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Jazz Blues Club » Music » Blues
1971: Booker T. & The M.G.`s - Melting Pot Music » Blues » Rhythm-n-Blues
1971: Booker T. & The M.G.`s - Melting Pot
     Artist: Booker T. & The M.G.`s
     Album: Melting Pot
     Label: Stax
     Year:1971; Release:1990
     Genre: Soul, Southern Soul,Funk, Memphis Soul,R&B
     Format, bitrate: MP3 @320 kb/s
     Size: 97.4 MB

     Melting Pot could be the most well-realized of all the albums by Booker T. & the M.G.'s, a smooth and soulful, yet expansive 35 minutes of all originals, the latter in sharp contrast to their exploration of the Beatles' Abbey Road album material on their preceding album. And the irony was that it was their swan song. Booker T. Jones, in particular, was increasingly unhappy working at Stax/Volt Records, owing his feelings to management and structural changes at the company, and also felt the need to change the group's formula somewhat. Steve Cropper was playing lots of session work that was keeping him from recording in Memphis as well, and the result was an album recorded mostly in New York City, far away from Stax/Volt and largely built on the group's (especially Jones') best impulses. That said, Melting Pot managed to be a sort of back-to-the-roots effort in the sense that they were back to doing originals, but was also a strikingly more expansive record, with Jones in particular playing with an almost demonic intensity and range, backed ably by Donald "Duck" Dunn's rocksteady bass in particular. There were a few other touches, such as the wordless chorus on "Kinda Easy Like" and extended running times, showing the group stretching out on much larger musical canvases. ~ Bruce Eder, All Music Guide
1969: Eddie "Cleanhead" Vinson - Kidney Stew Is Fine Music » Blues » Jump Blues
1969: Eddie "Cleanhead" Vinson - Kidney Stew Is Fine
     Artist: Eddie "Cleanhead" Vinson
     Album: Kidney Stew Is Fine
     Label: Delmark Records
     Year: 1969; Release:1993
     Format, bitrate: Mp3, 320 kBit/s
     Time: 36:59
     Size: 88.82 MB
     AMG Rating: 1969: Eddie "Cleanhead" Vinson - Kidney Stew Is Fine

     Although its programming has been juggled a bit, and the CD has been given liner notes, this Delmark release is a straight reissue of the original LP. Clocking in at around 38 minutes, the relatively brief set is the only recording that exists of Vinson, pianist Jay McShann, and guitarist T-Bone Walker playing together; the sextet is rounded out by the fine tenor Hal Singer, bassist Jackie Sampson, and drummer Paul Gunther. Vinson, whether singing "Plese Send Me Somebody to Love," "Just a Dream," and "Juice Head Baby" or taking boppish alto solos, is the main star throughout this album (originally on Black & Blue), a date that helped launch Vinson's commercial comeback.
~ Scott Yanow, All Music Guide
2000: Albert Ammons - 1946-1948 Stride, Swing, Piano blues & booqie
2000: Albert Ammons - 1946-1948
     Artist: Albert Ammons
     Album: 1946-1948
     Label: Classics
     Year: 1946-1948, Release: 2000
     Format, bitrate: Mp3, 320 kBit/s
     Time: 60:05
     Size: 131 Mb
     AMG rating: 2000: Albert Ammons - 1946-1948

