Blues The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://theblues-thatjazz.com/en/blues.html Sun, 24 Jun 2018 09:09:46 +0000 Joomla! 1.5 - Open Source Content Management en-gb Buddy Guy – The Blues is Alive and Well (2018) http://theblues-thatjazz.com/en/blues/802-buddyguy/23692-buddy-guy--the-blues-is-alive-and-well-2018.html http://theblues-thatjazz.com/en/blues/802-buddyguy/23692-buddy-guy--the-blues-is-alive-and-well-2018.html Buddy Guy – The Blues is Alive and Well (2018)

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1 	A Few Good Years 	4:47
2 	Guilty As Charged 	3:20
3 	Cognac	5:22
4 	The Blues Is Alive And Well 	5:13
5 	Bad Day 	3:48
6 	Blue No More	3:39
7 	Whiskey For Sale 	4:02
8 	You Did The Crime	6:53
9 	Old Fashioned 	3:57
10 	When My Day Comes 	4:38
11 	Nine Below Zero 	6:19
12 	Ooh Daddy 	3:17
13 	Somebody Up There 	4:27
14 	End Of The Line 	3:25
15 	Milking Muther For Ya 	0:57

Backing Vocals – Ann McCrary, Rachel Hambridge, Regina McCrary, Tom Hambridge 
Baritone Saxophone – Jim Hoke 
Bass – Tommy MacDonald, Willie Weeks 
Clavinet – Kevin McKendree
Drums – Tom Hambridge
Drums [Drum Loop] – Tom Hambridge
Guitar – Jeff Beck, Keith Richards
Guitar [BG Blonde Stratocaster] – Buddy Guy
Guitar [Eric Johnson Signature Strat] – Buddy Guy 
Guitar [Gibson ES-335] – Buddy Guy 
Guitar [Guild Starfire 4S] – Buddy Guy 
Guitar [Martin BG Acoustic Guitar] – Buddy Guy 
Guitar, Vocals – James Bay 
Harmonica – Mick Jagger 
Horns [Horn Section] – Muscle Shoals Horns
Mellotron – Kevin McKendree
Organ [B3] – Kevin McKendree 
Organ [Wurlitzer] – Kevin McKendree 
Percussion – Tom Hambridge 
Rhythm Guitar – Rob McNelley 
Slide Guitar – Rob McNelley 
Tenor Saxophone – Doug Moffet
Trombone, Arranged By [Horn Arrangements] – Charles Rose
Trumpet – Steve Herrman 
Upright Piano – Kevin McKendree 
Vocals – Buddy Guy 

 

I was actually a bit nervous to review Buddy Guy’s latest album. He’s 81-years-old and musicians, even great ones, eventually lose a step. Guy hasn’t lost a step, though. If anything, he’s somehow gotten better. The Blues is Alive and Well is a fantastic album, and Guys’ voice and guitar are in peak form.

How has Guy gotten better? My theory is his openness to new sounds and music. Guy inspired no shortage of musicians, from Jimi Hendrix to Stevie Ray Vaughan. But Guy has obviously spent some time listening to their work, too, and has folded it into his own music. That integration of new ideas has kept his playing from stagnating. One of the album’s more interesting tracks is “Cognac,” which he performs with Keith Richards and Jeff Beck, two legendary guitarists and both less than a decade his junior. One might expect Guy to have the more old-fashioned sound, but surprisingly it’s Richards who sounds throwback (in a good way), Guy who sounds contemporary, and Beck who, as always, sounds like he’s from the future.

The title track is pure Buddy Guy, with lots of short, jabbing licks almost hiding within the song. Guy’s solos aren’t composed so much as they’re emoted. You can’t necessarily hum them, but you’ll always feel them. He’s backed on the track by the Muscle Shoals Horns, but rather than becoming an uptown blues a la BB King, Guy keeps everything bluesy and true to his own sound. The horns are just a tool to make a great song even better. The Muscle Shoals Horns make a few appearances on the album, and provide a lift to the songs without making any of them sound like a New Orleans funeral. But the guitar is the true star of the album. So much so, that Guy’s guitars are identified in the song credits.

Guy explores some funk and some fuzzy tones, but he’s at his best when he’s delivering pure blues. For example, “Nine Below Zero,” a Sonny Boy Williamson cover, is just a perfect track. Guy’s guitar and voice are in-your-face, the drums just barely providing a beat. If not for the production, which perfectly conveys the instruments, the track could have been recorded years ago, perhaps a lost track from his (and Junior Wells’) classic Play the Blues. One of the album’s nicer moments is “Milking Muther for Ya,” which is just Guy singing along with his electric guitar and no band. The track seems like a live moment caught on tape, but seeing what Guy can do with just his voice and guitar brings home how much talent and energy he still has.

