WATERMELON SLIM - Golden Boy (2017)
Bill "Watermelon Slim" Homans has built a remarkable reputation with his raw, impassioned intensity. HARP Magazine wrote "From sizzling slide guitar...to nitty-gritty harp blowing...to a gruff, resonating Okie twang, Slim delivers acutely personal workingman blues with both hands on the wheel of life, a bottle of hooch in his pocket, and the Bible on the passenger seat." Paste Magazine writes "He's one hell of a bottleneck guitarist, and he's got that cry in his voice that only the greatest singers in the genre have had before him."
The industry agrees on all fronts. Watermelon Slim and his crack touring band The Workers have garnered 17 Blues Music Award nominations in four years including a record-tying six in both 2007 & 2008. Only the likes of B.B. King, Buddy Guy and Robert Cray have landed six in a year, and Slim is the only blues artist in history with twelve in two consecutive years. In Spring 2009 he was the cover story of Blues Revue magazine. Two of Slim's records were ranked #1 in England's MOJO Magazine's annual Top Blues CD rankings. Industry awards include The Independent Music Award for Blues Album of the Year, The Blues Critic Award and Canada's Maple Blues Award for International Artist of the Year for 2007. Slim has hit #1 on the Living Blues Charts, top five on the Roots Music Report and debuted in the top ten in Billboard. One of Slim's most impressive industry accolades may be the liner notes of The Wheel Man eagerly written by the late legendary Jerry Wexler who called him a "one-of-a-kind pickin' n singing Okie dynamo."
TRACKS: 01. Pickup My Guidon 02. You're Going To Need Somebod.. 03. WBCN 04. Wolf Cry 05. Barretts Privateers 06. Mean Streets 07. Northern Blues 08. Cabbagetown 09. Winners Of Us All 10. Dark Genius
ERIC BIBB - Migration Blues (2017)
Eric Bibb is back in style. Master of acoustic guitar, master story teller, his new album Migration Blues stands firmly rooted in Americana history and handles contemporary migration with equal conviction. With his committed address to current day migration he shows that he is more than a follower of those musicians who addressed injustices in the past, he continues in their footsteps and is as worthy in this as any of them. It is only fitting that he tributes Woody Guthrie with ‘This land is your land’. The album is Eric Bibb at his best: understated yet excellent acoustic guitar underlying masterful storytelling and commanding performance. The opening song of the album, ‘Refugee moans’, held a rough blues joint audience completely spellbound when Eric did an a cappella version during a recent concert. The musical grace of Eric Bibb lifts this album beyond pure blues. The listener can hear and feel the signs of hope along the way. This album deserves as wide an audience as possible for both the music and the message.
TRACKS: 01. Refugee Moan 02. Delta Getaway 03. Diego's Blues 04. Prayin' for Shore 05. Migration Blues 06. Four Years, No Rain 07. We Had To Move 08. Masters of War 09. Brotherly Love 10. La Vie C'est Comme Un Oignon 11. With a Dolla in my Pocket 12. This Land is Your Land 13. Postcard From Booker 14. Blacktop 15. Mornin' Train
HENRIK FREISCHLADER - Blues for Gary (2017)
Henrik Freischlader is a German blues guitarist, singer, songwriter, producer, and autodidactic multi-instrumentalist from Wuppertal, Germany. He has been the supporting act for Joe Bonamassa, B.B. King, the late Gary Moore, Peter Green, Johnny Winter and other blues legends. A tour with his friend and fellow musician Joe Bonamassa gave the young artist the opportunity to play in front of a bigger audience. Through numerous shows all over Europe, amongst them, performances with legends such as BB King, Peter Green, Gary Moore, and Johnny Winter, Henrik has gained a steadily increasing number of fans. Today, the German singer & guitarist is one of the most sought-after musicians of his genre worldwide.
Henrik Freischlader's homage to Gary Moore. He got the support of Gary's former band, Vic Martin (bass) and Pete Rees (Hammond organ), as well as numerous other musicians, including Moritz Meinschäfer, Gary's brother Cliff Moore, Harrisen Larner-Main, Linda Sutti, Ben Poole, Mike Andersen, Romi, Zsolt Vámos and the Royal Street Orchestra.
TRACKS: 01. The Prophet 02. The Messiah Will Come Again 03. Blues for Narada 04. Intro 05. Where Did We Go Wrong 06. Where Are You Now 07. Jumping At Shadows 08. With Love (Remember) 09. Johnny Boy 10. Parisienne Walkways
CREAM - Those Were The Days (1997)
Although Cream were only together for a little more than two years, their influence was immense, both during their late-'60s peak and in the years following their breakup. Cream were the first top group to truly exploit the power trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too, that guitarist Eric Clapton truly became an international superstar. Critical revisionists have tagged the band as overrated, citing the musicians' emphasis upon flash, virtuosity, and showmanship at the expense of taste and focus. This was sometimes true of their live shows in particular, but in reality the best of their studio recordings were excellent fusions of blues, pop, and psychedelia, with concise original material outnumbering the bloated blues jams and overlong solos.
Those Were the Days is an ambitious four-disc, 63-track box set that divides Cream's career into two halves. The first two discs feature every studio track the group ever released, plus a handful of unreleased cuts, alternate takes, and rarities. The other two discs are devoted to live material, which is segued together in an attempt to recreate the "ideal" Cream concert. It's a remarkably comprehensive collection, complete with an extensive booklet and remastered sound, yet it doesn't reveal any new insights about Cream, nor does it offer any invaluable rarities. Therefore, it's only for die-hard collectors or listeners wanting to acquire the entire Cream catalog at once; casual fans will be satisfied with individual albums or greatest-hits collections.
RUTHIE FOSTER - Joy Comes Back (2017)
Like 2014's Promise of a Brand New Day before it, the title of Ruthie Foster's 2017 album Joy Comes Back promises something optimistic. Joy Comes Back does just that but from an entirely different angle. Between the two records, Foster separated from a long-term partner, and she coped by settling down in her hometown of Austin, Texas, recording the new album with her friend, producer Daniel Barrett. A crew of sympathetic musicians - including guitarist Derek Trucks, drummer Joe Vitale, and Warren Hood, among several others - swung by the studios and helped Foster record nine covers and an original. Foster casts her net wide, dredging up classic blues from Mississippi John Hurt ("Richland Woman Blues"), contemporary country from Chris Stapleton ("What Are You Listening To?), and classic heavy metal from Black Sabbath ("War Pigs"), but what unites the album is the warm, supple energy of the band and Foster's aching ease. She may have been through the ringer recently, but she's choosing to be positive - or, as she sings on Shawnee Kilgore's "Abraham," "When I do good/I feel good" - and that gives Joy Comes Back a relaxed richness that's quite restorative.
FLEETWOOD MAC - Tango In The Night (1987) [3CDs Box Set, 2017]
Tango in the Night is the 14th studio album by British-American rock band Fleetwood Mac. Released in April 1987, it is the fifth and to date last studio album from the band's most successful line-up of Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood.
Produced by Buckingham with Richard Dashut, Tango in the Night began as one of Buckingham's solo projects, but by 1985 the production had morphed into Fleetwood Mac's next album. It contains several hit singles, including "Big Love", "Seven Wonders", "Everywhere", and "Little Lies". The distinctive cover art for the album was a painting by Australian artist Brett-Livingstone Strong which was hanging in Buckingham's home. The painting is a homage to the 19th Century French painter Henri Rousseau, emulating his colorful jungle theme works such as The Snake Charmer and The Repast of the Lion. It was also used as the cover of "Big Love", the album's first single. The album has sold over 15 million copies worldwide. In March 2017, remastered deluxe editions of Tango in the Night were released, the first a double-CD set and the second a 3CD/1DVD/1LP boxset.
THE BEATLES - Abbey Road And Beyond [6 CD Box Set] (2016)
This six disc anthology features the very best of The Beatles in the studio, on the road and on the airwaves from 1962-'66. It is the perfect illustration of how The Beatles evolved as writers and performers and created a musical phenomenon which has never been equalled.
Disc 1 - The Lost Decca Tapes
The Beatles' audition for Decca Records in 1962 is the most notorious recording session in the history of popular music. Features an exclusive interview with Pete Best, which provides unique insight into the Decca sessions and the events which led to his sacking.
Disc 2 - The Lost Abbey Road Tapes 1962-'64
The best of the alternative takes of the Beatles songs which were recorded during the legendary Abbey Road Sessions. Your chance to hear history in the making.
Disc 3 - The Lost BBC Tapes And Much More
During 1963-'64 the impact of radio & TV broadcasts around the globe fuelled the global Beatlemania phenomenon. These rare recordings feature a string of hits performed during live broadcasts in the UK & Sweden.
Disc 4 - New York, Miami And Philadelphia: The First And Second US Tours
Featuring performances from 1964 broadcasts on the Ed Sullivan and Miami. Also featuring the previously unreleased concert recording from the Philadelphia Convention Hall during the Beatles second visit to the USA.
Disc 5 - Blackpool And Paris: The Legendary Broadcasts
The 2 live to air performances from Blackpool in1964-'65 have long been the holy-grail for Beatles fans. Also featuring the re-mastered recording of the Show from the Paris Palais Des Sports in 1965.
Disc 6 - Australia And Japan
Features two shows by the Beatles as they continued their quest to take Beatlemania to fans around the globe.