     Here's vibrant proof that virtually any melody could be heated up and hammered out into an enjoyable boogie-woogie stomp. "Deep in the Heart of Texas," "Margie," "Roses of Picardy," "You Are My Sunshine," "Sheik of Araby," "When You And I Were Young, Maggie," and "Twelfth Street Rag" were all fair game for Albert Ammons' eight-to-the-bar gyrations. The twangy electrified guitar of Ike Perkins maintained rhythmic velocity with well-timed kicks and struts. On August 6, 1947, Ammons' Rhythm Kings quartet was fortified by the presence of Albert's son -- tenor saxophonist Gene Ammons -- and trumpeter Marvin Randolph. The pianist sounds deliberately old-fashioned during the introduction to W.C. Handy's hit of 1914, "St. Louis Blues." When the horns chime in during the bridge, everyone's rolling in a solid groove. Then Gene takes over, sounding majestically hip. This mood is continued and expanded on the flip side, "Shufflin' the Boogie," which is a rocker. "S.P. Blues" cooks just a bit hotter, and Gene wails up a storm. "Hiroshima" is this band's version of "Nagasaki," another goofy 1930s pop song turned jazz jam standard. Given what had happened to both cities in August of 1945, the retitling seems grimly playful. This session is perfectly symmetrical, with two steamy up-to-date boogies sandwiched between old standards. The Albert-and-Gene father-and-son combination is very exciting, and should be better known than it seems to be, even among seasoned jazz heads. "In a Little Spanish Town" sounds like a premonition of Professor Longhair's own Louisiana approach to the boogie-woogie, and compares well with Lester Young's version recorded in March of 1951. "Tuxedo Boogie" begins with a guitar lick that would eventually surface as "Shake Your Money Maker." Israel Crosby plays his upright bass on all six sessions, and the final date introduces a fine alto sax player by the name of Riley Hampton. These are the final sessions of Albert Ammons, preserved for posterity on Mercury Records. He passed away in Chicago on December 2, 1949, at the age of 42.
~ arwulf arwulf, All Music Guide.
1948: Lead Belly - Private Party, Minneapolis, Minn., Nov. 21, 1948 Music » Blues
1948: Lead Belly - Private Party, Minneapolis, Minn., Nov. 21, 1948
     Artist: Lead Belly
     Album: Private Party, Minneapolis, Minn., Nov. 21, 1948
     Label: Document
     Year: 1948; Release: 2000
     Format, bitrate: Mp3, 320 kBit/s
     Time: 1:01:28
     Size: 147.77 MB
     AMG rating: 1948: Lead Belly - Private Party, Minneapolis, Minn., Nov. 21, 1948

     Along with the New York sessions encompassed on Leadbelly's Last Sessions and the surviving tape of the final show he ever played (in Texas in 1949), the tape of this performance -- made at a private party in Minneapolis November 21, 1948 -- constitutes a big chunk of Leadbelly's late-career output, and it is distinct from the others. In contrast to his late recording sessions, which were done alone (apart from the person doing the recording), or his final concert in Texas, in which he was playing to a large crowd, on this tape, Leadbelly was singing one-on-one to a relative handful of people and addressing his songs and comments personally; it's the equivalent of a private Leadbelly performance preserved for posterity and it captures the man while he was still near the peak of his powers, before the illness that would ultimately kill him began to manifest itself. He is outgoing and upbeat, and generates a big sound on his 12-string guitar, sounding, at times, like two players working in unison. The circumstances of the party where he was playing were also reflective of a larger reality. Minneapolis was a hotbed of civil rights activism in the late '40s, spearheaded by its mayor, Hubert Humphrey, who forced a civil rights plank into the platform of the 1948 Democratic National Convention and won a U.S. Senate seat in that same election; a lot of the issues that lay just beneath the surface of Leadbelly's songs were the currency of conversation on the campus of the University of Minnesota, where this performance took place. Leadbelly ranges across his whole repertoire, including "Mississippi River," "Goodnight Irene," "Dicky" (which became "Kisses Sweeter Than Wine"), "Bourgeois Blues," "Stewball," and "Fannin Street." He also reminisces freely about the songs and his life in ways that a formal concert wouldn't normally allow. The audio quality is very good -- excellent, actually, given the age of the performance -- with a realistic room ambience and a close sound for the man and his guitar, and the disc is at least as essential listening as Leadbelly's Last Sessions.
~ Bruce Eder, All Music Guide
2008: B.B. King - Discoveries Music » Blues » Modern electric blues
2008: B.B. King - Discoveries
     Artist: B.B. King
     Album: Discoveries
     Label: Geffen Records
     Release: 2008
     Format, bitrate: Mp3, 320 kBit/s
     Time: 63:06
     Size: 150.58 MB