On The Blues is Alive and Well Guy shows he’s still an engaged, passionate artist. Guy uses the same band across the album, including drummer/producer Tom Hambridge, who also wrote or co-wrote most of the album’s songs. There’s a chemistry to all of the tracks because of the consistency of the line-up. But there’s also Guy and his indefatigable talent. He brings it on each and every track. Any blues fan will truly love this album. ---Steven Ovadia, bluesrockreview.com

 

 

Tytuł nowego albumu Buddy Guya mówi wszystko – blues żyje i ma się świetnie! Legendarny artysta bluesowy wydał właśnie swój jedenasty solowy album! Piętnaście utworów to czysta przyjemność zarówno dla znawców bluesa, jak i dopiero rozpoczynających swoją przygodę z tym gatunkiem.

"Zawsze staram się stworzyć album, który gdy przypadkiem usłyszy jakieś dziecko, będzie chciało wziąć gitarę i grać bluesa" – mówi Buddy Guy. Wystarczy jedno przesłuchanie "The Blues Is Alive And Well", żeby przekonać się, że Guy wypełnił swoją misję. Album ukazuje się w momencie, kiedy o 81-letnim artyście jest znów głośno – podczas Grammy w 2016 roku Guy odebrał nagrodę za najlepszy bluesowy album za "Born to Play Guitar" oraz ruszył w trasę po Stanach, otwierając koncerty Jeffa Becka. Ostatnio wystąpił także podczas zamknięcia legendarnego nowojorskiego klubu B.B. King's Blues Club and Grill oraz pojawił się w programie Davida Lettermana "My Next Guest Needs No Introduction", który można oglądać na Netfliksie.

Historia albumu "The Blues Is Alive and Well" zaczyna się od spotkania Toma Hembridge'a, wieloletniego producenta i współpracownika Guya, z Buddym, podczas którego Tom pokazał artyście kolekcję piosenek, które idealnie komponowały się w nowy album. "Kiedy grasz z kimś w zespole 10 lub 12 lat, to ta osoba niemal zawsze wie, co zaraz zrobisz. Podobnie jest z Tomem, to człowiek, który czuje, co chcę zrobić. I tak jest od zawsze, tak było jeszcze kiedy zaczynałem w Chess Records, gdzie byli Willie Dixon i inni goście, którzy robili hity, to właśnie ten dzieciak wiedział, co należy zrobić. Przyniósł piosenki i zrobiliśmy z nimi dobrą robotę".

"The Blues Is Alive And Well" to także album pełen uznanych gości – jest tu James Bay, który dołączył do Guya w "Blue No More", jak i frontman Rolling Stones, Mick Jagger, który dołożył się do barowego numeru "You Did The Crime". "Mick powiedział do mnie, kiedy usłyszał utwór: 'Czy to mój głos? Nie wiedziałem, że ciągle jest tak silny'" – opowiada Guy, który zna się z Jaggerem nie od dziś - zagrał już kiedyś z nim całą trasę. "Kiedykolwiek oni [Rolling Stones] wpadają do miasta, zatrzymują się w najgłośniejszym bluesowym klubie w Chicago i dzwonią do mnie, żebym wpadł. Świetnie się bawimy, ci goście są moimi przyjaciółmi od zawsze, zanim jeszcze byli sławni" – mówi Guy. Jagger nie jest jedynym członkiem Rolling Stones, który pojawia się na "The Blues Is Alive And Well" – w nagraniu utworu "Cognac" obok Jeffa Becka wziął udział też Keith Richards.

Chociaż imponująca kariera Guya ciągle nie zwalnia tempa, artysta nie zapomina o tych artystach, którzy go inspirowali. "Pewnego dnia poszedłem spać, obudziłem się i wszystkich genialnych bluesmanów już nami nie było. Muddy, Wolf, B.B. – wszyscy odeszli. Pamiętam jak kiedyś siedzieliśmy, piliśmy i śmialiśmy się, przyrzekając sobie, że jeżeli jeden z nas odejdzie, inni nie przestaną grać. Ciągle staram się robić wszystko, żeby ta muzyka, która kocham, była żywa". Z albumem takim jak "The Blues Is Alive And Well" można być pewnym, że blues – jak i sam Guy – jeszcze długo nie zniknie. ---Przemysław Kokot, wyspa.fm

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administration@theblues-thatjazz.com (bluesever) Buddy Guy Sat, 23 Jun 2018 14:41:36 +0000
Pee Wee Crayton - Early Hour Blues (1999) http://theblues-thatjazz.com/en/blues/2166-pee-wee-crayton/23687-pee-wee-crayton-early-hour-blues-1999.html http://theblues-thatjazz.com/en/blues/2166-pee-wee-crayton/23687-pee-wee-crayton-early-hour-blues-1999.html Pee Wee Crayton - Early Hour Blues (1999)

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1 	Blues At Daybreak	3:00
2 	Early Hours (Instrumental)	4:31
3 	Barefootin'		2:38
4 	Blues After Hours (Instrumental)	5:23
5 	You Know Yeah		4:05
6 	E.T. Blues (Instrumental)	4:21
7 	When I'm Wrong		2:52
8 	Send For Me		4:30
9 	Red Rose Boogie (Instrumental)	2:30
10 	Come On Baby	4:23
11 	Head'n Home (Instrumental)	1:53

