Artist: John Mayall& The Bluesbreakers
     Album: Newport Jazz Festival '91
     Label: bootleg
     Year: 1991
     Format: lossless (flac tracks+cue+log)
     Time: 50:37
     Size: 299 Mb




     John Mayall & The Bluesbreakers are a pioneering English blues band, led by singer, songwriter, and multi-instrumentalist John Mayall. This bootleg recording from Newport Jazz Festval not represent in the official discography. Live performances, singles, and the rare recordings are collected in one place for the first time. Without a doubt, this is historical recording.

     Artist: Innes Sibun
     Album: The Box Set
     Year: 2010
     Label: Zyx
     Quality: Mp3
     Format, bitrate: 320 kbps
     Total Size: 168Mb

Innes Sibun made his first album with legendary producer Mike Vernon who produced the John Mayall/Eric Clapton Beano album as well as all the Peter Green era Fleetwood Mac albums. On his current album The BOX SET he presents another high energy blues played with passion !
Perhaps Innes Sibun isn’t a really familiar name to very many people. As an accomplished sideman playing alongside musicians whose credits listings include backing Bob Dylan, George Thorogood, and Ten Years After amongst others, also one whose extensive touring background has seen his band opening shows for headliners such as Taj Mahal, Johnny Winter, Chris Farlowe and Jools Holland, and who also undertook a full tour with Robert (Led Zeppelin) Plant’s own band, putting together this 10 track mostly live collection probably seemed just like another evening’s work. It certainly doesn’t sound like that though. Innes Sibun is an equally talented, experienced and committed guitarist and his enthusiasms and those of his band are put across with a refreshing clarity and depth on this CD, which was recorded at the Queens Head pub in the Wiltshire, England village of Box, and from which the album takes it’s title.
First track is a cover of a Rory Gallagher song. “A Million Miles Away” begins with a feverishly dextrous wall-of-shredding intro which swiftly mellows into the song itself, an edgy tale of barroom subterfuge taken at midtempo and which wastes no time introducing Innes Subin’s fretboard pyrotechnics to the listener. You might expect an evening dedicated solely to fast paced 12 bar rockouts on the strength of this opener but Innes Subin and his band – keyboardist Tim Blackmore, bassist Steve Hall and drummer Robbie Brian – are playing for more than kicks this evening and while second track “Station Blues” is taken at a near breakneck pace it’s with third track “I Want You Back” that the group really get into their stride, a slower number that echoes some of Eric Clapton’s more laid back moments and wouldn’t sound out of place on an enhanced reissue of 461 Ocean Boulevard. Other numbers such as “Someone Like You” contain some consistently inventive and occasionally remarkable guitar from Sibun himself, whose frenetic riffing might put blues rock enthusiasts in mind of Albert Lee or even Jimmy Page, but there is far more to the Innes Subin band’s music than just reverent recreations of what was the sound of the rock mainstream for nearly two decades. “Desert Rain” is a slow paced instrumental that provides the full band with an opportunity to show what they’re really capable of, and showcases an impressively atmospheric keyboard part from Tim Blackmore. A version of Tampa Red’s “Don’t You Lie To Me Honey” meanwhile, only lacks a harmonica break to remind us all of exactly how downright entertaining Dr Feelgood were, and album closer “Fisherman’s Wharf” is an acoustic ballad that contains more than a touch of proper progrock, such as Yes and King Crimson, about it.
So, a group of highly adept and experienced musicians doing exactly what they want to, and very thoughtfully recording it so that people who weren’t in that English country barroom might also appreciate their verging on masterful performance. If you ever get the chance to see the Innes Subin Band perform live, I would suggest that you take it.

     Artist: Texas Blues Runners
     Album: Somebody Bring Me Some Water
     Label: Hot Blues Records
     Year: 2010
     Quality: APE (image+.cue) lossless
     Time: 54:26
     Size:330,29 MB




Although the band is new, the artists behind this fresh, new, original music are, 40 year plus, industry veterans. Their love for music and palpable energy is apparent in the listening. "...Join us for the journey that is already underway. You may be reminded of electric Texas Blues, Hard Rock, or transported to Haight-Ashbury or Sunset Strip where psychedelic music was born-We were there... We'd like to take you with us, and We promise to return you safely home..."