     Another in Geffen's digital download series, this volume, called Discoveries, collects some of the rarer tracks in B.B. King's sizeable portfolio, including "Night Life," "Eyesight to the Blind," and "Tired of Your Jive," among others, most of which feature plenty of his trademark sharp and brittle guitar runs and his surprisingly flexible voice, making this an interesting glimpse at this iconic blues player and singer.
~ Steve Leggett, All music Guide
1973: Memphis Slim - Very Much Alive And In Montreux Music » Blues
1973: Memphis Slim - Very Much Alive And In Montreux
      Artist: Memphis Slim
      Album: Very Much Alive And In Montreux
      Label: Universal Music France (CD-983 212-4)
      Year: 1973
      Release: 2006
      Format, bitrate: Mp3, 320 kBit/s
      Time: 43:05
      Size: 98.48 MB
      AMG rating: 1973: Memphis Slim - Very Much Alive And In Montreux

      This choice chapter in the Memphis Slim story delivers an exciting taste of what a modern electric blues band sounded like in live performance during the early '70s. This reissue includes a bonus track featuring Hammond B-3 organist Deacon Jones and formidable electric guitar wizard Freddie King. (It's quite a package, although even with this extra cut the disc only contains 43 minutes of music.) The year 1973 was particularly exciting as blues, soul, funk, and rock & roll began to blend in ways that had only been hinted at during the 1960s. This cultural explosion was inevitable as music festivals were expanded to include a wide range of styles and genres. The 1973 Ann Arbor Blues and Jazz Festival, for example, featured One String Sam, Victoria Spivey, Roosevelt Sykes, John Lee Hooker, and Ray Charles on the same weekend as Yusef Lateef, Charles Mingus, Ornette Coleman, and the Sun Ra Arkestra. The 1973 jazz festival held in Montreux, Switzerland, underwent comparable dilation as Odetta, Fats Domino, Muddy Waters, and Professor Longhair appeared alongside Miles Davis, Les McCann, Sam Rivers, and Stéphane Grappelli. Memphis Slim fit perfectly into this mind-blowing lineup. Backed by bassist Benny Turner, drummer Charlie Meyers, and guitarist Joe "Jammer" Wright, Slim rises to the occasion, maintaining at all tempos a powerful presence that is still breathtaking. Most amusing is Slim's politically charged "The Watergate Festival," juxtaposing the seemingly disparate topics of a fertile international music festival scene and the corruption scandal that was steadily disembowelling the Nixon White House during the summer of 1973. This track compares nicely with similar Watergate "tributes" composed and/or recorded by Eddie Shaw, Tom T. Hall, Howlin' Wolf, Big Joe Williams, Percy Heath, Rahsaan Roland Kirk, and Gil Scott-Heron.
~ arwulf arwulf, All Music Guide
1963: James Brown - Prisoner of Love Music » Blues » Rhythm-n-Blues
1963: James Brown - Prisoner of Love
     Artist: James Brown
     Album: Prisoner of Love
     Label: Universal/Polydor
     Year: 1963, release: 2007
     Format mp3, bitrate:320
     Time: 33:57
     Size: 77.85 MB

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In the wake of James Brown's first substantial pop hit, "Prisoner of Love," King rushed out this LP, as usual drawing upon old singles ("Try Me," "Lost Someone," "Bewildered"), B-sides ("Waiting in Vain," the organ instrumental "[Can You] Feel It [Part 1]"), and Brown's then-current single, "Signed, Sealed, and Delivered" (not the Stevie Wonder song). The idea seemed to be to put together a collection in the medium-tempo, string-filled, lovelorn style of the hit, so there was a lot of pleading on this record. Brown would always be more interested in the dancefloor than the bedroom, but he was a convincing romantic beggar, so the album's loose concept held together. ~ William Ruhlmann, All Music Guide
1959: James Brown - Try Me! Rhythm-n-Blues, Soul
1959: James Brown - Try Me!
      Artist: James Brown & His Famous Flames
      Album: Try Me!
      Label: Universal Records (Japan)
      Year: 1959
      Format, bitrate: Mp3, 320 kb/s
      Time: 40:23
      Size: 100 MB