Alto Saxophone – Fred Clark (tracks: 1,3,7,9-11)
Baritone Saxophone – Fred Clark (tracks: 1,3,7,9-11)
Bass – Dan Fredman (tracks: 1,3,7,9-11), Eric Ajaye (tracks: 2,4-6,8)
Drums – Lee Spath, Soko Richardson (tracks: 1,3,7,9-11)
Harp – Rod Piazza (tracks: 1,3,7,9-11)
Keyboards – Liew Matthews (tracks: 2,4-6,8)
Lead Guitar – Pee Wee Crayton
Piano – Honey Piazza (tracks: 1,3,7,9-11)
Rhythm Guitar – Doug MacLeod
Saxophone – Fernando Harkless (tracks: 2,4-6,8)
Tenor Saxophone – Bill Clark (tracks: 1,3,7,9-11), Fred Clark (tracks: 1,3,7,9-11),
 Marshall Crayton Jr. (tracks: 1,3,7,9-11)
Trumpet – Claude Williams 
Vocals – Pee Wee Crayton

 

A West Coast blues guitar hero, Crayton died shortly after these sessions, done primarily with Rod and Honey Piazza's band, or with jazz pianist Llew Matthews' quartet. The two dates show Crayton could do it all. Jump blues, hard or straight blues, and boogie were all easily played. It's that unmistakable T-Bone Walker influence, a stinging, swinging single line or chunky, chortling chord progressions that made Crayton stand out among the crowded blues guitar landscape. He was a one-of-a kind player, and this CD is not only his final testament, but a solid exclamation point on the career of a true American music legend. Crayton also proved to be a pretty good singer. His soulful rendering of the hit "Send for Me" is sincere and believable. "Barefootin'" might be a throwaway, but he really sends up the B.B. King evergreen "When I'm Wrong." Steaming instrumentals with big horn charts swing hard as on "You Know Yeah," Eddie Taylor's "E.T. Blues," "Red Rose Boogie," and the short horn-fired rave-up "Head'n'Home." The Piazzas and Matthews really know how to support a star, and their work is as credible as any. Additional kudos to Crayton's wife, Esther, who wrote six of these 11 cuts, and was always a major factor in his repertoire. On some of his solos, Crayton is astounding; on the rest, his guitar is merely spectacular. Though 14 years late (Crayton died in 1985) and only 45 minutes short on this CD, this is a precious document of one of originals of blues guitar, and a reminder that although he was relatively obscure, he had many fans who knew what the real deal was. For blues scholars, this is an artist, like Freddie King, Otis Rush, and T-Bone, well worth studying and relishing. ---Michael G. Nastos, AllMusic Review

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administration@theblues-thatjazz.com (bluesever) Pee Wee Crayton Fri, 22 Jun 2018 14:20:31 +0000
Fantastic Negrito - Please Don't Be Dead (2018) http://theblues-thatjazz.com/en/blues/6214-fantastic-negrito/23682-fantastic-negrito-please-dont-be-dead-2018.html http://theblues-thatjazz.com/en/blues/6214-fantastic-negrito/23682-fantastic-negrito-please-dont-be-dead-2018.html Fantastic Negrito - Please Don't Be Dead (2018)

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1. Plastic Hambugers (3:37)
2. Bad Guy Necessity (3:58)
3. A Letter to Fear (4:04)
4. A Boy Named Andrew (4:22)
5. Transgender Biscuits (3:02)
6. The Suit That Won't Come Off (4:00)
7. A Cold November Street (3:51)
8. The Duffler (3:39)
9. Dark Windows (3:40)
10. Never Give Up (1:06)
11. Bullshit Anthem (3:15) 

Fantastic Negrito - guitar, vocals
Candice Antique Davis - vocals
Zach Bateman - guitar, vocals
Michael Shiono - bass
Tomas R Salcedo - guitar
Bryan C. Simmons - keyboards
James Small - drums

 

2017 Grammy winner for Best Contemporary Blues album, Fantastic Negrito continues to dig deeper than deep to tell his stories from the streets of Oakland (and America) while stretching the boundaries of the blues on his new Cooking Vinyl release Please Don’t Be Dead, out June 15th.

Do. Not. Miss. This.

I’ve heard a lot of fantastic music since I started writing reviews for Rock and Blues Muse; from virtuoso veteran guitarists, to talented youngsters carrying on the traditions of the art form of the blues. As you can tell from my other reviews, I am ceaselessly blown away by their talents, skills and all-around musicianship. Please Don’t Be Dead reminded me, in a marrow-deep way, of something that can be too easy to forget: that the blues isn’t just an art form to be practiced, and hopefully mastered, in the name of good entertainment. At its core the blues is a vehicle for self-expression, born out of pain, and meant to give voice to the voiceless and to the deepest, most personal parts of our struggles and our souls. I’m talking about the difference between Eric Clapton doing a jaw-dropping cover of a Charlie Patton or Robert Johnson tune versus Clapton using the blues to channel his unimaginable grief in “Tears in Heaven.” I could do 800 words just on the backstory of this talented but star-crossed musician, but I’ll let you google it instead (and you will) while I concentrate on the music heard here.

