.:bLUZER:.

četvrtak, 31.08.2006.

BIG BILL MORGANFIELD - Ramblin' Mind (2001)

Due to some sly humor, a few jazz-oriented numbers (including "Mellow Chick Swing"), and the consistently strong material, this blues set is also recommended to fans of straight-ahead jazz. Ranging from a couple swinging pieces and some lowdown Muddy Waters-type blues to two strong appearances by Taj Mahal, this is a release that never lets up. Mr. B's piano solos are a major joy, the harmonica playing (by Bill Lupkin, Billy Branch, and Paul Oscher) is excellent, Morganfield's expressive vocals always hit their mark, and the music is quite enjoyable. Highly recommended.


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http://rapidshare.de/files/31357842/MORGANRamblin.rar

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zinhof

THE PAUL BUTTERFIELD BLUES BAND - The Resurrection Of Pigboy Crabshaw (1967)

In his third album, Butterfield adds a horn section and the direction of the group has started to veer away from straight Chicago-style blues toward a sound more influenced by R&B. By this time, Bloomfield has left the group and Elvin Bishop (aka Pigboy Crabshaw) takes over on lead guitar. A lot of great tunes here, like "Driftin' and Driftin."


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http://rapidshare.de/files/30775740/1967_-_The_Ressurection_of_Pigboy_Crabshaw.rar


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THE PAUL BUTTERFIELD BLUES BAND - Better Days (1973)

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http://rapidshare.de/files/30774596/1973_-_Better_Days.rar


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srijeda, 30.08.2006.

PAUL KOSSOFF – Back Street Crawler (1973)

Back Street Crawler, despite being Kossoff's first post-Free album, contains contributions from all members of that band. "Molten Gold," the most accessible song on the album, features the talent of Free vocalist Paul Rodgers, and is an overlooked shoulda-been hit. Otherwise, the album is highlighted by Kossoff's blues- and rock-based guitar. "Time Away" is a haunting, atmospheric instrumental duet with avant-folk jazz guitarist/singer John Martyn that originally registered 18 minutes in length. The full version was eventually released on the Free box set Songs of Yesterday, but here is edited down significantly in favor of the 17-minute side one track "Tuesday Morning," a more upbeat but less interesting choice. Regardless of this fault, this is one of those albums that deserves a place in the pantheon of classic rock .


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http://rapidshare.de/files/14903861/PK-BSC.rar

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BACK STREET CRAWLER – The Band Plays On (1975)

While Paul Rodgers and Simon Kirke left Free for Swan Song/Atlantic's Bad Company, their ex-bandmate, the late Paul Kossoff, put together another group on Atlantic which sounded like...you guessed it...Bad Company. Terry Wilson-Slesser could easily be mistaken for Rodgers on so much of this album, be it the song "Jason Blue" or "It's a Long Way to the Top." This material is terrific sleeper stuff for the '70s hard rock genre, before Foreigner made that whole world much slicker. Where Lou Gramm could sometimes annoy, Back Street Crawler creates real hard rock art, taking this oh so seriously. The song "Jason Blue" is a powerful potion, one that would fit perfectly on a classic hits station, arguably one of the best tracks here. It is one of six compositions by Mike Montgomery, the major force on this album. Montgomery co-writes two additional tunes and sings lead on "All the Girls Are Crazy" and "Survivor," dueting with Terry Wilson-Slesser on "New York, New York" (a Mike Montgomery original, not the tune made famous by Liza Minelli and Frank Sinatra). And by the way, how many groups would have two guys named Terry Wilson in their band at the same time anyway? The more you play The Band Plays On, the more it grows on you. It is one of those albums that has enormous depth that can't be heard on the first spin or two. Sounding so much like Bad Company on the same label was no doubt a drawback — the records showing up in the same section alphabetically at retail bins, their names so closely aligned, the unfortunate big difference for Back Street Crawler was no hit single emerging from this set. Mike Montgomery's vocal style on the excellent song "Survivor" isn't as gritty as Terry Slesser, nor as commercial. Slesser would leave after this project to be replaced by John "Rabbit" Bundrick on vocal, who similarly joined Free when they needed his talents to replace members moving on. "It's a Long Way Down to the Top" could be Bad Company performing "Ready for Love," down to the riff and the mood, but so many references to that band don't take away from the fact that this is a solid '70s blues-rock disc with hooks, top-notch production, and lots to offer. Wouldn't be surprised if somewhere down the road people started picking up on The Band Plays On, songs like "New York, New York," "It's a Long Way Down to the Top," and "Jason Blue" are ripe for being covered.


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http://rapidshare.de/files/14905057/BC-TBPO.rar

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BACK STREET CRAWLER – 2nd Street (1976)

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http://rapidshare.de/files/14904579/BC-2ndS.rar

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PAUL KOSSOFF – Blue Soul : Best Of Paul Kossoff (1986)

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http://www.lix.in/e5fc3a
http://www.lix.in/356326

PAUL KOSSOFF – Live At Croydon Fairfield Halls 15/6/75 (1998)

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http://rapidshare.de/files/14904334/PK-LACFH.rar

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utorak, 29.08.2006.

B.B KING - The Ultimate Collection (2005)

In theory, the idea behind Geffen's 2005 compilation The Ultimate Collection seems sound: gather together 21 iconic tracks from the entirety of B.B. King's long career and present them on one handy disc. While there have been plenty of King comps throughout the years — some great, some merely passable, but often all very good — there has never been one that tries to distill it all onto one disc. For good reason: it's hard to do. The Ultimate Collection does about as well as any multi-decade, cross-label comp could, hitting the most obvious high points — "Three O'Clock Blues," "You Upset Me Baby," "How Blue Can You Get?," live versions of "Every Day I Have the Blues" and "Sweet Little Angel" from the peerless Live at the Regal, the smooth early-'70s hits "The Thrill Is Gone" and "Ain't Nobody Home" — and extending all the way till 1998. While there's no hiding the fact that there is a sharp drop-off in classic material after 1972, most of the disc (a full 14 songs) is devoted to the '50s through '70s, and it does paint a portrait of the arc of his career. So, for those listeners who want a basic selection of high points from B.B., this is a good choice, but for those neophytes who want to truly experience B.B.'s greatness, turn to Live at the Regal or a collection of early singles — they might not cover as much territory, but they explain more about his legend than this well-intentioned set.


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http://rapidshare.de/files/30023317/B.B._King_-_The_Ultimate_Collection__2005_.part1.rar
http://rapidshare.de/files/30023331/B.B._King_-_The_Ultimate_Collection__2005_.part2.rar
http://rapidshare.de/files/30022961/B.B._King_-_The_Ultimate_Collection__2005_.part3.rar

B.B KING - Rock Me Baby (1999)

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http://rapidshare.de/files/30023323/B.B._King_-_Rock_Me_Baby__1999_.part1.rar
http://rapidshare.de/files/30022916/B.B._King_-_Rock_Me_Baby__1999_.part2.rar

B.B. KING - Blues On The Bayou (1998)

B.B. King made his debut as producer with Blues on the Bayou, released in October 1998. He employs the most basic of ideas for this project: record an album of B.B. King tunes, with B.B. King's regular road band, under B.B. King's supervision. Keeping it loose, relaxed, and focused, King cut this album in four days down at a secluded studio in Louisiana and came up with one of his strongest, modern-day albums in many years. No duets, no special guests, just King and his road warrior band, playing his songs with him producing the results — no overdubs, just simple, no-nonsense blues done like he would do them on-stage. The result is a no-frills, straight-ahead session that shows that King might be have been 73 at the time of this date, but he still had plenty of gas left in the tank. Tracks like "I'll Survive," and the jumping "Shake It Up and Go," "Darlin' What Happened," the minor keyed "Blues Boy Tune," the instrumental "Blues We Like," and the closing "If That's It I Quit" show him stretching out in a way he has seldom done in a studio environment, and the result is one of his best albums in recent memory.


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http://rapidshare.de/files/30023333/B.B._King_-_Blues_On_The_Bayou__1998_.part1.rar
http://rapidshare.de/files/30023336/B.B._King_-_Blues_On_The_Bayou__1998_.part2.rar
http://rapidshare.de/files/30022879/B.B._King_-_Blues_On_The_Bayou__1998_.part3.rar

B.B KING - To Know You Is To Love You (1991 and 1973)

The combination of King and the well-oiled Philly rhythm section that powered hits by the O'Jays, Spinners, and Stylistics proved a surprisingly adroit one. Two huge hits came from this album, the Stevie Wonder/Syreeta Wright-penend title track and "I Like to Live the Love," both of them intriguing updates of King's tried-and-true style.


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http://rapidshare.de/files/30023089/B.B._King_-_To_Know_You_Is_To_Love_You__1991_.part2.rar
http://rapidshare.de/files/30023329/B.B._King_-_To_Know_You_Is_To_Love_You__1991_.part1.rar
http://rapidshare.de/files/30023320/B.B._King_-_To_Know_You_Is_To_Love_You__1973_.part1.rar
http://rapidshare.de/files/30023092/B.B._King_-_To_Know_You_Is_To_Love_You__1973_.part2.rar

ponedjeljak, 28.08.2006.

ALABAMA - Mountain Music (1982)

This is their best effort. The group hadn't quite fallen into any formulas, and as a result, they cover the stylistic gamut pretty well. The title track practically defined what country groups have strived to accomplish, and the group slides easily from sentiment, to social relevance, to out-and-out partying.


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http://rapidshare.de/files/27168379/AlabmaMM.rar.html

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ALABAMA - Roll On (1984)

The title track and "If You're Gonna Play in Texas (You Gotta Have a Fiddle in the Band)" make this entertaining but slightly formulaic album worth pursuing.


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http://rapidshare.de/files/27137142/albamaRllOn.rar.html

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LITTLE TEXAS - Greatest Hits (1995)

Collecting all of Little Texas's best numbers, Greatest Hits is the perfect introduction to the country-pop band, as well as being their most consistent and enjoyable album.


"DOWNLOAD"
http://rapidshare.de/files/25554880/LiLTXgh.part1.rar.html
http://rapidshare.de/files/25555588/LiLTXgh.part2.rar.html

nedjelja, 27.08.2006.

JIMMY PAGE & THE BLACK CROWES - Live At The Greek (2000)

The Black Crowes were dogged with comparisons to the Rolling Stones and the Faces throughout the first decade of their career, so it came as a mild surprise that they teamed with Led Zeppelin guitarist Jimmy Page in late 1999 for a couple of concerts. Zeppelin had a mystique and majesty about them that the Crowes never attempted to emulate. They were an earthy, bluesy rock band and while they found a number of different ways to rework their influences, they never tried the stately grandeur that was Zeppelin's second nature. So, some observers were curious to see how these two approaches worked. Well, it worked very, very well indeed. It shouldn't have come as a surprise that it was a good, comfortable fit since Page always demonstrated a true love of blues and early rock & roll, even on Led Zep's heaviest moments. What may be a surprise, at least to listeners that always dismissed the Black Crowes as revivalist hacks, is how supple and muscular the band sounds on Live at the Greek and how powerful vocalist Chris Robinson is. The double-disc album, released originally only through the internet but then through retail on TVT, essentially replicates an entire concert from Page and the Crowes, one of the first before they set out on a full-length American tour in the summer of 2000. They stick to Led Zeppelin classics and old blues and R&B standards like "Woke up This Morning," "Sloppy Drunk," "Mellow Down Easy," and "Shake Your Money Maker," plus the Yardbirds' "Shape of Things to Come" and Fleetwood Mac's "Oh Well." No Crowes songs are here due to contractual reasons - the band left American/Columbia in 1999, and they were not allowed to recut any song they released on the label in the years immediately following their departure; but in a way, that only strengthens the album. By pounding out hard-driving blues-rock and classic Zeppelin tunes, the band is able to stretch out and reveal just what a capable, versatile band they are. The true sign of their abilities is that Page sounds looser and happier here than he has in years; he sounds like he's truly enjoying himself, a quality that is debatable on the Page & Plant records, no matter what their virtues are. Live at the Greek isn't a landmark release, and only hardcore Page, Black Crowes, and Zeppelin fans are likely to want this, no matter how vibrant and lucent these faithful interpretations are. But for those fans, they'll be quite pleased with how good, how strong Live at the Greek is.


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http://rapidshare.de/files/30560303/JIMMY_CROWES.rar

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ERIC CLAPTON - Just One Night (1980)

Although Eric Clapton has released a bevy of live albums, none of them have ever quite captured the guitarist's raw energy and dazzling virtuosity. The double live album Just One Night may have gotten closer to that elusive goal than most of its predecessors, but it is still lacking in many ways. The most notable difference between Just One Night and Clapton's other live albums is his backing band. Led by guitarist Albert Lee, the group is a collective of accomplished professionals who have managed to keep some grit in their playing. They help push Clapton along, forcing him to spit out crackling solos throughout the album. However, the performances aren't consistent on Just One Night — there are plenty of dynamic moments like "Double Trouble" and "Rambling on My Mind," but they are weighed down by pedestrian renditions of songs like "All Our Past Times." Nevertheless, more than any other Clapton live album, Just One Night suggests the guitarist's in-concert potential. It's just too bad that the recording didn't occur on a night when he did fulfill all of that potential.


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http://rapidshare.de/files/30195213/ecCD1.rar
http://rapidshare.de/files/30198179/ecCD2.rar

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JEFF BECK - Crazy Legs (1993)

Jeff Beck has made many strange albums, but none were ever quite as strange as this. With the Big Town Playboys offering support, Beck rips through 18 Gene Vincent numbers (not "Be-Bop-a-Lula," however), paying tribute to Vincent's guitarist, Cliff Gallup. Beck sounds terrific as he reconstructs Gallup's parts, but he doesn't add anything to the originals. Still, Crazy Legs is a fun listen and offers many insights into Beck's playing, if not Gallup's.


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http://rapidshare.de/files/30227351/JBCL.part1.rar.html
http://rapidshare.de/files/30239349/JBCL.part2.rar.html
http://rapidshare.de/files/30244031/JBCL.part3.rar.html

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subota, 26.08.2006.

R.L. BURNSIDE - Come On In (1998)

You have to give a guy credit for trying. In an age when most of the old blues players are either dead or too old to play, R.L. Burnside, the 71 year-old Mississippi native, can still rip dirty, juke-joint blues in convincing fashion. Come On In, attempts, to some success, to bring one of America's oldest musical forms into the 21st century by adding sampling and looping techniques to Delta blues. Come On In is a collaboration with Beck mixmaster Tom Rothrock and Alec Empire of Digital Hardcore. Seldom does one see the words "dub," "remix" and "programming" on a Delta blues album, but R.L. Burnside is no ordinary bluesman. Come On In is a risky move to say the least, and unfortunately, it doesn't always pay off. The best tracks in the album are the least techno-fied. "Come On In (live)," a solo shot, and the down'n'dirty "Just Like a Woman" has a non-trip-hopped Burnside mining tough riffs for all their emotion. "Let My Baby Ride" with a stomping, looped beat, is still recognizable as Burnside and works well. On the other hand, "Don't Stop Honey" and "It's Bad You Know" take the techno tampering too far, and the results are feckless shells of what were once gritty blues. Next time out, if Burnside gets his ass pocket o' whiskey, turns down the techno a bit and cranks those amps up, he could be onto something.


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http://rapidshare.de/files/29611522/rlb-coi.rar

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R.L. BURNSIDE - A Ass Pocket Of Whiskey (1996)

Although he had been playing for years, it wasn't until the '90s that R.L. Burnside's raw electrified Delta blues was heard by a wide audience. His new fans celebrated his wild, unbridled energy, so it made sense for him to team with the Jon Spencer Blues Explosion, the warped indie-rock band that's all about energy. However, the very purists who celebrate Burnside hate Spencer, believing that he mocks the blues. As the blistering A Ass Pocket of Whiskey proves, Spencer may not treat the blues with reverence, but he and his band capture the wild essence of juke-joint blues. And that makes them the perfect match for Burnside, who knows his history but isn't burdened by it. Together, Burnside and the Blues Explosion make raw, scintillating, unvarnished blues that positively burns.


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http://rapidshare.de/files/30799203/rlb-aapow.rar

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R.L. BURNSIDE - Wish I was In Heaven Sitting Down (2000)

Like jazz, the blues has its share of late bloomers — artists who didn't start recording or didn't become well-known until they were well into their 50s or 60s. R.L. Burnside is very much a late bloomer; the Mississippi bluesman was born in 1926, but it wasn't until the 1990s that he started to enjoy the publicity he deserved. Recorded in 2000, Wish I Was in Heaven Sitting Down finds the veteran singer continuing to be fairly unpredictable at 73. Essentially, this CD falls into the Mississippi blues category — Burnside maintains the earthy, down-home rawness that people expect from Mississippi country-blues. But Burnside certainly isn't without urban influences, and this CD illustrates his appreciation of John Lee Hooker and early Muddy Waters as well as the Texas blues of Lightnin' Hopkins. Burnside has also been influenced by R&B; one of the few tracks that he didn't write or co-write is a cover of Aretha Franklin's 1960s smash "Chain of Fools." The producers (who include Andy Kaulkin, John Porter, and Brad Cook) try to make that track and others relevant to hip-hop by adding sampling and scratching — and when they do, it sounds forced and unnatural. Some of the producing is simply too high-tech for an artist as raw as Burnside, but that doesn't make his vocals any less impressive. Despite its imperfections, Wish I Was in Heaven Sitting Down is a generally appealing document of Burnside at 73.


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http://rapidshare.de/files/30419665/rlb-wiwihsd.rar

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R.L. BURNSIDE - Raw Electric 1979-1980 (2001)

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http://rapidshare.de/files/30688787/rlb-re.rar

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R.L. BURNSIDE - A Bothered Mind (2004)

When R.L. Burnside and the rest of the Fat Possum confederation emerged from the northern Mississippi hills in the early '90s, they gave contemporary blues a much-needed shot in the ass, reminding everyone that the genre really wasn't so much about pyrotechnic guitar histrionics as it was about getting folks to hit the dancefloor, and once there, making sure they stayed. Burnside in particular has been a fascinating and intriguing musician ever since, and even as he cruises through his eighties, he may well be the most progressive and postmodern of anyone on the current blues scene. Although his basic template is and remains a John Lee Hooker-like modal boogie shuffle, Burnside has combined it with full-tilt garage and punk band dynamics (1996's A Ass Pocket of Whiskey, with the raucous backing of the Jon Spencer Blues Explosion) and controversial (to blues purists) techno nation hip-hop effects (1998's Come On In, featuring Beck mixmaster Tom Rothrock), and while these experiments haven't always worked, they show a playful willingness to treat the blues as something fun and vital, not some dusty, nostalgic period music trotted out on display from the music museum. No, Burnside's version of the blues is powerful, visceral, and — this is often overlooked — playful, with his almost demonic chuckle being as recognizable a feature of his music as any guitar lick.

A Bothered Mind is perhaps the most ideally representative of all of Burnside's albums, ranging from solo acoustic tracks to crunching boogie struts, all with a light dose of hip-hop and enough scratching and looping effects to make this clearly an album from the 21st century. Amazingly, it all works as a cohesive whole, opening with a 38-second live fragment of "Detroit Boogie" (in which Burnside intones "I do what I want..."), and then closing with the full version. In between these bookends, the album — aside from the rather contrived Kid Rock track, "My Name Is Robert Too" — is continually fascinating, and it never stops churning. The most striking track is also the earliest and simplest, a solo acoustic version of "Bird Without a Feather" that was field recorded by folklorist George Mitchell in 1968. Two tracks here, the umpteenth version of Burnside's signature "Goin' Down South" and "Someday Baby," were produced by Lyrics Born (T. Shimura) of the Quannum collective, and he gives both songs a delightful hip-hop sheen without sacrificing one bit of Burnside's irascible swagger. The rap interlude Lyrics Born delivers on "Someday Baby" is nothing less than a second-cousin update of Bob Dylan's "Subterranean Homesick Blues." Perhaps the most surprising song here is "Glory Be," which finds Burnside exploring some more new territory, this time inventing a kind of Saturday night juke joint gospel. Listen for R.L.'s chuckle all through these tracks. He's having fun. He's pushing the blues forward, all without changing a beat. He's making relevant albums when musicians half his age are washed up and creatively exhausted. Is he trying to say that rap is the new blues? Mostly he's just trying to keep that dancefloor filled.


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http://rapidshare.de/files/28469437/rlb-abm.rar

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petak, 25.08.2006.

TOMMY CASTRO - The Essential (2001)

Blind Pig closes out their four-album Tommy Castro association with this adequate collection of his recorded highlights for the San Francisco-based label. Not the best guitar slinger in town, Castro compensates by writing tunes that mix good-time soul, R&B, funk, and roots rock together with blues to produce a swampy, wholly satisfying mix that goes down easy. Songs like "Right as Rain," "Can't Keep a Good Man Down," and "Lucky in Love" crackle with Chuck Berry by way of the Stones' basic rock & roll simplicity. However, this compilation seemed to be rushed out in 2001 in order to compete with Castro's Guilty of Love album of new material for another label, and it shows. There is no indication of which release the songs originate from in the skimpy notes, and Castro had no say in choosing the tracks. The 50-minute playing time is too brief for an artist with a four-CD catalog, and even though the enhanced concert CD-ROM video for "Nobody Loves Me Like My Baby" is a welcome addition and gives a visceral demonstration of how tough the band rocks live, it's also duplicated as an audio only selection on the disc. Regardless, the music holds up as rugged, bluesy rock with strong connections to Memphis soul with the Stax-styled ballad "Just a Man" and James Brown funk in "Nasty Habits" tempering the Stevie Ray Vaughn-isms of Castro's meat-and-potatoes playing. He also boasts a distinctly gritty voice that works perfectly with his original material and the previously unavailable version of Little Richard's "The Girl Can't Help It," added here as one of two unreleased tracks. As it is, The Essential is a satisfactory collection for those who want a taste of the Castro experience, but one that could — and should — have been a lot better.


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http://rapidshare.de/files/30548701/CASTRO.rar

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SAVOY BROWN - Shake Down (1967)

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http://rapidshare.de/files/30269814/Savoy_Brown_-_Shake_Down__1967_.rar.html

V.A. - Blues Down Deep: The Songs Of Janis Joplin (1997)

Just as she herself was influenced by the legacy of such Blues Singers as Bessie Smith and Big Mama Thornton, Janis Joplin's music continues to reach out to new generations of Rock and Blues fans. On this heartfelt tribute set, Joplin contemporaries Tracy Nelson and Taj Mahal, youngbloods Lou Ann Barton and Friend 'n Fellow, R&B originals Etta James, Otis Clay and Lonnie Brooks (plus many other artists), combine to deliver a gritty, impassioned testament to one of the most powerful blues voices to come out in the 1960s West Coast Rock scene.


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http://rapidshare.de/files/30289471/VA_Blues_Down_Deep
_alexun.rar.html

četvrtak, 24.08.2006.