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      When James Brown and His Famous Flames finally scored a second hit with their 11th single, "Try Me," King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, "I Want You So Bad"/"There Must Be a Reason," "I've Got to Change"/"It Hurts to Tell You," and "Got to Cry"/"It Was You"; the B-side of a fourth follow-up, "Don't Let It Happen to Me"; the 1957 single "Can't Be the Same"/"Gonna Try"; the 1957 B-sides "I Won't Plead No More" and "Messing With the Blues"; the B-side of Brown's first hit ("Please Please Please"), "Why Do You Do Me"; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer. None of it measured up to "Try Me," but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown's greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.)
~ William Ruhlmann, All Music Guide
1971: James Brown - Super Bad Rhythm-n-Blues, Soul
1971: James Brown - Super Bad
     Artist: James Brown
     Album: Super Bad
     Label: Universal Records(Japan)
     Year: 1971
     Format, bitrate: Mp3, 256 kb/s
     Size: 59.65 MB

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...I got somethin' that makes me wanna shout
I got somethin' that tells me what it's all about
Huh, I got soul and I'm super bad!...

     Enjoy “let it be me” a killer tune with great vocals by Vicky Anderson. Super Bad is So right! This is hard hitting funky jamming of the classic Payback years. The album features a 10 minute version of the killer "Super Bad" parts 1, 2, and 3! Too including the great funky cut "Giving Out of Juice", & the classic "A Man Has to Go Back to the Crossroads"
1971: Memphis Slim - Boogie Woogie Acoustic blues, Piano blues & booqie
1971: Memphis Slim - Boogie Woogie
      Artist: Memphis Slim
      Album: Boogie Woogie
      Label: Universal Music (CD-9833440)
      Year: 1971
      Release: 2006
      Format, bitrate: Mp3, 320 kBit/s
      Time: 66:40
      Size: 151.18 MB
      AMG Rating: 1971: Memphis Slim - Boogie Woogie

      In his powerfully insightful book of blues-inspired poetry Fattening Frogs for Snakes -- Delta Sound Suite, John Sinclair cites blues and jazz scholar Robert Palmer as a source for the theory that the linguistic taproots of the word "boogie" probably reach back to West Africa, as the Hausa "buga" and the Mandingo "bug" both mean "to beat" as in "to beat a drum." This makes sense given the rhythmic potency of boogie-woogie, a style that emerged during the early 20th century among Southern black laborers who lived, toiled, and partied near the very bottom of the U.S. social hierarchy, usually living in an environment that was secluded from the rest of the population and often engaging in the production of turpentine. There are other distinct levels of meaning and purpose here: the subject of blackness, the act of partying in order to blow off steam, and the performer's utility function as a provider of music in order to keep the participants from brawling. Sometimes carelessly criticized for its apparent simplicity, the boogie is as complex as human nature itself. Popularized by white big bands during the 1930s and '40s, boogie-woogie also helped to spawn the eminently exploitable genres of R&B and rock & roll. By the end of the 1960s, pianist Memphis Slim openly made a point of varying the textures and tempos of his music, noting that many of his friends and contemporaries sometimes slid into ruts of predictability. Comfortably established in Paris during the year 1971, Slim demonstrated his incredible technique and refreshing versatility in a magnificent series of blues and boogie-woogie piano duets with drummer Michel Denis. The entire spectrum of movement is covered here, from slow ruminations to lightning-quick fisticuffs. While there are clearly discernible reverberations from Slim's early idol Roosevelt Sykes, one may also pick up on the influences of Jimmy Yancey and Pete Johnson. The album is entirely instrumental with the possible exception of "Ouargla," named for a city in Saharan East Central Algeria. This track begins with off-mike remarks and a humorous vocal outburst. Beautifully alive with musical portraits of his wife Christina and daughter Nathalie, vibrant with colorful sketches of Parisian nightspots and fancy cars, Memphis Slim's richly rewarding Boogie Woogie album stands with the very best in his entire recorded legacy, and belongs among the greatest achievements ever realized in this genre.
~ arwulf arwulf, All Music Guide
1960-1961: Etta James - Just Wanna Make Love to You Music » Blues » Rhythm-n-Blues