     Artist: Muddy Waters
     Album: Brass And The Blues
     Year: 1967, release: 1989
     Label: Chess
     Format, bitrate: MP3@320 kb/s
     Time: 31:08
     Size: 71 MB (+5% recovery)

This is a strange -- though in large part, successful -- album on a number of counts. Appearing after the release of the singles compilation Real Folk Blues, Brass and the Blues (also sometimes known as Muddy, Brass, and the Blues) was Chess Records' effort to give some fresh momentum to Muddy Waters' current recordings. It was only his third original LP following his tribute album to Big Bill Broonzy and the Folk Singer album -- like them, it was a concept album, but with a difference. Those earlier albums had been built around Waters simply returning to sounds and influences out of his past, but for Brass and the Blues the label tried to give him a new sound, somewhere close to that of B.B. King (who was selling a lot of records at the time). The presence of the brass and the prominent organ on some songs was manageable. Stripped of his guitar once again (the cover photo notwithstanding), Waters proved what a great R&B singer he was -- there are moments on this album where he almost crosses over into Otis Redding territory. Sammy Lawhorn and Pee Wee Madison's guitars come through the dubbed-on brass reasonably well, and this is more of a real "band" sound than was achieved on, say, Electric Mud, an even more extreme attempt at reshaping Waters' sound. The album was reasonably successful, though the reality in terms of Waters's sound and history is that, when this material has been compiled, the producers have often tried to use the undubbed versions without the brass.

     Artist: The Hitman Blues Band
     Album: Pale Rider
     Year Of Release: December 23, 2008
     Label: Hitman Blues Band
     Quality: mp3 | Joint Stereo
     Bitrate: 320 kbps | 44.1 Khz
     Total Time: 47 min 44 sec
     Total Size: 113.6 mb


For twenty years, The Hitman Blues Band has been rocking the New York area with their searing brand of blues/rock, drawing favorable comparisons to Johnny Winter, Joe Bonamassa, and Kenny Wayne Sheppard along the way. Led by founding member, guitarist/singer Russell “Hitman” Alexander, the band has made various personnel changes along the way, but Alexander remains the constant with his gravelly vocals and gritty blues fretwork.

Pale Rider (Nerus Records) is the band’s fourth release. It’s loaded with crowd-pleasing blues/rock tunes that feature Alexander’s exemplary guitar work. Though the emphasis is on blues/rock, Alexander’s guitar work is firmly rooted in the blues. His guitar playing is on par with the artists mentioned in the previous paragraph, but I also hear Donald Kinsey occasionally in his soloing at times, notably on the second track, “Trouble On The Line.” >>>

     Artist: Carlos Santana
     Album: Supernatural (Legacy Edition) 2CD
     Year: 1999, release:2010
     Genre: Blues Rock     Format: mp3
     Bitrate: 320 Kbps CBR
     Size: 316 MB
     AMG rating

Santana was still a respected rock veteran in 1999, but it had been years since he had a hit, even if he continued to fare well on the concert circuits. Clive Davis, the man who had signed Santana to Columbia in 1968, offered him the opportunity to set up shop at his label, Arista. In the tradition of comebacks and label debuts by veteran artists in the '90s, Supernatural, Santana's first effort for Arista, is designed as a star-studded event. At first listen, there doesn't seem to be a track that doesn't have a guest star, which brings up the primary problem with the album — despite several interesting or excellent moments, it never develops a consistent voice that holds the album together. The fault doesn't lay with the guest stars or even with Santana, who continues to turn in fine performances. There's just a general directionless feeling to the record, enhanced by several songs that seem like excuses for jams, which, truth be told, isn't all that foreign on latter-day Santana records. Then again, the grooves often play better than the ploys for radio play, but that's not always the case, since Lauryn Hill's "Do You Like the Way" and the Dust Brothers-produced, Eagle-Eye Cherry-sung "Wishing It Was" are as captivating as the Eric Clapton duet, "The Calling." But that just confirms that Supernatural just doesn't have much of a direction, flipping between traditional Santana numbers and polished contemporary collaborations, with both extremes being equally likely to hit or miss. That doesn't quite constitute a triumph, but the peak moments of Supernatural are some of Santana's best music of the '90s, which does make it a successful comeback.