THE MOODY BLUES - Time Traveller (1994) [5 CDs Box Set]
“Time traveller” is an essential 4 CD plus bonus live CD collection. After opening with some early singles and rarities, all the albums from “Day’s of future passed” right through to “Keys to the kingdom” are well represented. Also covered is Hayward and Lodge’s lost Moody Blues album “Bluejays”. For the six magnificent albums from “In Search of the Lost chord” to “Seventh Sojourn” , there is 25 to 30 minutes of music from each, representing up to 75% of the original albums. “Bluejays” is also afforded a similar amount of space, meaning that only a couple of tracks are missing. It is entirely right that greater focus is placed on these albums, since they represent the golden era of the band. For the remaining albums, including “Days of future passed”, the allocation is 12 to 15 minutes apiece. The track are presented in the order they appeared on the albums, thus retaining much of the continuity they contained. While the selection of tracks for any compilation is necessarily a subjective process, the compliers here have generally dropped tracks which would widely be considered to be the (marginally) weaker ones on each album. The magnificent “Have you heard” suite is present in full, and even albums such as “On the threshold of a dream”, which flow seamlessly from start to finish, do not appear to be significantly diluted by the omission of the odd track. “Time traveller” thus serves to gather in pretty much all the Moody Blues best work into one perfect package. Yes there will be the odd track which people will question the absence of, but the CDs flow together seamlessly. Justin Hayward’s solo outing “Forever Autumn” is also included, but it’s the poorly edited single version. The “Blue guitar” single (sometimes credited to Justin Hayward, sometimes to Hayward and Lodge, and sometimes to “The Bluejays”) is here too, along with a further couple of more recent non-album tracks. The bonus CD contains some tracks from the band’s “Red Rocks” concert which did not originally appear on the live album of that name (they are included on the recently released 2 CD “Deluxe” version, and the DVD of the concert).
A spin-off of Procol Harum, Freedom was formed by guitarist Ray Royer and drummer Bobby Harrison. Both of them were in Procol Harum's lineup at the outset for their debut "A Whiter Shade of Pale" single, but were ousted almost immediately when Procol singer, Gary Brooker, enlisted his former bandmates from the Paramounts, Robin Trower and Barry Wilson, as replacements. Freedom's early sound, perhaps unsurprisingly, echoed Procol Harum's in its prominent use of organ and piano, as well as heavy rock guitar, and like Procol Harum's early records, captured late British psychedelia as it was starting to inch toward progressive rock.
Freedom wasn't a Procol Harum clone, though, with a somewhat poppier take on psychedelia that was closer to Traffic than Procol Harum. Their initial lineup only released two singles in 1968 before breaking up, also recording a soundtrack for an obscure Italian film by Dino De Laurentis, Attraction/Black on White. The soundtrack LP was given a limited release in Italy -- so limited, in fact, that the group members themselves were unaware that it had come out. Recorded with noted future producers Eddie Kramer and Glyn Johns engineering, this was reissued on CD in 1999, and is actually a pretty good if derivative slice of late-'60s British psychedelia.
In 1968, Harrison decided to reorganize the band completely -- in fact, so totally that he was the only remaining original member. More albums came out in the late '60s and early '70s which, in keeping with overall British rock trends of the period, were in a much heavier, hard, bluesier style. These were middle-of-the-pack, or a little lower than the middle-of-the-pack, efforts with nothing to make them stand out from the crowd in a clogged field. They did get to tour the U.S. as support for Black Sabbath and Jethro Tull, and broke up in 1972 after some personnel changes. Harrison became the lead singer in the little-known Snafu, while guitarist Roger Saunders, from the later incarnation of the band, did some session work, joined Medicine Head, and played in Gary Glitter's group during the '80s. - allmusic.com
CHICKENFOOT - Best + Live (2017)
Formed in 2008, the hard-rocking "supergroup" Chickenfoot features the talents of vocalist Sammy Hagar (Van Halen, Montrose), bass player Michael Anthony (Van Halen), drummer Chad Smith (Red Hot Chili Peppers), and guitar virtuoso Joe Satriani. Formed out of a series of impromptu jams at Hagar's club, Cabo Wabo Cantina, in Cabo San Lucas, Mexico, the band made its live debut at a 2008 Hagar solo show in Las Vegas before deciding to take its signature blend of high-energy rock & roll, funk, blues, and roots rock into the studio. Chickenfoot released its eponymous debut album in 2009, followed by a worldwide tour. The live Get Your Buzz On DVD arrived in 2010, followed by the band's second studio album, Chickenfoot III, in 2011. A limited-edition live album, LV, appeared in 2012. In 2017, the band delivered the collection Best + Live, which featured one new song ("Divine Termination"), representative selections from both studio albums, and live tracks taken from the Get Your Buzz On DVD.
THE AYNSLEY DUNBAR RETALIATION - Dr. Dunbar's Prescription (1969) + Blue Whale (1970) [2on1, 2004] & To Mum From Aynsley And The Boys (1969) + Remains To Be Heard (1970) 
Of the numerous British blues-rock bands to spring up in the late '60s, the Aynsley Dunbar Retaliation was one of the better known, though solid reception on tours did not translate into heavy record sales. Musically, the group recalled John Mayall's Bluesbreakers during the 1966-1967 era that had produced that group's A Hard Road album, though with a somewhat more downbeat tone. The similarities were hardly coincidental, as the band's founder and leader, drummer Aynsley Dunbar, had been in the Bluesbreakers lineup that recorded the A Hard Road LP. Too, bassist Alex Dmochowski would go on to play with Mayall in the 1970s, and guitarist Jon Morshead was friendly with fellow axeman Peter Green (also in the Bluesbreakers' A Hard Road lineup), whom he had replaced in Shotgun Express.
Though he was only 21 when he formed the Aynsley Dunbar Retaliation, the drummer had already played with several bands of note in both his native Liverpool and London. Stints in several Merseybeat groups had culminated in his joining the Mojos, and Dunbar played on a couple of singles by the group, though these were cut after their British chart hits. Shortly after leaving the Mojos, he did his stint with the Bluesbreakers, after which he played for a few months in the Jeff Beck Group, also appearing on their 1967 single "Tallyman"/"Rock My Plimsoul." Wanting to lead his own band, in mid-1967 he formed the Aynsley Dunbar Retaliation, joined by Morshead, who'd previously been in the Moments (with a pre-Small Faces Steve Marriott), Shotgun Express, and Johnny Kidd & the Pirates; singer/guitarist/keyboardist Victor Brox, who worked for a while with British blues godfather Alexis Korner; and bassist Keith Tillman. Shortly after forming, however, Tillman left to join John Mayall's Bluesbreakers, replaced by Dmochowski, who'd played in Neil Christian's Crusaders and Winston's Fumbs.
The band's first single, 1967's "Warning"/"Cobwebs" (the A-side of which was covered by Black Sabbath), was released on the Blue Horizon label, though their four LPs would appear on Liberty. (A 1967 recording credited to the Aynsley Dunbar Retaliation that was issued on the compilation History of British Blues, Vol. 1, "Stone Crazy," is not the original lineup, but Dunbar playing with singer Rod Stewart, guitarist Peter Green, and bassist Jack Bruce.) Though their records received some positive press, and the band toured heavily (including six weeks in the United States in early 1969), they didn't crack the LP charts. With the addition of keyboardist Tommy Eyre, they expanded to a five-piece for their third album, the John Mayall-produced To Mum, from Aynsley and the Boys, on which they added some mild jazz and R&B ingredients. In late 1969, however, the group split up, Dunbar and Eyre forming the short-lived jazz-rock band Aynsley Dunbar's Blue Whale. At the request of management, a fourth album, Remains to Be Heard, was posthumously compiled, in part using outtakes from To Mum, from Aynsley and the Boys. Dunbar appears on only four of the ten tracks, however, and the remaining half-dozen songs include some vocal and instrumental contributions from musicians not in the band, making for an anti-climactic and unrepresentative final release.
Dunbar had by far the most impressive career after the demise of the group, going on to play with Frank Zappa, Journey, and Whitesnake. In addition to playing with Mayall, Dmochowski subsequently worked with Morshead in Heavy Jelly, as well as doing sessions with Zappa, Graham Bond, and Peter Green.
PROCOL HARUM - Novum (2017)
Novum is Procol Harum s thirteenth studio album, their first since The Well s On Fire in 2003, and is released in the band s fiftieth anniversary year. Kicking things off with the huge and ongoing success of their debut single A Whiter Shade Of Pale , Procol Harum went on to help define the progressive rock genre in the early seventies whilst at the same time embracing their roots in blues and soul. Novum sees a new lyrical direction for Procol Harum with the songs all featuring words by Pete Brown, most famous for his songwriting collaboration with the members of Cream. This has given a different feel to the songs, retaining the thought provoking content for which the band has always been known but with a different slant and elements of humour. As ever, the music and musicianship within the band is of the highest level and this long-awaited collection of brand new songs is sure to be devoured greedily by Procol Harum s devoted fanbase.
"Our last studio album is released in 2003, and as Procol Harum turns 50 in 2017, we needed something special, and as a result we got a new album with new songs from the band that have been together for 10 years. And producer Dennis Weinreich (Dennis Weinreich) contributed to the album, which I think is the best in Procol Harum history. "Just listen!" - says Gary Brooker.