THE MARSHALL TUCKER BAND - The Marshall Tucker Band (1973)

Taking a page from their Capricorn Records labelmates and Southern rock contemporaries the Allman Brothers, the Marshall Tucker Band issued a self-titled debut blending the long and winding psychedelic and jam band scene with an equally languid and otherwise laid-back country-rock flavor. Into the mix they also added a comparatively sophisticated jazz element — which is particularly prominent throughout their earliest efforts. The incipient septet featured the respective talents of Doug Gray (vocals), Toy Caldwell (guitar/vocals), his brother Tommy Caldwell (bass/vocals), George McCorkle (guitar), Paul Riddle (drums), and Jerry Eubanks (flute/sax/vocals). Their free-spirited brand of Southern rock was a direct contrast to the badass rebel image projected by the Outlaws or Lynyrd Skynyrd. This difference is reflected throughout the 1973 long-player The Marshall Tucker Band. The disc commences with one of the MTB's most revered works, the loose and limber traveling proto-jam "Take the Highway." The improvised instrumental section features some inspired interaction between Toy Caldwell and Eubanks. This also creates a unique synergy of musical styles that is most profoundly exhibited on the subsequent cut, "Can't You See." Caldwell's easygoing acoustic fretwork babbles like a brook against Eubanks lonesome airy flute lines. The remainder of the disc expounds on those themes, including the uptempo freewheelin' "Hillbilly Band." Unlike what the title suggests, the track is actually more akin to the Grateful Dead's "Eyes of the World" than anything from the traditional country or bluegrass genres. "Ramblin'" is an R&B rave-up that leans toward a Memphis style with some classy brass augmentations. The effort concludes on the opposite side of the spectrum with the tranquil gospel rocker "My Jesus Told Me So," offering up Caldwell's fluid guitar work with a sound comparable to that of Dickey Betts. "AB's Song" is an acoustic folk number that would not sound out of place being delivered by John Prine or Steve Goodman. This eponymous effort established the MTB's sound and initiated a five-year (1973-1978) and seven-title run with the definitive Southern rock label, Capricorn Records.



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ALABAMA - Livin' Lovin' Rockin' Rollin': The 25th Anniversary Collection (2006)

There have been plenty of Alabama compilations over the years, ranging from a surplus of budget-line quickies to the excellent double-disc For the Record, which was reissued in 2005 under the title The Essential Alabama. Despite this, there has never been a career-spanning box set until RCA/Legacy's 2006 Livin' Lovin' Rockin' Rollin': The 25th Anniversary Collection, which tells the group's tale over the course of 51 songs and three discs. If you're counting, you'll notice that this is only seven songs more than For the Record/Essential, which isn't a whole lot to justify an expansion to a triple-disc set, but Livin' Lovin' Rockin' Rollin' has a very different feel than that comp, which is the gold standard in Alabama hits albums. While there is certainly a fair share of overlap in song selection, this isn't precisely a collection of hits. As a matter of fact, huge hits like "The Closer You Get" are missing entirely, which makes this set of less interest to casual fans looking to get all the big hits in one place. Those fans should stick with For the Record/Essential, since this is intended as an aural biography of a band. Sure, most of the hits are here, but sometime they're present in live versions or alternate takes, and they're supported by album tracks, along with eight previously unreleased cuts (which are mostly live recordings). This provides for a good overview of the group's history, even if it's not as smooth a listen as the double-disc set, primarily due to the fact that the live tracks don't sit easily next to the studio sides. That said, for the serious Alabama fan looking for a trip down memory lane, Livin' Lovin' Rockin' Rollin' is a good bet, since it does provide a thorough chronicle of the band's history, complete with a time line and rare photos in the liner notes. Less dedicated fans may prefer the concise, hit-filled nature of For the Record/Essential, but this will suit the tastes of the converted just fine.


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http://rapidshare.de/files/28038197/Ala.25yrAnnv.part1.rar.html
http://rapidshare.de/files/28039892/Ala.25yrAnnv.part2.rar.html
http://rapidshare.de/files/28041561/Ala.25yrAnnv.part3.rar.html
http://rapidshare.de/files/28042949/Ala.25yrAnnv.part4.rar.html


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treasuredwarez

.38 SPECIAL - Resolution (1997)

In their first album in six years, .38 Special comes back with a brace of tunes that recasts the band in contemporary terms. With the core of the group now sweated down to singer Donnie Van Zant, guitarists Don Barnes (back in the lineup for the first time since 1988) and Danny Chauncey and bassist Larry "L.J." Junstrom, the time off between recordings has served the band well. The writing became the thing during the down period and the level of quality songwriting — with much co-written by longtime hit song collaborator Jim Peterik ("Vehicle" by the Ides of March) — takes the band into some new terrain, along with stellar production from Joe Hardy. The first single from the album, "Fade to Blue," is solid pop-rock with a catchy mandolin riff, and tracks like "Changed By Love," "Miracle Man" and the atmospheric acoustic ballad "Saving Grace" and "Homeless Guitar" knock several decibels off their old Southern-boy approach. But the guitars get cranked back to '80s-approved levels for "Shatter the Silence," "Deja Voodoo," "After the Fire Is Gone," and the bluesy shuffle "She Loves to Talk," proving that the band can regurgitate their old Southern rock sound while simultaneously finding new avenues of expression. Proof that an '80s band can still make accessible music at the end of the '90s.


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srijeda, 23.08.2006.

POPA CHUBBY - It`s Chubby Time (1994)

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POPA CHUBBY - Gas Money (1994)

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POPA CHUBBY - How'd A White Boy Get The Blues? (2001)

Influenced by blues greats Stevie Ray Vaughn, Buddy Guy, Willie Dixon, and the three Kings (all of whom he name-checks in the aptly titled "Carrying on the Torch of the Blues"), Popa Chubby (aka Ted Horowitz) brazenly ventures into more contemporary waters while remaining true to his rootsy influences and the spirit of the genre. While the hip-hop beats and Chubby's rapping are a little awkward on the album's opening "Daddy Played the Guitar and Mama Was a Disco Queen" (a video of the track is also included as the enhanced CD-ROM portion of the disc), especially as he injects them into a song that starts out as an acoustic ballad, his ragged and incisive slide keep it grounded in familiar territory. Chubby's fifth release for his fifth label commendably takes chances to break out of the strict electric blues-rock genre that he's worked so well in the past. That it doesn't always click is forgivable since he's at least aiming to expand his typically limited palette. Not quite a one-man band, Chubby at various times plays bass, drums, harmonica, dobro, and sitar in addition to his six-string duties, often overdubbing himself. The process lends a slightly claustrophobic sound to the disc that becomes particularly wearing on the nine-minute "Since I Lost My Leg" (where Chubby plays everything) with the track getting bogged down in endless repetition of its one greasy riff. With a sufficiently gruff, world-weary voice, the singer/guitarist delivers his down-and-out rockers like "No Comfort" with its blatant Hendrix attack and the slow, wiry funk of "Savin' My Love Up for My Lover" with knowing intensity. While the jaunty tack-piano drive of the clumsily titled "It's a Sad Day in New York City When There Ain't No Room for the Blues" pushes the tune into cheery territory, the self-explanatory downbeat lyrics belie the song's more lighthearted approach. The guitarist even shifts into the fast-tempoed, Southern rock, chicken-pickin' route on "Goin' Down to Willies," one of the album's least bluesy tracks. He also dips into the Memphis mid-tempo R&B swamps with "Time Is Killing Me," the album's most melodic pop track. Although he's not entirely successful, Popa Chubby hits enough stylistic bases to make this a listenable and often invigorating album which gets extra points for attempting to push past the stereotypical blues clichés and into more experimental waters.


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http://rapidshare.de/files/13756928/WhiteBoy.rar.html

POPA CHUBBY - The Good, The Bad And The Chubby (2002)

Against all odds, Popa Chubby has turned into a distinctive, strong modern bluesman. He's still saddled with that ridiculous name, which makes it hard to take him seriously, and he has a tendency to indulge in easy, vulgar jokes, but that's just part of who he is. If that annoys you, look past it and concentrate on the music on The Good, the Bad and the Chubby, which is lean and adventurous, solidly within the postmodern blues-rock tradition, but breaking free of the Stevie Ray fixations that distinguished his earlier work by adding bits of jazz and an ever-so-subtle hip-hop underpinning. Plus, there's Chubby's insistence on relying on original material — a welcome turn of events, since it gives his album character even when the songs aren't first rate. Fortunately, through much of The Good, the music is good and he tackles a number of different kinds of songs, from topical tunes about 9-11 to joke songs, knowing relationship songs, and much more. Perhaps there are a couple of songs that stretch out a little bit too long, and maybe the album could use a little more grit in the production, but these, overall, are minor quibbles, since The Good, the Bad and the Chubby is one of the strongest, most distinctive modern blues albums of 2002, proving that Popa has come a long way in his decade of recording.


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POPA CHUBBY - One Night Live In New York City (2002)

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POPA CHUBBY - Peace , Love And Respect (2004)

If you've ever seen Popa Chubby live, you're probably a fan. He pours his heart and soul into his shows and he's got a ton of presence and charisma. That's how he attracted such a loyal following, but listening to his early records alone sure didn't add up to the live experience. Maybe it's because his flippin'-the-bird-till-I-die attitude only went so far without the smoke and beer, but all that began to change with 2002's The Good, the Bad and the Chubby and it's pivotal, 9/11-related cut, "Somebody Let the Devil Out." Peace, Love and Respect equals the energy and inspiration of The Good, the Bad and the Chubby and adds more focus with its overriding frustration with America 2004, George W. Bush in particular. The opening "Top Ten Reasons Why I Can't Sleep at Night" is a gimmicky song with Chubby rattling off a list of grievances and the stiff production does it no favors (a missed opportunity the singer will no doubt correct on the road). "Life Is a Beatdown" is a slow burner that would have found a better home toward the end of the album, but from the slinky and lyrically striking "Like the Buddha Do" to the end of the album there is no filler. Troubled by the attraction of the military, "Young Men" advises the youth to "Stay at home and live your lives." Besides being the centerpiece of the album, it's Chubby's most heartfelt song yet and following it with a roaring version of the Carter Family's "Keep on the Sunny Side" is a dark and poignant move that no one could have foreseen four or five albums ago. The commentary just flows out of Chubby for the rest of the album like Joe Strummer was writing for Double Trouble, and the band stays gritty and tight throughout. Peace, Love and Respect takes some time to really get going, but when it does it's a winning combination of bar band guts and troubled-times reflection that matches the urgency of Chubby's live shows.


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POPA CHUBBY - Stealing The Devil's Guitar (2006)

Nothing if not prolific (this is Popa Chubby's sixth set of original material in six years), the New York City-based guitarist nonetheless scores with fresh, often inspired material on this outing, Stealing the Devil's Guitar. He has already shown he can push past the rather strict boundaries of blues-rock by gradually infusing hip-hop, Latin, Southern swamp, and even reggae influences, and continues to do so throughout 12 new songs, along with a cover of Jessie Mae Hemphill's "In This World." Chubby loves to ride a chunky riff and he serves up a tasty selection of them here. The instrumental "Kinda Dicey" is a perfect example; it's a tough, sticky, funky groove, ideal for Chubby's licks. Same with the strutting "Smuggler's Blues," a story of the titular character who is both desperate and determined, with a smoking guitar solo that mirrors its narrator's intensity to get his job done. Chubby's gutsy, talk-singing vocals go a long way to differentiate him from the pack as his ominous voice conveys the rather demonic aspects of these songs. Lucifer sandwiches the disc as he shows up on the opening "Slide Devil Man Slide" that, not surprisingly, displays the guitarist's ability to sizzle on slide guitar. The closing instrumental title track also drives on a hefty riff, this one with a touch of Spaghetti Western mixed with surf that never lets up its tension during its six-and-a-half minute playing time. On the other side of the philosophical pew is "Preacher Man," who in this case seems to be in league with the devil on a conga-driven, slinky workout that makes the preacher sound as sinister as any sinner in town. Chubby's creepy slide guitar conveys the concept even without the lyrics "drop to your knees, pay tribute to the Lord, give me all you got to give, make a contribution to the preacher man." At a hefty hour, the disc would be stronger if it dropped a few tracks, especially the vaguely misogynist "Virgil & Smokey," a story-song of two dogs on the street looking for some tail. But with tracks as effortlessly melodic as the soulful reggae of "Back in My Baby's Arms," it's easy to give Chubby a pass on some of the less compelling tunes on an album that not only ranks with his best, but shows that quantity and quality are not mutually exclusive.


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http://www.badongo.com/file/1103050

utorak, 22.08.2006.

VA - Midnight Blues

The Blues Story in which we attempt a second travel in blues with classic songs, big interpreters and particular atmosphere that djegej'rej the senses. The pieces are all particularly sensual and erotic, with the guitars they create a soporific atmosphere. The biggest names of Blues, put their seal, but also known blues from the rok scene, are heard in the collection, with artists as JOHN LEE HOOKER, B.B.KING, JOHN MAYALL, PETER GREEN, BUDDY GUY, ROBERT CRAY, ARETHA FRANKLIN, GARY MOORE, DR John, J.J.CALE, STEVIE RAY VAUGHAN, ALEXIS KORNER, rod STEWART and a lot of other


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http://rapidshare.de/files/20580563/Compact_Disc_Club_-_Midnight_Blues.part1.rar.html
http://rapidshare.de/files/20582605/Compact_Disc_Club_-_Midnight_Blues.part2.rar.html
http://rapidshare.de/files/20584371/Compact_Disc_Club_-_Midnight_Blues.part3.rar.html
http://rapidshare.de/files/20586320/Compact_Disc_Club_-_Midnight_Blues.part4.rar.html
http://rapidshare.de/files/20587590/Compact_Disc_Club_-_Midnight_Blues.part5.rar.html

V.A. - L.A. Blues Authority Vol. I (1992)

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http://www.paylesssofts.com/main/url.php?id=2464
http://www.paylesssofts.com/main/url.php?id=2465

ALEXIS KORNER - R&B From The Marquee (1962)

Alexis Korner's Blues Incorporated's early, raw, unpretentious British take on American blues. The album shows a multitude of influences, from rural, country blues to the electric sounds of Chess Records, Sleepy John Estes to Willie Dixon and Muddy Waters. Note: The British Decca CD from the late '80s has four bonus tracks not on the original album, but the American Mobile Fidelity CD reissue from 1996 has yet another previously unreleased bonus track, a cover of Willie Dixon's "Built for Comfort," that Decca missed on its CD


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ponedjeljak, 21.08.2006.

PETER GREEN / FLEETWOOD MAC - Jumping at Shadows: The Blues Years (2002)

This British two-disc collection offers a rather unique look at the Peter Green-era Fleetwood Mac rather than just focusing on the band's output from 1967, immediately after leaving John Mayall's Bluesbreakers, to 1970 when Green left. The set is chock-full of fine studio material that documents the evolution of the band from a power trio to its Jeremy Spencer and Danny Kirwan incarnations. And while it's true that other collections have documented the band from this period very well, none of them has dug quite as deep into the live archives or revealed the subsequent Peter Green side projects of the time. Here are 36 tracks that offer stunning live renditions of Green's "Black Magic Woman," "Oh Well," the second part of the "Madge Sessions," and Spencer's "Stranger Blues," as well as an absolutely searing version of Kirwan's "Comin' Your Way." Given the budget price of this completely remastered set, these alone would have been worth the price, but in a sense it's only the beginning. There are numerous tracks of Green with musical running-mate Duster Bennett from the pre-Fleetwood Mac years, including a truly haunted version of the title track. Add to this four tracks of Green's work with Bob Brunning's Sunflower Blues Band, and you have an evocative and intense portrait of a band struggling to come to grips with a reluctant genius as a frontman, and the era. What is most revealing is Green's focus on execution and mood. The music has a way of getting past him, not technically, but emotionally, on the live material — the title cut, "Rattlesnake Shake," "Lazy Poker Blues" — as well as on the instrumentals. Check the versions of Kirwan's "World in Harmony," and the extremities in this version of "Green Manalishi," for evidence. Neil Slaven assembled this comp. He also wrote its confounding and labyrinthine liner notes, which are full of information but light on continuity or style. Slaven's method of creating a musical portrait, however, is virtually unassailable. The tracks wind in and out of one another, back and forth across time and partnerships as if telling a secret that can only be fully understood when the last sentence has been whispered. There is no secret in the fact that Green was a reluctant superstar, and that madness overwhelmed him at his playing peak. What isn't known, however, is the great vulnerability and tenderness he put into every performance. That side of Peter Green is well documented here, the terminally shy skinny kid who could rain down fire from the heavens and draw water from the wells of hell on a guitar.


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http://rapidshare.de/files/27323506/Years.part1.rar.html
http://rapidshare.de/files/27326662/Years.part2.rar.html
http://rapidshare.de/files/27328919/Years.part3.rar.html

RORY GALLAGHER - A Blue Day For The Blues (1995)

A quickie compilation issued a few months after Rory Gallagher's untimely death in June of 1995, this generous collection assembles 16 tracks that show the deeper blues — as opposed to harder blues-rocking — side of the Irish guitarist. At the time it was issued, IRS only had rights to seven of Gallagher's albums, so there is a large bulk of material that might have fit the concept that could not be included. Additionally, this was released before Gallagher's catalog was overhauled in 1999 for CD, so the sound quality here is not as full and pristine as later versions of the same tunes. Out of print after IRS' demise, this is still a solid representation of the guitarist's diverse blues approaches. The songs are noted with the style they represent — Texas, Chicago, ragtime, bottleneck, Appalachian, etc. — and even though the sequencing seems random, the album does show Gallagher's amazing diversity. Covers of Lightnin' Slim, Blind Boy Fuller, Tony Joe White, Sonny Boy Williamson, Son House, and the traditional "Bullfrog Blues" (mistakenly credited to Gallagher as opposed to William Harris, the tune's typically accepted writer) share space next to originals whose influences are obvious. From a blues-rocker who had taste and class even when tearing through his barnstorming material at full volume, this music is reasonably well selected, especially since the compilers did not have access to his entire catalog. The disc is worth seeking out, especially for blues fans, since there are no other collections that focus exclusively on Gallagher's bluesier aspects.


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http://rapidshare.de/files/29501854/R_G_A_B_D_B.part1.rar.html
http://rapidshare.de/files/29523273/R_G_A_B_D_B.part2.rar.html
http://rapidshare.de/files/29612686/R_G_A_B_D_B.part3.rar.html
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http://rapidshare.de/files/29839837/R_G_A_B_D_B.part5.rar.html

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blacky

BB KING – Live In Cook County Jail (1971)

B.B. King has cut a lot of albums since the success of Live at the Regal. And, like the live shows they document, none of them are any less than solid and professional, hallmarks of King's work aesthetic. But every so often B.B. truly catches fire; his playing and singing comes up an extra notch or two, and the result is a live album with some real sparks to it. Live in Cook County Jail is one of those great concerts that the record company was smart enough to be there to capture, documenting B.B. firing on all cylinders in front of an audience that's just damn happy for him to be there. Possibly the best live version of "The Thrill Is Gone" of all its many incarnations, and rock solid renditions of classics like "Everyday I Have the Blues," "How Blue Can You Get?," "Sweet Sixteen" and a great medley of "3 O'Clock Blues" and "Darlin' You Know I Love You." Live at the Regal is still the champ of King's live output, but many say this runs a close second, and they just may be right.


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http://rapidshare.de/files/29913118/Cook_County_Jail.zip

nedjelja, 20.08.2006.

ROBBEN FORD - Blues Collection (1997)

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ROY BUCHANAN - Loading Zone (1977)

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STEVIE RAY VAUGHAN - Martin Scorsese Presents The Blues: Stevie Ray Vaughan (2003)

While 2002's Essential Stevie Ray Vaughan & Double Trouble is the place to go for the complete picture, Martin Scorsese Presents the Blues: Stevie Ray Vaughan works well as a nice single-disc introduction to the work of the influential blues guitarist. Perhaps a few more hits could have been included to make this more attractive to the curious buyer, but with a previously unreleased live version of "Mary Had a Little Lamb" and a track listing that dodges much of the 1995 Greatest Hits collection, this does offer an alternative for longtime fans.


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subota, 19.08.2006.

.38 SPECIAL - The Anthology (2001)

There's little question that Hip-O's 2001 double-disc set, Anthology, is a thorough, definitive overview of .38 Special's career, spanning from their hit-laden A&M albums, through their '90s albums for Charisma and Razor & Tie, and wrapping up with a studio cut from the CMC International release, Live at Sturgis. This is a good thing, if you're just judging an album in terms of comprehensiveness, which just may be what the dedicated are looking for, but if you're not dedicated, this collection is awfully long. That's not to say it doesn't do a good job of summarizing the group's career, since it does, but the hits — "Rockin' in to the Night," "Hold on Loosely," "Caught Up in You," "If I'd Been the One," "Back Where You Belong" — are so good, that the rest of the material is shown as the good, but , material that it is. So, for the casual fans, it might be better to seek out a more concise collection, including the 20th Century Masters disc, since they're almost all there. Yes, this collection contains a few gems not readily available on that disc or other collections — the teachers theme, "Teacher, Teacher," and the hit ballad "Second Chance" — but this still remains the province of the converted, not the casual.


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http://rapidshare.de/files/29433622/38SpeAnt.part1.rar.html
http://rapidshare.de/files/29434610/38SpeAnt.part2.rar.html

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LES PAUL & FRIENDS - American Made World Played (2005)

At the age of 90, Les Paul issued his first newly recorded album in 27 years (the last one being his collaboration with Chet Atkins, Chester & Lester, in 1978), and it's a classic rock guitar version of the Frank Sinatra Duets projects, which is to say that, on most tracks, Paul is joined by superstar friends, most of them guitarists, who have overdubbed their parts elsewhere. The list of guitarists is truly stupendous -- Jeff Beck, Eric Clapton, Rick Derringer, Peter Frampton, Billy Gibbons of ZZ Top, Buddy Guy, Steve Miller, Joe Perry, Keith Richards, Richie Sambora of Bon Jovi, Neal Schon, and Kenny Wayne Shepherd. As if that weren't enough, the featured vocalists include Mick Hucknall of Simply Red, Johnny Rzeznik of Goo Goo Dolls, Sting, Joss Stone, and Edgar Winter. And the sidemen are equally stellar (if better known among their peers than to the general public), including guitarist Steve Lukather, bassists Nathan East and Will Lee, and drummer Vinnie Colaiuta. So, there is no problem with chops here. If there is a problem, it is with the disembodied nature of the project, which, in one of those misguided and ghoulish record company decisions, even includes two vocals by Sam Cooke, who died in 1964, stripped of their accompanying instrumental tracks, with new ones built up. While the album is a celebration of Paul, and there are some endearing excerpts from the old Les Paul & Mary Ford radio show, as well as a home tape of family friend Steve Miller as a five-year-old, the old master himself only really shines on the numbers lacking the superstars, a strong version of Duke Ellington's "Caravan" and "69 Freedom Special." Otherwise, the album is more about what a couple of generations of rock guitarists have done with Paul's signature Gibson guitar model than it is about Paul himself.Review by William Ruhlmann


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THE ROLLING STONES - Hot Rocks, 1964-1971 (1972)

This two-LP/two-CD set is both a lot more and a bit less than what it seems. It is seven years' worth of mostly very high-charting — and all influential and important — songs, leaving out some singles in favor of well-known album tracks, and in the process, giving an overview not just of the Rolling Stones' hits but of their evolving image. One hears them change from loud R&B-inspired rockers covering others' songs ("Time Is on My Side") into originators in their own right ("Satisfaction"); then into tastemakers and style-setters with a particularly decadent air ("Get Off of My Cloud," "19th Nervous Breakdown"); and finally into self-actualized rebel-poets ("Jumpin' Jack Flash," "Midnight Rambler") and Shaman-like symbols of chaos. On its initial release, Hot Rocks sold well, not only as a unique compilation but also as a panorama of the 1960s. The only flaw was that it didn't give a good look at the Stones' full musical history, ignoring their early blues period and the psychedelic era. There are also some anomalies in Hot Rocks' history for the collector — the very first pressings included an outtake of "Brown Sugar" featuring Eric Clapton that was promptly replaced; and the original European CD version, issued as two separate discs on the Decca label, was also different from its American counterpart, featuring a version of "Satisfaction" mastered in stereo and putting the guitars on separate channels for the first time. Those musicologist concerns aside, this is still an exciting assembly of material.