1960-1961: Etta James - Just Wanna Make Love to You
     Artist: Etta James
     Album: Just Wanna Make Love to You
     Years: 1960-1961, release: 1996
     Label: Spa
     Quality: Bitrate:my cd >mp3-320
     Total Time:00:45:15
     Total Size:108 mb (with full scans)

     Unlike many other artists of her genre, Etta James has lived her music, making her an expert on the Blues. Although she is best known for being one of the finest Blues belters around, she has also recorded incredible R&B, Jazz and Pop tunes that make grown men weep. There's plenty more after this to discover, but this is absolutely where you start. Etta is betta so you betta get some Etta!
1956: Hen Gates And His Gaters - Rock And Roll Music » Blues » Piano blues & booqie » Boogie-Woogie
1956: Hen Gates And His Gaters - Rock And Roll
     Artist: Hen Gates aka Freddie Mitchell
     Album: Rock And Roll
     Label: Plymouth (Catalog#: P-12-144)
     Released: 1956
     Format: FLAC, LP-Rip
     Time: 31:30
     Size: 206MB

     Two year ago I stumbled on this obscure album at Boogie Woody's site. After downloading and listening to it a few times I was convinced that some of the tunes sounded very much like early Eddie “Lockjaw” Davis. Intrigued I delved deeper into the comments to find that the pseudonym “Hen Gates” was actually Freddie Mitchell and that this budget label amassed a number of tracks from his Derby releases. Anyway as an avid ‘Lockjaw’ fan I was glad to have acquired this rarity; however the rip was in a sorry state, so I’ve done my best to re-encode and share here. The album is full of dynamic energy with some marvellous honky tonk / plinkity plonk piano, guitar passages and shrieking-shronking sax. The sound quality is variable, but still very entertaining, Enjoy!
2014: Lucky Peterson - The Son Of A Bluesman Music » Blues » Modern electric blues
2014: Lucky Peterson - The Son Of A Bluesman
     Artists: Lucky Peterson
     Album: The Son Of A Bluesman
     Label: Jazz Village
     Year: 2014
     Format, bitrate: mp3@320kbps
     Time: 56:56
     Size: 128 Mb
     AMG Rating: 2014: Lucky Peterson - The Son Of A Bluesman

     Lucky Peterson's father was blues guitarist and singer James Peterson, a well-known regional musician who also owned the Governor's Inn, a premier blues nightclub in Buffalo, New York, which means Peterson grew up around his father's friends, who just happened to be touring and recording musicians like Jimmy Reed, Muddy Waters, and Bill Doggett, and he learned from all of them. He became fascinated with the Hammond B-3 organ as a young child, and by the time he was five, he'd proved to be a prodigy on it. Mentored by another of his father's friends, the great songwriter, bassist, arranger, and producer Willie Dixon, Peterson was still only five when he scored an R&B hit with the Dixon-produced "1-2-3-4," the novelty of it all landing him appearances on The Tonight Show, The Ed Sullivan Show, and others, and his debut album appeared in 1969. But Peterson had an exploratory nature, and while he could have had quite a career as a keyboard player, he picked up the guitar at the age of eight, and by the time he was a teen, he had developed an emotionally searing guitar style. He could have relaunched his career then, but instead he attended the Buffalo Academy of Performing Arts, and went out on the road as part of the touring bands of Etta James and Otis Rush, spent three years as Little Milton's keyboardist, another three years in Bobby "Blue" Bland's band, and backed jazz stars like Hank Crawford and Abbey Lincoln. He learned blues, jazz, soul, R&B, funk,
and gospel, and by the time he made his re-debut as a bandleader with the Bob Greenlee-produced Lucky Strikes! in 1989, Peterson was a triple-threat multi-instrumentalist who managed to fuse R&B, jazz, gospel, funk, and rock with the blues. All of this leads up to this very personal and semi-autobiographical set, and his 18th album as a bandleader. The Son of a Bluesman, aside from being another fine set of Peterson's joyous fusion blues, is also the first of his albums that he has produced himself, and it has a warm, career-summing kind of feel to it. The title track, "The Son of a Bluesman," and the two different versions of the gospel-themed "I'm Still Here," give this album a personal and retrospective feel, as does the striking, and even silly "Joy," a straight-up family home recording featuring a rap interlude. But perhaps the best and most poignant track on an album full of standouts is the lovely instrumental "Nana Jarnell," dedicated to both Peterson's mother and his wife's mother, musician, singer, and songwriter Tamara Stovall-Peterson. Peterson's guitar lead on the track is a marvel of crying, elegantly balanced phrasing, almost horn-like or vocal-like, and it speaks and sings like the marvel it is. This is perhaps Peterson's most well-rounded and personal album yet, and it coheres in a wonderful arc, capturing the blues as an ever-flowing, joyous, and ultimately uplifting thing.
~ Steve Leggett, All Music Guide.
1947-1953: Rose Murphy - The Chee-Chee Girl Traditional Jazz, Vocal Jazz, Rhythm-n-Blues
1947-1953: Rose Murphy - The Chee-Chee Girl
     Artist: Rose Murphy
     Album: The Chee-Chee Girl
     Label: Living Era CD AJA-5486
     Year: 1947-1953 ; release:2005
     Format, bitrate: Mp3, 320 kBit/s
     Time: 77:04
     Size: 105.3MB