     Artist: Walter Trout
     Album: Common Ground
     Release: July 6, 2010
     Label: Megaforce
     Quality: mp3, 320 kbps
     Time: 62 min 54 sec
     Size: 138 mb

     This album is a little bit different for Walter, some slower, mellower songs that are more R&B than rock. No shortage of in-your-face guitar solos, though! A fine dose of variety from this blues-rocker! Highly recommended for blues-rock-R&B fans!

     Provogue Records has announced a July 6 US street date for Walter Trout’s nineteenth solo album COMMON GROUND, release in Europe a bit later. From the origins of his career as a sideman for Percy Mayfield and John Lee Hooker, through his tenure with Canned Heat and John Mayall’s Bluesbreakers, and then a successful solo career that has seen the release of 18 albums thus far, Walter Trout has emerged as one of America’s musical treasures. He has enjoyed a career that spans 35 years, and has performed in front of millions. BBC Radio One placed Trout at number six on their Top 20 guitarists of all-time, offering tribute to a player whose place in history continues to become more significant as the years go on. On titling the album COMMON GROUND, Trout shares, “In this modern world which seems to be so filled with polarization, disagreements, and cruelty, I feel that it is important that we try to find SOME place where we can bond and come together in our common humanity!”
     Trout’s 19th solo album COMMON GROUND was produced by John Porter (The Smiths, B.B. King, Buddy Guy), and straddles the worlds of Rock and Blues. His vocal intonation and affinity for timeless riffs deliver a collection of tracks that are destined to be instant classics. These songs simply are the core essence of feeling, and demonstrate Trout’s keen ability to craft moving compositions as a songwriter and lyricist. On working with Porter, the musician reflects, “John Porter has an uncanny ability to draw performances from me that I didn’t know that I was capable of. I would play a solo or sing a song and think that I had done well, and John would just say to me: ‘that was good – but I know you can do better!’ And I would try it again, only to find out that he was right! He is really brilliant at what he does.” Drummer Kenny Aronoff, bassist Hutch Hutchinson and pianist John Cleary join Trout as his backing band for the sessions that delivered this special recording.

     Artists: Jimmy Thackery & The Drivers
     Album: Big Long Buick [Live in Detroit]
     Year Of Release:2010
     Label:Phantom
     Quality:mp3, 320kbps
     Total Time:01:13:13
     Total Size:161 Mb

Jimmy Thackery Born in Pittsburgh, Pennsylvania in 1953, Jimmy was raised in Washington, D.C. In high school he played in a band with Bonnie Raitt's brother David, who turned him on to Buddy Guy. A pivotal moment for the 17 year old Thackery was seeing Buddy perform at a small D.C. church, but the "moment that changed my life," as Thackery recalls it, occurred quite by accident one night when he wandered into a Jimi Hendrix show in D.C. and heard Hendrix let loose in his first gig after getting kicked off the Monkees tour.
Thackery became widely known as the innovative guitarist with the Nighthawks, one of the hardest-working and most popular blues bands of the '70's and '80's. Starting in 1974, the group recorded over twenty albums and constantly toured the U.S., Europe, Canada and Japan. Jimmy was the heart, soul, and adrenaline of the Nighthawks sound during his fourteen year tenure with the Washington, D.C.-based band, creating a distinctively raw, powerful guitar style and establishing a reputation as a spectacular soloist.