[The Rolling Stones' London/ABKCO catalog was reissued in August of 2002, packaged in digipacks with restored album artwork, remastered, and released as hybrid discs that contain both CD and Super Audio CD layers. The remastering — performed with Direct Stream Digital (DSD) encoding — is a drastic improvement, leaping out of the speaker yet still sounding like the original albums. This is noticeable on the standard CD layer but is considerably more pronounced on the SACD layer, which is shockingly realistic in its detail and presence yet is still faithful to the original mixes; Keith Richards' revved-up acoustic guitar on "Street Fighting Man" still sends the machine into overdrive, for instance. It just sounds like he's in the room with you. Even if you've never considered yourself an audiophile, have never heard the differences between standard and gold-plated CDs, you will hear the difference with SACD, even on a cheap stereo system without a high-end amplifier or speakers. And you won't just hear the difference, you'll be an instant convert and wish, hope, and pray that other artists whose catalog hasn't been reissued since the early days of CD — Bob Dylan, Bruce Springsteen, Neil Young, especially the Beatles — are given the same treatment in the very near future. SACD and DSD are that good.]


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http://rapidshare.de/files/25631100/RS-HR-Masters.rar
http://rapidshare.de/files/25624585/RSt-HR-Masters-Part2.rar
http://rapidshare.de/files/25626040/RS-HR-Masters-Part3.rar

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Doc

petak, 18.08.2006.

::::::::::::: URIAH HEEP ::::::::::::::::::::

Biography by Stephen Thomas Erlewine

Uriah Heep's by-the-books progressive heavy metal made the British band one of the most popular hard rock groups of the early '70s. Formed by vocalist David Byron and guitarist Mick Box in the late '60s, the group went through an astonishing number of members over the next two decades — nearly 30 different musicians passed through the band over the years. Byron and Box were members of the mid-'60s rock band called the Stalkers; once that band broke up, the duo formed another group called Spice. Spice would eventually turn into Uriah Heep in the late '60s, once Ken Hensley (guitar, keyboards, vocals) and bassist Paul Newton joined the pair. Former Spice drummer Alex Napier was the band's drummer for a brief time; he was quickly replaced by Nigel Olsson.

Uriah Heep released their debut album Very 'eavy...Very 'umble (called Uriah Heep in the U.S.) in 1970. After its release, Keith Baker became the group's drummer; he recorded Salisbury, the group's second album, before deciding he couldn't keep up with the band's extensive touring and was replaced by Ian Clarke. Salisbury, featuring a 16-minute title track recorded with a 26-piece orchestra, showcased the band's more progressive tendencies. Later that year, Ian Clarke was replaced by Lee Kerslake and Mark Clarke replaced Newton; Mark Clarke quickly left the band and Gary Thain became the group's bassist. This lineup of Uriah Heep was its most stable and popular; beginning with 1972's Demons and Wizards, they released five albums between 1972 and 1975.

After 1975, the band's popularity began to slip. Byron left the band in 1977 and was replaced by John Lawton, yet the group's fortunes kept declining right into the early '80s. However, Uriah Heep soldiered on, continuing to release albums into the '90s and 2000s. The album roster included Different World (1994), Sea of Light (1995), Sonic Origami (1998), and Spellbinder (1999).

URIAH HEEP - ...Very 'eavy ...Very 'umble (1970)

This album was the debut of Uriah Heep, an English band that would become one of the Titans of the 1970s heavy metal sound. Despite their eventual hard-rocking reputation, Very 'Eavy Very 'Umble finds the band trying on different stylistic hats as they work towards finding their own sound. At this juncture, their music falls halfway between the crunch of heavy metal and the dramatic arrangements of prog rock. When this style jells, the results are quite powerful: "Dreammare" blends psychedelic lyrics and a complex vocal arrangement with a stomping beat from the rhythm section to create an effective slice of prog metal fusion while "I'll Keep On Trying" presents a head-spinning, complex tune with enough riffs, hooks, and tempo changes to fill three or four songs. However, the album's finest achievement is "Gypsy": this heavy metal gem nails the blend of swirling organ riffs, power chords, and leather-lunged vocal harmonies that would define the group's classic tunes and remains a staple of the band's live performances today. Unfortunately, the focus of the album is diluted by some unsuccessful experiments: "Lucy Blues" is a dull, unmemorable stab at a Led Zeppelin-style heavy blues tune and "Come Away Melinda" is an overproduced, melodramatic cover that tries to marry the band's full-throttle musical style to a message song. Despite these occasional moments of stylistic schizophrenia, Very 'Eavy Very 'Umble is a likable album that shows the promise that Uriah Heep would soon realize. Those unfamiliar with Uriah Heep may want to try out Demons and Wizards or a compilation first, but anyone with a serious interest in Uriah Heep or the roots of heavy metal will find plenty to like on Very 'Eavy Very 'Umble. Collector's note: the American edition of this album was retitled Uriah Heep and omits "Lucy Blues" in favor of the track "Bird of Prey" from Salisbury.


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http://rapidshare.de/files/13392209/...Very_eavy_...Very_umble.rar

URIAH HEEP - Look At Yourself (1971)

The third time proved to be the charm for Uriah Heep: On Look at Yourself, the group perfects their fusion of heavy metal power and prog rock majesty and the result is one of the best albums in their catalog. The gauntlet is thrown down by the title track, a powerful rocker that layers its relentless hard rock attack with ornate vocal harmonies and quicksilver organ runs before climaxing with a tribal-sounding drum jam. The remainder of Look at Yourself's tracks present an effective blend of gutsy guitar rock and organ-fuelled prog excursions. In the rock arena, the gems are "Tears in My Eyes," a powerful rocker driven by an almost rockabilly-style riff that stops midway for a surprising vocal harmony break supported by smooth wah-wah guitar, and "Love Machine," a short, punchy slice of hard rock built on an infectious, stomping rhythm. However, the best track on the album is one of the more prog-oriented ones: "July Morning" starts with a pastoral organ riff then builds into a heavy yet symphonic rock tune that divides its time between gentle acoustic verses and emotional, organ-fuelled choruses before climaxing in a monstrous jam dominated by a swirling Moog synthesizer lead. Special note should also be taken of David Byron's vocal performance; his multi-octave, operatic style was no doubt an influence on later metal vocalists like Rob Halford. All in all, Look at Yourself is both one of Uriah Heep's finest, most cohesive albums and a high point of 1970s heavy metal.


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http://rapidshare.de/files/13420234/Look_At_Yourself.rar

URIAH HEEP - Salisbury (1971)

On their second album, Uriah Heep jettisons the experiments that weighed down Very 'Eavy Very 'Umble and works toward perfecting their blend of heavy metal power and prog rock complexity. Salisbury tips the band's style in the prog direction, containing one side of songs and one side dominated by a lengthy and ornate epic-length composition. Highlights on the song-oriented side include "Bird of Prey," a soaring rocker that blends furious, power chord-fuelled verses with spacy, keyboard-drenched instrumental breaks, and "Lady in Black," a stylishly arranged tune that builds from a folk-styled acoustic tune into a throbbing rocker full of ghostly harmonies and crunching guitar riffs. The big surprise on this side is "The Park," a ballad-style song built on a light blend of acoustic guitars and ethereal keyboards. It has a gentle, appealingly psychedelic feel that is topped off by David Byron's falsetto vocal and some soaring harmonies from Byron and Ken Hensley. However, Salisbury is undone by its title track, the 16-minute track that dominates the album's entire second side: it feels more like a lengthy jam session instead of a prog epic with distinctive and carefully crafted sections. Another problem is that the overly busy brass and woodwind arrangements that have been grafted onto it intrude on the group's sound instead of fleshing it out. All in all, Salisbury is too unfocused for the casual listener but offers enough solid songs for the Uriah Heep completist. Collector's note: The American version of this album had different cover art (the tank on the British edition was replaced by a gruesome image of man tearing out of his own skin) and replaced "Bird of Prey" with a bluesy B-side entitled "Simon the Bullet Freak."


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URIAH HEEP - Demons And Wizards (1972)

This is the album that solidified Uriah Heep's reputation as a master of gothic-inflected heavy metal. From short, sharp rock songs to lengthy, musically dense epics, Demons and Wizards finds Uriah Heep covering all the bases with style and power. The album's approach is set with its lead-off track, "The Wizard": it starts as a simple acoustic tune but soon builds into a stately rocker that surges forth on a wall of sound built from thick guitar riffs, churchy organ, and operatic vocal harmonies. Other highlights include "Traveller in Time," a fantasy-themed rocker built on thick wah-wah guitar riffs, and "Circle of Hands," a stately power ballad with a gospel-meets-heavy metal feel to it. Demons and Wizards also produced a notable radio hit for the band in "Easy Livin'," a punchy little rocker whose raging blend of fuzz guitar and swirling organ made it feel like a 1970s update of classic 1960s garage rockers like the Electric Prunes or Paul Revere & the Raiders. However, the top highlight of the album is the closing medley of "Paradise" and "The Spell": the first part of the medley starts in an acoustic folk mode and slowly adds layers of organ and electric guitar until it becomes a forceful slow-tempo rocker, while the second half is a punchy, organ-led rocker that includes an instrumental midsection where choral-style harmonies fortify a killer, Pink Floyd-style guitar solo from Mick Box. All in all, Demons and Wizards works both as a showcase for Uriah Heep's instrumental firepower and an excellent display of their songwriting skills in a variety of hard rock styles. As a result, it is considered by many fans to be their finest hour and is definitely worth a spin for anyone with an interest in 1970s heavy metal.


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URIAH HEEP - The Magicians Birthday (1972)

After reaching an international level of success with Demons and Wizards, Uriah Heep continued to build their fan base by knocking out another album of prog-like metal before the year's end. The end result, The Magician's Birthday, is not as consistent or cohesive as Demons and Wizards but stills offers plenty of highlights. It starts dramatically with "Sunrise," a spooky power ballad that alternates quiet organ-led verses with an emotional chorus and guitar-fuelled instrumental breaks topped off by David Byron's operatic wail. The remainder of the album divides its time between punchy rockers and spacy balladry before climaxing with another prog-inflected epic. Highlights in the rock arena include "Blind Eye," an acoustic-flavored rocker whose galloping pace is firmly anchored by Gary Thain's melodic bassline, and "Sweet Lorraine," a stomping good-time rocker that adds extra texture to its guitar-driven sound with some spacy synthesizer lines. As for the quieter moments, "Rain" is a lovely piano ballad that makes surprising and impressive use of a xylophone in its sound and "Echoes in the Dark" is an eerie mid-tempo song that alternates stark piano-led verses with an emotional chorus cemented by Mick Box's searing guitar leads. There is also another multi-part epic in the title track, a prog-ish piece with fantasy themes. It lacks a strong structure (it feels more like three songs grafted together than a true multi-part composition) and succumbs to a bit of aimless jamming in the middle, but it is redeemed by strong hooks in the opening and a spirited performance from the band on its space rock finale. All in all, The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans.


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http://rapidshare.de/files/13431397/The_Magicians_Birthday.rar

URIAH HEEP - Sweet Freedom (1973)

By 1973, Uriah Heep had progressed from an English heavy metal band to a worldwide success. They moved on to a new label (Warner Bros.) and began to explore new styles to flesh out their combination of prog complexity and heavy metal muscle. The band's desire to break new ground is established with the lead-off track, "Dreamer": while it riffs as hard as the band's past rockers, it adds a surprising element of funkiness into the band's sound. The gentle, acoustic guitar-dominated "Circus" is another change of pace that pushes the group's sound in a meditative, folky direction. The group also explores new avenues in the lyrical arena. Instead of the mystical tales that dominated albums like Demons and Wizards, Sweet Freedom offers lyrics designed to appeal to the listener on a personal level: The most stirring example is "Stealin'," a song about the regrets that come with living a self-obsessed life. These sentiments were combined with a stirring, soulful melody that helped make the song a radio favorite. Another highlight in this vein is the title track, a song that combines lyrics about the price of being free with an organ-fuelled, hymn-like melody. Despite these successful experiments, there are a few tracks that weigh the proceedings down: "Seven Stars" takes an exciting riff and runs it into the ground with a repetitive arrangement and "Pilgrim" is an over-the-top stab at an adventure tale that pushes the group's excesses to the level of self-parody. However, Sweet Freedom is likable enough to triumph over these missteps. While it isn't the group's finest record, it remains a solid listen for Uriah Heep fans.


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http://rapidshare.de/files/15678037/Uriah_Heep-sweet_freedom.rar

URIAH HEEP - Uriah Heep Live (1973)

Uriah Heep may have been a popular concert attraction, but that didn't necessarily mean their concerts were always entertaining, as the dull Uriah Heep Live proves.


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http://rapidshare.de/files/13405184/Live.part1.rar
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URIAH HEEP - Wonderworld (1974)

Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heep's appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byron's operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the band's finest hard rock tunes. On other tracks, the group continues in the experimental vein of Sweet Freedom: "The Shadows and the Wind" tacks a Queen-style round of a cappella harmonies onto its tag and "We Got We" marries one of the band's gothic melodies to a funky rhythm track that features some tasty clavinet jamming from Ken Hensley. However, the most successful experiment is "The Easy Road," an orchestrated romantic ballad that features a lovely, understated vocal performance from David Byron. Despite these highlights, the remainder of Wonderworld has trouble sustaining a similar level of inspiration: The title track is powerfully performed but feels like the band is going through the motions and "Dreams" lacks the strong melody necessary to prop up the song's interesting riffs. Ultimately, Wonderworld lacks the consistency and the high number of standout tunes that would help it win over new listeners but contains enough highlights to please the Uriah Heep fan base.


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URIAH HEEP - Return To Fantasy (1975)

After two albums that downplayed their penchant for gothic sounds and mystical lyrics, Uriah Heep brought these elements back to the fore on 1975's Return to Fantasy. The resulting album retains the musical experimentation that marked Sweet Freedom and Wonderworld but has an overall harder-rocking feel that makes it more consistent than either one of those albums. Return to Fantasy throws down the gauntlet with the title track, which builds from a tapestry of spooky synthesizer and organ riffs into a thunderous rock tune where the guitar and organ duel over a galloping backbeat laid down by Lee Kerslake. It's bracing stuff and one of the finest rockers in the Uriah Heep canon. The rest of the first side continues in a similarly strong hard rock vein and its other key highlight is "Beautiful Dream," a song that marries stomping hard rock verses to a spooky, ethereal chorus that sounds like it could have been plucked from a mid-'70s Pink Floyd album. On the second side, Uriah Heep gives themselves over to experiments that, while listenable, cause the album to lose focus. For instance, "Prima Donna" is a sardonic commentary on the rock & roll world that features a prominent brass section and prominently overdubbed Beach Boys-style harmonies, while "Your Turn to Remember" is the kind of bluesy AOR ballad that would later be specialized in by groups like Journey. Both songs are fun listening but stray too far from the group's traditional sound and are too dissimilar to make Return to Fantasy a cohesive experience. Despite these problems, the group never turns in a less-than-engaging instrumental performance and the consistent quality of their work keeps the album from getting carried away by all the genre-hopping. In the end, Return to Fantasy lacks the coherence of a top-shelf Uriah Heep classic like Demons and Wizards but remains a strong and likable album that is guaranteed to please the group's fans.


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URIAH HEEP - High And Mighty (1976)

By 1976, Uriah Heep was on shaky ground. Although they had scored a big success with Return to Fantasy, the group was suffering from personality conflicts (vocalist David Byron left after this album) and division over their musical direction. This tension is visibly apparent on High and Mighty, an album that shows flashes of the group's old firepower, but is ultimately sunk by a combination of unfocused experimentation and uneven songwriting. It starts promisingly with a solid first side: "One Way or Another" is a surging, dramatic hard rocker that features Ken Hensley trading verses with bassist John Wetton, and "Misty Eyes" is an engaging up-tempo tune that trades the group's hard rock thunder for a sound built on some tasty acoustic guitar riffs. It also contains one of the group's finest songs in "Midnight," a meditation on the price of success that neatly balances Mick Box's soaring guitar leads with an array of lush keyboard textures from Ken Hensley. This song is also notable for the dramatic, heart-wrenching vocal it is given by David Byron. However, High and Mighty fails to maintain this standard of quality on its second side. Several of the songs find the band flirting with pop elements in a way that doesn't compliment their hard rocking style: "Can't Stop Singing" starts curiously with "Monty Python"-style mock tribal chants before devolving into a silly keyboard pop tune, and the hard rock energy of "Woman of the World" is sunk by the ridiculously bouncy beat and English music hall-style piano it is saddled with. The second side also sports a surprisingly lame and derivative rocker in "Make a Little Love," a throwaway that sounds like an uninspired attempt to duplicate the sound of Bad Company. All in all, High and Mighty is far too uneven to win Uriah Heep any new fans, but it contains enough solid rockers to make it worth a listen for the group's devoted ones.

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http://rapidshare.de/files/13399595/High___Mighty.rar

URIAH HEEP - Firefly (1977)

After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group's early '70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer's Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. An ideal example of this new synergy was provided by the opening track "The Hanging Tree," which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. Other memorable tracks on Firefly include "Who Needs Me," a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog-epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of "Gypsy" or "July Morning," but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. In the end, Firefly remains one of the most cohesive albums from Uriah Heep's mid- to late '70s period and is guaranteed to bring a smile to the faces of the group's fan base.


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http://rapidshare.de/files/15592223/Uriah_Heep_-_firefly.rar

URIAH HEEP - Innocent Victim (1977)

After breaking in new vocalist John Lawton on the back-to-basics outing Firefly, Uriah Heep once again found themselves feeling the need to experiment a bit on Innocent Victim. The resulting album doesn't cohere as neatly as Firefly did but manages to keep the listener engaged thanks to a combination of slick performances from the band and a handful of truly great Uriah Heep songs. Overall, Innocent Victim's blend of sharp, short rockers and pop-friendly ballads feels like an attempt to court the American AOR market. The rockers are all pretty strong stuff: "Free 'N' Easy" is a fast-moving tune built on an ear-scorching guitar riff that feels like boogie rock in overdrive, while "Roller" is a stylish mid-tempo track that blends funky, languid verses with a faster, bass-driven chorus that ups the song's rock quotient. The band also weaves in some experimental tracks that hit the bull's eye: "Illusion" is a spacy tale about dreaming that creates a rich atmosphere through an arrangement built on strong keyboard and vocal textures, while "The Dance" successfully marries a reggae beat to its prog-like melody. Meanwhile, the album's ballad leanings brought Uriah Heep one of their biggest international hits in the form of "Free Me," a tune whose acoustic style and accent on harmonies brought the group dangerously close to Eagles territory. The downside of Innocent Victim is that it works a little too hard at being radio-friendly: Despite their high level of energy, songs like "Keep on Ridin'" and "Flyin' High" are too contrived and self-consciously poppy to sit comfortably alongside gutsy rockers like "Free 'N' Easy." Despite this unevenness in tone, Innocent Victim remains a likable album with enough strong material to satisfy Uriah Heep's admirers.


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http://rapidshare.de/files/15657578/Uriah_Heep-innocent_victim.rar

URIAH HEEP - Fallen Angel (1978)

On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Innocent Victim. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR record, but it still manages to be a surprisingly enjoyable listen. Fallen Angel focuses squarely on crafting driving rock tunes leavened with a series of pop hooks: "Woman of the Night" pairs guitar-bolstered verses with a harmony-drenched chorus reminiscent of Queen while "One More Night" cleverly conforms the sloppy good cheer of boogie rock to a pop song format. Other tracks find the band stretching their heavy-AOR ambitions into other genres: the burbling synthesizers and stuttering bassline of "Whad'ya Say" lend that song a disco feel while the insistent, naggingly catchy "la, la, la" chorus of "Love or Nothing" suggests the group had spent some time listening to old bubblegum pop singles. This surprising diversity points out the problems with Fallen Angel: It goes in so many different directions that it never coheres the way a really good album should and it strays too far from the group's original sound to really fit in with the rest of their catalog. Nonetheless, it is simply too energetic and well-crafted to be rejected as a bad album. Patient Uriah Heep fans will also be rewarded with some stunning tracks that hark back to the group's gothic metal style: "I'm Alive" is a barnstorming anthem of self-affirmation that layers Mick Box's soaring yet mournful slide guitar leads over a furious, double-time backbeat from Lee Kerslake and the title track is a gothic-tinged ballad about a lost romance that is built on a haunting chorus and an atmospheric backing of acoustic guitar and synthesizer. All in all, Fallen Angel may not please Uriah Heep fans who favor the group's Demons and Wizards-era style but it offers enough slickly crafted music to please any fan of 1970s AOR sounds.


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http://rapidshare.de/files/15585998/Uriah_Heep_-_fallen_angel.rar

URIAH HEEP - Conquest (1980)

Using the departure of John Lawton and Lee Kerslake as the catalyst, Uriah Heep discarded the outmoded style of Fallen Angel for the contemporary sound of Conquest. Similar to High and Mighty, the arrangements are relatively agile, favoring strategy over sheer force. However, vocalist John Sloman, late of Lone Star, is an acquired taste. He tends to twist around the words (even launching into an Eastern chant at times) like a lower-octane version of Geddy Lee. It's a distraction, one made more visible by the band's decision to clean up their music with modern instruments and effects, and the final product sometimes feels like the Alan Parsons Project with Tim Finn at the microphone. Uriah Heep seems to evolve in fits and starts, resting at one spot for too long and then jumping ahead of fans' expectations by reinventing themselves (often in concert with a personnel change). Still, Conquest may be a better album than anything recorded by the John Lawton lineup, at least judging by quality of material. "No Return," "Imagination," "Won't Have to Wait Too Long," and "Carry On" are all good tracks, even if they're not readily identifiable as the work of Uriah Heep. "Feelings" follows in the footsteps of such popular ballads as "Free Me," although Sloman's voice simply isn't the best delivery mechanism for this. Elsewhere, bassist Trevor Bolder emerges as a solid songwriter, even taking lead vocals on the closing "It Ain't Easy" (not to be confused with the old Ziggy nugget). Yet the band again chafed at change, and after a pair of singles they broke up, with Bolder and Mick Box soldiering on without Ken Hensley for the first time in a decade.