     American jazz and blues singer and pianist, born 28 April 1913 in Xenia, Ohio, USA, died 16 November 1989 in New York City, USA.

Rose Murphy has a unique place in music history. She became famous as "the Chee Chee Girl" because she sang "chee chee" in her high-pitched voice somewhere during nearly every number. She was an excellent pianist, although best known for her eccentric singing. She was unknown until "I Can't Give You Anything But Love" became her trademark song in the mid-'40s. Her singing was always bubbly and her style included cutesy percussion sounds, giggling, and squeals.

To some she was cute, to others she could sound annoying after a few minutes. Murphy appeared regularly on the radio in the mid-'40s. Among her more popular recordings (made for Majestic, Victor, and MCA) were "When I Grow Too Old to Dream," "Girls Were Made to Take Care of Boys," "Me and My Shadow," "Busy Line," "A Little Bird Told Me," and "Button Up Your Overcoat." She recorded relatively little after 1950 other than an album apiece for Verve (mid-'50s), United Artists (1962), and Black & Blue (1980). By the 1960s, Rose Murphy was largely forgotten in the United States, although Ella Fitzgerald always did an imitation of her on her version of "I Can't Give You Anything But Love." However, "the Chee Chee Girl" retained her popularity in Europe and worked regularly overseas during her last three decades.
2012: The MacKenzie Blues Band - Back Road Revelation Music » Blues » Modern electric blues » Blues-Rock
2012: The MacKenzie Blues Band - Back Road Revelation
     Artist: The MacKenzie Blues Band
     Album: Back Road Revelation Debut Album
     Label: Oh!-Town Records (Canada)
     Year: June 9, 2012
     Format: MP3, CBR 320kbps
     Time: 43:37
     Size: 99,48 mb