     Artist: Big Dave McLean
     Album:Blues From The Middle
     Label:Stony Plaine Records
     Year:rel.Sep 23, 2003
     Format:MP3 @ 320 Kb/s
     Time:61:52
     Size: 134.5 Mb

     Artist: Jimmy Thackery and the Drivers
     Album: Solid Ice
     Year: 2006, release: 2007
     Label: Telarc
     Quality: mp3 | Stereo
     Bitrate: 320 kbps | 44.1 Khz
     Total Time: 50 min 18 sec
     Total Size: 146.85 mb

Ex-Nighthawks guitarist Jimmy Thackery has been playing his own brand of blues-tinged rock as a solo artist for some twenty years now (he left the Nighthawks in 1987) and there's no denying that he's a first-class guitarist with a sharp ear for tone and a knack for perfectly placed fills and evocative leads. His quavering, shaky voice is a problem, though, and while he conjures up the feel of an old veteran country singer on some of his slower numbers, his singing often lacks the punch, power and sass of his guitar playing on the more upbeat material. You don't buy a Jimmy Thackery album for the vocals, though, and fans of his crisp guitar work won't be disappointed at all with Solid Ice, which comes packed with wonderful riffs and multi-tracked leads. Thackery took half a year off from the road to write the songs for this project, so it's a bit ironic that the best five tracks (roughly half the album) are instrumentals. The vocal cuts are certainly passable, with "How Long," which uses Thackery's hesitant country twang to good advantage, and the powerful "Fifteen Minutes," a treatise on the hollowness of fame that rides over an archetypal chord progression that sounds like a slowed-down version of the riff to AC/DC's "Problem Child," being the most singular. It's the instrumentals, though, that really shine here, beginning with the no-frills simplicity of "Hobart's Blues" and the fluid, gliding prettiness of "Daze in May." The album ends with a sort of instrumental suite, including the title track, "Solid Ice," the country-tinged "Blue Tears Reprise" (which revisits a vocal track, "Blue Tears," from earlier in the album sequence) and a solid cover of Jimi Hendrix's funky "Who Knows," which brings everything to a close on a fiery up note. The end result of all this is a solid outing, but it feels a bit like Thackery is in a holding pattern. His singing isn't likely to change, so unless he decides to go completely country and turns that voice from a shaky point into an effective character study, he might give a thought to an album of instrumentals because his guitar sure can talk that talk and he has already proven that he can play anything from surf to jazz. ~ Steve Leggett, All Music Guide

     Artist: Muddy Waters
     Album: The Muddy Waters Woodstock Album
     Label: MCA Chees
     Year: 1975; release: 1995
     Genre: Electric Chicago Blues, Slide Guitar Blues.
     Format mp3, bitrate: 320@kbps
     Time: 43:45
     Size: 90,06 MB


Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel." ~ Bruce Eder, All Music Guide

     Artist: Richard Bennett
     Album: Code Red Cloud Nine
     Label: Moderne Shellac
     Year: 2008
     Format, bitrate: mp3,320 kbps
     Time: 48:18 min
     Size: 108,7 MB


"For almost ten years now I've felt very lucky having Richard Bennett as a pal and as a member of the band. His quiet, self-effacing manner hides an encyclopaedic knowledge of all kinds of roots and rock music, from Hillbilly to Hawaiian, played effortlessly on a variety of instruments which appear out of a flight case as big as an Airstream trailer... May his cracking guitar playing find a place in your life as it has in mine", ~ Mark Knopfler

"I believe these tracks might reflect the real 'heart and soul' of Richard Bennett. Of course, I think that about everything I hear him play, whether it's jazz, blues, country, pop or rock and roll. And perhaps, as someone once said, he plays that way just because he can!", ~ Duane Eddy

     Artist: B.B. King
     Album: The Ultimate Collection
     Label: Geffen Records
     Years: 1953-1998, release: 2005
     Format: MP3 320kbps
     Time: 79:45
     Size: 165 MB