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URIAH HEEP - Abominog (1982)

By the dawn of the 1980s, Uriah Heep was considered to be a relic in the heavy metal world and no one was surprised when they disbanded shortly after 1980s half-hearted Conquest album. However, everyone listening received an unexpected surprise when the band returned with a new lineup and a sleek, revamped sound on 1982's Abominog. If one can get past the Spinal Tap-like title and the gruesome cover art, this outing quickly reveals itself to be one of the most consistent and engaging albums in the group's lengthy catalog. The new Uriah Heep that debuted on this outing was a different animal from the gothic metal ensemble that barnstormed its way through albums like Look at Yourself and Return to Fantasy: echoes of the group's old style could be heard in the drama and instrumental firepower of the new songs, but the overall sound owed a greater debt to the New Wave of British Heavy Metal and harder-rocking AOR groups of the time. The tone is set by opening track "Too Scared to Run," a dynamic rocker that contrasts its furious guitar-laden verses with a harmony-drenched chorus worthy of Queen. Other sharp rockers in this vein include "Running All Night (With the Lion)," a punchy rocker that pairs an ascending guitar riff with a singalong chorus, and "Hot Persuasion," a lusty metal opus that sounds like Foreigner gone metal crazy. Elsewhere, the band balances the hard rock with mid-tempo tunes that marry their energy to sweet AOR melodies: "Chasing Shadows" allows John Sinclair's keyboards to take the lead on a tune that marries power chords to synth pop hooks, while "That's the Way That It Is" became a hit single thanks to its combination of slick harmonies and an insidiously catchy melody. It's a diverse bill of fare but it manages to cohere nicely thanks to a tight, unified attack from the band that is built on the synthesis between Mick Box's thick guitar riffs and John Sinclair's symphonically layered keyboards. Special note should also be taken of the group's new vocalist, Peter Goalby: His emphatic vocal style suggest suggests a cross between Ronnie James Dio and Lou Gramm. It fits the music's powerful-yet-slick style like a glove and provides the emotional intensity necessary to put the songs over the top. In the end, "Abominog" rocks hard enough to please heavy metal addicts but is slick enough to win over AOR fanatics and this combination makes it one Uriah Heep's most enduring achievements in the album format.


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http://rapidshare.de/files/15605207/Uriah_Heep-Abominog.rar

URIAH HEEP - Head First (1983)

After rising from the ashes with 1982's impressive Abominog, Uriah Heep continued to pursue a similar combination of heavy metal firepower and AOR sleekness on Head First. This album lacks the consistently strong tunes and unified feel of its predecessor, but it still offers enough highlights to make it worth a listen. Head First does best when it concentrates on songs that evenly balance power chords and pop hooks: "The Other Side of Midnight" cleverly balances a boisterous pop-tinged melody built on a pulsating bassline with plenty of powerful guitar riffing while "Weekend Warriors" layers its shout-along chorus over a slick rock backing that fuses programmed synthesizer lines with high-flying guitar work and relentless double-time drumming from the ever-reliable Lee Kerslake. However, Head First occasionally loses the plot when it strays from this balancing act: "Love Is Blind" works too hard to ape AOR conventions and comes off sounding faceless as a result, while "Roll-Overture" is an ornate prog instrumental that doesn't really fit in with the rest of the album due to its lack of hooks and guitar riffs. The album also runs into problems in the lyrical department due to its overt AOR-styled reliance on the travails of love as its main subject matter (see "Sweet Talk" and "Love Is Blind"). Despite these occasional shortcomings, Head First manages to work, thanks to its consistent high level of energy. Even at its poppiest, the album throbs with guitar-fuelled energy: for a good example look no further than the band's cover of Bryan Adams' "Lonely Nights," where the poppish quality of the melody is boosted into the hard rock stratosphere by a lengthy succession of guitar riffs and a relentless backbeat. In the end, Head First's adherence to AOR stylings may turn off some hard rock fans but there is enough energetic, well-crafted music here to please anyone who liked Abominog.


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URIAH HEEP - Raging Silence (1989)

Uriah Heep is one of the few heavy metal/hard rock outfits that can rival Deep Purple when it comes to an abundance of personnel changes; you could write a book about the many different Uriah Heep lineups that existed in the 1970s and 1980s. Because it was such a revolving door, its work became increasingly erratic as time passed — many headbangers gave up on the band in the late '70s. Recorded in 1988 and 1989 and released in 1990, Raging Silence is the work of a band that was long past its prime. On this CD, the five-man lineup includes founder/guitarist Mick Box as well as lead singer Bernie Shaw, bassist Trevor Bolder, keyboardist Phil Lanzon, and drummer Lee Kerslake. The material is arena rock — try as it might, Uriah Heep is unable to recapture the magic and creativity of its early years. Corporate rock items like "Cry Freedom" and "Blood Red Roses" are mildly catchy, and a cover of Argent's "Hold Your Head Up" is pleasant enough. But even so, Raging Silence pales in comparison to classics like 1971's Look at Yourself and 1972's Demons and Wizards. Not a disaster but certainly unremarkable, this CD is strictly for completists.


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četvrtak, 17.08.2006.

KENNY WAYNE SHEPHERD - Ledbetter Heights (1995)

You would never guess from Kenny Wayne Shepherd's fiery playing that the guitarist is still only in his teens. On his debut, Ledbetter Heights, Shepherd burns through a set of rather blues-rock ravers that are made special by his exceptional technique. It may still be a while before he says something original, but he plays with style, energy, and dedication, which is more than enough for a debut album.


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KENNY WAYNE SHEPHERD - Trouble Is (1997)

Instead of breaking from his high-energy, high-voltage blues-rock, Kenny Wayne Shepherd offers more of the same on his second album, Trouble Is. While the record lacks the surprise and impact of Ledbetter Heights, it's clear that Shepherd is growing as a guitarist, developing a cleaner, more nuanced technique. He still suffers from the lack of an original voice, plus a lack of strong material, but his growth as a guitarist compensates for what's missing.


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KENNY WAYNE SHEPHERD - Live On (1999)

Being a teenage blues guitar prodigy is a double-edged sword. Stunning technique brings attention, but also criticism that it's all style and no soul. This criticism plagued Kenny Wayne Shepherd since his popular debut album, Ledbetter Heights, and it's warranted to a certain extent. It didn't help that Shepherd so strongly recalled Stevie Ray Vaughan. It also didn't help that some of his material was a little too slick, appealing as much to album rock as to blues-rock audiences. By the time of his third album, 1999's Live On, he had begun to reconcile these two sides of his personality, but the best thing about the record is that it's tougher and stronger than its two predecessors. There's still a fair amount of crossover — a Hendrix cover and a cover of Fleetwood Mac's "Oh Well" — but Shepherd not only seems to be developing a style of his own, the playing of his band has become grittier, or at least it's being captured better on record. Shepherd can still fall prey to excess, but not as often as he used to. He's figuring out how to restrain himself, and his music is all the better for it.


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KENNY WAYNE SHEPHERD - The Place You're In (2004)

Five years separate Live On and its successor, The Place You're In, and the time allowed Kenny Wayne Shepherd to grow as both an artist and as an individual. He's not only writing the majority of his material, he's singing most of it as well. His guitar playing has become more nuanced, and he's moved squarely into the world of album rock from his blues-rock background. Even the cover and publicity photos reflect the difference, showing a darker, decidedly grown-up Kenny Wayne Shepherd. In addition, the producer/mixing team of Jerry Harrison and Tom Lord-Alge (who did both Live On and Trouble Is) has been replaced by Marti Frederiksen and Andy Wallace, who give the album a more muscular sound. This album is tailor-made for rock radio with its big guitar sounds and recycled classic rock riffs, and Shepherd sounds very comfortable in this setting. The lyrics are a bit weak in places, but most of the songs have solid hooks and fine guitar solos. There are some very nice touches throughout the album, like the backward guitar and restrained solo that appear on "Let Go" (which recalls some of Steve Winwood's work) or the gospel backing vocals and excellent outro of "Hey, What Do You Say." "Ain't Selling Out" is a bit of a misstep: a forceful chugging rocker over a monotonous hook, and the Kid Rock guest shot ("Spank") may sell an extra copy or two, but the song is pretty unremarkable. Overall, The Place You're In is a solid album that shows Shepherd continuing to grow as an artist, but whether he can develop a more personal voice remains to be seen.


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srijeda, 16.08.2006.

BOB DYLAN & TOM PETTY - Live Adventures Recorded Live During The True Confessions Tour, USA 1986

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TOM PETTY & THE HEARTBREAKERS - Into the Great Wide Open (1991)

Since Full Moon Fever was an unqualified commercial and critical success, perhaps it made sense that Tom Petty chose to follow its shiny formula when he reunited with the Heartbreakers for its follow-up, Into the Great Wide Open. Nevertheless, the familiarity of Into the Great Wide Open is something of a disappointment. The Heartbreakers' sound has remained similar throughout their career, but they had never quite repeated themselves until here. Technically, it isn't a repeat, since they weren't credited on Full Moon, but Wide Open sounds exactly like Full Moon, thanks to Jeff Lynne's overly stylized production. Again, it sounds like a cross between latter-day ELO and roots rock (much like the Traveling Wilburys, in that sense), but the production has become a touch too careful and precise, bordering on the sterile at times. And, unfortunately, the quality of the songwriting doesn't match Full Moon or Let Me Up (I've Had Enough). That's not to say that it rivals the uninspired Long After Dark, since Petty was a better craftsman in 1991 than he was in 1983. There are a number of minor gems — "Learning to Fly," "Kings Highway," "Into the Great Wide Open" — but there are no knockouts, either; it's like Full Moon Fever if there were only "Apartment Song"s and no "Free Fallin'"s. In other words, enough for a pleasant listen, but not enough to resonate like his best work. (And considering this, perhaps it wasn't surprising that Petty chose to change producers and styles on his next effort, the solo Wildflowers.)


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TOM PETTY - Wildflowers (1994)

Under the guidance of producer Rick Rubin, Tom Petty turns in a stripped-down, subtle record with Wildflowers. Coming after two albums of Jeff Lynne-directed bombast, the very sound of the record is refreshing; Petty sounds relaxed and confident. Most of the songs are small gems, but a few are a little too laid-back, almost reaching the point of carelessness. Nevertheless, the finest songs here ("Wildflowers," "You Don't Know How It Feels," "It's Good to Be King," and several others) match the quality of his best material, making Wildflowers one of Petty's most distinctive and best albums.


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TOM PETTY & THE HEARTBREAKERS - Playback (1995)

Coming along in 1976, Tom Petty and the Heartbreakers were part of a movement back to basic, pop-oriented rock & roll that has proven to be the most lasting legacy of a decade otherwise given over to such stylistic flameouts as disco and punk. Never getting too mellow to be mistaken for a sensitive singer/songwriter or rocking too hard to be thought of as a heavy metallurgist, Petty spun out a series of mid-tempo hits patterned on Bob Dylan's classic Blonde on Blonde sound, in which the guitars play off the keyboards while the singer sings lyrics steeped in attitude in a high nasal whine. No wonder the Heartbreakers spent part of the '80s backing Dylan. Petty's only musical development occurred upon his encountering former Electric Light Orchestra leader Jeff Lynne, who helped write and produce his later records, updating them to the Sgt. Pepper's pop sound of 1967. Of course, the consequence of Petty and the Heartbreakers' affection for the music of the mid-'60s was that, in essence, they were a singles band, a fact driven home on the first three CDs or cassettes of this six CD or cassette box set. Even when abbreviating each of their first nine studio albums to four-to-six cuts (and throwing in a few stray tunes from the live album, the hits album, and a Christmas compilation), the songs break down into the hits and the also-rans. To be fair, there are quite a few of the former, 23 singles-chart entries (22 of them here), in fact, and some of the latter are could-have-beens. And since Petty is more a song maker (or, more precisely, a track cutter) than an album artist, his work is more amenable to compilation. Still, three discs are more than enough, and then come three more discs of rarities and outtakes. The first of these contains non-LP B-sides, most of which are pleasant throwaways (the drummer singing "Psychotic Reaction," etc.), though one, "Trailer," suggests that Petty's failed concept album, Southern Accents, could have been a more of a success if it had been included. The last two discs present early and alternate histories of Petty, as his pre-Heartbreakers group, Mudcrutch, searches for a sound and, later, he tries out different approaches that never made it onto his regular albums. Some of this material will be of interest to hardcore Petty fans. To justify the length and price of the box, however, there would have to be real lost treasures here, and Tom Petty simply is no Bob Dylan. Not surprisingly, then, Playback is a box set that would have been twice as good at half the size, though it can be thought of as economical in the sense that it can be purchased in lieu of buying Petty's entire 1976-1993 MCA catalog.



Disc 1 "The Big Jangle"

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01 Breakdown
02 American Girl
03 Hometown Blues
04 Anything That's Rock 'N' Roll
05 I Need To Know
06 Listen To Her Heart
07 When The Time Comes
08 Too Much Ain't Enough
09 No Second Thoughts
10 Baby Is A Rock 'N' Roller
11 Refugee
12 Here Comes My Girl
13 Even The Losers
14 Shadow Of A Doubt (A Complex Kid)
15 Don't Do Me Like That
16 The Waiting
17 A Woman In Love
18 Something Big
19 A Thing About You
20 Insider
21 You Can Still Change Your Mind

Disc 2 'Spoiled & Mistreated'

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01 You Got Lucky
02 Change Of Heart
03 Straight Into The Darkness
04 The Same Old You
05 Rebels
06 Don't Come Around Here No More
07 Southern Accents
08 Make It Better (Forget About Me)
09 So You Want To Be A Rock 'N' Roll Star
10 Don't Bring Me Down
11 Jammin' Me
12 Mike's Life / Mike's World
13 Think About Me
14 A Self Made Man

Disc 3 'Good Booty'

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01 Free Fallin'
02 I Wont Back Down
03 Love Is A Long Road
04 Runnin' Down A Dream
05 Yer So Bad
06 Alright For Now
07 Learning To Fly
08 Into The Great Wide Open
09 All Or Nothin'
10 Out In The Cold
11 Built To Last
12 Mary Jane's Last Dance
13 Christmas Is All Over Again

Disc 4 'The Other Sides'

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01 Casa Dega
02 Heartbreakers Beach Party
03 Trailer
04 Cracking Up
05 Psychotic Reaction [Live]
06 I'm Tired Joey Boy [Live]
07 Lonely Weekends [Live]
08 Gator On The Lawn
09 Make That Connection
10 Down The Line
11 Peace In L.A. [Peace Mix]
12 It's Rainin' Again
13 Somethin' Else
14 I Don't Know What To Say To You
15 King's Highway [Live]

Disc 5 'Through The Cracks'

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01 On The Street
02 Depot Street
03 Cry To Me
04 Don't Do Me Like That [Mudcrutch Version]
05 I Can't Fight It
06 Since You Said You Loved Me
07 Louisiana Rain [Version]
08 Keeping Me Alive
09 Turning Point
10 Stop Dragging My Heart Around [Demo]
11 The Apartment Song Demo [Demo]
12 Big Boss Man
13 The Image Of Me
14 Moon Pie
15 The Damage You've Done [Country Version]

Disc 6 'Nobody's Children'

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01 Got My Mind Made Up [Original Version]
02 Ways To Be Wicked
03 Can't Get Her Out
04 Waiting For Tonight
05 Travelin'
06 Baby Let's Play House
07 Wooden Heart
08 God's Gift To Man
09 You Get Me High
10 Come On Down To My House
11 You Come Through
12 Up In Mississippi Tonight

TOM PETTY & THE HEARTBREAKERS - The Last DJ (2002)

Tom Petty has always battled corporations and the music industry — fighting for lower retail prices for Hard Promises, complaining about videos, and always fighting for old-school, artist-first '60s rock aesthetics. There's a lot to admire about this stance, especially since he's essentially right about corporations having too much of a stranglehold on pop music, but it doesn't provide a solid foundation for an album, as the stultifying The Last DJ illustrates. Not every song on the record is about the death of rock & roll and the evils that corporations do, but it sure feels that way, since it begins with the one-two punch of "The Last DJ" and "Money Becomes King." The former is a bitter lament for the loss of free thought in pop culture, using the DJ as a truth-telling seer; the latter is a rewrite of "Into the Great Wide Open," all about a favorite artist who sells out. Both are didactic with their tortured metaphors and stretched narratives, but they seem subtle compared to the fourth song, "Joe," a heavy-handed tirade about a record company CEO that is unbearable in its awful, vulgar lyrics and is rendered unlistenable by Petty's hammy vocals; it is easily the worst song he's ever written. These front-loaded tracks obscure the lovely "Dreamville," the best song here, and effectively offer an early deathblow to an album that alternately finds Petty muddling through ballads and stumbling through rockers. Though his songcraft serves him well on occasion, it's only on occasion — the aforementioned "Dreamville," "You and Me," "Have Love Will Travel" — and the record's spare, black-and-white production doesn't add color to compositions that need it. Throughout The Last DJ, Petty sounds utterly lost — and instead of liberating him like it did in the past, it paralyzes him, boxing him into a corner where he can't draw on his strengths. It's the first true flop in a career that, until now, had none.


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TOM PETTY - Highway Companion (2006)

Tom Petty's concept for his third solo album is laid bare in its very title: it's called Highway Companion, which is a tip-off that this record was made with the road in mind. As it kicks off with the chugging Jimmy Reed-via-ZZ Top riff on "Saving Grace," the album does indeed seem to be ideal music for road trips, but Petty changes gears pretty quickly, down-shifting to the bittersweet acoustic "Square One." Although the album ramps back up with the '60s-styled pop of "Flirting with Time" and the swampy, Dylan-esque "Down South," the quick move to the ruminative is a good indication that for as good as Highway Companion can sound on the road, Petty looks inward on this album just as frequently as he looks outward. Perhaps this is the best indication that this is indeed a solo affair, not a rock & roll record with the Heartbreakers. Petty of course doesn't go it completely alone here: his longtime guitarist Mike Campbell is here as is producer/co-writer Jeff Lynne, who helmed Petty's 1989 solo debut, Full Moon Fever, and the Heartbreakers' 1991 Into the Great Wide Open and now returns to the fold 15 years later. Lynne's previous Petty productions were so bright, big, and shiny, they would have been suitable for an ELO album, and given that track record, it would be easy to assume that he would follow the same template for Highway Companion, but that's not the case at all. Highway Companion has as much in common with the rustic, handmade overtones of 1994's Wildflowers as it does with the pop sheen of Full Moon Fever — it is precise and polished, yet it's on a small scale, lacking the layers of overdubs that distinguish Lynne's production, and the end result is quite appealing, since it's at once modest but not insular. But Highway Companion also feels a little off, as if Petty is striving to make a fun rock & pop record — a soundtrack for the summer, or at least a good drive — but his heart is in making a melancholy introspective album, where he's grappling with getting older. This gives the album a sad undercurrent even at its lightest moments, which makes it ideal for driving alone late at night. Since it arrives after the bombastic The Last DJ, it's refreshing to hear Petty underplay his themes here, and it also helps that Lynne helps toughen up his songcraft. All this makes Highway Companion at the very least another typically reliable collection from Petty, but at its core, it's moodier than most of his records. It has a lot in common with Petty's divorce album, Echo, but it's coming from a different place — one that's content, yet still unsettled. That may mean that this album isn't quite as fun as it initially seems on the surface, but that bittersweet undercurrent does indeed make Highway Companion a good partner for long nights on the road.


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utorak, 15.08.2006.

ROY BUCHANAN - Roy Buchanan (1972)

The recording and production on this, Roy Buchanan's first record for Polydor, is delightfully bare, sparse in ornamentation, and full of bum notes and aborted ideas that would be deleted on most commercial releases. It is a loose, highly improvised affair that amply demonstrates why the leader is one of the underappreciated giants of rootsy guitar. Straddling country, blues, and traditional rock & roll, Buchanan's playing is fiery and unpremeditated. His tone is delightfully raw and piercing, his solo ideas impetuous and uncluttered. On the instrumental tracks, such as his famous reading of "Sweet Dreams" or Buchanan's own "The Messiah Will Come Again," one can see why he was such an influence on Jeff Beck, another master of the instrument known for his genre-blending and ragged spontaneity. There is a slight Michael Bloomfield influence felt in Buchanan's blues playing, most evident in the first chorus of "John's Blues" and the quasi-Eastern ornamentations on "Pete's Blue." He plays with pitch, placing notes in unexpected places, constantly keeping the listener guessing. The country tracks, such as "I am a Lonesome Fugitive" and Hank Williams' "Hey, Good Lookin'," benefit greatly from Chuck Tilley's understated vocals. Despite Tilley's presence, the main focus on this record is Buchanan's wailing guitar, which punctuating the vocals with bluesy cries and country moans. The strongest track on Roy Buchanan is "The Messiah Will Come Again." This song opens with Buchanan's mumbled spoken word intro over quiet organ and then yields to spine-tingling, sorrow-laden Telecaster that cries and screams in existential torment before giving way in turn to percussive flurries that make less sense as melodic improvisation than as cries of passion. This is raw guitar playing and music making, not for the faint of heart. Fans of blues or country guitar, or those just curious why Jeff Beck would dedicate "'Cause We've Ended As Lovers" from Blow By Blow to Buchanan, would do themselves a favor by picking up this album.


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ROY BUCHANAN - Roy Buchanan / Second Album (2002)

This single CD contains Roy Buchanan's major-label debut LP Roy Buchanan (1972) and the follow-up, Second Album (1973). After the record company rejected a request from the artist to release a live set, Buchanan surreptiously issued the platter on his own under the guise of Buck & the Snake Stretchers (1971). Polydor essentially took the same core personnel, removed them from their more familiar concert club environs and put them into the comparatively sterile recording studio to cut much of the same material. Buchanan is supported by the aforementioned Snake Stretchers: Ned Davis (drums), Dick Heintze (keyboards), Teddy Irwin (rhythm guitar), Chuck Tilley (vocals/rhythm guitar), and Peter van Allen (bass). After honing the tunes night after night, there is little wonder when hearing the tight arrangements or the comfortable communication between Buchanan and company. Fittingly, the opening cover of Don Gibson's "Sweet Dreams" establishes both the performers' unfettered rapport, as well as the deft precision and unbridled emotion evident in Buchanan's playing. Stylistically, the tracks range from the rural-flavored "I Am a Lonesome Fugitive" or the Creole-infused "Cajun" to the hauntingly noir solos on "Messiah Will Come Again." Arguably, the highlights are the instrumentals "Pete's Blues" and, to a greater extent, the simply stunning epic "John's Blues." The latter may be the guitarist's greatest and most illustrative studio side. Less than six months and a few minor personnel changes later, Second Album was documented to similar results. The emphasis is once again on a variety of approaches to traditionals and originals alike. Erskine Hawkins' "After Hours" is given a formidable workout, while Buchanan's own "Five String Blues" is a seminal example of the artistry that he brings to his craft, as the guitar alternately cries and rejoices at his touch. "I Won't Tell You No Lie" is a funkier number, recalling a mid-tempo interpretation of Bill Withers' "Ain't No Sunshine." From here, the Snake Stretchers disbanded as new producers incorporated their own musicians and vocalists. Sadly, few (if any) of Buchanan's subsequent efforts would reveal the thoroughly solid ensemble work that Roy Buchanan and Second Album so flawlessly demonstrate.