Fantastic Negrito works in a personal dimension all his own, pulling in magic from every direction, from the most basic of delta blues, to fractured funk, with hints of metal and even some digital sonic hi-jinks in the form of vocal and sound loops. You might be challenged by some of what you’re going to hear, but in the most important ways this is deeply traditional blues that still manages to slaughter several of the genre’s sacred cows at the same time.

Opening track “Plastic Hamburgers” might be a bit of a Trojan horse – getting inside your walls with the familiar feel of a big riff and the kind of vocals that sound like a cross between Soundgarden and Rage Against the Machine… right up until the band hits you with a funky middle section and issues the call to arms to “break out of your chains and burn it down.” The big truths continue on “Bad Guy Necessity,” with the timely message that “Everybody needs a bad guy, they need somebody to blame.” The hard message is softened by a soulful chorus and the kind of funk groove and vocal vamps that would make Prince smile and nod.

“A Letter to Fear” launches like a slow-rolling “Dazed and Confused” as it gradually becomes a very real, very personal anthem that holds nothing back. This isn’t blues about a girl, or blues about “playin’ the blues.” This is blues about the news on today’s front pages and the damage being done, ultimately to all of us, along with a few reassuring hints sprinkled in about how we’re all going to get through it. This is immediately followed by the equally hard-hitting “A Boy Named Andrew” which opens with a driving middle-eastern flavored riff that breaks off in a funk/soul direction, with some falsetto floating over female back-up vocals before coming back to the riff again and again. This isn’t just Soul music, this is music directly from the soul with no filter. The short and simple lead guitar break won’t get Fantastic Negrito on the cover of Guitar Player anytime soon, but it does something way more important: it pierces your heart.

You might think you’re going back to tradition as “Transgender Biscuits” opens with a delta slide guitar and porch-stomp beat, but the song title should have been a clue that nothing in Negrito World is ever that simple. This song is a mad mad combination of that most traditional delta feel, the first real big dose of vocal loops, occasional megaphone vocals and more messages, tempo changes and U-turns than I usually find in an entire blues album. There are more digital manipulations on “The Suit that Won’t Come Off” but there is still no denying the traditional blues backbone with the haunting hummed background vocals, and the message(s) including “How do you sleep when you’ve stolen everything you have.” This is more truth, and the sugary-sweet bridge section is there just to make the medicine go down a bit (but not much) easier. Another spare lead guitar break puts across the same nearly broken, but still unbowed sense of pride.

I can only describe “A Cold November Street” as Fantastic Negrito’s remix of the deep blues and a traditional corrido – a poetic narrative ballad about hope in the face of oppression. This song sticks to you even before it hits you with the eerie “I’m sorry” vocal loop and the most intense guitar break on the entire album. Try not to get whiplash the first time you hear this song. It won’t be the last time you listen to it either. The solid guitar riffs are back on “The Duffler” combined with more Prince-esque falsetto and hard funk, but they’re combined with lyrics that are about SO much more than just shaking your booty. The short lead break is like a dove soaring over a battlefield before the song decays into chaos, only to be resurrected on the back of that killer opening riff.

After all the chaotic sounds and jagged edges of the previous songs, the gentle tone and sweet crooning of “Dark Windows” is startling in its simple beauty. A downbeat ode to a friend, the song ditches the bombast and floats on swirly Hammond organ sounds, possibly some cellos and a slow-building Eleanor Rigby-esque moment near the end. Clocking in at just 1:07 “Never Give Up” might not count as a “real song” to some folks, but this old punk rocker has always known that if you can get your point across in a minute then anything added to that is just bullsh#t. Few things could be simpler, yet more profound than a mantra like “never give up.” Point taken.

Since you gotta leave the people with some hope, the album closes with the most upbeat tailfeather shaker of the bunch. “Bullshit Anthem” combines the sounds of Prince at his cheekiest and a street preacher at his most defiant, closing out the album with the same themes it started with. “I get knocked down, but I keep on fighting” and “take that bullshit, and turn it into good shit.” I know some purists will scowl at the looping and some of the other flourishes found here (and throughout the album actually,) but I dare you to find fault with this anthem that reminds us there is always the chance to turn night into day, and it is our responsibility as humans to keep trying, keep rising, and keep lifting up our brothers and sisters.

