музыкант, мульти-инструменталист не представлен в клубе.
Предлагаю вашему вниманию один из альбомов золотого периода музыканта.

After releasing two "head" records during 1970-71, Stevie Wonder expanded his compositional palate with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances -- altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Stevie's not always singing a tender ballad here -- in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs -- but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material (just as Marvin Gaye had with the social protest of 1971's What's Going On). The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta and her sister Yvonne Wright contributed three great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder LP before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause. ~ John Bush, All Music Guide

     Artist: Tab Benoit
     Album: Live! Swampland Jam
     Label: Vanguard Records
     Year: 1997
     Format: mp3, Bitrate: @ CBR 320
     Size: 77 MB + 74 MB

     This album is Tab's personal favorite. He has always considered himself more of a live performer than a recording artist. We got together a group of old friends; Raful Neal, Henry Gray, Tabby Thomas, Chubby Carrier, and Johnny Sansone for two sold-out shows in Louisiana. Tab called everyone on-stage in succession to jam, blues revue-style. The energy at these shows was amazing. The album, unlike most live recordings, is not a greatest hits record. None of the tracks appear on previous Tab records. This record is a raw-sounding blues powerhouse. If you play it straight through from start to finish, you feel like you've just been to one great party!

Artist: The Shadows
Album: Party Tuff Or Stay Home
Label: Wild Dog
Year: 1995
Genre: Blues
Tracks: 12
Format: mp3, Bitrate: @ VBR 320
File Size: 54 MB + 56 MB

Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob. In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released. Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running. ~ Jason Birchmeier, All Music Guide

Artist: The Shadows
Album: Party Tuff Or Stay Home
Label: Ichiban
Year: 1992
Genre: Blues
Tracks: 11
Format: mp3, Bitrate: @ VBR 320
File Size: 80 MB

Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob. In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released. Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running... Jason Birchmeier, AMG

Artist: Eric Clapton
Album: The Very Best - Blues And Ballads
Released date: 1996
Country: England
Genre: blues, Rock
Format, Bitrate: APE (Extra High) + CUE, lossless
Total Size: 390.14 Mb

Лучшие блюзы и баллады одного из величайших виртуозов-гитаристов - Эрика Клэптона.

Since then Clapton has steadily released studio, live, and movie soundtrack records that stick to a careful and instantly recognizeable blend of blues, R & B, reggae, and pop. Some of this work has been successful not just commercially but artistically, but there are plenty of late-period stinkers as well. The problem is that Clapton has shown little of his early interest in pushing the boundaries of rock and roll. Instead, he's often put songwriting, production, and backing performance responsibilities in the hands of faceless studio automatons, rehashing his mellow balladeering and generic corporate "rock" on album after album. May the buyer beware...

Artist: L. A. Blues Alliance
Album: What a Live
Year: 27 Jun 2007
Genre: Blues, Modern Blues
Record Label: Babyree Recordings
Format, Bitrate: FLAC; mp3, ABR, 320 kbps
Size: FLAC - 446.37 Mb, mp3 - 145.98 MB

Mike Post is best known for composing the theme songs for such hit TV shows as {#Law & Order}, {#Rockford Files} and {#Hill Street Blues}. So, it may come as a surprise that another side of his musical passion is the blues!
The initial disc by Post assembled L.A. Blues Alliance to record What a Life live in the studio; they did it with only a few takes, if that, allotted for each track and a democratic vibe in which each musician brought in both originals and blues favorites to the sessions. Along with production duties, Post took it upon himself to assemble a crack band that consists of guitarists W.G. Snuffy Walden, Keb' Mo' and Sonny Landreth, vocalist Amy Keys, bassist Bob Glaub, keyboardists David Morgan and Mike Finnigan, drummer John Robinson, and Stan Behrens switching between harmonica and tenor sax. Of the 15 tracks, eight are cover versions. Far too often on hastily assembled recordings of this nature, "cover versions" can be translated to mean generic or geriatric; but, upon first hearing Johnny Cash's "I Walk the Line," reinterpreted as a gutbucket blues, it becomes clear that this is definitely not a paint-by-numbers affair. The musicians don't get hung up on one specific style of blues; they cover a lot of ground, paying homage along the way to Howlin' Wolf "Who's Been Talkin,'" Son House "Death Letter," Big Joe Turner "T.V. Mama," Skip James "Illinois Blues," Clyde McPhatter "Money Honey," Smokey Robinson "Shop Around," and Stevie Wonder "Maybe Your Baby." L.A. Blues Alliance is a rewarding musical endeavor that has the potential to go beyond a one shot dream project. ~ Al Campbell, All Music Guide

Artist: Christine McVie
Album: The Legendary Christine Perfect
Format: MP3 VBR
Size: 109,73 MB
Label: Blue Horizon
Total time: 00:37:09