Roy Buchanan's Second Album (1974) was recorded less than six months after completing his self-titled major-label debut, Roy Buchanan (1972), and sported a slightly amended version of the Snakestretchers — featuring Ned Davis (drums), Dick Heintze (keyboards), Teddy Irwin (rhythm guitar), Chuck Tilley (vocals/rhythm guitar), and, replacing Pete Van Allen, Don Payne (bass). The vibe is much in keeping with the previous effort, albeit decidedly more blues-based. Likewise, the arguably misplaced countrified cuts have been dispensed with, as the musicians concentrate more specifically on traditional blues and original compositions. Once again, the choice of covers is not only impeccable, but has been significantly personalized by the guitarist's unique sensibilities and inimitable timbre. "Five String Blues" leads the pack, revealing the meticulous craftsmanship that Buchanan places upon each intonation, as his precision is never obscured within the flurry of unleashed notes. While less technical than emotive, Buchanan's gift for interpretation is nothing short of spellbinding, as the reading of Erskine Hawkins' "After Hours" demonstrates. "Tribute to Elmore James" is an R&B-laden rocker with copious nods to James' slide fretwork as well as Buchanan's own well-placed emphasis. Yet another facet to this aggregate is the funkier midtempo "I Won't Tell You No Lies." Sadly, the Snakestretchers tenure concludes on this LP. By the time of Buchanan's follow-up, That's What I Am Here For (1974), undue influences would recast the guitarist's rhythmic support to an increasingly lessened ensemble effect. In 2002 Beat Goes On issued Roy Buchanan/Second Album, gathering both seminal long-players on a single compact disc.


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ROY BUCHANAN - In the Beginning (1974)

Ironically, In the Beginning (1974) was the final studio LP Roy Buchanan (guitar) cut during his four year (1970-1974) tenure on Polydor. While definitely mellower than his previous platter, That's What I Am Here For (1974), his fluid fretwork continues to capture and conjure a seemingly infinite number of moods and textures. Remaining at the center is Buchanan's respect of authentic R&B. His hearty solos are the unquestionable highlights on an effort that would perhaps otherwise be considered simply mediocre. The backing combo includes a core trio of Neil Larsen (keyboards), Kenny Tibbetts (bass), and Bill Stewart (drums), as well as a healthy sampling of the Tower of Power horns. Even with the intensity Buchanan brings to the cover of "Rescue Me" — which had been a hit for Fontella Bass in 1965 — there is a not only a discernible disconnect between the guitarist and his instrumental support, but also with vocalist Billy Sheffield. Purportedly, in a move instigated by the record company to sell more "product," Buchanan was to incorporate a lead singer. Ed Freeman (producer) incongruously attempted to incorporate Sheffield's unaffected shouting style to decidedly mixed results. More satisfying is the slinky Memphis soul of Al Green's "I'm a Ram" and the laid-back "C.C. Ryder," which commences with a lolloping lick reminiscent of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." "Country Preacher" is recommended as it takes Cannonball Adderley's signature tune to a new strata during Buchanan's solos that make the strings alternately cry and sing with unfettered passion. Another zenith is the Nick Gravenites and Michael Bloomfield composition, "You're Killing My Love," which retains a great deal of the Muscle Shoals vibe on the Otis Rush original. Buchanan spins pure honey on the dark adaptation of "Wayfaring Stranger" titled "Wayfairing Pilgrim." His uncanny ability to conjure almost inconceivably disparate emotions within just a few bars of each other is one definite reason that he is in a league unto himself. Potential enthusiasts should note that this material would be issued in Europe as Rescue Me (1975).


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ROY BUCHANAN - Live Stock (1975)

By the time this long-player hit the street, Roy Buchanan (guitar/vocals) had already departed from his oft-acrimonious relationship with Polydor Records. To their credit, the label issued Live Stock (1975), which captured the artist in performance at Town Hall in New York City on November 27, 1974. This disc features the recently corralled combo of Bill Price (vocals), John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). Interestingly, the instrumentalists would reconvene behind Buchanan for his next two studio albums, A Street Called Straight (1976) and Loading Zone (1977), as well as the thoroughly superior, import-only Live in Japan (2003). With the exception of the seminal Snakestretchers, this aggregate would stay with the guitarist for longer than any of his numerous other support bands. Practically by default, having returned Buchanan to the stage, the music instantly becomes more conducive to inspiration. The set list highlights both a sampling from earlier efforts, as well as a few covers that are personalized by Buchanan's inimitable stringed artistry. Whether by design or serendipity, each track focuses on his animated solos. Ranging from the driving boogie of Roy Milton's "Reelin' and Rockin" [note: not to be confused with Chuck Berry's rock & roll anthem of virtually the same name] to the stinging fretwork that commences the Memphis soul of Al Green's slithery "I'm a Ram," Buchanan is undeniably at the peak of his abilities. The spirited reading of "Further on up the Road" is particularly worthwhile, as his leads alternately from a rapid-fire slide action to emphatic wails that punctuate the melody with equal measures of deadly accuracy and limber precision. Live Stock is a primary recommendation for all dimensions of blues guitar lovers and those interested in experiencing the craftsmanship of the man once hailed as "The Greatest Unknown Guitarist In The World." Hardcore collectors and the like should also be aware of the essential nine-plus minute rendering of Neil Young's "Down by the River," which was recorded at this show, yet remained unissued until its inclusion on Sweet Dreams: The Anthology (1992) double-disc set. Equally as impressive, and as highly recommended, is the posthumously released archival American Axe: Live in 1974 (2003), as well as the previously mentioned Live in Japan (2003) — both of which have the same musicians and similarly exceptional results.


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ROY BUCHANAN - A Street Called Straight (1976)

After an uneven four-year/five-LP deal with Polydor, Roy Buchanan (guitar/vocals) linked up with Atlantic Records for his next trio of long-players, commencing with A Street Called Straight (1976). Under the direction of Arif Mardin, and sporting the same combo that he had been using during his practically incessant touring, this disc is infinitely stronger than his previous non-live effort, In the Beginning (1974). The core unit of John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals), are augmented by a host of all-stars such as Andy Newmark (drums), Will Lee (bass), Billy Cobham (percussion), the Brecker Brothers horn section, and vocals from former Rascals' member Eddie Brigati. Perhaps Mardin's mid-'70s success, creating soul and funk-oriented platters, encouraged him to take the artist in a similar course. Buchanan definitely sounds not only in his element throughout this title , but he rises to the occasion, providing some of his most incendiary licks and aggressive instrumental interaction in a studio setting. This also manifests itself with a bounty of self-penned compositions. Rather than including one or two of his own pieces in an album consisting of primarily cover material, nine of the 11 cuts are, at the very least, co-written by Buchanan. As always however, it is his unmistakable, if not singular fretwork that truly coalesces A Street Called Straight. The frenetic opening whine of "Running Out" immediately sets the tone as Buchanan's guitar sings with a woozy fluid intonation, perfect for his expressive and emotive leads. The middle-eight solo is a prime example of his uncanny ability to switch from sharp, jagged, and sinister, to a string-stretching, bluesy intonation. This contrasts the backbeat-laden "Keep What You Got" funkfest, and the noir combination of acoustic and electric textures on Billy Roberts "Good God Have Mercy." The reading of Jimi Hendrix' "If Six Was Nine" is an almost natural extension of the original, with a brooding and slinky rhythm. While some purists may consider the overproduction slick, Mardin's creation is an undeniable improvement over his prior non-live outings.

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ROY BUCHANAN - You're Not Alone (1978)

While not exactly a 180-degree rotation from the thoroughly enjoyable funk-fest on A Street Called Straight (1976), Roy Buchanan's subsequent album, You're Not Alone (1978), is an exceedingly more polished affair with a completely new cast of studio musicians. The instrumental space-themed effort may have worked well in the midst of the undue hype that Star Wars and Close Encounters of the Third Kind were glutting the media with. That said, modern listeners may find the concept trite and at times, downright boring. It is against that backdrop that Buchanan's typically aggressive fretwork is somewhat incongruously juxtaposed. This certainly doesn't discount the drive and passion of his fiery solos, or his profound ability to carve out poignant textures with undeniable heart and unquestionable precision. An apt example is the extended and subdued "Fly...Night Bird." Behind the rote and otherwise perfunctory support, the guitarist soars, swoops, and glides with the nobility of an eagle and the grace of a swan. The cover of Joe Walsh's "Turn to Stone" fares an even more precarious fate, as the compelling and scathing electric opening drifts into a laid-back smooth jazz vibe, which is resolved by a rather milquetoast mid-tempo rhythm over which Buchanan arranges his shredding and soulful leads. Gary St. Clair (vocals) is featured on the adeptly executed rendering of Neil Young's "Down by the River." It pales in comparison to the versions from Live in Japan (2003), or the seminal Buck & the Snake Stretchers (1971). Even the high energy and open-throttled rocker, "Supernova," seems to lack the grit and authenticity needed to take the tune from its over-produced state to a suitable vehicle for Buchanan's unmitigated talents. Ardent enthusiasts may find You're Not Alone more appealing than the average listener. However, the general consensus is that there are infinitely more valid examples available of the guitarists' arguably unmatched prowess.


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ROY BUCHANAN - When A Guitar Plays The Blues (1985)

Roy Buchanan was always one of the most respected guitarists in his field, ever since the '70s. However, he hit a rough patch in the early '80s, falling out of favor and finding record contracts hard to find. He made a startling comeback in 1985 with When a Guitar Plays the Blues, his first record for Alligator Records. Though the record still suffers the slightly antiseptic formula of Alligator Records, Buchanan shines throughout, making it clear why this brought him back to the spotlight in 1985.

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ROY BUCHANAN - Dancing On The Edge (1986)

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ROY BUCHANAN - Hot Wires (1987)

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ROY BUCHANAN - Guitar On Fire:The Atlantic Sessions (1993)

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ROY BUCHANAN - Live In Japan (2003)

Live in Japan (2003) is said to have been Roy Buchanan's favorite of all his platters, and ironically, it was never issued stateside. However, as word spread, the title became an essential addition to his discography. Fact is that it may have never come out at all, had there not been a loophole in Buchanan's contract with former label Polydor, giving them control over his non-North American output. Joining the guitarist for his 1977 tour of Japan are John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). They are likewise the core contributors to Buchanan's most recent studio effort, A Street Called Straight (1976), though no tracks from the album are represented here. Instead, the set consists of recent collaborations, definitive cover versions, and a few seminal Buchananclassics. The immaculate fidelity immediately separates Live in Japan from most other releases in his canon. The enthusiastic yet typically reserved Japanese audience is first treated to a laid-back and stretched-out reading of Booker T. & the MG's' "Soul Dressing." The backing trio provide a rock-solid bed for Buchanan's sinuous interjections and spacious melody lines. "Sweet Honey Dew" is a perfect vehicle for some incendiary string shredding, although the actual tune is somewhat of a derivation of a standard blues riff. Perhaps more fitting is the rousing rendition of Larry Williams' "Slow Down," uncovering the nimble accuracy accompanying the sonic kick in Buchanan's piercing fret work. Contrasting this is the lengthy jam on "Blues Otani," as the ensemble ably improvise in and around the guitarist. Live in Japan concludes with an intimate and affective "Sweet Dreams," which may well have been the artist's unofficial anthem, as his unique interpretation undoubtedly made it a signature piece. If you own but one concert recording of Buchanan, let it be this one, as you will not be disappointed.


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ponedjeljak, 14.08.2006.

LITTLE CHARLIE & THE NIGHTCATS - All The Way Crazy (1987)

This 1987 outing found the band in fine form with its usual mix of strong originals and choice covers. Estrin's harp work on "Poor Tarzan" shows him to be a blower of chops equal to shining guitar whiz Charlie Baty's mercurial flights. Baty, as usual, struts vintage approved tones and blows hotter than a flamethrower on "Suicide Blues," and sprays Magic Sam licks all over Bobby Guitar's "When Girls Do It." Another solid entry in this band's discography.


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LITTLE CHARLIE & THE NIGHTCATS - Captured Live (1991)

This enjoyable live set captures the group's manic energy.

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LITTLE CHARLIE & THE NIGHTCATS - Night Vision (1993)

Unlike their previous efforts (where it sounded like the band pulled the van up to the studio, unloaded their gear, and played a set and split before someone hollered out for last call), this one sounds more like a real album. With Joe Louis Walker producing, the boys explore new twists on their wide-ranging bag of tricks. The band's humor is found in abundance on sleazy blues items like "I'll Never Do That No More" and the soul rocker opener "My Next Ex-Wife," while the boys truly get down to business on the rockabilly-tinged "Backfire" and the smokin' shuffle "Can't Keep It Up." Augmenting their basic lineup are guest appearances by Walker and a host of others in support, making this their most musical sounding album yet.


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LITTLE CHARLIE & THE NIGHTCATS - Straight Up (1995)

Straight Up! is a typically rollicking, humorous collection of updated Chicago blues from Little Charlie & the Nightcats. As with any of the of the band's albums, the quality of the material is slightly uneven, but the band's good-natured energy makes those shortcomings somewhat forgivable, especially if you are already a fan.


"DOWNLOAD"
http://rapidshare.de/files/27053807/LCNCSU.rar.html

"PASSWORD"
thebbs

LITTLE CHARLIE & THE NIGHTCATS - Deluxe Edition (1997)

Alligator has done a real nice job on their "Deluxe Edition" series, which are essentially compilations of work done by a band while under contract with the Gator. Various titles in the series include the work of Johnny Winter, Albert Collins, Lonnie Brooks, Kenny Neal and Little Charlie. As a general rule, because most of these musicians have also released records under contract with other record companies, these editions are not the "Best Of..." any particular artist. In this case however, Little Charlie has been under contract exclusively with Alligator and have produced at least eight CD's with that company including their new release "That's Big".
This compilation contains 15 songs covering six of Little Charlie's releases. The songs chosen are a good introduction to the California Jump Blues music the band plays with it's blazing lead guitar, tight rhythm section, hard blowing Chicago harp, and witty and often humorous vocals. If you are not familiar with this band, this is a good place to sample some of their highlight tunes and live performance favorites such as "Sure Seems Strange", "Dump That Chump", "The Booty Song" and "My Next Ex-Wife". Listen to this CD and see why people can't sit still during a Little Charlie concert.

"DOWNLOAD"
http://www.badongo.net/file/1217254

"PASSWORD"
360grauss.blogspot.com

LITTLE CHARLIE & THE NIGHTCATS - Nine Lives (2005)

This is Little Charlie & the Nightcats' tenth album (counting a live one and a best of) for Alligator Records, and it delivers nothing new or innovative, which is hardly surprising, since the group, particularly when harmonica man Rick Estrin is singing, has always essentially been a caricature in the first place, and caricatures, almost by definition, don't grow or change. The problem on Nine Lives isn't the playing, since guitarist Charlie Baty, Estrin on harmonica, and yet a new rhythm section of J. Hansen on drums and Lorenzo Farrell on bass are all solid, road-tested professionals, capable of delivering blisteringly heavy instrumentals like the one that closes this album ("Slap Happy" is easily the best track here). The problem is a general lack of fresh vision. Song after song features the same protagonist, a hard working, hard drinking simple man who has trouble with women, spends (or loses) all of his money, and seems generally amazed at it all. Ten albums of this same guy staring down the same old state of affairs means songs like this album's "Circling the Drain" simply don't resonate anymore, maybe because this guy's life has been circling the drain for some twenty years now. Everything here sounds fine, but it simply doesn't ignite a spark, and since the blues format is so familiar, without a spark it quickly goes flat. And that's the problem here, and no matter how well the band plays, Little Charlie & the Nightcats seem stuck in a deepening, unintentional and almost comedic blues ennui. Time to put out the box set and move on to new territory.


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http://depositfiles.com/en/files/135007/Little_Charlie
___The_Nightcats.html

OR

"DOWNLOAD"
http://rapidshare.de/files/26956304/LCNCNL.rar.html

"PASSWORD"
thebbs

nedjelja, 13.08.2006.

KOKO TAYLOR - What It Takes: The Chess Years (1997)

With 18 tracks spanning 1964-1971, this compilation receives the nod over the shorter Koko Taylor (eight cuts double off anyway). Opening with her nails-tough "I Got What It Takes," the disc boasts "Wang Dang Doodle," several sides never before on album, and the strange previously unissued "Blue Prelude." Four 1971 tracks from Taylor's tough-to-find second Chess album, Basic Soul, are also aboard (including "Bills, Bills and More Bills" and her queenly version of "Let Me Love You Baby"). Producer Willie Dixon's guiding hand is apparent everywhere.

"DOWNLOAD"
http://rapidshare.de/files/28476919/113-62977000-1.rar.html
http://rapidshare.de/files/28480737/113-62977000-2.rar.html

"PASSWORD"
ajiger@lugarus.com

ETTA JAMES - The Genuine Article: The Best Of Etta James (1996)

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http://rapidshare.de/files/28728537/125-87307240-1.rar.html
http://rapidshare.de/files/28735450/125-87307240-2.rar.html

"PASSWORD"
ajiger@lugarus.com

subota, 12.08.2006.

VA - The Blues Box - 4 CD Collection

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http://rapidshare.de/files/11054094/BB.part01.rar
http://rapidshare.de/files/11055446/BB.part02.rar
http://rapidshare.de/files/11057551/BB.part03.rar
http://rapidshare.de/files/11059412/BB.part04.rar
http://rapidshare.de/files/11060848/BB.part05.rar
http://rapidshare.de/files/11062078/BB.part06.rar
http://rapidshare.de/files/11063152/BB.part07.rar
http://rapidshare.de/files/11064083/BB.part08.rar
http://rapidshare.de/files/11065103/BB.part09.rar
http://rapidshare.de/files/11066000/BB.part10.rar
http://rapidshare.de/files/11077961/BB.part11.rar

COVERS
http://rapidshare.de/files/10935043/TBB_Cover.rar.html

VA - Alligator Records 35X35 (2006)

After 35 years and the release of over 2800 contemporary blues tracks, it's safe to say that Bruce Iglauer's Alligator Records is the world's premier blues label, particularly if sheer numbers are factored in, and while the label's releases tend to sound mind-numbingly similar sometimes, this two-disc overview of Alligator's history shows how much raw vitality the blues still has in its tank. Alligator Records 35X35, arranged chronologically and featuring a selection drawn from each of the artist's debut albums with Alligator, gets rolling right where it all began, with Hound Dog Taylor's "She's Gone" from 1971, and marches through to 2004, closing the second disc with a stunning version of "See That My Grave Is Kept Clean" (here called "A Dying Man's Plea") by the great Mavis Staples, who makes clear the deep affinity of gospel to the blues, or vice versa, since the two forms philosophically complete each other, the way Saturday marches straight into Sunday. In between these two tracks are a whole lot of barnburning moments, including the bayou blues of Lonnie Brooks on "Voodoo Daddy" from 1979, a selection from Professor Longhair's final session (1980's "In the Wee Wee Hours"), Lonnie Mack and Stevie Ray Vaughan trading guitar solos on "Satisfy Suzie" from 1985, and Roy Buchanan's jaw-dropping electric guitar intro to "When a Guitar Plays the Blues," also from 1985. There is variety here, too, with C.J. Chenier's zydeco blues romp "Bad Luck" from 1995, Corey Harris' acoustic slide guitar reenactment of Blind Willie Johnson's classic "Keep Your Lamp Trimmed and Burning" (also from 1995) and the Holmes Brothers' wonderful blend of gospel, blues, and R&B on "Speaking in Tongues" from 2001. All of this adds up to a completely satisfying set, and makes a fitting testament to Alligator's decades-long devotion to the preservation of the modern blues form.


"DOWNLOAD"
http://rapidshare.de/files/25619989/Alli351a.zip
http://rapidshare.de/files/25614278/Alli351b.zip
http://rapidshare.de/files/25614525/Alli352a.zip
http://rapidshare.de/files/25614422/Alli352b.zip

"PASSWORD"
tuneZfull

GOV’T MULE - High & Mighty (2006)

"DOWNLOAD"
http://rapidshare.de/files/27702876/GMHM.part1.rar.html
http://rapidshare.de/files/27705640/GMHM.part2.rar.html

"PASSWORD"
Who's ya daddy?

petak, 11.08.2006.

COLOSSEUM - Live (1971)

"DOWNLOAD"
http://rapidshare.de/files/14277355/colosseum1971live.rar.html

EDGAR WINTER - Edgar Winter's White Trash (1971)

Perhaps one of his best-loved albums, Edgar Winter's White Trash combined funk, blues, R&B, and rock & roll to create one of the freshest sounds of the early '70s. Touching on gospel with "Fly Away" and "Save the Planet," Winter and his band cover all the bases, climbing into the lower end of the Top 40 with "Keep Playin' That Rock and Roll." Winter's hauntingly beautiful "Dying to Live," featuring some of his best piano work, serves as a valid anti-war statement, written at the height of the Vietnam era, and the remainder of the record is filled with genuine rock and roll/boogie-woogie/blues that will keep your head bobbing and your toes tapping.


"DOWNLOAD"
http://www.megaupload.com/?d=KL5XSSQU

JEFF HEALEY BAND - Hell To Pay (1990)

A solid follow-up to Healey's impressive debut, Hell To Pay features some of the guitarist's hottest playing to date.


"DOWNLOAD"
http://rapidshare.de/files/26795429/To_Pay.part1.rar
http://rapidshare.de/files/26794216/To_Pay.part2.rar

BLUES BOY WILLIE - American Roots: Blues (2002)

Blues Boy Willie (aka Blues Boy Willie McFalls) is a Texas blues singer and harmonica player (he also plays guitar and upright bass), with a clean, crisp urban blues sound that verges on the ; but he makes up for it with a solid dose of humor, and a sure sense of what makes the blues work in the contemporary world. A blues lifer (his father was in Ma Rainey's touring minstrel show), McFalls makes things work by the sheer force of his engaging personality. Highlights here include "Leroy" and "Where Is Leroy," two installments in what appears to be an ongoing saga.


"DOWNLOAD"
http://rapidshare.de/files/7901677/bbw-arb.part1.rar
http://rapidshare.de/files/7903066/bbw-arb.part2.rar
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"PASSWORD"
kero

VA - Jingle Blues (1998)

House of Blues' Jingle Blues is a thoroughly entertaining collection of Christmas blues tunes. Instead of concentrating on a particular era or style, such as Chicago blues or contemporary blues-rock, the compilers chose to sample from the vast array of recorded blues styles, from Bessie Smith through Lightnin' Hopkins, Charles Brown and Louis Jordan to B.B. King and Anson Funderburgh. Occasionally, this means that the collection isn't quite cohesive, since the segues are a little jarring, but in general, it makes for a very entertaining collection.


"DOWNLOAD"
http://rapidshare.de/files/8671830/jingle.rar.html

četvrtak, 10.08.2006.

BOB DYLAN - Highway 61 Revisited (1965)

Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited — it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex.


"DOWNLOAD"
http://rapidshare.de/files/27052785/Bob_Dylan_-_Highway_61_Revisited__1965___part_1_.zip
http://rapidshare.de/files/26802059/Bob_Dylan_-_Highway_61_Revisited__1965___part_2_.zip

CROSBY, STILLS, NASH & YOUNG - 4 Way Street (1971)

This 1992 expanded version of the original double live album (originally released on April 7, 1971) by CSN&Y is now an indispensible part of any collection, with additional Neil Young and Graham Nash material (and even a version of "King Midas in Reverse," the old Hollies tune) that any serious listener will want. Some of the extended guitar jams between Stills and Young ("Southern Man") go on longer than strict musical sense would dictate, but it seemed right at the time, and they capture a form that was far more abused in other hands after this group broke up.