     In one year, the MacKenzie Blues Band has set a wrecking ball upon Grey-Bruce and Simcoe Counties with their driving, high energy live shows and are poised to get the attention of the Canadian blues scene. Mastered at the famous Abbey Road Studios, their debut offering, “Back Road Revelation” Is a songwriting journey into the lives and characters, (some fictional and some very real), encountered at a small magical backwoods roadhouse.
The track list, creates an intrigue that is uncommon on a debut release. The relatable songs are about redemption of the human condition and dealing with painful issues. You get the idea that the sky is falling, but somehow there is a silver lining and a path to better times. This album is a seismic juxtaposition of tragedy and hope, with a little bit of fun and flirting along the way.
     Back Road Revelation does not follow the typical 12 bar formula, as it explores all byways leading to the heart of the blues. Drawing on the electrical traditions of Buddy Guy, Jimmy Page, and to some extent texas blues greats like SRV and ZZ top in the guitar end, melded with face punching melodic vocals delivered over the 3.5 octave range of singer Tara MacKenzie. It is glued together with the snappy, funky pulsing groove of Dawson and Weir.
     Musically, the band explores the flavors of southern gospel, electric rock blues, shuffle and soulful bluesy ballads. “I’m Gone”, covers the gut wrenching revelation that a 20 year marriage is over, with no last hurrah. On “Don’t Let the Devil Get on Your Train” Dawson shines with his seething, rumbling bass line. In contrast, “Treat Me Like I’m Trouble” is a sassy flirty song with the right amount of grinding harmonica,along with tasty organ underlay. It has lyrical innuendo, pop and sizzle. The only cover song on the album is “Heavy Love” made famous by Buddy Guy, was chosen for it’s groove, lyrical content and swagger.
     In scope, palette, and composition, "Back Road Revelation" is an exciting and solid debut from this band that is on a mission to become a household name in the blues community and this is that first step, on a journey of a thousand miles.

~ Album Notes From
2006: Flavio Guimaraes & Prado Blues Band Music » Blues » Modern electric blues
2006: Flavio Guimaraes & Prado Blues Band
     Artist: Flavio Guimaraes and Prado Blues Band
     Album: Flavio Guimaraes and Prado Blues Band
     Label: Chico Blues Records (Brasil)
     Year: 2006
     Format: MP3, VBR - V0 ~240kbps
     Time: 01:03:19
     Size: 107.22 MB

     Flávio Guimarães (born November 10, 1963) is a Brazilian composer, harmonica player and singer. Considered a blues pioneer in Brazil, he founded the band Blues Etílicos in 1986, which is considered the most successful Brazilian blues group. He has also played with many famous artists along his career, such as Alceu Valença, Ed Motta, Luiz Melodia, Paulo Moura, Zeca Baleiro, Buddy Guy, Charlie Musselwhite, Sugar Blue e Taj Mahal ~ From Wikipedia, the free encyclopedia
1975, 1989, 1991: R.L.Burnside - The King Of Hill Country Blues: Rollin' & Tumblin Music » Blues » Modern electric blues

1975, 1989, 1991: R.L.Burnside - The King Of Hill Country Blues: Rollin' & Tumblin
     Artist: R.L.Burnside
     Album: The King Of Hill Country Blues: Rollin' & Tumblin
     Label: Wolf 120.921CD
     Year: 1975, 1989, 1991; Release: 2010
     Format, bitrate: mp3@320kbps
     Time: 66:20
     Size: 159 MB

     R.L. Burnside, along with Junior Kimbrough, became the public face of the so-called North Mississippi hill country style of modal blues in the 1980s with several solid albums on the Fat Possum label, and while he tried on different hats during his run (even tracking a fine album backed by indie rocker Jon Spencer and his band), the blues he made essentially stayed in the same pocket, honed from years of playing weekend house parties and juke joints. His droning style, the style that all of the North Mississippi players used, was equal parts John Lee Hooker and Fred McDowell, designed to keep the beat steady for dancing and allowing minimal but effective interplay between voice and guitar, and it was as old as those hills themselves, somehow sounding both ancient and oddly contemporary all at once. This set, drawn from intimate recordings done in 1975, 1989, and 1991, features Burnside playing mostly solo -- both acoustic and electric -- in living rooms, on porches, and in jukes, and it provides a nicely sequenced portrait of this intriguing musician working away from a studio setting, not that what he did in the studios differed one degree from what he did outside of them. Highlights include two takes of “Long Haired Doney,” three of the signature “Poor Black Mattie” (both acoustic and electric), an endearing and intimate version of “Goin’ Down South,” and a solid take on Hooker's “Boogie Chillen” that shows how large a role Hooker played in the creation of the hill country sound and style. ~ Steve Leggett, All Music Guide
Thanks To The Original Uploader!!!
1991: Various Artists - Slidin' (A Collection of The Blues Slide Guitar) Music » Blues » Slide guitar
1991: Various Artists - Slidin' (A Collection of The Blues Slide Guitar)
     Artist: Elmore James/Hound Dog Taylor/Earl Hooker/John Littlejohn
     Album: Slidin' (A Collection of The Blues Slide Guitar)
     Label: Charly/Chess
     Year: 1953-1960; Release:1991
     Format,bitrate: Mp3, 320 kBit/s
     Time: 66:12
     Size: 158.25 MB