Geffen's 21-track B.B. King compilation attempts the impossible--to provide a single-disc overview of the blues icon. Arranged chronologically, THE ULTIMATE COLLECTION begins with "Three O'Clock Blues," King's first Number One hit from 1953 and continues straight through to 1998's "I'll Survive." King's most essential recorded moments--"You Upset Me Baby," "Don't Answer the Door," and "The Thrill Is Gone," among others--are included. Though a lot of fine material is overlooked for economy's sake, this is as solid a collection of the legend's first 50 years as anyone could want under one cover.
The compilation does the listener a service, not only by representing the arc of King's spectacular career, but by bringing together work from different labels (a task usually riddled with disputes over song rights). Original versions of songs released on RPM, Kent, ABC, and MCA are included here, as are two tracks from 1965's LIVE AT THE REGAL, still one of King's most incendiary recordings. Every cut on the album brilliantly showcases King's soulful, technically flawless guitar work and impassioned singing, making THE ULTIMATE COLLECTION a great place for the uninitiated to begin learning about this monumental bluesman.

     Artist: Jimi Hendrix
     Album: Am I Blue
     Label: Purple Haze Records (HAZE004)
     Year: 2004
     Quality: mp3, 320 kb/s
     Size: 135; 118 mb

     Artist: James Blood Ulmer
     Album: No Escape From The Blues: The Electric Lady Sessions
     Label: Sindrome Records
     Genre: Blues
     Styles: Modern Electric Blues, Jump Blues
     Original Release Date: September 9, 2003
     Quality/Bitrate: mp3 / 320 kbps
     Time: 48:52
     Size: 107 MB

Repost with new links from Mr. emjey23

     What a glorious mess this album is. No Escape From the Blues assembles the same team that issued the brilliant and soulful Memphis Blood for a second chapter, assembling in the legendary Electric Lady Studios in New York. In making their second stop on the legendary studio tour -- Memphis Blood was recorded at Sun -- Ulmer and company move through a program of blues standards and originals that come off as mysterious and oddly organic considering the numerous textures and sounds in the home of Hendrixian adventure. The band includes Vernon Reid (who act as co-lead guitarist and producer), Odyssey violinist Charles Burnham, pianist and keyboard whiz Leon Gruenbaum, harmonica player David Barnes, and the rhythm section of Mark Peterson and Aubrey Dayle, as well as guests like Olu Dara, vocalist Queen Esther, tap dancer Maya Smullyan Jenkins, and John Kruth.

     Artists: Eddie Taylor, Jimmy Reed a.o.
     Album: Big Town Playboy
     Label: P-Vine
     Years: 1953-1964; release: 2003
     Format, bitrate: mp3 @ 320kps
     Time: 62 mins.
     Size: 136 MB (complete covers with lyrics)



One of the best-kept secrets of the Chicago blues scene in the 1950s and 1960s, guitarist Eddie Taylor helped anchor classic recordings by the likes of Elmore James, John Lee Hooker, and Jimmy Reed, among others, occasionally taking his own turn in front of the microphone. This set collects his 1955 to 1960 solo recordings for Vee Jay Records, including his signature tune, "Bad Boy," and throws in tracks that feature Taylor backing James, Hooker, Reed, and Floyd Jones as a bonus. Taylor issued his own albums in the ensuing two decades, but these early sides are the truly essential ones.

     Artist: Rainer Ptacek
     Album: The Farm
     Label: Glitterhouse
     Year: 1997, release: 2002
     Format: FLAC (cue, log, scans)
     Size: 407 MB
     Total time: 71:26
     AMG rating

This is Rainer's most accessible work, and it was recorded in the stretch of a few weeks during October of 1997, during which Rainer had stopped all treatment on a brain tumor that was to take his life in November. He knew he was dying and he was both ready and accepting of that inevitability, which he faced with the same love and acceptance that he showed whenever he played. He knew this was the work he must finish before he left the world for the next adventure he was to face, and he played with an inspired abandonment. It took five years to bring this disc to fruition. Rainer is playing at times solo and on most of the disc with his longtime former rhythm section of Ralph Gilmore on drums and Nick Augustine on bass. His resonating guitar playing is as sharp and furious as it has ever been, as if he is possessed by all the memories of things he has stored away that he has little time to get out. His modal explorations in and on blues themes take listeners to celestial areas. His slide on his guitars seems guided by an outside hand that adds an additional fury to his playing and takes his playing to new places outside of himself. His gift to those he would leave behind would display his emotions and wit so that everyone could share it. This disc stands as a loving tribute to a man who gave so much, and in turn is given to listeners by Harvey Moltz and Howe Gelb with a sensitivity rarely found in the music business. That piled with his inviolable playing makes this a piece you don't want to miss. ~ Bob Gottlieb, All Music Guide