"DOWNLOAD"
http://rapidshare.de/files/7747491/CSNY4ws.part1.rar
http://rapidshare.de/files/7747498/CSNY4ws.part2.rar
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http://rapidshare.de/files/7748143/CSNY4ws.part4.rar
http://rapidshare.de/files/7747073/CSNY4ws.part5.rar

"PASSWORD"
biged

RARE EARTH - In Concert (Live 1971)

"DOWNLOAD"
http://rapidshare.de/files/17641676/REartLive.part1.rar
http://rapidshare.de/files/17642047/REartLive.part2.rar

"PASSWORD"
http://www.hombreencelo.blogspot.com/

VA - Eric Clapton Crossroads Guitar Festival (2004)

"DOWNLOAD"
http://rapidshare.de/files/28577480/CRGF-EC04-56A20.part1.rar.html
http://rapidshare.de/files/28575808/CRGF-EC04-56A20.part2.rar.html
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http://rapidshare.de/files/28551328/CRGF-EC04-56A20.part5.rar.html

srijeda, 09.08.2006.

T-BONE WALKER - Goodbye Blues [Box set]

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http://rapidshare.de/files/23916494/TBonWal2.rar
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http://rapidshare.de/files/25492329/TBoneBu3.rar
http://rapidshare.de/files/25362350/TBon4.rar

ROBBEN FORD - Discovering The Blues [Live] (1997)

Discovering the Blues is culled from a series of concerts Robben Ford gave in the early '70s at Huntington Beach's Golden Bear and Ash Grove in Hollywood. At the time, Ford was just beginning his career, and his style wasn't nearly as accomplished as it would later be. Instead, he simply burns, tearing through blues classics with a passion and vigor — there is a joy of discovery in his playing which makes the music nearly transcendent, even with its flaws. Discovering the Blues is rawer than most records in Ford's catalog, but any serious fan will find it a necessary addition to their collection.

This powerhouse set of live recordings from early in Robben Ford's distinguished career boasts solo-laden 10-minute-plus versions of B.B. King's "Sweet Sixteen" and John Lee Hooker's "It's My Own Fault." Ford, who has worked with Joni Mitchell, Miles Davis, and George Harrison, plays surprisingly sweet, agile saxophone on Don Raye's jazz ballad "You Don't Know What Love Is." His voice--if still that of a very young man--is throaty and melodic on the King and Hooker cuts. But it's his guitar that takes centerstage. Owing heaps to electric bluesmen B.B., Otis Rush, Buddy Guy, Albert King, and Mike Bloomfield, Ford's rich tone, deliberate lines, and tuneful bends were world-class even in 1972. --James Rotondi


"DOWNLOAD"
http://rapidshare.de/files/24558146/RF_DTB.part2.rar.html
http://rapidshare.de/files/24560978/RF_DTB.part1.rar.html

ALBERT COLLINS / ROBERT CRAY / JOHNNY COPELAND - Showdown (1985)

A summit meeting between Texas guitar veterans Collins and Johnny Copeland and newcomer Robert Cray, the set is scorching all the way.


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http://rapidshare.de/files/24703807/001.rar.html

"PASSWORD"
_koukos

TOMMY CASTRO - Can't Keep A Good Man Down (1997)

There's a clean San Francisco sheen to Tommy Castro's second album for Blind Pig, and it's not just the glossy production work of Jim Gaines (Santana, Huey Lewis and Stevie Ray Vaughan) that's responsible for it. Castro and his band have long been local favorites of the Bay area bar crowd, and his blues-rock/soul-pop synthesis with the occasional slow blues thrown in makes him another young contender for the yuppie throne of modern bluesdom. From the opening rock strut of "Can't Keep a Good Man Down" and "You Knew the Job Was Dangerous," Castro lays down lazy, in-the-pocket vocals (the only time he hits scream territory is on the closer, Albert King's "Can't You See What You're Doing to Me") pitted against in your face guitar blasts a la Stevie Ray Vaughan. These Texas-approved Stratocaster tones reach their apex on a five-minute-plus workout of Buddy Guy's "My Time After Awhile," where Castro literally wrenches every textbook tone and volume setting out of his instrument and makes this perhaps the most blues-approved moment of the set. A large quotient of varied originals abound, and the soulful strut of "I Want to Show You," "Take the Highway Down" and the funk jive of "High on the Hog" and "You Gotta Do What You Gotta Do" play off against the simplistic shuffle "You Only Go Around Once" and the lowdown blues instrumental "Hycodan," an atmospheric duet between Castro's guitar and saxophonist Keith Crossan's late-night mood blowing. But the real blues moments are few and far between here — this is blues-rock, no doubt about it, and the end result is music with crossover written all over it. If Huey Lewis and the News were to cut a blues album with a hotter guitar player in tow, it might end up sounding very much like this.


"DOWNLOAD"
http://rapidshare.de/files/19038785/castrocantkeepagood.part1.rar
http://rapidshare.de/files/19038781/castrocantkeepagood.part2.rar

utorak, 08.08.2006.

VA - SKYNYRD FRYNDS (1994)

This Lynyrd Skynyrd tribute album is a high-profile effort, executive produced by the band's Gary Rossington and featuring a flock of major rock-influenced country artists. For the most part, those performers display a knowledge of Lynyrd Skynyrd's work and an affection for it. Unfortunately, the least impressive cover leads off the album. The country band Alabama might seem like the ideal interpreter of "Sweet Home Alabama," but the group clearly is not comfortable with the song. This is apparent in the gimmicky arrangement even before they rewrite the second verse, but their trouble with the words is a big problem. Apparently, lead singer Randy Owen doesn't want to praise racist Alabama Governor George Wallace or sing, "Watergate does not bother me, does your conscience bother you?" because there is now an innocuous verse concerning Alabama football replacing the original words. Things improve, however, with Travis Tritt's take on "Don't Ask Me No Questions" and Sammy Kershaw turns in a Western swing arrangement on "I Know a Little." The album's high point is Steve Earle's version of "What's Your Name?," a song he for one feels no need to clean up. Just as it began on a false note, the album closes on a weak spot, Wynonna's cover of "Free Bird." She can't quite figure out whether to abandon the song's arena rock legacy and turn it into a ballad of romantic farewell, and ends up undercutting its power without adding any real intimacy. Still, there are enough good performances here to demonstrate Lynyrd Skynyrd's influence on contemporary country.


"DOWNLOAD"
http://rapidshare.de/files/27217539/skyurdfrnds.rar.html

"PASSWORD"
treasuredwarez.com

BLUES TRAVELERS – Straight On Till Morning (1997)

The commercial success of Four was a mixed blessing for Blues Traveler. It did give them a wider audience, but it also put them in the delicate position of pleasing their new, hook-happy fans while retaining their hardcore, jam-oriented cult following. They skillfully manage to do just that on Straight on Till Morning, the bluesy, ambitious follow-up to Four. On the whole, Straight on Till Morning is a tougher album than any of its predecessors, boasting a gritty sound and several full-on jams. But the key to the album is its length and its sprawling collection of songs, which find Blues Traveler trying anything from country-rock to jangling pop/rock. They manage to be simultaneously succinct and eclectic, and they occasionally throw in a good pop hook or two. Blues Traveler are still too loose to be a true pop/rock band, and John Popper would still benefit from a sense of meter, but Straight on Till Morning is the first studio record that captures the essence of the band.


"DOWNLOAD"
http://rapidshare.de/files/24793098/Til_Morning.rar

BLUES TRAVELER – Live From The Fall (1996)

Like any jam-oriented band, Blues Traveler has a reputation for being better in concert than they are in the studio. Therefore, it would make sense that the double-disc Live From the Fall would be the ideal Blues Traveler album, since it allows the band to stretch out and demonstrate its true talents. In a sense, that is true. The two discs — which were recorded in the fall of 1995, as the band was supporting the surprise success of Four — do give the band room to improvise, and they exploit the extra space for all of its worth. Initially, Blues Traveler wanted to release without track indexes, so the listener could hear how each song flowed into the next. And the album does sound like that — like a never-ending medley, where melodic themes pop in and out of the long solos. Occasionally, they detour into covers (War's "Low Rider," John Lennon's "Imagine"), but they mainly weave a tapestry of their own material, including rarities like the B-side "Regarding Steven" and the unreleased "Closing Down the Park." For fans of pop hits like "Run-Around" and "Hook," this can be a little irritating, but for those who have been with the band since the beginning, Live From the Fall is a priceless document — more than any other album, this showcases what Blues Traveler is about.


"DOWNLOAD"
http://rapidshare.de/files/27497906/Live_From_The_Fall
_Disc_1.part1.rar
http://rapidshare.de/files/27493757/Live_From_The_Fall_
Disc_1.part2.rar
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http://rapidshare.de/files/27522501/Live_From_The_Fall_-_Disc_2.part2.rar

ponedjeljak, 07.08.2006.

CREAM - Fresh Cream (1966)

All of the raw material that would make Cream one of the finest bands of their era is present here on this, their debut release. Fresh Cream contains the band's signature mixture of psychedelic pop songs and blues-rock improvisations. The best of one extreme is the opener "I Feel Free" (absent on the original British release of the record). It is a '60s pop gem, with a catchy opening and a haunting verse. This excellent track was made present on the American release of Fresh Cream in January of 1967 at the expense of the omission of "Spoonful." An excellent example of Eric Clapton's blues mastery, this reading of the Willie Dixon classic is ultimately the high point of the record. Not to downplay the contributions of Jack Bruce and Ginger Baker, but it is Clapton's incendiary playing that really makes this blues come alive. This is where his (and, by extension, Cream's) muse really lies: in the extended, high-energy, improvised explorations of traditional blues tunes. However, Clapton seems a bit lost on some of the more pop-oriented fare; his rhythm guitar playing especially is often atrocious. Jack Bruce not only handles most of the vocal chores with panache, but also plays very innovative bass, using it both more aggressively and more melodically than most players of his generation were accustomed to doing. Also not to be missed is Bruce's harmonica playing, showcased on the bass-less "Rollin' and Tumblin'." Ginger Baker's heavy drumming is notable throughout. His distinct, idiosyncratic style is best demonstrated by the drum solo on his own "Toad," wherein he gives his drums such a primal pounding that the listener is not sure whether to laugh at his caveman-like intensity or to sit back in awe at the unrelenting assault. Either way, it is extremely entertaining, and is one of the best moments of the record. All in all, Fresh Cream is a fine first album, but Baker, Bruce, and Clapton would all go on to bigger and better things, both together with Cream and separately with other projects.


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http://rapidshare.de/files/28441891/Fresh_320.part1.rar.html
http://rapidshare.de/files/28480673/Fresh_320.part2.rar.html

"PASSWORD"
xxxrockrula.blogspot.com

CREAM - Disraeli Gears (1967)

The threesome of Jack Bruce, Ginger Baker, and legendary guitarist Eric Clapton forming the band Cream was a monumental effort of jazz, blues, and psychedelic rock during the British rock period of the late 1960s. Cream, with their raw fury of intense sound, was renowned for their rare talent of taking songs of complex arrangements and making them an act of spontaneous beauty during live shows. Disraeli Gears, their second release, was an essential landmark recording that brought listeners to the direction they were soon to take with Wheels of Fire. Taking on a circus-spinning arsenal of sounds and effects, Cream's fashionable art is a blend of highly sustained drenched distortion, rampant percussion, and a kaleidoscope of various musical textures and colors, both in melody and rhythm. Each of Disraeli Gears' list of 11 tunes is original in format, containing it own unique brands of dashing blues-laden guitar riffs by Clapton, as well as thick basslines and smashing drum leads. Highlights of the record feature Clapton's awe-inspiring and soul-gripping guitar leads, including hits such as "Sunshine of Your Love" and "Tales of Brave Ulysses." The latter is a magical poem laced into a line of mesmerizing chordal changes. Disraeli Gears is a definitive staple of early British rock and a sensational addition to the avid classic rock listener.


"DOWNLOAD"
http://rapidshare.de/files/22538279/1967_-_Cream_-_Disraeli_Gears.part1.rar.html
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CREAM - Disraeli Gears Live (1967)

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http://rapidshare.de/files/22546690/1967_-_Disraeli_Gears_Live.part1.rar.html
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CREAM - Grande Ballroom (1967)

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CREAM - Wheels Of Fire [live] (1968)

Wheels of Fire was a two-album set, one disc recorded in the studio, the second disc recorded on stage in San Francisco. Side three contains the definitive live version of what became Clapton's signature piece, Robert Johnson's "Crossroads," plus a version of "Spoonful" that clocks in just short of 17 minutes. On such pieces, Cream approached blues-based rock with a jazz aesthetic, using the song as a framework to begin and end a performance. The strength of the performance is in the improvisation. When it worked, as it does on "Spoonful," they were brilliant. When it didn't, as on "Traintime" and "Toad," the band became excess incarnate. The studio disc contained their second Top Ten single, Jack Bruce's "White Room," as well as a stunning cover of Albert King's "Born Under a Bad Sign." Other tracks, particularly those written by Ginger Baker, do not hold up.


"DOWNLOAD"
http://rapidshare.de/files/22583961/1968_-_Cream_-_Wheels_On_Fire.part1.rar.html
http://rapidshare.de/files/22585724/1968_-_Cream_-_Wheels_On_Fire.part2.rar.html

CREAM - Final USA Tour (1968)

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http://rapidshare.de/files/22591567/1969_-_Final_USA_Tour.part5.rar.html

CREAM - Goodbye (1969)

Like Wheels of Fire before it, Goodbye showcases both sides of Cream: that of a late-'60s pop band and that of an unchained blues-rock powerhouse. The live tracks on side one are highly improvised affairs, with even "I'm So Glad" receiving an extended guitar solo from Clapton. How he is able to play such laid-back and tasty blues over the relentlessly aggressive Jack Bruce and Ginger Baker is a mystery. In fact, the real superstar of these recordings is Bruce, whose upfront, distorted bass playing kicks Baker along as much as it challenges Clapton. At times it sounds more like a battle than anything else, battles that Bruce, with his tenacity and pure drive, almost always wins. The ominous neo-blues of "Politician" and the more traditional "Sitting on Top of the World" close out this extraordinary selection of live material. Side two opens with one of Cream's finest pop songs: "Badge." Co-written by George Harrison, this track features more great bass from Bruce as well as some phenomenal singing. The remaining tracks on side two, "Doing That Scrapyard Thing" and "What a Bringdown," aren't quite up to the standards of the other material, but what would a Cream album be without some throwaways? Luckily the other tracks are so strong as to raise it to the status of a must-have. A fitting way to go out, Goodbye captures all that is good about Cream, and is one of the band's proudest moments.


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http://rapidshare.de/files/22592331/1969_-_Goodbye.part1.rar.html
http://rapidshare.de/files/22592504/1969_-_Goodbye.part2.rar.html

CREAM - Live Cream Vol I (1970)

Cream was a band born to the stage. This is their most consistently brilliant album. Four of the five cuts appeared on Fresh Cream. The fifth, "Lawdy Mama," is a traditional blues piece that makes its first appearance here. All but "Lawdy Mama" are given extended jazz-based treatment. The dialog among the three musicians as the jams develop is fascinating. Foreground and background seem to dissolve as all three musicians take charge, using the full range of their instruments. Performances like this single-handedly raised the stakes of musicianship in rock.Review by Rob Bowman


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http://rapidshare.de/files/22593644/1970_-_Live_Cream_Vol_1.part1.rar.html
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CREAM - Live Cream Vol II (1972)

A great lost curio, Live Cream, Vol. 2 is not only vastly superior to its volume one predecessor in every way, it is also one of the greatest Cream albums in their slim catalog. Utilizing — for the time — state-of-the-art mobile recording equipment, the sonic excellence on this album surely must be acknowledged to the engineers: Tom Dowd and Bill Halverson. The feeling that you are in the front row is very much in evidence, and this is largely due to their ability to capture the band's live fury with clarity. As for the performances, this record captures the band at their peak. The group made their reputation as a live act with epic, lengthy jams that verged on jazz, and indeed there is one example of this on the 13-plus-minute closing cut, "Steppin' Out." On record, this occasionally made for tough listening. But on the rest of this album, compact, four- to five-minute versions of "Deserted Cities of the Heart" and "Tales of Brave Ulysses," among others, make it a vital, intense, and enjoyable listen that is ultimately rewarding.


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http://rapidshare.de/files/22586803/1968_-_Live_Cream_Vol_2.part1.rar.html
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CREAM - The Very Best Of (1995)

There have been many compilations drawn from the four albums Cream originally released between 1966 and 1969. But the one most commonly available since the early 1980s was the ten-track Strange Brew: The Very Best of Cream (1983) (Polydor 811 639), a bare-bones collection focusing on the group's hit singles. Note, then, that this album, despite the similar title, is a newly compiled 1995 CD/cassette containing all of the recordings on Strange Brew, plus ten more. It is thus the most comprehensive Cream anthology on the market, including all the group's essential tracks on a single disc with superior sound in a package containing good annotations.


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http://rapidshare.de/files/22595809/1995_-_The_Very_Best_Of.part1.rar.html
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CREAM - Those Were the Days [4 CD Box Set] (1997)

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.


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http://rapidshare.de/files/22599930/1997_-_Those_Were_the_Days__4_CD_Box_Set_.part01.rar.html
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CREAM - BBC Sessions [1966-1968] (2003)

This compilation of 22 Cream BBC tracks from 1966-1968 marked a major addition to the group's discography, particularly as they released relatively little product during their actual lifetime. All of but two of these cuts ("Lawdy Mama" and the 1968 version of "Steppin' Out," which had appeared on Eric Clapton's Crossroads box) were previously unreleased, and although many of these had made the round on bootlegs, the sound and presentation here is unsurprisingly preferable. As for actual surprises, there aren't many. It's a good cross section of songs from their studio records, though a couple, "Steppin' Out" and "Traintime," only appeared on live releases, and some of these BBC takes actually predate the release and recording of the album versions, which makes them of historical interest for intense Cream fans. (There are also four brief interviews with Eric Clapton from the original broadcasts.) There's a mild surprise in the absence of a version of "White Room," but otherwise many of the group's better compositions and covers are here, including "I Feel Free," "N.S.U.," "Strange Brew," "Tales of Brave Ulysses," "Sunshine of Your Love," "Born Under a Bad Sign," "Outside Woman Blues," "Crossroads," "We're Going Wrong," "I'm So Glad," "SWLABR," and "Politician." Cream took better advantage of the live-in-the-studio BBC format than some groups of similar stature. There's a lean urgency to most of the performances that, while not necessarily superior to the more fully realized and polished studio renditions, do vary notably in ambience from the more familiar versions. The sound quality is good but not perfect, and variable; sometimes it's excellent, yet at other times there seem to be imperfections in the tapes sourced, with "Sunshine of Your Love" suffering from a (not grievously) hollow, muffled quality. If there's any other slight criticism of this set, it's that a handful of BBC tracks don't appear, including some that don't make it onto this CD in any version, like "Sleepy Time Time," "Toad," and "Sitting on Top of the World." Given Cream's tendency to over-improvise on the band's live concert recordings, however, the concise nature of these BBC tracks (none of which exceed five minutes) makes them preferable listening in some respects.


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http://rapidshare.de/files/22525728/1966-68_BBC_Sessions.part1.rar.html
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CREAM - Royal Albert Hall: London May 2-3-5-6 2005

For one reason or another, Cream reunited in the spring of 2005, setting aside nearly 40 years of acrimony for a series of gigs at the Royal Albert Hall in May, which was later followed by a few shows at Madison Square Garden about a month after souvenirs of the London shows — a double-CD set and a double-DVD set — were released. By that time, tickets for the New York concerts were long gone, which was understandable, since Cream had not only remained a legendary band, but it seemed extremely unlikely that they would ever play live again, so the chance to see the original power trio in the flesh was tempting. Fans who anxiously awaited this reunion might find the record of the event, bearing the unwieldy title Royal Albert Hall: London 2-3-5-6 2005, a bit anticlimactic, or a mixed blessing at the very least. The chemistry between guitarist/vocalist Eric Clapton, bassist/vocalist Jack Bruce, and drummer Ginger Baker is still palpable on this compilation of highlights from the four Royal Albert Hall shows — it's just quite a bit more subdued than it was the last time they played together, which, discounting a one-off reunion at their 1993 induction to the Rock & Roll Hall of Fame, was 36 years ago. That's a long time ago and the guys are no longer restless young psychedelic bluesmen — at time of the concerts, Eric Clapton had just turned 60, Jack Bruce was a couple weeks shy of his 62nd birthday, Ginger Baker was 65. Of course, they're hardly the only group of '60s veterans who have remained active — the Rolling Stones released a new album of material a month before this live album, and they're all in their sixties, but there's a big difference between the two bands, and that's that the Stones kept playing together throughout the past four decades. While all three members of Cream remained relatively active (Baker recently had retired to his ranch, but kept playing professionally into the '90s, even teaming up with Bruce on occasion), they never played a unit, so they're a little rusty in terms of inter-bandmember relations, which winds up making them sound their age. Not only do they never rock as hard as the Stones do on A Bigger Bang, but Cream never approximate the furious rush of energy that the band did at its prime and there's never a sense of the push-and-pull dynamics between the three members that made the best of their lengthy jams sound alive and at times unpredictable. Part of this is down to age, not just in the sense that they're a little bit older and a little bit slower, but because those four decades have changed their style a little. Baker is a tighter drummer, lacking the reckless, volatile energy that wound up either as thrilling or turgid. Bruce can't hit the high notes anymore and doesn't roam as much on the bass, but he still manages to dominate with his fluid instrumental and vocal phrasing; plus, his bass just sounds enormous, as if it could conquer the earth. Clapton plays like a millionaire with impeccable taste, yet in this stripped-down setting, he's forced to play more than he has in years; at times, he's too refined and relies on familiar licks — plus, his reliance on a Strat over the Gibsons that fueled his Cream sound does give this a noticeable lack of heft, even if he gets a good approximation of his classic warm tone — but there are times, like when he holds a single note longer than Neil Young on "Cinammon Girl," that he takes greater risks than he has in years. So, this winds up being not necessarily exciting, but it's far from embarrassing, either, and there's a certain sense of admiration in hearing the trio pull it together for a respectable performance. In no way does this replace the group's original studio albums — or the excellent BBC Sessions or even the patchwork live albums they released just after their breakup — but this does act as a nice coda to their brief career.

(3 different recordings of same concert series)

1 Offical

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http://rapidshare.de/files/22647378/2005__-_Reunion_CD1.part1.rar.html
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2 Crowd

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CREAM - Ultimate Cream (2005)

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http://rapidshare.de/files/22530020/2005_-_Ultimate_Cream.part3.rar.html

nedjelja, 06.08.2006.

SAVOY BROWN - Getting To The Point (1968)

Getting to the Point marks the debut of a vastly different lineup, still led by Simmonds but now fronted by new vocalist Chris Youlden. The pair got off to a good start by writing or co-writing most of the album. The playing is solid blues revival, and though Youlden's vocals are often overly imitative of B.B. King and Muddy Waters, he has a confident voice and frontman persona. Originals like "Flood in Houston" and "Mr. Downchild" provide the highlights.