In 1976, Sire Records issued the first U.S. release of what was a mega-import of the Blue Horizon 1970 U.K. release, an album called simply Christine Perfect, the maiden name of Christine McVie. You don't need a crystal ball to tell you the album is classic and tremendous -- the big surprise is that it didn't go multi-platinum in this country. Record executive Seymour Stein's liner notes are excellent, Stein having worked at Billboard magazine before becoming the industry legend; indeed, it takes a record man like Stein to actually give the fans hardcore facts not usually found in essays that decorate the backs of album covers. There are 12 tracks, and the liner notes declare "I'd Rather Go Blind" went Top Ten in the U.K. It deserved to, but there's more here than the very good reading of the Etta James hit that "I'd Rather Go Blind" was. "When You Say" has strings and production that sound hauntingly like a Marianne Faithful track on London or Nico's work on Immediate. The big difference is that, by the time this album was released in America, Christine McVie was pretty much a household name. It doesn't sound like Fleetwood Mac but, surprise of surprises, John McVie and Danny Kirwan of the Mac are performng on that tune. "Wait and See" is a real treasure, while "And That's Saying a Lot" is such a shift in mood that it starts to sink in what a complex and complete recording this is. The listener really has to stand back from McVie's fame and just hear the music for what it is, a superb presentation by a commercial voice with solid backup. "No Road Is the Right Road" changes the vibe again, and maybe that's a result of the array of talent, from Chicken Shack (her original band), to Yardbirds guitarist Top Topham, to Rick Hayward (later of Savoy Brown). As for the arrangements, Terry Noonan, John Bennett, and Derek Wadsworth all lend their talents. "For You" is neo-rockabilly with that Dave Edmunds sound from "I Hear You Knocking," but try on "I'm Too Far Gone (To Turn Around)" -- what a stunner -- Fleetwood Mac performing a '50s-style ballad. This could have been such a huge hit when Fleetwood Mac started to flounder a bit after all the dysfunction -- dipping into the bag of old tricks would have been a neat ploy for radio play. With all the attention on her major band, too many copies of this Sire release ended up in cutout bins. What a sin, as there is much more to The Legendary Christine Perfect Album than just hype. From liner notes to cover photos, and the phenomenal sounds within, when fans of Fleetwood Mac need a fix for their obsession, this is the album to pull out and play. ~ Joe Viglione, All Music Guide

     Artist: The Shadows
     Album: Pale Interpretators
     Label: Wild DOg
     Year: 1997
     Genre: Blues
     Tracks: 12
     Format: mp3, Bitrate: @ VBR 320
     File Size: 93 MB


Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob. In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released. Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running.

   Artist: Jeff Strahan
   Album: Amen to the Blues
   Year: 2008
   Record Label: Squaw Peaks Records
   Country: USA
   Format, Bitrate: FLAC; mp3, 256 kbps
   Size: FLAC - 330.25 MB, mp3 - 99.35 MB

     Artist: Buckwheat Zydeco
     Album: One for the Road
     Year: 1992
     Label: Paula Records
     Size: 85,98 MB
     Format: CBR 320 kbits


Contemporary zydeco's most popular performer, accordionist Stanley "Buckwheat" Dural was the natural successor to the throne vacated by the death of his mentor Clifton Chenier; infusing his propulsive party music with strains of rock and R&B, his urbanized sound -- complete with touches of synthesizer and trumpet -- married traditional and contemporary zydeco with uncommon flair, in the process reaching a wider mainstream audience than any artist before him. Dural was born in Lafayette, Louisiana on November 14, 1947; with his braided hair, he soon acquired the nickname "Buckwheat" (an homage to the Our Gang character), and by the age of four was already touted as a piano prodigy. Although often exposed to traditional zydeco as a child, he preferred R&B, and by the mid-1950s was playing professionally with Lynn August; Dural's notoriety as a keyboardist quickly spread, and he also backed notables including Joe Tex and Clarence "Gatemouth" Brown. In 1971, Dural founded Buckwheat and the Hitchhikers, a 16-piece funk band which he led for the next half-decade; however, in 1976 he finally fell under zydeco's sway when recruited to back Chenier -- a friend of his father -- on tour. Originally brought on as an organist, Dural picked up the accordion within two years and began learning from the master himself; rechristening himself Buckwheat Zydeco, he formed his own combo by 1979, the Ils Sont Partis Band (translated as "They're off!, " so named in honor of the cry heard at the beginning of each horse race at the Lafayette track). Upon signing to the Blues Unlimited label, the group debuted in 1979 with One for the Road, followed in 1980 by Take It Easy, Baby. After 1983's 100% Fortified Zydeco, the group moved to the Rounder label, where they issued the Grammy-nominated Turning Point; its 1985 follow-up, Waitin' for My Ya Ya, was similarly honored. In 1986, New York-based music critic Ted Fox helped Buckwheat Zydeco land a deal with Island Records, in the process becoming the first zydeco act ever signed to a major label; Fox subsequently acted as their producer as well. The group made their Island debut in 1987 with the acclaimed On a Night Like This, another Grammy nominee; that same year they also appeared in the hit movie The Big Easy, further increasing their public visibility. Taking It Home followed in 1988, but after 1990's Where There's Smoke There's Fire, Buckwheat Zydeco was dropped by Island, signing to Charisma for 1992's On Track. The years to follow saw the band drifting from one label to another, signing to Warner for 1994's Choo Choo Boogaloo, then hopping to Atlantic for 1997's Trouble; although their commercial fortunes may have dipped, they remained hugely popular as a live attraction, despite purists' charges of commercialism, and celebrated two decades of music in 1999 with The Buckwheat Zydeco Story: A 20 Year Party. ~ Jason Ankeny, All Music Guide

     Artist: The Smokin' Joe Kubek Band
     Album: Texas Cadillac
     Label: Rounder Records
     Year: 1994
     Genre: Electric Texas Blues
     Format, bitrate: EAC/CD Image/Flac+Cue/Covers
     Size: 345Mb

Smokin' Joe Kubek's third Rounder album juggles blues-rock originals with faithful, exuberant covers of Jimmy Reed, Willie Dixon, Muddy Waters and Little Walter Jacobs, among others. Kubek is a good, sometimes captivating guitarist and entertaining singer, if not the greatest pure vocalist, and the band rips through the 11 cuts in a relaxed, yet passionate fashion. But it's hard for any longtime blues fan to get excited over hearing another version of "Little Red Rooster" or "Mean Old World"; it's impossible to reinvent Delta, urban, Texas or West Coast blues. The solution is probably to make the best music you can and hope you hook those willing to listen to contemporary blues rather than spurn it for the originals.