Great collection of classic blues by four great slide guitarists from the Chess Label. If slide guitar is something you enjoy listening to, than this is for you. Featuring Blues legends Elmore James, Hound Dog Taylor, Earl Hooker & John Littlejohn. This Blues CD contains 21 tracks.
2014: Bill Labounty - Into Something Blue Music » Blues » Rhythm-n-Blues
2014: Bill Labounty - Into Something Blue
      Artist:Bill Labounty
      Album:Into Something Blue
      Label: Bill Labounty Productions
      Year: 2014
      Format, bitrate: Mp3, 320 kBit/s
      Time: 42:06 Min
      Size: 85 mb

     Thanks to all who've joined me on my musical journey over the years. Your presence at my shows and purchases of my albums has given me the drive and inspiration to continue singing my songs and creating the music I love.

     I'm very excited to bring you this new album. I've recorded in a rawer, bluesier, more R&B vein than usual, & I've included not only my new compositions but some of my very favorite songs by Ray Charles, The Drifters, and even Bob Dylan.

     My friend Larry Carlton has contributed lavishly to this project with some of the most soulful guitar I've ever heard. Along with Mark Douthit, Tom Hemby and many more of my favorite sought-after players and musicians.

     I hope you'll enjoy "Into Something Blue". If you've followed my music at all, I think you'll be pleasantly surprised.
     Yours from the heart
2009: Dean Grech - Look Out! Cool, Fusion, Modern Jazz, Rhythm-n-Blues
2009: Dean Grech - Look Out!
      Artist: Dean Grech
      Album: Look Out
      Label: CD Baby / Dean Grech
      Year: 2009
      Format, bitrate: Mp3, 320 kBit/s
      Time: 56:53
      Size: 126,3 MB

      A wonderful fusion of modern and cool jazz with a pinch of R&B, Look Out is an eloquent and lyrical album featuring Dean Grech's melodic guitar, smooth vocals and timeless compositions. He is accompanied by some of our modern day greats: Saxophonists Eric Marienthal (Chick Corea's Electric Band) & Scott Martin (Poncho Sanchez), Rick Shaw (bassist with Johnny Mathis), Steve Distanislao (drummer with Pink Floyd's David Gilmore), Hans Zermuehlen (keys) and Andrew Carney (trumpet). Dean's guitar playing is reminiscent of Wes Montgomery, Jim Hall and Johnny Smith, blended with the more modern sounds of Peter White and Norman Brown. Vocally, he has captured the essence of Kenny Rankin with a taste of Michael Buble and the soulfulness of Bill Withers, while retaining an original sound. Look Out was mixed by Francis Buckley (Grammy Award Winner-Quincy Jones's "Q's Jook Joint ").

      Dean has played guitar from the age of eight. He studied classical guitar with world-renowned guitarist, Rey Dellatorre and went on to study jazz at the Berklee School of Music. Grech has written, recorded, toured, and performed with some of the best in the pop and jazz world such as Sting, Eric Marienthal, John Pettitucci, Russ Ferrante, Scott Martin, Tim Heintz, Tom Kubis, Abe Most, A Flock Of Seagulls, Klique, Bobby Kimble, Shae Chambers, Mirror Garden, Jeff Coffey, Idol Cure and Matthew West to name a few.

      Dean Grech was also Musical Director for the Radio Disney 2000 World Tour band, backing Hollywood Records artists Youngstown, Nobody's Angel, BB Mac and Sister to Sister with guest hosts Mark and Zippy (Radio Disney DJs). This led to appearances on Soap Talk with Lisa Rinna and Latin T.V. Ventaneando.
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