It is only mid-June, but I’m calling it: This is my Album Of The Year. ---Tom O'Connor, rockandbluesmuse.com

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administration@theblues-thatjazz.com (bluesever) Fantastic Negrito Thu, 21 Jun 2018 14:05:58 +0000
Little Hurricane - Gold Fever (2014) http://theblues-thatjazz.com/en/blues/5747-little-hurricane/23677-little-hurricane-gold-fever-2014.html http://theblues-thatjazz.com/en/blues/5747-little-hurricane/23677-little-hurricane-gold-fever-2014.html Little Hurricane - Gold Fever (2014)

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1 	Summer Air 	2:59
2 	Upside of Down 	2:44
3 	Sheep In Wolves Clothes 	3:18
4 	Boiling Water 	3:24
5 	No Man's Land 	3:36
6 	Bones 	2:30
7 	Breathe 	4:11
8 	Con Man 	3:30
9 	Sorry Son 	3:17
10 	Superblues 	3:10
11 	Gold Fever 	3:12
12 	Grand Canyon 	4:08

Anthony "Tone" Catalano - Guitar, Lead Vocals
Celeste "C.C." Spina - Drums, Vocals
+ 
Matthew Clavelli - Trumpet
Conrad Jones - Trumpet
Shannon Koehler - Harmonica 
David Matsumura - Trombone
Ian Tordella - Saxophone
Sasha Tseitlin - French Horn, Strings 

 

Watching Little Hurricane perform, you can tell Tony “Tone” Catalano is a bit of a gear nerd. On stage, he switches back and forth between effects and distortion levels. His guitar style is loud and crisp with enough grit to keep the purists satisfied. Alongside the riffs is the powerful drum backbone of Celeste “CC” Spina. Their self-proclaimed "dirty blues" sound is definitely accurate, but that doesn’t give enough credit to the clean vocals and smooth transitions throughout their new album, Gold Fever. In fact, the lead single, “Sheep in Wolves Clothes,” has more of a jog-along-the-beach vibe than anything. But, for the most part, Gold Fever is a down and dirty sweat factory of rock ‘n roll.

Fair or unfair, any blues rock duo inevitably gets compared to the White Stripes or Black Keys. Depending on where your allegiance lies in those camps, it’s probably not fair to compare Little Hurricane to either of them. The San Diego duo is equal parts dirty blues and poppy hooks. No doubt there are similarities between these young guns and their veteran counterparts, but Little Hurricane is more California than Nashville.

The chemistry between the two is palpable and we have Craigslist to thank for their pairing. After both of them ended up in San Diego, Tone was looking to break out on his own after spending a few years working with various bands in the studio in Santa Cruz. After some time in culinary school and a long layoff, CC decided to trade in the chef coat for the drum sticks, and posted a video on online. After skimming through the inescapable responses from weirdos only the internet can provide, she found Tone, who needed a drummer and was intrigued by CC’s skills and -- oh yeah -- they now lived on the same block! Few lessons learned; ANYTHING can be found on Craigslist, including band/national tour mates. Not everything is sketchy on that site.

We’ve seen the success of bluesy two-pieces, and Little Hurricane has the look and sound of a group with mass appeal potential. There’s a sense that Little Hurricane won’t be so little for long. As they continue storming through the USA, more people ought to get caught in the eye of it. ---Ian Bremner, nodepression.com

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administration@theblues-thatjazz.com (bluesever) Little Hurricane Wed, 20 Jun 2018 15:10:32 +0000
King muDDfish - Tails Of The Flying Mermaids (2014) http://theblues-thatjazz.com/en/blues/6210-king-muddfish/23672-king-muddfish-tails-of-the-flying-mermaids-2014.html http://theblues-thatjazz.com/en/blues/6210-king-muddfish/23672-king-muddfish-tails-of-the-flying-mermaids-2014.html King muDDfish - Tails Of The Flying Mermaids (2014)

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1.Dandelion Tears	5:26 	
2.Don't Point Your Pistol At Me	5:04 	
3.Siren Song	5:37 	
4.Country Angel	6:46 	
5.Carry This Load	4:14 	
6.Pick Me	4:37 	
7.Heaven Shake	5:02 	
8.Hold On	4:14 	
9.Miami Blues	4:20 

Dan Newman - guitar
Mike Edwards - guitar, slide
Joel Kobelin - bass
Bobby "BBG" Goldman - drums

 

The concept of alchemy is that if a metal is melted and simmered over a fire long enough, and with enough care, one of the things it produces is the Philosopher's Stone. One small chip of the Philosopher's Stone can be added to another metal and the whole thing turns to gold.

For forty years in the social desert, the Blues have been melted and simmered, carefully stirred, chilled and warmed. The fires have been fueled with desire, sacrifice, joy and love. Finally, the Philosopher's Stone of Blues emerged. As one small sliver of the Philosopher's Stone of Blues is added to any music, the whole thing turns to Blues powerful enough to turn a desert into a swamp.

It turns to Blues without boarders, without edges to restrict these Blues and force them to fit into man-made genres, classifications and sub-classifications. It turns to Blues beyond words, because words are inadequate to describe something that existed long before words were created by man. It turns to Blues that cannot be owned, Blues of such abundance and purity that there is plenty to feed all who wish to partake, yet precious enough to savor and remember.