RAY DAVIES - Americana (2017)
The Kinks frontman has been celebrated as rock and roll royalty for years, but Queen Elisabeth made it official when she knighted him in December. It’s an honor Davies unarguably deserves. For more than 50 years, he’s been England’s great social satirist and commentator. If The Kinks are pop music’s quintessential British band, then Davies is by extension its quintessential British songwriter. Even today, Davies, now 72, is defined largely by his homeland. So when it was announced that his new solo record would be called Americana, it felt like something carved out of alternative history. But it’s real, and it’s a record as good as its premise is enticing. Almost a decade after the release of his last record, 2008’s Working Man’s Cafe, Davies comes out of hibernation for one of his most wily and enthused solo outings yet. The record acts as a musical companion to his memoir of the same name, revealing a fascination with the States that runs deeper than fans might have ever thought.
“Americana is such a big story,” Davies said in a video interview promoting the new record’s release. True enough, much of Americana plays like a celebration of American myth. Davies’ view of life across the pond is one conjured through a fascination with old western movies, the open road, and other distinctly American imagery. With the able support of alt-country mainstays The Jayhawks as his backing band, the record’s 15 tracks delve deep into the folklore. Davies wastes little time shaping his narrative on the record’s title track, regaling listeners with fantasies of roaming buffalo, school-boy romances, and living in the land of the free.
TRACKS: 01. Americana 02. The Deal 03. Poetry 04. Message from the Road 05. A Place in Your Heart 06. The Mystery Room 07. Silent Movie 08. Rock ‘N’ Roll Cowboys 09. Change for Change 10. The Man Upstairs 11. I’ve Heard That Beat Before 12. A Long Drive Home to Tarzana 13. The Great Highway 14. The Invaders 15. Wings of Fantasy
DENNY DOHERTY - Watcha Gonna Do (1971) & Waiting For A Song (1974)
Denny Doherty, the voice of numerous Mamas & Papas hits such as "California Dreamin,'" and "Monday, Monday," has been one of the greatest and most underrated lead vocalists of the rock era. While he had not completely explored the area of songwriting during his fame with the Mamas & Papas, he was the one member of the group who was truly at loose ends after the groups' demise in the late 1960s. While perhaps a contractual obligation, his first solo album has numerous charms. The record has a loose, party-in -the-studio feel, and much of that adds to the overall effect of this slightly country-oriented platter. Tracks such as "Gathering of the Words" and "Don't You Be Fooled" are quite remarkable, and show Doherty to be a sensitive artist in the singer/songwriter vein. A remake of "Got a Feelin'" features Doherty's world-class talent as a vocalist as well. The album's closer, a medley of "Here Comes the Sun" and "The Two of Us" ends the record in grand style, with Jimmie Haskell's exquisite string arrangement taking the listener into a wonderful and warm place.
After a lackadaisical country-rock album in 1971 and a Mamas & the Papas contract-fulfilling reunion disc later that year, Denny Doherty laid low for a couple years before issuing this obscure effort. Waiting for a Song is a rather depressing record, Doherty being mired in melancholia more or less from beginning to end. The title of "Give Me Back That Old Familiar Feeling," paired with the album's title, provide the intertwined recurring lyrical themes: Doherty as the lost artist looking for a song to sing and a reason to live -- the concepts becoming interchangeable after a while -- and continually looking to the past for fear of looking forward. This motif is underscored by the presence of his former bandmates, Cass Elliot and Michelle Phillips, on backing vocals throughout the record. Their harmonizing voices are in fine form, but the arrangements are far less novel than those from the group's heyday, and Doherty doesn't hit notes as brightly with his tenor as he once did. Less-than-stunning material and poor distribution rendered this album an instant obscurity, though collectors and Doherty fans were delighted by its reissue on the Varese Vintage imprint in 2001. In hindsight, the record is remarkable for its naked honesty, Doherty making little secret, either in the tunes or in the liner photos, of how much of a wreck he is, but on its own merits, Waiting for a Song is too much of a buzzkill to tout unreservedly. Highlights include the minor AC hit "You'll Never Know" and the Larry Weiss-penned ballad "Lay Me Down (Roll Me Out to Sea)."
GUITAR SHORTY - 1991-2001
When he's not turning somersaults, doing backward flips, and standing on his head - all while playing, of course - Guitar Shorty is prone to cutting loose with savagely slashing licks on his instrument. Live, he's simply amazing -- and after some lean years, his latter-day albums for Black Top, Evidence, and Alligator have proven that all that energy translates vividly onto tape.
Born David Kearney on September 8, 1939, in Houston, TX, he started playing guitar at an early age. His early influences included fellow blues guitar slingers B.B. King, Guitar Slim, T-Bone Walker, and Earl Hooker. By the time he was 17, Kearney was already gigging steadily in Tampa, FL. One night, he was perched on the bandstand when he learned that the mysterious "Guitar Shorty" advertised on the club's marquee was none other than him! His penchant for stage gymnastics was inspired by the flamboyant Guitar Slim, whose wild antics are legendary. In 1957, Shorty cut his debut single, "You Don't Treat Me Right," for Chicago's Cobra Records under Willie Dixon's astute direction. Three superb 45s in 1959 for tiny Pull Records in Los Angeles (notably "Hard Life") rounded out Shorty's discography for quite a while. During the '60s, he married Jimi Hendrix's stepsister and lived in Seattle, where the rock guitar god caught Shorty's act (and presumably learned a thing or two about inciting a throng) whenever he came off the road. Shorty's career had its share of ups and downs - once he was reduced to competing on Chuck Barris' zany Gong Show, where he copped first prize for delivering "They Call Me Guitar Shorty" while balanced on his noggin.
Los Angeles had long since reclaimed Shorty by the time things started to blossom anew with the 1991 album My Way or the Highway for the British JSP logo (with guitarist Otis Grand in support). From there, Black Top signed Shorty; 1993's dazzling Topsy Turvy, 1995's Get Wise to Yourself, and 1998's Roll Over, Baby were the head-over-heels results. In 2001, the appropriately titled I Go Wild was released on the Evidence label, proving that Guitar Shorty had no intentions of slowing down, as he clearly remained a master showman and lively blues guitarist. Watch Your Back appeared in spring 2004. A single-disc overview of his career, The Best of Guitar Shorty, appeared from Shout! Factory in 2006, as well as a new studio album, We the People, from Alligator Records. A second Alligator release, Bare Knuckle, appeared early in 2010.
Guitar Shorty @ 8th Zagreb International Blues Festival in Zagreb, Croatia, 05/27/2017
DAN PATLANSKY - Dear Silence Thieves (2014) & Introvertigo (2016)
The word “legend” is loaded with meaning – especially when one thinks of Blues-legends. It conjures up images of seasoned older players that have been touched with a rare gift, and whose talent has been salted through the onslaught of years in the music business. To achieve legend-status as a Blues-musician at the age of 30 is almost unheard of. Enter Dan Patlansky – an artist who shares the muse that touched Hendrix, Zeppelin and Stevie Ray Vaughan. What Dan Patlansky can do with a six-string Fender Stratocaster at the age of 30, most critically acclaimed guitarists will never quite achieve in a lifetime.
Dan Patlansky is a conglomerate of charisma, charm and musical genius - and all of this comes wrapped up in an unassuming, startlingly attractive package that bespeaks his Judeo-Spanish heritage. And yet, he doesn’t seem to realise the extent of his tactile appeal – both on stage and in person. Humility suits him well and is as much an extension of his being as his Fender. There are no airs and graces here – just sincerity and an incredible musical talent. In only a little over a decade on the music scene, Dan Patlansky has become one of the busiest and most respected blues artists to ever come out of South Africa. His music can best be described as vacillating between slick, soulful blues and the renegade psychedelic angst and raw emotion of Hendrix and Zeppelin – fire encased in ice...if you will.
Rita Chiarelli is one of the most exciting singers in Canada. Her unique blend of rock and blues has been compared favorably to Bonnie Raitt, Melissa Etheridge, and Susan Tedeschi. In 2000, she was named the "top blues singer" at Canada's Maple Leaf Awards.
The world's discovery of Chiarelli comes after years of her paying dues. Singing with Hamilton, Ontario-based group Tempest at the age of 15, she toured throughout North America with a nine-piece R&B band, Battleaxe, after graduating from high school. Chiarelli continued to sharpen her chops as a member of Toronto-based rockabilly pioneer Ronnie Hawkins' group. After a year, however, she moved to Italy, where she worked as a studio vocalist for six years. Returning to Canada in the late '80s, Chiarelli had her first success when her tune "Have You Seen My Shoes?," which was featured in the film Roadkill. Releasing her debut album, Road Rocket, in 1992, she took things a step further with her second effort, Just Gettin' Started, three years later. Produced by Jane Siberry-producer John Switzer, the album showcased Chiarelli's hook-laden songwriting, with all but one song -- a cover of Elvis Presley's "Love Me" -- original. Long John Baldry covered Chiarelli's song, "Midnight in Berlin," on his 1996 album Right to Sing the Blues. Breakfast at Midnight, released in 2001, includes such guests as ex-Band keyboardist Richard Bell and guitarist Colin Linden.
Over the past decade Rita Chiarelli has won every major Canadian blues award, including multiple Maple Blues awards, CBCs Great Canadian Blues Award, Toronto Independent Music Awards, Hamilton Music Awards, Manitoba Blues Society and the Hamilton Blues Society's Lifetime Achievement Awards. Most recently Rita was awarded the prestigious Maple Blues 'Blues With A Feeling Award' for Lifetime Achievement.
Showing no signs of slowing down, Chiarelli continues to tour incessantly in North America and Europe and intends to spend more time performing in the U.S. over the next few years.
ALLAN HOLDSWORTH - Against The Clock: The Best Of Allan Holdsworth (2005)
Allan Holdsworth (6 August 1946 – 16 April 2017) was a British guitarist and composer. He released twelve studio albums as a solo artist and played a variety of musical styles spanning a period of more than four decades, but is best known for his work in jazz fusion.