     Artist: Howlin' Wolf
     Album: Poor Boy
     Label: Chess
     Year: 1965
     Quality: mp3;VBR (LP-rip)
     Size:73,97 mb

Born Chester Arthur Burnett on June 10 1910 in White Station near West Point, Mississippi, he was nicknamed ”Big Foot Chester” and ”Bull Cow” in his early years, and he explained the origin of the name ”Howlin’ Wolf” thus: ”I got that from my grandfather. He used to tell me stories about the wolves in that part of the country.”

Howlin’ Wolf was a musical giant in every way. He stood six-foot-six, weighed almost three hundred pounds, wore size seventeen shoes, and poured out his darkest sorrows onstage in a voice like a raging chainsaw. Half a century after his first hits, his sound still terrifies and inspires.

The Wolf survived a grim childhood and hardscrabble youth as a sharecropper in Mississippi. He began his career by playing and singing with the first Delta blues stars for two decades in perilous juke joints. He was present at the birth of rock ‘n’ roll in Memphis, where Sam Phillips—who also discovered Elvis Presley, Johnny Cash, and Jerry Lee Lewis—called Wolf his ”greatest discovery.” Wolf helped define the sound of electric blues and vied with rival Muddy Waters as the king of Chicago blues. He ended his career performing and recording with the world’s most famous rock stars. His passion for music kept him performing—despite devastating physical problems—right up to his death on January 10, 1976.

     Artist: Jesse Fortune
     Album: Fortune Tellin' Man
     Label: Delmark
     Year: Jul 26, 1992-Jul 28, 1992
     Format, bitrate: mp3, 256kb/s
     Time: 65min
     Size: 102 MB
     AMG Rating:


     Team one of the criminally overlooked blues vocalists inhabiting Chicago's West side with a tight young combo sporting a decidedly retro approach and you get this fine album, veteran singer Jesse Fortune's debut set. Guitarist Dave Specter & the Bluebirds admirably back the big-voiced Fortune as he recuts his Willie Dixon-penned USA label classic "Too Many Cooks," and shouts some lesser-known B.B. King gems and a few new items. Definitely a case of better late than never!

     Artist: Eric Bibb
     Album: Booker’s Guitar
     Year: 2008, release: 2010
     Label: Telarc
     Quality: 320kbs
     Total Time: 00:49:13
     Total Size: 105 mb


The genesis of this deeply moving album was in an almost chance encounter at a London hotel, where Eric Bibb had just played a set. He was approached by a fan with a beat-up guitar case, which turned out to contain a 1930s National steel guitar that had been owned and played by legendary Delta blues legend Bukka White. Bibb was inspired to write a half-spoken, half-sung ode to White, which he then recorded in London using that guitar; the remainder of the album, though inspired by that experience, was recorded in the U.S. on his own instruments and finds Bibb approaching the Delta blues tradition from a variety of highly personal angles. There's the gospel-inflected blues of "With My Maker I Am One" (which features harmonica player Grant Dermody, and which you won't realize is inspired by Deepak Chopra unless you read the notes), the possibly (but not necessarily) Katrina-inspired "Flood Water," a wonderful version of the traditional "Wayfaring Stranger," and an equally spectacular rendition of the Blind Willie Johnson classic "Nobody's Fault But Mine." One of the album's best and most affecting tracks is an all-too-brief guitar instrumental, a deceptively simple-sounding and decidedly not blues-based piece; another is the gently beautiful "Rocking Chair," which evokes '50s doo wop as much as it does the Delta blues. The overall impression given by Booker's Guitar is that of a richly varied but deeply rooted tribute not just to a particular man, but also to the great tradition he exemplified and the wide variety of musical streams that flowed into it.