It turns to Blues with guitars so sweet, with tones ample, smooth and round. It turns to Blues with beats you feel in your soul and your heart more than you hear them with your ears. It turns to Blues with lyrics that soar in the heavens and search for the depths of deprivation. It turns to Blues with the foundation of a fortress. It turns to Blues with harps that cry and wail and laugh. This is Swamp Boogie Blues.

This is what King muDDfish is all about. All this and nothing more. ---kingmuddfish.com

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administration@theblues-thatjazz.com (bluesever) King muDDfish Tue, 19 Jun 2018 12:50:48 +0000
Ruth Brown - Gospel Time (1963) http://theblues-thatjazz.com/en/blues/2336-ruth-brown/23667-ruth-brown-gospel-time-1963.html http://theblues-thatjazz.com/en/blues/2336-ruth-brown/23667-ruth-brown-gospel-time-1963.html Ruth Brown - Gospel Time (1963)

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A1 	Morning Train 	
A2 	Will The Circle Be Unbroken 	
A3 	Deep River 	
A4 	He's Got The Whole World In His Hands 	
A5 	Milky White Way 	
A6 	Satisfied 	
B1 	I've Got Shoes 	
B2 	Just A Closer Walk With Thee 	
B3 	There'll Be Peace In The Valley For Me 	
B4 	Swing Low, Sweet Chariot 	
B5 	Walk With Me Lord

Ruth Brown - vocals
Ray Stevens - organ
Jerry Kennedy, Harold Bradley - guitars
Bob Moore - bass
Hargus "Pig" Robbins - piano
Buddy Harmon - drums
The Milestone Singers - backing vocals

 

Gospel Time, Ruth Brown's first and only gospel album, was recorded in 1963 in Nashville under Shelby Singleton's direction, using country musicians. Ray Stevens of "Ahab the Arab" fame plays organ. Vocal backgrounds are by the Milestone Singers. The most impressive cuts are "Closer Walk With Thee," with soulful guitar licks from Jerry Kennedy and Harold Bradley; "Peace in the Valley," with nice piano triplets by Harold "Pig" Robbins; the beautiful "Walk With Me"; and a fabulous version of "Milky White Way." Brown even tries her hand at preaching in a rocking version of "Morning Train." This is a surprisingly fine album. ---Opal Nations, AllMusic Review

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administration@theblues-thatjazz.com (bluesever) Ruth Brown Mon, 18 Jun 2018 14:27:58 +0000
The Bluesland Horn Band - Radio Waves (2016) http://theblues-thatjazz.com/en/blues/5363-bluesland/23661-the-bluesland-horn-band-radio-waves-2016.html http://theblues-thatjazz.com/en/blues/5363-bluesland/23661-the-bluesland-horn-band-radio-waves-2016.html The Bluesland Horn Band - Radio Waves (2016)

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1    Cold Heart (Feat. Kenny Blues Boss Wayne) (5:14)
2    Ragtime Willie (2:43)
3    The Warm Up (3:24)
4    Bad Business (3:33)
5    You Chose Me (3:41)
6    Trying To Get Back (4:19)
7    Roswell Child (3:46)
8    This Time (4:01)
9    Time Goes By (3:58)
10    Dynamite Road (5:30)

 

The Bluesland Horn Band plays music that is a natural blend of blues, soul/jazz, funk, country and gospel all stirred into a spicy blend of original roots music. The band has been playing festivals and clubs for the past many years and features experienced players who have graced stages in Canada, the U.S. and Europe. Check out these songs which come from the heart and are performed as only experienced roots players can. Enjoy! ---cdbaby.com

 

Calgary-based jazz and roll band the Bluesland Horn Band reminded an attentive audience just how much fun they had at last year’s Lethbridge Jazz Festival was by returning to the Slice, April 2 for a superb horn heavy show.

While there was riveting raspy, belted out vocals some hot harp playing and tasteful guitar playing, this show was all about the brass. They reminded me a lot of bands like Blood, Sweat and Tears and Downchild Blues band and indeed even played Downchild’s “I’ve Got Everything I Need (Almost).

They whole band was totally into their energetic and very tight set, which had people dancing in the aisles. They played jazz-influenced classics and a few tracks from the excellent new CD “Radio Waves” including one of my favourites, “Ragtime Willie,” which lead singer/harp player Marty Cochrane described as “a song about a place like this.”