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SAVOY BROWN - Blue Matter (1969)

The third release by Kim Simmonds and company, but the first to feature the most memorable lineup of the group: Simmonds, "Lonesome" Dave Peverett, Tony "Tone" Stevens, Roger Earl, and charismatic singer Chris Youlden. This one serves up a nice mixture of blues covers and originals, with the first side devoted to studio cuts and the second a live club date recording. Certainly the standout track, indeed a signature song by the band, is the tour de force "Train to Nowhere," with its patient, insistent buildup and pounding train-whistle climax. Additionally, David Anstey's detailed, imaginative sleeve art further boosts this a notch above most other British blues efforts.


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SAVOY BROWN - A Step Further (1969)

With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown's strongest configuration, 1969's A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band's former release, all five tracks do a good job at maintaining their spirited blues shuffle. Plenty of horn work snuggles up to Simmonds' guitar playing and Youlden's singing is especially hearty on "Made up My Mind" and "I'm Tired." The first four tracks are bona fide Brown movers, but they can't compete with the 20-plus minutes of "Savoy Brown Boogie," one of the group's best examples of their guitar playing prowess and a wonderful finale to the album. This lineup saw the release of Raw Sienna before Lonesome Dave Peverett stepped up to the microphone for Looking In upon the departure of Youlden, but the new arrangement was short lived, as not long after three other members exited to form Foghat. As part of Savoy Brown's Chris Youlden days, A Step Further should be heard alongside Getting to the Point, Blue Matter, and Raw Sienna, as it's an integral part of the band's formative boogie blues years.


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SAVOY BROWN - Raw Sienna (1970)

This high-water mark by the band finds them softening their rougher edges and stretching out into jazz territory, yet still retaining a blues foundation. There's not a bad cut here, with enough variety (bottleneck slide, acoustic guitar, horns, and strings) to warrant frequent late-night listenings. "A Hard Way to Go," "Needle and Spoon," and "Stay While the Night Is Young" are especially strong, as are two instrumental numbers. Unfortunately, leader Kim Simmonds lost his greatest asset when vocalist Chris Youlden quit for an ill-fated solo career after this recording. Youlden had one of the most distinctive voices in British blues, and Savoy would never fully recover from his exit.


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SAVOY BROWN - Looking In (1970)

Savoy Brown's blues-rock sound takes on a much more defined feel on 1970's Looking In and is one of this band's best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it's the captivating arrangements and alluring ease of the music that makes this a superb listen. The pleading strain transformed through Simmonds' guitar on "Money Can't Save Your Soul" is mud-thick with raw blues, and the comfort of "Sunday Night" is extremely smooth and laid back. "Take It Easy" sounds like it could have been a B.B. King tune as it's doused with relaxed guitar fingering. The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life. Even the Yardbirds-flavored "Leaving Again" is appealing with its naďve hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown's tranquilizing style.


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SAVOY BROWN - Street Corner Talking (1971)

After 1970's Looking In album, Peverett, Roger Earl, and Tony Stevens left to form Foghat, leaving Kim Simmonds with yet another dilemma. But for Simmonds, things went a little smoother than he might have imagined, picking up piano player Paul Raymond, bassman Andy Silvester, and drummer Dave Bidwell, all from Chicken Shack. He also hired singer Dave Walker, who was the former frontman with the Idle Race, and together the new lineup recorded Street Corner Talking, one of Savoy Brown's finest moments. Gelling almost instantaneously, Walker's cozy yet fervent voice countered with Simmonds' strong, sturdy guitar playing, and an exuberant mixture of British blues and boogie rock prevailed. All of Street Corner Talking's efforts are solid examples of the group's blues-rock power, from the slick cover of Willie Dixon's "Wang Dang Doodle" to the deep feel of "All I Can Do" to the subtle strength of "Tell Mama," Walker's best-sung tune. The album's blend of sultry guitar blues and upfront rock & roll flavor give it a multi-faceted appeal, with every musician contributing his talents uniformly, which is something that's rather difficult to achieve after there's been a change to the personnel. Although they stayed together for the Hellbound Train album, Silvester was replaced by Andy Pyle for 1972's Lion's Share release, and a year after that Walker left to join Fleetwood Mac.


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SAVOY BROWN - Hellbound Train [live] (1972)

Comprising the same lineup as Street Corner Talking, Savoy Brown released Hellbound Train a year later. For this effort, Kim Simmonds' guitar theatrics are toned down a bit and the rest of the band seems to be a little less vivid and passionate with their music. The songs are still draped with Savoy Brown's sleek, bluesy feel, but the deep-rooted blues essence that so easily emerged from their last album doesn't rise as high throughout Hellbound Train's tracks. The title cut is most definitely the strongest, with Dave Walker, Simmonds, and Paul Raymond sounding tighter than on any other song, and from a wider perspective, Andy Silvester's bass playing is easily Hellbound's most complimenting asset. On tracks like "Lost and Lonely Child," "Doin' Fine," and "If I Could See an End," the lifeblood of the band doesn't quite surge into the music as it did before, and the tracks become only average-sounding blues efforts. Because of Savoy Brown's depth of talent, this rather nonchalant approach doesn't make Hellbound Train a "bad" album by any means — it just fails to equal the potency of its predecessor. But there is a noticeable difference in the albums that followed this one, as the band and especially Simmonds himself was beginning to show signs of fatigue, and a significant decline in the group's overall sound was rapidly becoming apparent.


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SAVOY BROWN - Lion's Share (1972)

"Shot in the Head," the slide guitar showcase that opens this solid set, became a staple of this veteran English band's live act. In his only full-time stint as singer for demanding bandleader Kim Simmonds, Dave Walker proves a serviceable, if unremarkable, successor to Chris Youlden. Besides their own tunes, the lads cover Howlin' Wolf and Little Walter.


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SAVOY BROWN - Jack The Toad (1973)

Savoy Brown made the best of Dave Walker's departure for Fleetwood Mac by hiring Jack Lynton as their lead singer. While Lynton's voice can't match the warmth instilled by Walker's, he does do a competent job at melding with Kim Simmonds' guitar playing. His voice is sharp but not overly exciting, yet it still presents "Coming Down Your Way" with enough emotion to make it the album's standout track. The addition of Ron Berg on percussion and Stan Saltzman's saxophone are worthy instrumental extensions, helping to boost the album's energy level another notch. "Ride on Babe," "If I Want To," "Some People," and the title track are straight-sounding efforts, but they seem to lack the blues resilience of what the band is capable of. There's enough of Simmonds' talent to keep die-hard fans fascinated, yet the provocative blues-rock character that has evolved from Savoy Brown as a complete group has been slightly abandoned for the most part. Considering Savoy Brown's past tribulations that have played out in such a short time span, Jack the Toad can be labeled an adequate effort, but when paralleled to the quality of strut and swagger that Simmonds has administered with his members in the past, it may be regarded as a little less than that.


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SAVOY BROWN - Boogie Brothers (1974)

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SAVOY BROWN - Skin 'N' Bone (1976)

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SAVOY BROWN - Kings Of Boogie (1989)

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SAVOY BROWN - Let it Ride (1992)

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SAVOY BROWN - Bring It Home (1994)

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SAVOY BROWN - Live At The Record Plant '75 (1998)

The performance, recorded at the Record Plant for a radio broadcast, dates from 1975, when the band was at its peak promoting the Wire Fire album. The sound is hot, with Kim Simmonds taking some nice solos, and the band is in good form, covering "Tell Mama," "All I Can Do (Is Cry)," and Jimmy Reed's "You Don't Have to Go." It's all a little pale next to some of the acts that followed in the wake of Savoy Brown, but this tape is one of the best chances one has to hear the seminal group during the close of its original glory days.


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SAVOY BROWN - The Blues Keep Me Holding On (1999)

Give Savoy Brown credit for carrying on when most of their peers have packed it in. There's not many blues-rock bands from the late '60s still performing and recording, so it is noteworthy that they're still active. And from the sounds of The Blues Keep Me Holding On, they probably give a pretty good concert, too. Unfortunately, they don't make very interesting albums. The Blues Keep Me Holding On is a predictable mix of standards ("Going Down to Mobile," "Little Red Rooster"), contemporary covers and new songs, all given straight-ahead arrangements and clean production. There are moments were the band starts cooking, but by and large, it all comes across as a bit flat. Long-time fans may want to consider adding it to their collection, since it isn't a bad listen, but less dedicated listeners probably will want to stick with the original albums or check out Savoy Brown in concert.


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SAVOY BROWN - Looking From The Outside [live] (2000)

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SAVOY BROWN - Live From The H.O.B. (2000)

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SAVOY BROWN - Strange Dreams (2003)

Except for founding leader/guitarist Kim Simmonds, this long-lived band's 2003 lineup bears no resemblance to the original British group formed in 1966. Still, Savoy Brown deserves credit simply for recording a respectable, even high-quality blues album over 35 years into its existence. Hot off a terrific solo acoustic release, 2001's Blues Like Midnight, a reinvigorated Simmonds signed with high-profile indie Blind Pig and churned out a classy set of smooth yet compelling electric blues. Not as soul-based as in the past, strains of funk ("(Hard Time) Believing in You"), R&B ("Can't Take It With You"), and rock ("When It Rains") help push the group beyond its lackluster and obscure efforts from the past decade. Savoy Brown was least successful when its muscular, amped-up boogie was forced and stilted; yet here the sound is warm and organic. As a singer, Simmonds isn't in a league with previous Savoy Brown vocalists such as the gruff Chris Youlden, the soulful Dave Walker, or the gritty Lonesome Dave Peverett. But he puts across these songs with a low-key, smoky intensity that meshes perfectly with the current lineup's less aggressive attack. Well into his fifties, Simmonds' refined, silvery leads snarl with maturity and subtlety, providing the band's distinctive sound. In particular, his repetitious riff and dusky vocal on "Shake It All Night" convey a J.J. Cale sense of the murky backwoods swamp, heightened by a hypnotic, snakelike slide guitar solo. The disc's only non-original is a slick but classy, partially acoustic version of Blind Boy Fuller's "Meat Shaking Woman." Keeping Savoy Brown's history of tacky, often schlocky album art intact, Strange Dreams' lurid sci-fi cover is not indicative of the superb music inside. Fans of the band's seminal '60s work will find plenty to enjoy here from a name they might have written off or just forgotten.


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unclemeat

SAVOY BROWN - Hellbound Train Live! 1969-1972 2CD (2003)

Hellbound Train Live: 1969-1972 is one retrospective set that's way overdue: Savoy Brown live during their glory years. Here are two CDs worth of the mightiest, sludgiest blues-rock band on the planet during those years — well, the possible exception of Cream — featuring, on a decent — and best — portion of it, the greatest white blues singer in history: Chris Youlden. Youlden was everything to Savoy Brown because not only could he sing, but he was an outrageous frontman and wrote much of the band's best material. He is featured here on "I'm Tired," "Hard Way to Go," "A Littler More Wine," and a truncated but earthshaking "Savoy Brown Boogie." Youlden's tenure with Savoy Brown saw him record three albums with the band: Blue Matter, Raw Sienna, and Getting to the Point, arguably along with Looking In, the band's first album without him, four of the best British records of the era by one band. The majority of these sides were recorded in 1970 with Lonesome Dave Peverett fronting the band as both co-lead guitarist and vocalist. Peverett, while not as snaky and potent as Youlden, was still a fine singer. He modeled himself after Youlden and knew how to punch his lines with stinging guitar lines that underscored his vocals. He sings seven cuts, including "Louisiana Blues," "Leaving Again" (that Foghat later recut), "Looking From the Outside," and the amazing "Memory Pain." The remainder of disc two features singers Dave Walker (formerly of Idle Race — and who was the frontman on Street Corner Talking, Hellbound Train, and Lion's Share) and Jackie Lynton, who replaced Walker and is featured on the last few cuts here such as "Jack the Toad" and "The Saddest Feeling." The sound on these two discs varies as they were recorded at different places and in different years — all of them before live recording had really arrived. That said, these are truly live recordings. Nothing was fixed or EQed in the studio, and these performances feel immediate, full of incendiary fire, verve, raw burning blues energy, and the kind of recklessness that is so absent from rock & roll music in general and the blues in particular these days. The sounds here are of a band trying to prove itself not only to an audience, but to itself as well. Only Youlden's version sounds self-assured, and he exploits that assurance to go deeper into these songs than anyone ever dared think. Peverett made the band louder, looser, but less greasy, and Walker and Lynton took the blues-band notion and turned all of the songs on the audiences, reflecting the band in their eyes and ears. Live records don't really sound like this, but they should, without polish or gloss or even careful editing. The ten-plus-minute version of "Hellbound Train" is so unruly, so utterly unglued with atmospherics going to war against volume, dynamic, and crowd energy that it's a miracle it was captured at all. For anyone who ever wondered what the (relatively minor) fuss was about and wanted to check out something, or for the hardcore fan, this double-disc set — with typical Neil Slaven historical notes — is indispensable. Rock & roll like this should never die; it's as primal and in your face as an out-of-control ambulance.


"DOWNLOAD"
http://rapidshare.de/files/9655544/savoytrain.part1.rar
http://rapidshare.de/files/9654748/savoytrain.part2.rar
http://rapidshare.de/files/9654980/hellbrown.part1.rar
http://rapidshare.de/files/9655452/hellbrown.part2.rar

"PASSWORD"
mickel

subota, 05.08.2006.

GUNS N' ROSES - Lies (1989)

Once Appetite for Destruction finally became a hit in 1988, Guns N' Roses bought some time by delivering the half-old/half-new LP G N' R Lies as a follow-up. Constructed as a double EP, with the "indie" debut Live ?!*@ Like a Suicide coming first and four new acoustic-based songs following on the second side, G N' R Lies is where the band metamorphosed from genuine threat to joke. Neither recorded live nor released by an indie label, Live ?!*@ Like a Suicide is competent bar band boogie, without the energy or danger of Appetite for Destruction. The new songs are considerably more problematic. "Patience" is Guns N' Roses at their prettiest and their sappiest, the most direct song they recorded to date. Its emotional directness makes the misogyny of "Used to Love Her (But I Had to Kill Her)" and the pitiful slanders of "One in a Million" sound genuine. Although the cover shrugs them off as a "joke," Axl Rose's venom is frightening — there's little doubt that he truly does believe that "faggots" come to America from another country and that "niggers" should stay out of his way. Since he wasn't playing a character on the remainder of the album, there's little doubt this is from the heart as well. And what makes it harder to dismiss is the musical skill of the band, which makes the country-fried boogie of "Used to Love Her," the bluesy revamp of "You're Crazy," and the tough, paranoid fever dream of "One in a Million" indelible. So, you either listen to the music and are satisfied or else listen to the lyrics and become disturbed not only by Rose's intentions, but by the millions of record buyers that identified with him.


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http://rapidshare.de/files/7710573/GNFR1.part1.rar.html
http://rapidshare.de/files/7710863/GNFR1.part2.rar.html

"PASSWORD"
Guns N' Roses

GUNS N' ROSES - Appetite For Destruction (1987)

Guns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s — it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers — namely, sex, liquor, drugs, and rock & roll — but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record — not only does Rose have fears, but he also is vulnerable, particularly on the power ballad "Sweet Child O' Mine." He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging "Welcome to the Jungle," the heroin ode "Mr. Brownstone," or "Paradise City," which simply wants out. But as good as Rose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s.


"DOWNLOAD"
http://rapidshare.de/files/7711556/GNFR2.part1.rar.html
http://rapidshare.de/files/7712309/GNFR2.part2.rar.html
http://rapidshare.de/files/7712393/GNFR2.part3.rar.html

"PASSWORD"
Guns N' Roses

GUNS N' ROSES - Use Your Illusion I (1991)

The "difficult second album" is one of the perennial rock & roll clichés, but few second albums ever were as difficult as Use Your Illusion. Not really conceived as a double album but impossible to separate as individual works, Use Your Illusion is a shining example of a suddenly successful band getting it all wrong and letting its ambitions run wild. Taking nearly three years to complete, the recording of the album was clearly difficult, and tensions between Slash, Izzy Stradlin, and Axl Rose are evident from the start. The two guitarists, particularly Stradlin, are trying to keep the group closer to its hard rock roots, but Rose has pretensions of being Queen and Elton John, which is particularly odd for a notoriously homophobic Midwestern boy. Conceivably, the two aspirations could have been divided between the two records, but instead they are just thrown into the blender — it's just a coincidence that Use Your Illusion I is a harder-rocking record than II. Stradlin has a stronger presence on I, contributing three of the best songs — "Dust n' Bones," "You Ain't the First," and "Double Talkin' Jive" — which help keep the album in Stonesy Aerosmith territory. On the whole, the album is stronger than II, even though there's a fair amount of filler, including a dippy psychedelic collaboration with Alice Cooper and a song that takes its title from the Osmonds' biggest hit. But it also has two ambitious set pieces, "November Rain" and "Coma," which find Rose fulfilling his ambitions, as well as the ferocious, metallic "Perfect Crime" and the original version of the power ballad "Don't Cry." Still, it can be a chore to find the highlights on the record amid the overblown production and endless amounts of filler.


"DOWNLOAD"
http://rapidshare.de/files/7713194/GNFR3.part1.rar.html
http://rapidshare.de/files/7714071/GNFR3.part2.rar.html
http://rapidshare.de/files/7714853/GNFR3.part3.rar.html

"PASSWORD"
Guns N' Roses

GUNS N' ROSES - Use Your Illusion II (1991)

Use Your Illusion II is more serious and ambitious than I, but it's also considerably more pretentious. Featuring no less than four songs that run over six minutes, II is heavy on epics, whether it's the charging funk metal of "Locomotive," the antiwar "Civil War," or the multipart "Estranged." As if an attempt to balance the grandiose epics, the record is loaded with an extraordinary amount of filler. "14 Years" may have a lean, Stonesy rhythm, and Duff McKagan's Johnny Thunders homage, "So Fine," may be entertaining, but there's no forgiving the ridiculous "Get in the Ring," where Axl Rose threatens rock journalists by name because they gave him bad reviews; the misinterpretation of Dylan's "Knockin' on Heaven's Door"; another version of "Don't Cry"; and the bizarre closer, "My World," which probably captures Rose's instability as effectively as the tortured poetry of his epics. That said, there are numerous strengths to Use Your Illusion II; a couple of songs have a nervy energy, and for all their pretensions, the overblown epics are effective, though strangely enough, they reveal notorious homophobe Rose's aspirations of being a cross between Elton John and Freddie Mercury. But the pompous production and poor pacing make the album tiring for anyone who isn't a dedicated listener.


"DOWNLOAD"
http://rapidshare.de/files/7726303/GNFR4.part1.rar.html
http://rapidshare.de/files/7727185/GNFR4.part2.rar.html
http://rapidshare.de/files/7728074/GNFR4.part3.rar.html

"PASSWORD"
Guns N' Roses

GUNS N' ROSES - The Spaghetti Incident? (1993)

As punk albums go, The Spaghetti Incident? lacks righteous anger and rage. As Guns N' Roses albums go, it's a complete delight, returning to the ferocious, hard-rocking days of Appetite for Destruction. The Gunners play Stooges and New York Dolls songs exactly as they do Nazareth — as straight-ahead, driving riff-rockers. After the epic Use Your Illusions, the band sounds like it's having fun, not caring about making "art" like "November Rain" or "Estranged." Unfortunately, the tacked-on Charles Manson song leaves a bad aftertaste, but not because of the song itself; the inclusion of the song seems like a publicity-seeking stunt, a way to increase their sales while trying to regain their street credibility. And as The Spaghetti Incident? proves, they didn't need to stoop so low.


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http://rapidshare.de/files/7732629/GNFR5.part1.rar.html
http://rapidshare.de/files/7733383/GNFR5.part2.rar.html

"PASSWORD"
Guns N' Roses

GUNS N' ROSES - Live Era '87-'93 (1999)

The double-disc Live: Era '87-'93 was designed to do two things — satiate diehard fans longing for old-school G N' R, while clearing decks for a new studio album. It sounds good in theory, yet it suffers from in its execution, since it relies on tapes "recorded across the universe between 1987 and 1993." That's not what G N' R fans want — they want the band in its nervy late-'80s prime, when it seemed like they could self-destruct at any second. Live: Era offers the polar opposite with slick, professional tracks that sound pieced together from various performances. Axl's vocals are not only distant — as though they were sung in a booth, separate from the band — but also amazingly mannered, sounding for all the world as if they were redone in the studio. Meanwhile, the band's performances are either brushed up or heavily edited, so it's impossible to tell if any of this was recorded during Appetite-era shows. Certainly, much of this derives from the Illusions tour: there are backing vocals, horns, and just what every fan wants — lots and lots of Dizzy Reed. And if that isn't indicative of Axl's mindset, there is the priceless moment on "Knockin' on Heaven's Door," when he shrieks "Gimme some reggae!" and the band collapses in a sunsplash groove. So, this is heavy on Axl pretensions and short on pure, brutal rock & roll. At its best, it may come closer to vintage G N' R than the Illusions did, but the missing ingredients are all too apparent, and in this context, their absence is all the more painful.


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http://rapidshare.de/files/27018904/Live_Era_87_-_93_Disc1_1999_.rar
http://rapidshare.de/files/27020264/Live_Era_87_-_93_Disc2_1999_.rar

GUNS N' ROSES - Greatest Hits (2004)

Otherwise known as the album Axl tried to kill, Guns n' Roses' Greatest Hits is essentially a last-ditch effort by Geffen to get some GNR product, any GNR product out on the shelves. And, really, who can blame them? When they originally planned to release the disc in time for Christmas 2003, they had been waiting 12 years for a new album of original material from Guns n' Roses, and despite a flurry of activity in the fall of 2002 — Axl unveiling his Frankenband at the MTV Video Awards then took them out on a tour that imploded almost immediately — the label was still waiting for the forever-delayed Chinese Democracy a year later, so they were set to rush it out for holiday sales. While it didn't materialize for that season, it was ready to surface in March 2004, when Rose, supported by his numerous ex-bandmates, filed a lawsuit against Geffen claiming the record was unauthorized, would do damage to their reputation, and distract from Chinese Democracy, which was, of course, no closer to completion than it was a year prior. A week before its scheduled release, a federal judge denied the band's request for an injunction, and the record came out on March 23, 2004. Was it worth a lawsuit? For Geffen, probably, since it's good for them to get new GNR in the stores, but it's also easy to see why the band was irked by Greatest Hits, since it bears all the hallmarks of a slapdash compilation, hastily assembled by the label as a way to buy time between releases. There are no liner notes, the cardboard packaging is flimsy, the remastering isn't notable, and any compilation that contains more songs from The Spaghetti Incident? than G N' R Lies is unbalanced. That said, it does offer the biggest hits — "Welcome to the Jungle," "Sweet Child o' Mine," "Patience," "Paradise City," "Don't Cry," "You Could Be Mine," "November Rain," "Live and Let Die" — which may satisfy some fans. Still, there's not only a number of hits and important songs missing — anywhere from the charting singles "Nightrain" and "Estranged" to the essential album tracks "It's So Easy," "Mr. Brownstone," and "Used to Love Her," among many others — the preponderance of epics, ballads, and covers (a full five of the record's 14 tracks are covers, including their horrid version of the Rolling Stones' "Sympathy for the Devil," previously unavailable on any GNR record) gives an inaccurate portrait of the band, effectively neutering its reckless rage. It also could be argued that this is all a question of semantics, since this is the "greatest hits" not the "best of," and all of these tracks were big radio hits and therefore fulfilling the promise of the title. However, Guns n' Roses aren't necessarily a band that's well suited to hits compilations, since their albums capture the raw, messy vitality of their music. Here, they sound tamer than they ever were, even if the song selection does follow the charts closely. But even if you sympathize with the band's argument that this is not an especially flattering picture of the band, it's easier to sympathize with the label since there are undoubtedly some fans that would like a hits comp, no matter how uneven it is, but the label has been stuck with no more than a whisper of a promise of a new GNR record for so long they've been left to manufacture their own. If that angers Axl, maybe he should finish that damn album while a handful of people still care.