Holdsworth is noted for his advanced knowledge of music, through which he incorporated a vast array of complex chord progressions and intricate solos; the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales, among others, resulting in an unpredictable and "outside" sound. His unique legato soloing technique stems from his desire to originally play the saxophone, but having been unable to afford one he thus intentionally utilised the guitar in order to make it sound like a different instrument. He also become associated with playing an early form of guitar synthesizer called the SynthAxe, a company which he endorsed in the 1980s.
Holdsworth has been cited as an influence by such renowned rock, metal and jazz guitarists as Eddie Van Halen, Joe Satriani, Greg Howe, Shawn Lane, Richie Kotzen, John Petrucci, Alex Lifeson, Kurt Rosenwinkel, Yngwie Malmsteen, Michael Romeo, and Tom Morello. Frank Zappa once lauded him as "one of the most interesting guys on guitar on the planet", while Robben Ford has said: "I think Allan Holdsworth is the John Coltrane of the guitar. I don't think anyone can do as much with the guitar as Allan Holdsworth can."
On April 16th 2017 Allan Holdsworth's family posted a public announcement of Holdsworth's untimely death. Cause of death was not mentioned. - RIP
GROUNDHOGS - Thank Christ For The Groundhogs: The Liberty Years 1968-1972 (2010)
The Groundhogs were not British blues at their most creative; nor were they British blues at their most . They were emblematic of some of the genre's most visible strengths and weaknesses. They were prone to jam too long on basic riffs, they couldn't hold a candle to American blues singers in terms of vocal presence, and their songwriting wasn't so hot. On the other hand, they did sometimes stretch the form in unexpected ways, usually at the hands of their creative force, guitarist/songwriter/vocalist T.S. (Tony) McPhee. For a while they were also extremely popular in Britain, landing three albums in that country's Top Ten in the early '70s. The Groundhogs' roots actually stretch back to the mid-'60s, when McPhee helped form the group, naming it after a John Lee Hooker song (the band was also known briefly as John Lee's Groundhogs). In fact, the Groundhogs would back Hooker himself on some of the blues singer's mid-'60s British shows, and also on an obscure LP. They also recorded a few of their very own obscure singles with a much more prominent R&B/soul influence than their later work.
In 1966, the Groundhogs evolved into Herbal Mixture, which (as if you couldn't guess from the name) had more of a psychedelic flavor than a blues one. Their sole single, "Machines," would actually appear on psychedelic rarity compilations decades later. The Groundhogs/Herbal Mixture singles, along with some unreleased material, has been compiled on a reissue CD on Distortions.
After Herbal Mixture folded, McPhee had a stint with the John Dummer Blues Band before re-forming the Groundhogs in the late '60s at the instigation of United Artists A&R man Andrew Lauder. Initially a quartet (bassist Pete Cruickshank also remained from the original Groundhogs lineup), they'd stripped down to a trio by the time of their commercial breakthrough, Thank Christ for the Bomb, which made the U.K. Top Ten in 1970. McPhee was always at the very least an impressive guitarist, and a very versatile one, accomplished in electric, acoustic, and slide styles. Who Will Save the World? The Mighty Groundhogs! (1972), their last Top Ten entry, saw McPhee straying further from blues territory into somewhat progressive realms, even adding some Mellotron and harmonium (though the results were not wholly unsuccessful). The Groundhogs never became well-known in the U.S., where somewhat similar groups like Ten Years After were much bigger. Although McPhee and the band have meant little in commercial or critical terms in their native country since the early '70s, they've remained active as a touring and recording unit since then, playing to a small following in the U.K. and Europe.
THE 13TH FLOOR ELEVATORS - Easter Everywhere (1967)
01. Slip Inside This House
02. Slide Machine
03. She Lives In (A Time of Her Own)
04. Nobody to Love
05. It's All Over Now, Baby Blue
08. I've Got Levitation
09. I Had to Tell You
10. Postures (Leave Your Body Behind)
Easter Everywhere is the second studio album by the American psychedelic rock band the 13th Floor Elevators. It was released in November 1967, through record label International Artists. For a long time, the album was a hard-to-find collectors' item, until being re-released as a CD by Collectables Records in 1993.The album features the band's distinctive sound on songs ranging from their own psychedelic "Slip Inside this House" to a trippy cover of Bob Dylan's "It's All Over Now, Baby Blue". "Levitation" ranks among the band's most iconic songs, with its Tommy Hall-penned lyrics and its twisted blues sensibilities, while "Postures" displays a distinct Motown influence. As on the previous album, Tommy Hall's electric jug is prominent in the music. Easter Everywhere was packaged with lyrics printed on the inner sleeve, gold ink on the cover (which flaked off), and full colour pictures on the reverse. The packaging was quite expensive at the time.
KERRY ELLIS & BRIAN MAY - Acoustic By Candlelight (2013) & Golden Days (2017)
Kerry Jane Ellis is an English actress and singer who is best known for her work in musical theatre and subsequent crossover into music. Ellis made her first professional stage appearance in 1998 and went on to make her West End debut in the 2001 revival of My Fair Lady as Martine McCutcheon's understudy in the role of Eliza Doolittle. After meeting Queen guitarist Brian May in 2002, she landed the role of Meat in the original London cast of We Will Rock You and has subsequently played lead roles in West End musicals Les Misérables, Wicked (which also took her to Broadway), Oliver! and Cats as well as appearing in national tours and concert productions of musicals like Miss Saigon, Chess, The War of the Worlds and Rent. Ellis, who has received several awards and nominations for her performances, has become recognised as the First Lady of West End musicals.
Acoustic by Candlelight: Live on The Born Free Tour is the first live album by actress and singer Kerry Ellis and rock musician Brian May, released on 17 June 2013. The 15-track album consists of material from live shows of the first leg of their Born Free Tour, which the pair embarked on in late 2012.
‘Golden Days’ is the latest collaboration from Brian May and Kerry Ellis, who have now been working together for nigh on 15 years – ever since Kerry first created the role of Meat in the Queen/Ben Elton musical ‘We Will Rock You’. However, this latest release is actually their first together as a credited duo and also their first under a new deal with Sony Music. ‘Anthems’, released in 2010, was a Kerry Ellis solo album but produced by Brian May, and the hidden gem ‘Acoustic by Candlelight’ live album was a limited release put out on May’s own Duck Productions label. This new collection is a diverse mix of songs penned by both Brian and, for the first time, Kerry herself. Along with several more well-known tracks that have become favourites of the duo following their numerous live performances together.
PINK FLOYD - The Early Years 1965-1972 (2016)
The Early Years 1965–1972 is a compilation box set by Pink Floyd released on 11 November 2016. It contains early non-album singles plus unreleased studio and live recordings. Volumes 1–6 are available separately since March 24th 2017, while Volume 7 Continu/ation will be exclusive to the box set.
“Today’s underground may be the answer to tomorrow’s leisure,” intones an earnest British newscaster, narrating film of London’s U.F.O. Club circa January 1967 while its house band, Pink Floyd, jams amid the flashing lights. And darned if he wasn’t right: the black-and-white segment is now found on the massive new $550, 11-CD/9-DVD/8 Blu-Ray box set, Pink Floyd: The Early Years, 1965–1972. With over 27 hours of material, the package overflows with replica 45 rpm singles, gig flyers, posters, tickets, sheet music, and more, and the ark-like box should provide serious leisure-time satisfaction for both longtime Floyd freaks and aspiring heads alike. The Early Years tells the remarkable story of Pink Floyd’s career up through the moment they became part of yesterday’s underground and today’s mainstream, stopping just before the writing and recording of 1973’s Dark Side of the Moon. Charting the band’s progression from the wig-flipping baroque psychedelia of Syd Barrett’s songwriting through their wooliest jams and into the new space beyond, The Early Years doesn’t follow a straight path. It shows an astonishing capacity to turn corners and evolve, a long arc that might give hope to every band jamming away in its practice space in search of a voice.
IRONHORSE - Ironhorse (1979) & Everything Is Grey (1980)
Ironhorse was a Canadian rock band from Vancouver, formed by the former The Guess Who and Bachman-Turner Overdrive member, Randy Bachman along with Tom Sparks (vocals, guitars), Chris Leighton (drums) and Ron Foos (bass).
They had a minor U.S. hit single in April 1979 with "Sweet Lui-Louise", which peaked at #36 on the Billboard Hot 100 chart. In Canada, the song peaked slightly higher at #26. The same track reached #60 in the UK Singles Chart. Ironhorse released two albums on the Scotti Brothers label: 1979's Ironhorse and 1980's Everything is Grey. The second release had Frank Ludwig (ex-Trooper) replacing Sparks. One of its singles, "What's Your Hurry Darlin'," peaked at #84 in Canada. In the U.S., the song peaked at #89 in May 1980. Foos left to rejoin Paul Revere and the Raiders. In 1980, Ironhorse evolved into Union with the addition of Bachman's former BTO bandmate Fred Turner. Union put out one album On Strike on the CBS subsidiary Portrait Records. As of May, 2013, Randy Bachman has been able to secure the rights to the two Ironhorse albums and plans on releasing them along with previously unreleased material in the next couple years. Bachman also has stated he is considering reuniting the band and doing a tour to support the new album.