The horn section switched between several different horns, but concentrated on saxophones. Fluid basslines locked in with the drums flowed throughout the set which got those toes tapping. ---Richard Amery, lethsuntimes.com

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administration@theblues-thatjazz.com (bluesever) Bluesland Sun, 17 Jun 2018 15:36:36 +0000
Elkie Brooks ‎– Powerless (2009) http://theblues-thatjazz.com/en/blues/4391-elkie-brooks/23656-elkie-brooks--powerless-2009.html http://theblues-thatjazz.com/en/blues/4391-elkie-brooks/23656-elkie-brooks--powerless-2009.html Elkie Brooks ‎– Powerless (2009)

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1 	Powerless	3:39
2 	Someday We'll All Be Free	4:01
3 	Why		4:20
4 	Dancing On The Tables	3:47
5 	I Can't Make You Love Me	5:33
6 	Purple Rain	5:43
7 	Holding On To You	4:15
8 	Make You Feel My Love	3:31
9 	A Song For You	4:42

Backing Vocals – Joseph Jordan, Lee Noble
Bass Guitar, Guitar, Drum Programming – Jermaine Jordan
Cello – Ian Budge (tracks: 3)
Electric Piano [Rhodes] – Alan Welch (3) (tracks: 4)
Piano – Andrew Murray (tracks: 1 to 3, 5 to 9)
Saxophone – Steve Jones  (tracks: 2 to 8)
Violin – Sally Herbert (tracks: 3)
Vocals, Backing Vocals – Elkie Brooks

 

As superb an album as I would expect from such a performer. Elkie never wastes time on rubbish music or lyrics, she demands and gets the best from musicians who are second to none. The combination of their expertise and the always lovely lyrics tear at the emotions leaving her audience sometimes silent before applause.........a great compliment for any performer. Her ability to make me cry is a result of the sheer honesty and understanding of the depth , happiness and trembling edge of misery that real love brings. She is amazing, 68 years old, and brings to her performance not only a magical professionalism but a lifetime's experience and it shows. In this album I think her "I can't make you love me" is one of the most heart rendingly perfect songs ever and the album is worth possessing for that alone.

More please Ms Brooks for you never fail to please. Thankyou. ---JMH, amazon.com

 

Elkies best album since Two Days Away... I think she knows it by the branding! Her voice is as rich as ever, but smoother...like she says in her autobiography, no Rock Star strain at the higher register, and despite what she says, I think she holds a note as well as ever. Good cover song choices, 'I can't make you love me' and 'A song for you' especially natural. And high quality new songs like 'Why' and the title track just prove her everlasting brilliance. Much neglected by the Industry and the absence of a Brit is a disgrace. Give this woman her due. 50 years a real singer, through the vagaries of it all, and still putting out work of this quality. God bless the Elk. ---Honest reader, amazon.com

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administration@theblues-thatjazz.com (bluesever) Elkie Brooks Sat, 16 Jun 2018 13:09:04 +0000
Peter Green – 30 Most Slow Blues (2017) http://theblues-thatjazz.com/en/blues/892-petergreen/23651-peter-green--30-most-slow-blues-2017.html http://theblues-thatjazz.com/en/blues/892-petergreen/23651-peter-green--30-most-slow-blues-2017.html Peter Green – 30 Most Slow Blues (2017)

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01 – Loser Two Times
02 – What Am I Doing Here
03 – One More Night Without You
04 – Big Boy Now
05 – Born Under A Bad Sign
06 – The Clown
07 – When It All Comes Down
08 – Black Woman
09 – Honey Bee
10 – Baby When The Sun Goes Down
11 – Bandit
12 – Little Red Rooster
13 – Zulu Gone West
14 – Blowing All My Troubles Away
15 – Must Be A Fool
16 – Same Old Blues
17 – Fallin’ Apart
18 – Liquor And You
19 – Nobody Knows You When You’re Down And Out
20 – One Woman Love
21 – Cryin’ Won’t Bring You Back
22 – Help Me Through The Day
23 – Indian Lover
24 – Sweet Sixteen
25 – Man Of The World
26 – Who’s That Knocking
27 – Blues Don’t Change
28 – Crawlin’ King Snake
29 – Dead Shrimp Blues
30 – Albatross

 

Peter Green is regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. Born Peter Greenbaum but calling himself Peter Green by age 15, he grew up in London's working-class East End. Green's early musical influences were Hank Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music. He originally played bass before being invited in 1966 by keyboardist Peter Bardens to play lead in the Peter B's, whose drummer was a lanky chap named Mick Fleetwood. The 19-year-old Green was with Bardens just three months before joining John Mayall's Bluesbreakers, whose rapidly shifting personnel included bassist John McVie and drummer Aynsley Dunbar. A keen fan of Clapton, Green badgered Mayall to give him a chance when the Bluesbreakers guitarist split for an indefinite vacation in Greece. Green sounded great and, as Mayall recalls, was not amused when Clapton returned after a handful of gigs, and Green was out.

When Clapton left the band for good six months later to form Cream, Mayall cajoled Green back. Fans were openly hostile because Green was not God, although they appreciated Clapton's replacement in time. Producer Mike Vernon was aghast when the Bluesbreakers showed up without Clapton to record the album A Hard Road in late 1966, but was won over by Green's playing. On many tracks you'd be hard-pressed to tell it wasn't Clapton playing. With an eerie Green instrumental called "The Supernatural," he demonstrated the beginning of his trademark fluid, haunting style so reminiscent of B.B. King.