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http://rapidshare.de/files/27021829/Greatest_Hits_2004_.rar

petak, 04.08.2006.

JJ CALE – Okie (1974)

Cale moves toward country and gospel on some songs here, but since those are two of his primary influences, the movement is slight. And longtime producer Audie Ashworth attempts to place more emphasis on Cale's vocals on some songs by double-tracking them and pushing them up in the mix. But much of this is still low-key and bluesy in what was becoming Cale's patented style.


"DOWNLOAD"
http://rapidshare.de/files/27667768/Okie.zip

JJ CALE – Really (1972)

Cale's guitar work manages to be both understated and intense here. The same is true of his seemingly offhand singing, which finds him drawling lines like "You get your gun, I'll get mine" with disarming casualness. But he has trouble coming up with original material as strong as that on his debut, and for some, his approach will be too casual; there are many times, when the band is percolating along and Cale is muttering into the microphone, that the music seems to be all background and no foreground. You may find yourself waiting for a payoff that never comes.


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http://rapidshare.de/files/27649877/Really.zip

JJ CALE – Naturally (1971)

J.J. Cale's debut album, Naturally, was recorded after Eric Clapton made "After Midnight" a huge success. Instead of following Slowhand's cue and constructing a slick blues-rock album, Cale recruited a number of his Oklahoma friends and made a laid-back country-rock record that firmly established his distinctive, relaxed style. Cale included a new version of "After Midnight" on the album, but the true meat of the record lay in songs like "Crazy Mama," which became a hit single, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. On these songs and many others on Naturally, Cale effortlessly captured a lazy, rolling boogie that contradicted all the commercial styles of boogie, blues, and country-rock at the time. Where his contemporaries concentrated on solos, Cale worked the song and its rhythm, and the result was a pleasant, engaging album that was in no danger of raising anybody's temperature.


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http://rapidshare.de/files/27643554/Naturally.zip

JJ CALE – Troubadour (1976)

Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all. This one is notable for introducing "Cocaine," which Eric Clapton covered on his Slowhand album a year later.


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http://rapidshare.de/files/27707238/Troubadour.zip

JJ CALE – Shades (1981)

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http://rapidshare.de/files/27714358/Shades.zip

JJ CALE – Number 5 (1979)

As Cale's influence on others expanded, he just continued to turn out the occasional album of bluesy, minor-key tunes. This one was even sparer than usual, with the artist handling bass as well as guitar on many tracks. Listened to today, it sounds so much like a Dire Straits album, it's scary. (Mark Knopfler & Co. had appeared in 1978, seven years after Cale.)


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http://rapidshare.de/files/27685684/Cale_5.zip

JJ CALE – Grasshopper (1982)

J.J. Cale drifts toward a more pop approach on this album, starting with the lead-off track, "City Girls," which could almost but not quite be a hit single. The usual blues and country shuffle approach is in effect, but Audie Ashworth's production is unusually sharp, the playing has more bite than usual, and Cale, whose vocals are for the most part up in the mix, sounds more engaged. It's not clear, however, that this is an improvement over his usual laidback approach, and, in any case, it shouldn't be over-emphasized — this is still a J.J. Cale album, with its cantering tempos and single-note guitar runs. It's just that, when you have a style as defined as Cale's, little movements in style loom larger.


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http://rapidshare.de/files/27700046/Grasshopper.zip

JJ CALE – Number 8 (1983)

Twelve years and eight albums into his recording career, Cale's approach has changed little, and here is another collection of groove tunes that act as platforms for the artist's intricate guitar playing. He is sometimes accompanied by a female vocalist, co-writer Christine Lakeland.


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http://rapidshare.de/files/27655991/Cale_8.zip

JJ CALE – Number 10 (1992)

There are no major surprises on Cale's tenth outing; fans get the same dependable, unassuming, comfy results, like a well-worn but form-fitting pair of slippers. Subtle licks percolate and resonate from the front-porch jam session on "Jailer" and "Low Rider." "Lonesome Train" and "Shady Grove" choogle along, as amiable as they are hypnotic. The closest thing to a twist comes with the phased vocals and spiralling guitar runs of "Digital Blues." It would be easy to imagine Number 10 getting completely buried behind a wash of '90s white noise, but for those prepared to kick off their boots and sit a spell, Cale's latest offers up some seductive rewards.


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http://rapidshare.de/files/27665438/Number_10.zip

JJ CALE – Travel Log (1990)

Cale's first album in six years finds him taking a more aggressive stance in terms of tempos and playing, although he remains a man with a profound sense of the groove and, especially as a singer, a minimalist. But as he says, "Shuffle or die."


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http://rapidshare.de/files/27719615/Travel_Log.part1.rar
http://rapidshare.de/files/27721268/Travel_Log.part2.rar

JJ CALE – Guitar Man (1996)

J.J. Cale's albums usually sound interchangeable, and his twelfth release, Guitar Man, is no exception. Although he has recorded Guitar Man as a one-man band effort, it sounds remarkably relaxed and laidback, like it was made with a seasoned bar band. That doesn't mean there's much excitement on the album, but Cale's music has never been about excitement — it's more about laying back and letting the music flow. Of course, that approach results in remarkably uneven records, and Guitar Man is no exception. There's a handful of very good songs, but there's nothing on the level of his previous classics. It's just another pleasant J.J. Cale album, nothing more but nothing less, either.


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http://rapidshare.de/files/27661983/Guitar_Man.zip

JJ CALE – Closer To You (1994)

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http://rapidshare.de/files/27690822/Closer.zip

JJ CALE - To Tulsa and Back (2004)

On his first studio outing in eight years, the mythical Okie troubadour turns in a solid set of his trademark dusty blues tunes. What is not so typical, as with Travel Log from 1990, is that Cale steeps himself in technology and evokes the moods and frameworks of music that intersect with the blues or stand in opposition to them. The keyboards, drum loops, and horns on this record are as pervasive as the guitars. Needless to say, this requires an attitude adjustment on the part of the listener. This is not to say there aren't plenty of live musicians here; there are. It's just that the sheeny beats and clean synth lines feel odd when juxtaposed against the murky lyrics and Cale's wispy, smoke-weathered voice. His stinging Stratocaster lead lines, spare and razor taut — especially when ringed with distortion — are plentiful, as are his tight-knit song constructions. Standouts on this set include the new West funk of "New Lover," the shuffling "New Step," the skittering "The Problem," the delightfully rambling "Fancy Dancer," the burning road-dog rock of "Motormouth," and the jazzy, gypsy swing in "These Blues." There are a couple of ballads on the set that are unconventional, as well, in "Homeless," and in the beautiful "Blues for Mama." There is even a Latin track on "Rio" that feels more like a merengue than a samba. The album closes with Cale playing a lone banjo on "Another Song," a mournful Appalachian ballad that feels like it comes from out of the heart of the Dust Bowl, it's full of ghosts and shadows and aches with the weight and displacement of longing as history. A fine effort.


"DOWNLOAD"
http://rapidshare.de/files/27703691/To_Tulsa_and_Back.zip

JJ CALE – Live (2001)

Cale's live performance style does nothing to quell his reputation for laid-back but pristine guitar playing and reserved "Mississippi John Hurt"-style delivery. A man who truly appreciates the value of restraint, Cale leaves plenty of room for his immaculate guitar lines, even to the point of irony on an ambling version of the previously insistent "Mama Don't." This collection, which was gleaned from an assortment of live shows dating from 1990-1996, finds Cale allowing his songs to unfold organically. Of particular note is the lilting "Magnolia." Less nostalgic than when it first appeared on 1971's Naturally, this version, recorded at Carnegie Hall in 1996, is crisper and more clipped, replacing the original's sense of longing with the resigned confidence that permeates this entire set.


"DOWNLOAD"
http://rapidshare.de/files/27658804/Cale_Live.zip

JJ CALE - Gothic Theatre (2004)

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http://rapidshare.de/files/27724061/The_Gothic_Theater_.part1.rar
http://rapidshare.de/files/27726525/The_Gothic_Theater_.part2.rar
http://rapidshare.de/files/27729230/The_Gothic_Theater_.part3.rar
http://rapidshare.de/files/27729648/The_Gothic_Theater_.part4.rar
http://rapidshare.de/files/27733453/Cale_101.zip

četvrtak, 03.08.2006.

JOHNNY WINTER - White Hot Blues (1997)

Slowly over the years, perhaps through sheer survival, if nothing else, Johnny Winter has finally forged a reputation as a real bluesman rather than a flashy guitar player with a built-in genetic gimmick to sell himself with. That his blues has always been rock & roll and his rock & roll has always been blues is no better highlighted than on this 16-track collection. The raw rock of "Highway 61 Revisited" and the live version of "Johnny B. Goode" sit just fine next to the burner "Be Careful With a Fool," perhaps Winter's finest slow blues performance. The performances span his tenure with Columbia from 1969 to 1980, with the other highlights including "Too Much Seconal," "New York, New York," "Leland Mississippi Blues," and "The Crawl." This may just very well be some of the best blues-rock guitar your money can buy.


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http://rapidshare.de/files/27529595/JW_R_H_B.part1.rar.html
http://rapidshare.de/files/27534931/JW_R_H_B.part2.rar.html
http://rapidshare.de/files/27541113/JW_R_H_B.part3.rar.html
http://rapidshare.de/files/27542241/JW_R_H_B.part4.rar.html

"PASSWORD"
blacky

QUICQSILVER MESSENGER SERVICE - Happy Trails (1968)

Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's "Who Do You Love?" and "Mona," as well as the lesser lauded — yet no less intense — contribution of Gary Duncan's (guitar/vocals) "Calvary." This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cippollina (guitar/vocals), Greg Elmore (percussion), David Freiberg (bass/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic "Who Do You Love?" suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of QMS are what is truly on display here. The musicians' unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. "Mona" and its companion, "Calvary," continue in much the same fashion. Here the members of QMS play off each other to form a cohesive unit. This track also contains some of Cippollina's finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic "Maiden of the Cancer Moon" — ascending from the remnants of "Mona." The angst and energy in Cippollina's guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans' "Happy Trails," seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.


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pasttensemusic.blogspot.com

QUICQSILVER MESSENGER SERVICE - Quiscksilver Messenger Service (1968)

Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era.


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http://www.easy-sharing.com/568725/silver.rar.html

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pasttensemusic.blogspot.com

JIMMI ROGERS & MUDDY WATERS feat. LITTLE WALTER - Chicago Bound (1956)

Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class. Blues listeners who have only skimmed the surface of the music may not have really discovered Rogers, as his reputation increased in the years after his death and he had nowhere near the following and status of Waters or even Little Walter. Some of the tracks here are numbers the musicians got together and played with Rogers at the end of what was probably an already grueling session by Waters. "Sloppy Drunk" is a killer track that joins the long list of great blues numbers concerning the inebriated, while "Walking by Myself" is a fine example of the kind of shuffling rhythm these players are so good at. The CD era was an opportunity to put together larger selections of Rogers' material, complete with outtakes and selections that are much rarer than the material here. If a listener's reaction to this album is as positive as it ought to be, they can be assured the pickings will be equally tasty if they decide to go for more extensive documentation of this artist.


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ETTA JAMES - Burnin' Down The House: Live At The House Of Blues (2002)

Playing Burnin' Down the House right after you have listened to some of Etta James' early recordings is quite revealing. The veteran soul/blues singer was only 16 when, in 1954, she made her first recordings for Modern records; she was 63 when this excellent live album was recorded at the House of Blues in West Hollywood, CA, in December 2001 — and it is obvious that vocally, she didn't lose anything along the way. Backed by a tight and rock-solid band, James demonstrates that her big, full voice lost none of its richness between 1954 and 2001. The Los Angeles native sounds as vital as ever, and she has no problem going that extra mile on gutsy performances of "Something's Got a Hold on Me," "I'd Rather Go Blind," "At Last," and other hits. For the most part, this is a soul concert; however, James makes a triumphant detour into electric urban blues on "I Just Want to Make Love to You" (one of the many Willie Dixon gems that Muddy Waters recorded for Chess in the '50s) and B.B. King's "Rock Me, Baby." The veteran singer pleasantly surprises us with some unlikely medleys; "I Just Want to Make Love to You" is successfully combined with Steppenwolf's "Born to Be Wild," and even more intriguing is her ability to unite the standard "My Funny Valentine" with two of Al Green's '70s hits ("Love and Happiness" and "Take Me to the River"). Some longtime fans may be disappointed to learn that she doesn't perform either "Tell Mama" or "Roll with Me, Henry," aka "The Wallflower"; regardless, Burnin' Down the House is an exciting and powerful document of James at 63.


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THE WHO - The Ultimate Collection [LIMITED EDITION] (2002)

Following in the footsteps not only of Universal's many Ultimate Collection, but also the Beatles 1 — a groundbreaking collection in the sense that it proved that a collection that contains all the hits will actually sell on CD (thereby proving the cynical ploy of leaving hits off a compilation in order to sell catalog is flawed) — the Who's 2002 compilation The Ultimate Collection attempts to collect all their hits, all their anthems in one place. It fits that bill very well, providing all the big items from "I Can't Explain" to "Emenince Front" as it spans two discs and 35 tracks. Sure, fans will find personal favorites missing, whether it's "A Quick One While He's Away" or "Athena," while collectors will note that it contains everything from the previous attempt at an exhaustive CD compilation, 1996's My Generation: The Very Best of the Who, but it doesn't matter, because this is the best summation of their career for a general audience yet assembled. It functions as both an introduction and as the one Who album listeners who just want the hits will need.


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PHIL MANZANERA - Manzanera Collection (1995)

Spanning two CDs, The Manzanera Collection sacrifices accessibility for the sake of comprehensiveness. Drawing from all stages of the eclectic guitarist's career, from Roxy Music through 801 to his solo career, the set works as a sampler, yet it doesn't do justice to his work — there are only five Roxy Music tracks included. Instead of selecting the highlights, the collection dabbles in each phase of his career, resulting in a hodgepodge that isn't as entertaining or cohesive as any of his individual albums, even if it does give some sense of his eclecticism.


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4you

srijeda, 02.08.2006.

VA - Decca Originals - 1965-71 - The UK Blues Scene (1971)

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kzd

VA - 100 Hits : Blues Rock

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dan666

JAMES BROWN - Star Time (1991)

When the four-disc Star Time box was released in 1991, James Brown's catalog sorely needed an overhaul; much of it was out of print, and what was available was hardly befitting of his magnitude. Star Time got everything right: it put Brown's hugely influential career into striking perspective, helping to complete his critical renaissance, and the richness of its music set a standard for box sets in general. It was no easy task to balance Brown's lengthy, multi-part funk workouts with the need to include all of his most significant tracks, and the compilers did an excellent job in deciding when and when not to truncate ("Cold Sweat," for example, must be heard in its entirety). There's nothing from Live at the Apollo (which should be experienced start to finish), and his last hurrah on the pop charts, "Living in America," is missing, but these 71 tracks cover all the other high points, and make an eloquent case for Brown as the greatest R&B artist of all time. Disc One covers Brown's early R&B years, when his pleading intensity helped lay the groundwork for soul music. Disc Two, however, is where his genius truly crystallizes — it basically chronicles the birth of funk, as Brown gradually discards song structure in favor of working hard grooves; it also offers a picture of Brown's emergence as a bandleader and spokesman for black pride. Disc Three features Brown's hardest funk, including his much-revered material with the Bootsy Collins band. Disc Four traces Brown's later creative decline, yet he duplicated his former glories often enough to make this disc a surprisingly solid listen; plus, his massive impact on hip-hop is underlined on the last track, the Afrika Bambaataa duet "Unity." Star Time paved the way for several other excellent compilations which highlighted different parts of Brown's vast legacy, but as the definitive retrospective of one of the most important musicians of the 20th century (black or otherwise), it has yet to be equaled.


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wholovesska

utorak, 01.08.2006.

ROD STEWART - It Had to Be You... The Great American Songbook - 1 (2002)

It's the kind of concept that seems brilliant on paper: revive the career of one of the great vocalists of the rock era by having him sing the great American pop songs of the pre-rock era. It was done before with Linda Ronstadt, and it worked well, so why not Rod Stewart, whose career was in shambles in 2002, following the disastrous modern R&B record, Human. Clive Davis, the man behind Santana's comeback, masterminded the whole thing, and It Had to Be You...The Great American Songbook was born. Again, the whole thing sounds good on paper, but in practice, it's a bit of a mixed bag. Certainly, following a throat operation, Stewart is singing better than he has in years, and he feels much more comfortable here than he did on Human, but the whole project has an artificial undercurrent that's hard to shake, especially since the song selection, the arrangements, and the performances play it so safe they're largely undistinguished. It's not necessarily bad, but it doesn't have much character outside of Rod's voice, and his soulful rasp isn't really suited for these songs. Nevertheless, this is exactly what it's billed as — Rod sings the Great American Songbook — and it's done with professionalism and ease, so it's a pleasant listen. But it won't replace Sinatra, of course, or even Ronstadt's similar work with Nelson Riddle.

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ROD STEWART - As Time Goes By...The Great American Songbook - 2 (2003)

Thanks to Clive Davis, Rod Stewart found a career revival in 2002 with It Had to Be You...:The Great American Songbook, the album that refashioned the lovable rogue into a swanky swinger. Davis' gamble paid off — he figured that the public, already aware of Stewart's status as a great singer, would believe that he could sing classic pop songs as well as he sang rock, soul, and folk, and he was right: the public did buy the record. But just because a record sells doesn't necessarily mean that it's all that good, and It Had to Be You... suffered from one simple thing: Stewart's talents and skills are not well-suited for traditional pop. Still, the concept was a good one so the record sold and spawned a sequel, As Time Goes By...: The Great American Songbook, Vol. 2. Released a year later, nearly to the day, As Time Goes By... is basically the same album as It Had to Be You..., relying on a similar song selection of well-worn warhorses and adhering to the same simple, straight-ahead cocktail-bar arrangements as its predecessor. There are some slight differences, most notably the presence of two duets: a version of "Bewitched, Bothered & Bewildered" with Cher, while Queen Latifah joins in on the title song (neither cut is very good, but Latifah is much better than Cher, who is less-suited for this material than Rod). Then, there's the slight upper hand of producer Richard Perry, who helms more tracks this time around than the other two producers, Clive Davis and Phil Ramone, who are also returning from It Had to Be You.... Overall, the album has a looser feel, but that doesn't mean more relaxed; it means sloppy — to the point that the producers failed to correct a glaring computerized vocal correction error at 1:20 on the opening track, "Time After Time." Stewart's delivery is lazy and unfocused; his asides and offhand turns of phrase work wonders on rock, pop, and soul, where it's more about being in the moment than being in the song, but on finely crafted songs like these, precision is needed and Stewart's delivery makes it seem like he just doesn't have his heart in it. He never sounds bad; he merely sounds awkward on occasion, but the record is so casual that it doesn't make much of a difference. As Time Goes By... just coasts by on its style and concept, which is about as satisfying and pleasant as it was the first time out, but the slight differences — the duets, the sloppiness — make the artifice more apparent this time around. It still works as background music for those who buy into the concept, but those die-hard Rod fans who think this entire direction is a mistake for him can use this as proof


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ROD STEWART - Thanks For The Memory...The Great American Songbook - 4 (2005)

Fourth album, same as the first. Ever since he successfully reinvented himself as a lazy lounge singer in 2002 with It Had to Be You... The Great American Songbook Rod Stewart has been reliable as clockwork, releasing a collection of classic pop standards — predictable choices performed predictably — every second or third week of October. Four albums in, producers may have come and gone — Phil Ramone left last time, Richard Perry is no longer around, leaving producer Steve Tyrell and arranger Bob Mann as the men in charge (of course, Clive Davis, the mastermind behind this whole shebang, is still around) — but it's nearly impossible to tell the differences between Thanks for the Memory: The Great American Songbook, Vol. IV and the first or either that came between. Sure, there is an ever-increasing number of duets on the records — the first had none, the second had two, the third had four, and this has seven, including instrumental appearances by George Benson and Chris Botti — but the arrangements never are risky and always sound better suited for background music in a cocktail bar than on record. Needless to say, it makes for rather boring listening and Stewart is starting to seem a little restless too, interjecting more "baby"s and "oh, Diana"s to his duet with Diana Ross on "I've Got a Crush on You" than necessary. He didn't do that kind of ad lib on the first three albums, and he sounds a lot more casual overall on this fourth volume than he has before, but these are very minor differences: this remains the same sleepy, faux-classy music as before. Rod's voice is still not suited for these songs and the songs aren't arranged imaginatively; they're arranged to remind the listener of other, better versions of the same tunes. So, they're not great records, either by the yardstick of Rod Stewart's own work — and, don't forget, he's made more than his fair share of great records — or by the standard of traditional pop. But they are successful, since they appeal to listeners raised on rock yet who are nostalgic for their parents' music, without wanting to hear the original recorded versions. So, bully for Rod the Mod — he's found a way to have a successful career as a veteran without embarrassing himself as he did on Human. But for fans who not only cherish his '70s work, but stuck by him through the patchy '80s and could find worthwhile moments on such latter-day albums as When We Were the New Boys, these Great American Songbooks are not just tiresome, but rather depressing. And, in that light, Rod's promise in the liner notes of "just think, this is only Volume IV" reads a bit like a threat.


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ROD STEWART - Stardust...The Great American Songbook - 3 (2004)

If the cover of Stardust...The Great American Songbook, Vol. 3 is any indication, even Rod Stewart is getting a little tired of the classy act he's had to put on over the last two years, as he's restyled himself as a crooner of pop standards. Gone are the straightforward portrait shots, and in is a jokey picture of Rod with a pair of hot legs. It unwittingly looks like a grown-up variation of the Blondes Have More Fun cover taken 26 years later (Rod still has the same basic hairdo, bless his heart), and it's a welcome glimpse of the roguish charm and laddish sense of humor that used to be Stewart's calling card. Unfortunately, that attitude isn't heard anywhere on the music, which is, for all intents and purposes, pretty much the same as it was on the first two installments of The Great American Songbook. Like its predecessors, Stardust is built on the misconception that the great vocalist Stewart will sound great singing selections from the great American popular songbook, when his gifts are better suited for music rooted in folk, blues, and rock & roll. To his credit, he's sounding a bit more comfortable on this third go-round — he doesn't sound as uptight, nor as mannered, as he did before. Part of this may be due to a shift in producers. Phil Ramone, who co-produced the first two, has left and has been replaced by Steve Tyrell, who releases albums in a similar vein himself. Under his watch, Stewart doesn't sound quite so studious and tentative, and the arrangements aren't quite so fussy, which ultimately makes for a better record. That isn't the same thing as a good record, though. Stewart may be more comfortable and the production might be warmer, but The Great American Songbook is still a bad idea, no matter how slickly it's delivered.


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