BOBBY MESSANO - Bad Movie (2017)
01. Bad Movie
02. Come To Your Senses
03. Why Water A Dead Rose
04. Road To Oblivion
05. Unconventional Wisdom
06. Too Good To Be True
07. If The Phone Ain't Ringin, It's Me Not Callin'
08. Never Too Late To Break A Bad Habit
09. Water Under The Bridge
10. You Left Me No Choice
11. The Girl That Got Away
12. I Thought We Had This
13. We Need A Blessing
14. Is It Too Much To Hope For A Miracle
15. American Spring
Bobby Messano is a legendary guitarist and Contemporary Blues Artist who has released seven Solo CDs, placed songs in many TV and Cable shows and played on over 50 Major label and Indie albums. Bobby’s newest CD “BAD MOVIE” released on April 2017. It is a collection of fifteen incredible songs written with major co-writers Jon Tiven , Larry Weiss and Steve Kalinich and features the amazing “Come To Your Senses” written by Queen founder Brian May and Jon Tiven and the haunting duet “Water Under The Bridge” with Bobby and Alecia Elliott (2001 AMA Nominee) “BAD MOVIE” offers a unique perspective of personal traumas and a country in a state of flux and the early reviews have been outstanding.
SEAN CHAMBERS - Trouble & Whiskey (2017)
Florida-born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean's tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as One of the Top 50 blues guitarists of the last century.
The album is produced by Ben Elliott who has recorded classic artists such as Eric Clapton, Keith Richards, Billy Gibbons, and Leslie West among others. The core band on the album, aside from Sean on lead vocals and lead guitar, includes Michael Hensley on Hammond B3 & keyboards, Todd Cook on bass and Kris Schnebelen on drums. Special guests include Jimmy Bennett on guitar on track #8, John Ginty on Hammond B3 on track #4, and Andrei Koribanics on percussion on tracks #1 and #7. Trouble & Whiskey marks the 6th release by Sean Chambers. The album is guitar driven and features 10 tracks, which include 7 new original Sean Chambers compositions, and 3 well chosen covers, including Bullfrog Blues by Rory Gallagher, Cut Off My Right Arm by Johnny Copeland and Be Careful With A Fool by Riley B. King/Joe Bihari. The album debuts on Billboard Blues Charts at #11.
TRACKS: 01. I Need Your Lovin' 02. Bottle Keeps Staring At Me 03. Trouble & Whiskey 04. Travelin North 05. Cut Off My Right Arm 06. Bullfrog Blues 07. Sweeter Than A Honey Bee 08. Handyman 09. Be Careful With A Fool 10. Gonna Groove
THE J. GEILS BAND - 'Live' Full House (1972) & Flashback, The Best Of J. Geils (1988)
The J. Geils Band was an American rock band formed in 1968 in Worcester, Massachusetts, under the leadership of guitarist John "J." Geils. The band played R&B-influenced blues rock during the 1970s, and soon achieved commercial success before moving towards a more new wave mainstream sound in the early 1980s, which would soon bring the band to its commercial peak. Since its initial break-up in 1985, the band has reunited several times. The band first released several Top 40 singles in the early 1970s, including a cover of the song "Lookin' for a Love" by The Valentinos (which reached #39 in the Billboard Top 100 in 1971), as well as the single "Give it to me" (which reached #30 in 1973). Their biggest hits included "Must of Got Lost" (which reached #12 in the Billboard Top 100 in 1975), "Love Stinks" which reached #38 in 1980 (and was featured in several films), their single "Freeze-Frame" which reached #4 in the Billboard Top 200 in 1981, as well as the single "Centerfold", which charted to No. 1 in the United States in early 1982.
John Warren "J." Geils Jr. (February 20, 1946 - April 11, 2017) - RIP
JUDY COLLINS - Judith (1975)
Judith is American singer and songwriter Judy Collins' 12th studio album, released in 1975 by Elektra Records. It peaked at No. 17 on the Billboard Pop Albums chart, and is her best-selling studio album to date, achieving Platinum status in the mid 1990s. Collins received a Grammy Award nomination for Best Pop Vocal Performance, Female for her cover of Stephen Sondheim's "Send in the Clowns". Sondheim won the Grammy Award for Song of the Year that same year, based on the popularity of Collins' performance of the song on this album. The single peaked at No. 36 on Billboard's Pop singles chart in 1975, and then reentered the chart in 1977, reaching No. 19; it spent a total of 27 non-consecutive weeks on this chart. The album also includes material by Steve Goodman, Danny O'Keefe, Wendy Waldman, Jimmy Webb, the Rolling Stones, and the 1930s standard "Brother, Can You Spare a Dime?", as well as three of Collins' own compositions- "Houses", "Song for Duke", and "Born to the Breed". The album was certified Gold by the RIAA in 1975, for sales of over 500,000 copes. It was later certified Platinum in 1996, for sales of over 1,000,000 copes.
TRACKS: 01. The Moon Is A Harsh Mistress 02. Angel Spread Your Wings 03. Houses 04. The Lovin' Of The Game 05. Song For Duke 06. Send In The Clowns 07. Salt Of The Earth 08. Brother Can You Spare A Dime 09. City Of New Orleans 10. I'll Be Seeing You 11. Pirate Ships 12. Born To The Breed
JONI MITCHELL - Miles Of Aisles (1974)
Miles of Aisles is a four-sided live album with a greatest-hits feel to it that collects 18 numbers from Mitchell's successful concert tour of last winter. It's a strong album of her best songs performed mostly informally, backed on sides one and four by reedman Tom Scott and his band - an interesting album because it displays an occasional awkwardness that provides a glimpse into the artist's mercurial character. Although she constantly maintains a stunning professional control over her own performance, much of the pleasure of this record comes from the new band arrangements of songs we've heard often (one or two of which I've heard to death). Even "Woodstock," which is now something of a hoary hippy anthem, gets a clever revitalization through Robben Ford's biting guitar work that constructs a personality of its own as the concert builds.
Most of the new readings are superb. "Cactus Tree," "A Case of You" and "Blue" once again knock me out with the seriousness of their romantic vision. The opening bars of "Cold Blue Steel and Sweet Fire" and "Woman of Heart and Mind" both elicit surprised gasps from an adoring audience that approaches a cult following, These and the other songs from For the Roses blew minds when they were first released, and on Miles of Aisles they are reproduced in a rare way — live versions of important songs that approach the crackling intensity of the recording studio originals. The exuberance and high spirits of "You Turn Me On, I'm a Radio" and "Big Yellow Taxi" are preserved intact, and again the interaction of Joni with the tasteful Scott quintet must be praised.
TRACKS: 01. You Turn Me on I'm a Radio 02. Big Yellow Taxi 03. Rainy Night House 04. Woodstock 05. Cactus Tree 06. Cold Blue Steel and Sweet Fire 07. Woman of Heart and Mind 08. A Case of You 09. Blue 10. The Circle Game 11. People's Parties 12. All I Want 13. Real Good for Free 14. Both Sides Now 15. Carey 16. The Last Time I Saw Richard 17. Jericho 18. Love or Money
BILL NELSON - My Secret Studio, Vol.1 (2017) [4CD Box Set]
My Secret Studio really isn't a secret, and never has been, unless you count the period of time when problems of life and surroundings seemed to make it impossible for Bill Nelson to actually get anything musical out into the open. His larger commercial connections had evaporated, his own label had been wracked by unethical behavior by his manager, and his life as a whole seemed to be one gigantically complex knot. Rather than letting these problems crushing the inspiration out of him, Nelson was energized by them. He might not have been able to release much of a anything for a while, but this didn't stop him from recording hundreds of new songs and instrumental pieces. My Secret Studio, Vol. 1 is one distillation of the four years between 1988 and 1992, organizing 65 songs into four discs (three of these have been made available separately from the box set; Juke Box for Jet Boy remains available only as part of the complete box.) A packet of Nelson's photo-artwork is also included as an added bonus. My Secret Studio mostly focuses on songs throughout, with the Deep Dream Decoder and Juke Box for Jet Boy discs including some examples of Nelson's floating instrumental work. The first two discs, Buddha Head and Electricity Made Us Angels, take the form of statement and contemplation, providing an initial form, though this proves less important than a simple progression through the songs themselves - order definitely is not an issue here. The box set itself has become difficult to find - only 2,000 copies were pressed - but it is certainly worth acquiring, as the price is reasonable.
JIMMY CLIFF - The Best Of Jimmy Cliff (1975)
Jimmy Cliff, OM (born James Chambers; 1 April 1948) is a Jamaican ska and reggae musician, multi-instrumentalist, singer and actor. He is the only living musician to hold the Order of Merit, the highest honour that can be granted by the Jamaican government for achievements in the arts and sciences.
Cliff is best known among mainstream audiences for songs such as "Wonderful World, Beautiful People", "Many Rivers to Cross", "You Can Get It If You Really Want", "The Harder They Come", "Reggae Night" and "Hakuna Matata", and his covers of Cat Stevens' "Wild World" and Johnny Nash's "I Can See Clearly Now" from the film Cool Runnings. He starred in the film The Harder They Come, which helped popularize reggae across the world, and Club Paradise. Cliff was one of five performers inducted into the Rock and Roll Hall of Fame in 2010.