When Green left Mayall in 1967, he took McVie and Fleetwood to found Peter Green's Fleetwood Mac. Jeremy Spencer and Danny Kirwan shortly afterward gave Fleetwood Mac an unusual three-guitar front line. Green was at his peak for the albums Mr. Wonderful, English Rose, Then Play On, and a live Boston Tea Party recording. His instrumental "Albatross" was the band's first British number one single and "Black Magic Woman" was later a huge hit for Carlos Santana. But Green had been experimenting with acid and his behavior became increasingly irrational, especially after he disappeared for three days of rampant drug use in Munich. He became very religious, appearing on-stage wearing crucifixes and flowing robes. His bandmates resisted Green's suggestion to donate most of their money to charity, and he left in mid-1970 after writing a harrowing biographical tune called "The Green Manalishi."

After a bitter, rambling solo album called The End of the Game, Green saddened fans when he hung up his guitar, except for helping the Mac complete a tour when Spencer suddenly joined the Children of God in Los Angeles and quit the band. Green's chaotic odyssey of almost a decade included rumors that he was a gravedigger, a bartender in Cornwall, a hospital orderly, and a member of an Israeli commune. When an accountant sent him an unwanted royalty check, Green confronted his tormentor with a gun, although it was unloaded. Green went to jail briefly before being transferred to an asylum.

Green emerged in the late '70s and early '80s with albums In the Skies, Little Dreamer, White Sky, and Kolors, featuring at times Bardens, Robin Trower drummer Reg Isidore, and Fairport Convention drummer Dave Mattacks. He reprised the Then Play On Mac standard "Rattlesnake Shake" on Fleetwood's solo 1981 album, The Visitor. British author Martin Celmins wrote Green's biography in 1995. Psychologically troubled, on medication, and hardly playing the guitar for most of the '90s, the reclusive Green resumed sporadic recording in the second half of the decade. He surfaces unexpectedly from time to time, most prominently January 12, 1998, when Fleetwood Mac was inducted into the Rock & Roll Hall of Fame. In a rare, perfect moment, Green jammed with fellow inductee Santana on "Black Magic Woman." ---Mark Allan, allmusic.com

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administration@theblues-thatjazz.com (bluesever) Peter Green Fri, 15 Jun 2018 13:54:34 +0000
Too Slim and the Taildraggers - Blue Heart (2013) http://theblues-thatjazz.com/en/blues/5380-too-slim/23646-too-slim-and-the-taildraggers-blue-heart-2013.html http://theblues-thatjazz.com/en/blues/5380-too-slim/23646-too-slim-and-the-taildraggers-blue-heart-2013.html Too Slim and the Taildraggers - Blue Heart (2013)

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01. Wash My Hands
02. Minutes Seem Like Hours
03. Blue Heart
04. Make It Sound Happy
05. Good To See You Smile Again
06. When Whiskey Was My Friend
07. If You Broke My Heart
08. New Years Blues
09. Shape Of Blues To Come
10. Preacher
11. Angels Are Back

Jim 'Too Slim' Langford - Guitars, Vocals
E. Scott Esbeck - Bass, Vocals
Jeffrey 'Shakey' Fowlkes - Drums

 

Blue Heart is the album from now Nashville based Too Slim and the Taildraggers. Blue Heart follows up 2011 release Shiver. Front man Tim “Too Slim” Langford is joined by Scott Esbeck on bass guitar and Jeff “Shakey” Fowlkes on percussion. With 11 studio albums under their belt, Too Slim and the Taildraggers are clear veterans when it comes to blues rock.

The first few chords of “Wash My Hands” let the listener know they’re in for some thick and heavy blues. Langford’s voice brings a dirty and gritty tone to the song, which is fitting with lyrics like “I washed my hands in the muddy Mississippi but the life of sin don’t wash off clean.” The next track, “Minutes Seem Like Hours” is guitar heavy throughout paired with a smoky bass line that makes the song extremely sultry. “Good to See You Smile Again” is jam packed with soul.

What’s an album without a song dedicated to some booze? “When Whiskey Was My Friend” is just that. Reminiscing about the good ol’ days, when whiskey was still on your good side, even if your lady wasn’t. “When Whiskey Was My Friend” brings a little something that most people can relate to. “If You Broke My Heart” comes barreling in with crashing drums and an equally frantic guitar riff. The gritty sound resurfaces in “Preacher” (a Ross Sermons cover), which tells the story of a preacher who “doesn’t even carry a bible.” Blue Heart ends with the haunting “Angels Are Back.” The lone acoustic track on Blue Heart, “Angels Are Back” brings a little bit of the unexpected to the table.

Blue Heart flows nicely. It is consistently thick, heavy and full of rock throughout which leaves any listeners appetite satisfied. Each note and word of the album is well placed, creating a cohesive album that would be lackluster without any of its parts. It’s clear Too Slim and the Taildraggers knew what they wanted to do with Blue Heart. ---Alysha Rendflesh, bluesrockreview.com

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administration@theblues-thatjazz.com (bluesever) Too Slim Thu, 14 Jun 2018 15:14:52 +0000