TRACKS:01. Hard Road To Travel 02. Sooner Or Later 03. Sufferin' In The Land 04. Keep Your Eyes On The Sparrow 05. Strling Man 06. Wild World 07. Vietnam 08. Another Cycle 09. Wonderful World, Beautiful People 10. The Harder They Come 11. Let Your Yeah Be Yeah 12. Synthetic World 13. I'm No Immigrant 14. Give And Take 15. Many Rivers To Cross 16. Going Back West 17. Sitting In Limbo 18. Come Into My Life 19. You Can Get It If You Really Want 20. Goodbye Yesterday
JOHN D. LOUDERMILK - The Open Mind Of John D.Loudermilk (1969) [Reissued & Expanded 2006]
The eye-catching psychedelic art on the cover of 1969's The Open Mind of J.D. Loudermilk is more tongue-in-cheek than a reflection of the music within. Loudermilk, one of the greatest Nashville songwriters of the late '50s and early '60s, seemed to believe that this album would blow the lid off the music world, but it is not nearly as controversial as he sests in the liner notes. A mixture of conservative and progressive political views, the songs blast the "new morality," the drug culture, and accuse peace protesters of killing policemen. "Goin' to Hell on a Sled" is the most overtly political cut on the album, but "The Jones" critiques Madison Avenue materialism and keeping up with "the Joneses," "Poor Little Pretty Girl" takes a swipe at the objectification of women, and "Brown Girl" looks at interracial romance. Other songs, such as "Nassau Town," are pretty folk-pop ditties of the sort more commonly associated with Loudermilk. The Australian CD reissue adds 15 bonus tracks from albums Loudermilk recorded earlier in the '60s, many of which deal with unconventional subject matter, from the environmental dangers of radioactive fallout ("No Playing in the Snow Today") to eminent domain disputes ("Ma Baker's Little Acre"). One stray track from a single, "That Ain't All," closes the set. Many of these recordings previously appeared on Bear Family's two anthologies of Loudermilk's RCA recordings, but the entirety of The Open Mind of J.D. Loudermilk makes its CD debut here. Collectors of oddball country music, as well as fans of Loudermilk himself, will be delighted to find this cult artifact available on CD.
One of the most original songwriters in 1960s Nashville, Loudermilk penned a number of hits that have been recorded by artists ranging from Nina Simone and Norah Jones (Turn Me On) to William Bell (Then You Can Tell Me Goodbye), from Johnny Cash (Bad News) to the Flying Burrito Brothers (Break My Mind), and from Paul Revere and the Raiders (Indian Reservation) to practically every delinquent garage band on the planet (Tobacco Road). Loudermilk himself recorded many of these and released them some forty years ago on albums with titles like The Open Mind of John D. Loudermilk, John D. Loudermilk Sings a Bizarre Collection of the Most Unusual Songs, and Suburban Attitudes in Country Verse.
ERJA LYYTINEN - Stolen Hearts (2017)
Given the rigorously defined nature of the blues scene in some people’s eyes, Erja Lyytinen probably wouldn’t thank anyone for sesting that over the course of the last few years she’s become a beacon on a predictable blues landscape. She’s a forward looking artist who is very much in the vanguard of European blues, and unlike some of her American counterparts she isn’t weighed down by historic expectation or cliché. ‘Stolen Hearts’ feels like a conscious attempt to broaden her blues-rock template. She sparkles as a slide guitarist, but this album is the result of a three album continuum from which she has emerged as a thoughtful songwriter of real substance. She’s always been unafraid to cross genres ,as evidenced by her international debut album ‘Dreamland Blues’, the R&B feel of ‘Grip Of The Blues’, and the confessional nature of ‘Forbidden Fruit’ which moved her up a level as a songwriter. ‘Stolen Hearts’ also places a strong emphasis on her vocals, via a lush production with an imposing sonic quality that highlights her intricate dynamics, an array of guitar parts and occasionally layered sounds.
The new album was recorded at Sonic Pump Studios in Helsinki. Erja’s vocals were recorded at State of the Ark Studios in London by multi-platinum selling engineer and producer Chris Kimsey, known for his contributions to classic Rolling Stones albums Sticky Fingers and Some Girls. Kimsey also mixed the album.
KEVIN AYERS - The Harvest Years [1969-1974] (2012)
Kevin Ayers (1944 - 2013) was an English singer-songwriter and a major influential force in the English psychedelic movement. Ayers was a founding member of the pioneering psychedelic band Soft Machine in the mid-1960s, and was closely associated with the Canterbury scene. He recorded a series of albums as a solo artist and over the years worked with Brian Eno, Syd Barrett, Bridget St John, John Cale, Elton John, Robert Wyatt, Andy Summers, Mike Oldfield, Nico and Ollie Halsall, among others.
This 5 Disc Set set covers the years Kevin Ayers was signed to the legendary Harvest label, 1969-1974.
Joy of a toy - (Released Nov 1969) debut solo album from Kevin Ayers, recorded at Abbey Road Studios, London. Was inspired by a gift from Jimi Hendrix – a Gibson J-200 guitar, which Hendrix presented to Ayers after Soft Machine supported The Jimi Hendrix Experience on a tour of the US. Amongst the bonus tracks is Singing a Song in the Morning which features Syd Barretts psychedelic guitar playing and You Say You Like My Hat which was recorded for BBC Top Gear Session, 10 February 1970.
Shooting At The Moon - (released October 1970) was Ayers second studio album, recorded at Abbey Road Studios, London. Recorded with “The Whole World” which included Ayers touring band for ‘Joy of a toy’ which included a young Mike Oldfield. Amongst the bonus tracks are Shooting At The Moon recorded for BBC Radio 1 at Playhouse Theatre, London for the BBC Alan Black Session, 20 May 1970 and We Did It Again / Murder In The Air recorded for BBC Top Gear Session, 9 June 1970
Whatevershebringswesing - (Released January 1972) seen by many as Ayers best work, this solo album, also recorded at Abbey Road - includes contributions from Mike Oldfield and Robert Wyatt. Amongst the eight bonus tracks is Queen Thing recorded for BBC Bob Harris Session, 17 May 1972, recorded for BBC Radio 1 at Aeolian Hall
Bananamour - (Originally released May 1973) Recorded at Abbey Road Studios, Ayers fourth album for Harvest was Bananamour, the album contains the Syd Barrett tribute Oh Wot a Dream, and the Velvet Underground inspired Decadence. Amongst six bonus tracks, includes: Shouting In A Bucket Blues recorded for a BBC Bob Harris Session, 11 April 1973.
The Confessions Of Dr Dream and Other Stories - (Originally released May 1974) released on Island Records, this is Ayers fifth studio album. This critically acclaimed album is complemented by 7 bonus tracks including: Didn’t Feel Lonely Till I Thought Of You recorded for BBC Radio One’s John Peel Show at Langham Studio on 9 July 1974.
DEEP PURPLE - InFinite (2017) [CDrip with scans]
As a natural follow up to the worldwide success of "NOW What?!", "inFinite" has once again been produced by Bob Ezrin who has formed with the five members of Deep Purple, an explosive songwriting team. "InFinite" is possibly the most "seventies" of all Deep Purple albums released since the 1984 reunion with "Perfect Strangers". Ezrin and Deep Purple have managed to capture the purest Purple classic sound while staying well away from the temptation to be nostalgic or to "play themselves". On the contrary the band shows the tranquillity to not care about delivering short songs or to limit the long solos and the moments of improvisation. Just as when the story started, in an ideal cycle that comes to completion. From "in Rock" to "in-finite". Possibly destined to end, but still terribly good. The end, the allusion of the band's forthcoming tour name, a theme recurring in the songs and surely something that the band will be asked about. If this is really the farewell album by Deep Purple, there could not be a better one, or are they once again making fun of everybody?
"Deep Purple's progressive album" - it's what a critic said after a recent private playback of the album. "We are an instrumental jazz band, with somebody occasionally singing on it," was Ian Gillan's reply. If this is the case, guitars haven't been harder for a jazz band, "inFinite" in fact shows also a side of Steve Morse that not everybody was expecting, melodic, raw, close to the roots of the blues rock. "InFinite" is heavy and delicate at the same time, with an inspired Ian Gillan who is totally free from the duty to sound as people expect, delivering a versatile and exciting vocal performance during the whole album. The production and song-writing process has been captured on film on the movie documentary "From Here to inFinite" which is available with a various number of versions of the album as a bonus DVD. It is a treat for all fans to be able to enter the recording studio and witness producer Bob Ezrin interacting with the various personalities and talents in the band.
V.A. - The Complete Stax & Volt Singles 1959-1968 (1991) [Reissued 2016, 9CD Box Set]
When it comes to '50s and '60s R&B, there's a lot of competition in terms of which label delivered the best stuff, but there's no question that any and every list of possible contenders would feature Stax Records. But you can't talk about Stax without talking about two other labels: Satellite and Volt. Satellite came first, then the label changed its name to Stax in honor of its two owners (Jim Stewart and Estelle Axton). Volt, meanwhile, was Stax's sister label, but at a certain point the two labels became so synonymous that people started referring to them in the same breath.
At nine discs and 244 tracks, The Complete Stax-Volt Singles: 1959-1968 is far too exhaustive for casual fans, but that's not who the set is designed for - it's made for the collector. Featuring every A-side the label released during those nine years, as well as several B-sides, the set is a definitive portrait of gritty, deep Southern soul. Many of the genre's major names - Otis Redding, Sam & Dave, Carla Thomas, Booker T. & the MG's, William Bell, Rufus Thomas, the Bar-Kays, Albert King - plus many terrific one-shot wonders are showcased in terrific sound and augmented with an in-depth booklet. For any serious soul or rock collector, it's an essential set, since Stax-Volt was not only a musically revolutionary label, its roster was deep with talent, which means much of the music on this collection is first-rate. But if you only want the hits, you'll be better off with a smaller collection, since too much of this set will sound too similar, and sorting through the nine discs will be a monumental task if you only want to hear Otis, Rufus, Carla, and Sam & Dave.
CHRIS REA - Water Sign (1983) & Shamrock Diaries (1985)
Water Sign is an album by Chris Rea, released in 1983. It forms one of the cornerstones of the career of Chris Rea, since it was almost never released. The record company showed so little interest in doing anything with Chris Rea at all, that they would not even pay the money to record the album professionally. What was actually released was the DEMO album that Rea recorded by himself, as a demo for the record company, with a few overdubs. Hence the extensive use of electronic drum machines. The irony is, the album was well received, and most people thought the new electronic sound of Chris Rea was rather good. Little did they know that tracks such as I Can Hear Your Heartbeat would probably have been recorded in a completely different way, had Rea had the freedom to let his creative juices flow.
After seven albums, Chris Rea was finally beginning to get the hang of what makes a commercial success. He had not changed his style throughout the 1980s, but now it was 1985 and the synth pop sounds and new romantics were both long gone - and in their place were stadium-filling anthemic rock or power ballads. Shamrock Diaries was a mix of soft ballads like "Chisel Hill" and "One Golden Rule" along with saxophone-led uptempo numbers such as the title track and the feel-good song of the summer, "All Summer Long," which would have made an ideal single had Magnet decided to release it. Shamrock Diaries was written very much with family in mind, particularly considering the two singles released: "Stainsby Girls" was a tribute to his wife, Joan, who had attended Stainsby Secondary Modern School; and "Josephine" was written for his eldest daughter. The opening track, "Steel River," was rather hard to define, being a soft piano-led ballad until the first chorus kicked in and the song revealed gospel roots, but by the time the second chorus came along it had become a jazz jam. This was followed by "Stainsby Girls," easily the most like Bruce Springsteen that Rea had ever sounded - and it became his first Top 30 single since "Fool If You Think It's Over" from the late '70s. However, Chris Rea saved the best track until the end: the slow-building "Hired Gun," over eight minutes of brooding menace.
JULIE DRISCOLL & BRIAN AUGER - Best Of Julie Driscoll & Brian Auger (1992)
Julie Tippetts (born Julie Driscoll) is an English singer and actress, known for her 1960s versions of Bob Dylan and Rick Danko's "This Wheel's on Fire", and Donovan's "Season of the Witch", both with Brian Auger and The Trinity. Along with The Trinity, she was featured prominently in the 1969 television special 33 1/3 Revolutions Per Monkee, singing "I'm a Believer" in a soul style with Micky Dolenz. She and Auger had previously worked in Steampacket, with Long John Baldry and Rod Stewart.
"This Wheel's on Fire" reached number five in the United Kingdom in June 1968. With distortion, the imagery of the title and the group's dress and performance, this version came to represent the psychedelic era in British rock music. Driscoll recorded the song again in the early 1990s with Adrian Edmondson as the theme to the BBC comedy series Absolutely Fabulous, the main characters of which are throwbacks to that era. Since the 1970s, Driscoll has concentrated on experimental vocal music. She married jazz musician Keith Tippett and collaborated with him and now uses the name Julie Tippetts, adopting the original spelling of her husband's surname. She took in Keith Tippett's big band Centipede and in 1974 sang in Robert Wyatt's Theatre Royal Drury Lane concert. She released a solo album, Sunset Glow in 1975; and was lead vocalist on Carla Bley's album Tropic Appetites and also in John Wolf Brennan's "HeXtet".
Later in the 1970s, she toured with her own band and recorded and performed as one of the vocal quartet Voice, with Maggie Nichols, Phil Minton, and Brian Eley. In the early 1980s, Julie Tippetts was a guest vocalist on an early single by pop-jazz band Working Week, on the song "Storm of Light", which brought them to the attention of a wider audience.
TRACKS: 01. This Wheel's On Fire 02. Let The Sunshine In 03. Seasons Of The Witch 04. Ellis Island 05. Indian Rope Man 06. Czechoslovakia 07. Save The Country 08. Tramp 09. When I Was Young 10. Save Me (Part1) 11. Light My Fire 12. Take Me To The Water 13. Road To Cairo 14. Goodbye Jungle Telegraph 15. Black Cat 16. I've Got Live
TOTO - Rosanna: The Very Best Of Toto (2005)
The original members of Toto were L.A.-based session men who had played with everyone from George Benson to Boz Scaggs and wanted to create something they could call their own. They scored a hit straight out of the gate with the album rock hit "Hold the Line" from their 1978 debut. Their biggest success, however, came in the early '80s with a pair of smash hits, "Rosanna" and "Africa," plus the breakout, six-Grammy success of the Toto IV album. The band endured some major personnel shake-ups over the years, and in 1992, founding drummer Jeff Porcaro died unexpectedly, but Toto continued working, even as the individual members kept their lucrative session careers going.
Toto was formed in Los Angeles in 1978 by David Paich (keyboards, vocals), Steve Lukather (guitar, vocals), Bobby Kimball (vocals), Steve Porcaro (keyboards), David Hungate (bass), and Jeff Porcaro (drums). Paich was the son of arranger Marty Paich; the Porcaros were the sons of percussionist Joe Porcaro. The bandmembers had met in high school and at studio sessions in the 1970s, when they became some of the busiest session musicians in the music business. Paich, Hungate, and Jeff Porcaro wrote songs for and performed on Boz Scaggs' Silk Degrees, the multi-million-selling 1976 album that combined pop, rock, and disco elements into a slick combination which heavily influenced mainstream pop music......
V.A. - George Harrison's Jukebox: The Music That Inspired The Man (2013)
While each of the Beatles had individual tastes when it came to the music of others and each his favored artists, it was George who enthusiastically wore these influences on his sleeve and championed said artists most keenly. From the rock & roll of Elvis to the Indian sitar master Ravi Shankar, and everything in between, this collection features 27 tracks that influenced George profoundly.
This set collect 27 classic tracks that influenced the guitar playing, singing, and songwriting of George Harrison, and with sides like "Your Cheatin' Heart" by Hank Williams, "Rebel Rouser" by Duane Eddy, "Raunchy" by Bill Justis, and "Roll Over Beethoven" by Chuck Berry, it makes a pretty cool set list that can be enjoyed even without the Harrison connection.
Lonnie Brooks (born Lee Baker Jr., December 18, 1933 - April 1, 2017) was an American blues singer and guitarist. The musicologist Robert Palmer, writing in Rolling Stone, stated, "His music is witty, soulful and ferociously energetic, brimming with novel harmonic turnarounds, committed vocals and simply astonishing guitar work." Jon Pareles, a music critic for the New York Times, wrote, "He sings in a rowdy baritone, sliding and rasping in songs that celebrate lust, fulfilled and unfulfilled; his guitar solos are pointed and unhurried, with a tone that slices cleanly across the beat. Wearing a cowboy hat, he looks like the embodiment of a good-time bluesman. Having forged a unique Louisiana/Chicago blues synthesis unlike anyone else's on the competitive Windy City scene, charismatic guitarist Lonnie Brooks has long reigned as one of the town's top bluesmen. A masterful showman, the good-natured Brooks puts on a show equal to his recordings (and that's saying a lot, considering there are four decades of wax to choose from).
Cut live at Chicago's B.L.U.E.S. Etcetera nightclub, the disc captures the high-energy excitement of Lonnie Brooks' live show. Many familiar titles from his Alligator catalog, along with a handful of never-before released tunes and a marathon "Hide Away" where Brooks pulls out all the guitaristic tricks at his command.
Deluxe Edition rounds up 15 highlights from Lonnie Brooks' late-'70s and '80s recordings for Alligator. Like many Alligator artists, Brooks made records that were just a little too slick to demonstrate the depth of his talents and the grittiness of his playing, yet they still remained solid, rock-inflected contemporary blues albums. The bulk of the highlights from his records are here, making it a fine introduction to Brooks' most popular recordings.
DAVID PEEL & THE LOWER EAST SIDE - The Pope Smokes Dope (1972)
The Pope Smokes Dope managed to push the buttons of almost everyone in authority around the world back in 1972, with the result that it was ultimately banned almost everywhere except the United States, Canada, and Japan. David Peel & the Lower East Side open the album with the upbeat "Everybody's Smoking Marijuana" - which starts out with a goof/homage to Country Joe & the Fish - and the vicious Merle Haggard/"Okie from Muskogee" parody / answer song "The Hippie from New York City," both still as laugh-out-loud funny in the 21st century as they were back when, and leading into the catchy and delightful "Ballad of New York City." And from there, listeners plunge into a phantasmagoria of countercultural images, sensibilities, phrases, and humor, and this album is arguably the finest piece of musical agitprop ever to emerge from the '60s counterculture (even if it took till 1972 to appear). Under John Lennon and Yoko Ono's production, Peel is presented without compromise with the most rudimentary of guitar and percussion accompaniment, none of it amplified, yet it does hold together as a coherent and cohesive statement, musical and otherwise. It's funny where it should be, serious in all the right places, scary sometimes, and the result is a listening experience that's ultimately laugh-provoking and savage. Some elements of the album recall Lennon and Ono's Sometime in New York City, but there's a much greater resemblance to the Country Joe & the Fish Rag Baby EPs from mid-'60s Berkeley, only with some more subtle edges and quietly sophisticated attributes - and other parts of this album will recall the work of rival / contemporary Lower East Side denizens the Fugs. Perhaps the high point (so to speak) is "F Is Not a Dirty Word," in which Peel goes through the origins and usages of the word in question, and he's not only etymologically correct throughout but musically adept and engaging - and damned funny. And he almost tops himself with "The Birth Control Blues," an account of youthful ingenuity and improvisation concerning the subject at hand set in an early-'60s rock idiom -- specifically recalling "Papa-Oom-Mow-Mow" - that evolves into a stunning spoken word piece with musical accompaniment. And after all of that, "The Pope Smokes Dope" is almost anticlimactic, except that it's so outrageous a song and filled with such irreverent conceits that it carries listeners to the end successfully.
TRACKS: 01. I'm A Runaway 02. Everybody's Smoking Marijuana 03. The Hippie From New York City 04. The Ballad Of New York City 05. The Ballad Of Bob Dylan 06. The Chicago Conspiracy 07. I'm Gonna Start Another Riot 08. McDonald's Farm 09. F Is Not A Dirty Word 10. The Birth Control Blues 11. The Hip Generation 12. The Pope Smokes Dope 13. Amerika 14. How Did You Meet David Peel 15. Everybody's Smokin' (Remix)
OTIS REDDING - Tell The Truth (1970) [Rhino, Remastered, 1992]
When a major artist dies, labels can usually be counted on to release anything and everything the artist had in the can, regardless of quality. In the case of Otis Redding, most of the posthumous releases were of a very high quality. One example is Tell the Truth, which was recorded the year he died, 1967, and remained unreleased until 1970. Though it falls short of essential, Truth has a lot to excite the soul icon's more devoted followers. Tracks like "I Got the Will," "Snatch a Little Piece," and "Demonstration" are pure Redding - frenzied, passionate, relentlessly gritty Memphis soul that makes no concessions to pop tastes or Northern soul. "Out of Sight" speaks volumes about him - while others would have been afraid to cover a song written and defined by James Brown, Redding confidently tackles the song with splendid results. Redding's last major hit, "Dock of the Bay," indicated that had he lived, he would have explored softer, Northern R&B sounds. But on this album (reissued on CD in the early '90s), it was Memphis all the way.
TRACKS: 01. Demonstration 02. Tell The Truth 03. Out Of Sight 04. Give Away None Of My Love 05. Wholesale Love 06. I Got The Will 07. Johnny's Heartbreak 08. Snatch A Little Piece 09. Slippin' And Slidin' 10. Match Game 11. Little Time 12. Swinging On A String
WILSON PICKETT - In Philadelphia (1970) & Don't Knock My Love (1971) 
England's Edsel Records are no strangers to Soul-reissues. Across the decades they've touched on major retrospectives for Philadelphia International (O'Jays, Billy Paul, Harold Melvin & The Blue Notes), Holland-Dozier-Holland's HDH Label and Invictus Records (Chairmen Of The Board, Freda Payne and The Glass House) as well as anthologies for Ann Peebles, The Chi-Lites and Al Green covering their Hi Records label output. For 2016 - our Demon Group heroes are tackling the whole of Wilson Pickett's ten-album stay between 1964 and 1972 at the legendary Atlantic Records. This fifth and final '2on1' set issued 26 November 2016 in the UK (see full list below) deals with his ninth and tenth studio LPs from 1970 and 1971 and comes bolstered up with a huge seventeen Bonus Tracks on 2CDs.
Across these five digipak-releases (three come with extras) - you also get exclusive single mixes and many unreleased tracks formerly only available on 2009's "Funky Midnight Mover..." – a 6CD mail-order set from Rhino Handmade – an item that is now long deleted and extremely pricey into the bargain. The booklets also feature new liner notes from noted Soul writer and uber-fan Tony Rounce. Here are the details for Alabama's finest Midnight Mover... Each of these five card digipaks comes in a gatefold with Volume 5 being the only double-disc issue. Like the four others it sports a comprehensive 16-page booklet in the left flap with new liner notes from legendary Soul writer TONY ROUNCE – a man whose name has graced literally hundreds of quality CD reissues. He goes into all the chart statistics for 1970 and 1971 - his Gamble & Huff project "In Philadelphia" with the second LP embracing Rock artists like Free and Randy Newman - the concert at Accra in Ghana that resulted in the "Soul To Soul" Soundtrack LP in 1972 (Atlantic SD 7207) – his progression to RCA Records and recording at Muscle Shoals and finally to Little Richard attending his funeral in 2006 paying homage in his sermon to one of the Soul greats. Mastered by PHIL KINRADE – the tracks are licensed from Warners and are therefore the US 1996 Rhino versions of old and those 2009 Rhino Handmade rarities – full and punchy Bill Inglot and Dan Hersch CD Remasters from original tapes.
STEVE HACKETT - The Night Siren (2017)
The Night Siren is the twenty-fifth studio album from English guitarist Steve Hackett, released on 24 March 2017 by Inside Out Music. The Night Siren showcases Hackett’s virtuoso guitar playing as strongly as ever, along with regular collaborators, plus musicians from several different countries who were invited to celebrate multicultural diversity and unity. Hackett is widely traveled, making friends everywhere he goes, and has always embraced multicultural diversity. In these times of unrest, he has been inspired to express his belief that the world needs more empathy and unity. His wish to involve a range of musical sounds, instruments, musicians and singers from different parts of the world is both a development of his eclectic approach to music, and also shows how people can be brought together - even from war torn regions.
Talking about his latest work, Hackett says, “This latest waxing represents a bird’s eye view of the world of a musical migrant ignoring borders and celebrating our common ancestry with a unity of spirit, featuring musicians, singers and instruments from all over the world. From territorial frontiers to walled-up gateways, boundaries often hold back the tide. But while the night siren wails, music breaches all defenses. To quote Plato, ‘When the music changes, the walls of the city shake.’”
TRACKS: 01. Behind the Smoke 02. Martian Sea 03. Fifty Miles from the North Pole 04. El Nino 05. Other Side of the Wall 06. Anything but Love 07. Inca Terra 08. In Another Life 09. In the Skeleton Gallery 10. West to East 11. The Gift
A blues-based band with art rock inclinations, Family were one of the more interesting groups of hippie-era Britain. Fronted by the deft and frequently excellent guitar playing of John "Charlie" Whitney and the raspy, whiskey-and-cigarette voice of Roger Chapman, Family were much loved in England and Europe but barely achieved cult status in America. While bands like Jethro Tull, Ten Years After, and the Keith Emerson-led Nice (and later Emerson, Lake & Palmer) sold lots of records, Family, who frequently toured with these bands, were left in the shadows, an odd band loved by a small but rabid group of fans.
Although the band's first official release was Music in a Doll's House in 1968, the roots of the band went back as far as the early '60s, when Whitney started a rhythm & blues/soul band called the Farinas while at college. In 1966, Whitney met Roger Chapman, a prematurely balding singer who had a voice so powerful that, to quote Robert Christgau, "It could kill small game at a hundred yards," and the two began a creative partnership that would last through two bands and into the early '80s. With Whitney and Chapman leading the way, Family became whole with the addition of bassist Ric Grech, saxophonist Jim King, and drummer Rob Townsend. Within a year they were hyped as the next big thing, and under that pressure and intense British pop press scrutiny delivered their debut record in 1968, Music in a Doll's House. Doll's House is pop music redolent of the Zeitgeist: Chapman's voice is rooted in the blues and R&B, but the record is loaded with strings, Mellotrons, acoustic guitars, and horns - essentially all the trappings of post-psychedelia and early art rock. Almost completely ignored in the States, Doll's House was a hit in Britain and Family began a string of "less art rock/more hard rock" albums that ended, as did the band, with the release of It's Only a Movie in 1973.
After Family's demise, Whitney and Chapman formed the blues-rock Streetwalkers; other Family members (of which there were quite a few in the band's tempestuous eight years) such as John Wetton (King Crimson, Asia) and Jim Cregan (Rod Stewart) went off to find fame and fortune elsewhere. Trivia buffs note: it was Ric Grech who was the first to leave Family in 1969 to become the least well-known member of supergroup Blind Faith. Sadly, that proved to be Grech's biggest mistake, as Blind Faith imploded in a year, and Grech (whose last notable band membership was in Traffic), long plagued by drinking problems, died of liver failure in 1990. Charlie Whitney went on to play in an extremely low-key country/blues/bluegrass band called Los Rackateeros, and Roger Chapman moved to Germany, where his solo career flourished. A fine, occasionally great band, Family deserved more recognition (at least in America) than they received - something that a thoughtfully compiled career-spanning CD retrospective might rectify.
CHUCK BERRY - Chuck (2017)
Chuck is the final studio album by American rock and roll musician Chuck Berry. It is his first album in 38 years to consist of mainly new material, since his 1979 record Rock It. The album is dedicated to his wife Thelmetta "Toddy" Berry. The recording was announced for a 2017 release on Berry's 90th birthday, October 18, 2016. Performers on the album include his live backing band as well as his children. Prior to his death on March 18, 2017, it was implied that this album was to be his last. Recording was completed on schedule before his death, for which his estate was prepared. On March 21, 2017 - three days after Berry's death - it was announced that the album would be released on April 2017. The album includes 10 songs, eight of them penned by Berry. A few go back to the ’80s, when Berry started to put together new tracks in his home studio in St. Louis. He recorded songs over the years, in between tours and other downtime, and continued to work on the record up until 2014, when he retired from performing.
TRACKS: 01. Wonderful Woman 02. Big Boys 03. You Go To My Head 04. 3/4 Time (Enchiladas) 05. Darlin' 06. Lady B. Goode 07. She Still Loves You 08. Jamaica Moon 09. Dutchman 10. Eyes Of Man
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