petak, 29.09.2006.

THE HONEYDRIPPERS - Volume One (Robert Plant 1984)

The Honeydrippers were a post-Led Zeppelin side project for singer Robert Plant, allowing him to indulge his sincere love for vintage R&B. Though best known for the all-star aggregate that waxed the group's only recording in 1984, Plant actually formed the Honeydrippers in 1981 as a way to return to his pre-Zeppelin roots in American blues and R&B; the group took its name from blues pianist Roosevelt Sykes' nickname. The original lineup featured guitarists Robbie Blunt and Andy Sylvester, saxophonist Keith Evans, saxophonist/harmonica player Ricky Cool, bassist Jim Hickman, and drummer Kevin O'Neil. However, when Plant began collaborating with Blunt on original material, he deemed it more suited to his goals as a solo artist, and he accordingly formed a hard rock backing unit, putting the Honeydrippers on the back burner. After his second solo album, Plant revived the Honeydrippers, this time with an impressive roster of studio guests including guitarists Jimmy Page, Jeff Beck, and Nile Rodgers, keyboardist Paul Shaffer, bassist Wayne Pedziwiatr, and drummer Dave Weckl. Together they recorded the five-song EP The Honeydrippers, Vol. 1, which was released in 1984 and featured Plant's takes on '50s and '60s R&B numbers. The first single, a cover of Phil Phillips' "Sea of Love," was a smash, peaking at number three on the American charts -- one spot better, in fact, than Led Zeppelin's highest-charting single "Whole Lotta Love." The follow-up "Rockin' at Midnight," a Roy Brown jump blues tune, was also fairly successful. Stray Cats guitarist Brian Setzer joined the Honeydrippers' concert lineup, and performed with the group on Saturday Night Live. After touring with the Honeydrippers in 1985, Plant resumed his solo career; there has never been a Honeydrippers, Vol. 2.This five-song EP features Robert Plant singing such oldies as the hit remake of "Sea of Love," with a backup that includes Nile Rodgers, Jeff Beck, and Jimmy Page.


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ROBERT PLANT - Pictures At Eleven (1982)

For his debut solo album, Robert Plant doesn't exactly succumb to everyone's expectations. With a less-potent vocal style, Plant manages to carry out most of the songs in smooth, stylish fashion while rocking out rather convincingly on a couple of others. He gets some pretty good help from guitarist Robbie Blunt, who truly comes to life on "Worse Than Detroit," and both Phil Collins and Cozy Powell give Plant enough of a solid background to lean his sultry yet surging rock voice against. Plant channels his energy quite effectively through songs like "Pledge Pin" and "Moonlight in Samosa," while the single "Burning Down One Side" is a creditable one, even though it failed to crack the Top 50 in both the U.K. and the U.S. The most apparent characteristic about the album's eight tracks is the fact that Plant is able to escape most of his past and still sound motivated. Without depending too much on his Led Zeppelin days, he courses a new direction without changing or disguising his distinct vocal style whatsoever. Pictures at Eleven peaked within the Top Five on both sides of the Atlantic, successfully launching Plant's solo career.


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LED ZEPPELIN - Coda (1982)

An odds-and-sods collection assembled after John Bonham's death, Coda is predictably a hit-or-miss affair. The best material comes from later in Led Zeppelin's career, including the ringing folk stomp of "Poor Tom," the jacked-up '50s rock & roll of "Ozone Baby," and their response to punk rock, the savage "Wearing and Tearing." The rest of the album -- sadly including the Bonham showcase "Bonzo's Montreux" -- is average, despite the presence of some stellar playing, especially on the early blues-rock blitzkrieg "I Can't Quit You Baby" and "We're Gonna Groove."Review by Stephen Thomas Erlewine


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četvrtak, 28.09.2006.

LED ZEPPELIN - In Through The Out Door (1979)

Somewhere between Presence and In Through the Out Door, disco, punk, and new wave had overtaken rock & roll, and Led Zeppelin chose to tentatively embrace these pop revolutions, adding synthesizers to the mix and emphasizing John Bonham's inherent way with a groove. The album's opening number, "In the Evening," with its stomping rhythms and heavy, staggered riffs, suggests that Zeppelin haven't deviated from their course, but by the time the rolling shuffle of "South Bound Suarez" kicks into gear, it's apparent that they've regained their sense of humor. After "South Bound Suarez," the group tries a variety of styles, whether it's an overdriven homage to Bakersfield county called "Hot Dog," the layered, Latin-tinged percussion and pianos of "Fool in the Rain," or the slickly seductive ballad "All My Love." "Carouselambra," a lurching, self-consciously ambitious synth-driven number, and the slow blues "I'm Gonna Crawl" aren't quite as impressive as the rest of the album, but the record was a graceful way to close to Zeppelin's career, even if it wasn't intended as the final chapter.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - The Song Remains The Same (1976)

Led Zeppelin's initial popularity was based as much on their concerts as their albums, so it's strange that the group's only official live album for many years is such an uninspired, boring affair. Released in conjunction with the pseudodocumentary film of the same name, The Song Remains the Same reproduces the very things that made Zeppelin concerts legendary -- lengthy solos, intertwining interplay between Jimmy Page and Robert Plant, and ridiculously long songs ("Dazed and Confused" is nearly an entire half-hour) -- but the group's performance is not intoxicating; it's long-winded. As scores of bootlegs prove, Led Zeppelin could produce magic with the same formula, but The Song Remains the Same is excruciatingly dull.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - Presence (1976)

Presence scales back the size of Physical Graffiti to a single album, but it retains the grandiose scope of that double record. If anything, Presence has more majestic epics than its predecessor, opening with the surging, ten-minute "Achilles Last Stand" and closing with the meandering, nearly ten-minute "Tea for One." In between, Led Zeppelin add the lumbering blues workout "Nobody's Fault but Mine" and the terse, menacing "For Your Life," which is the best song on the album. These four tracks take up the bulk of the album, leaving three lighthearted throwaways to alleviate the foreboding atmosphere -- and pretensions -- of the epics. If all of the throwaways were as focused and funny as those on Physical Graffiti or Houses of the Holy, Zeppelin would have had another classic on their hands. However, the Crescent City love letter of "Royal Orleans" sags in the middle, and the ersatz rockabilly of "Candy Store Rock" doesn't muster up the loose, funky swagger of "Hots on for Nowhere," which it should in order to work. The three throwaways are also scattered haphazardly throughout the album, making it seem more ponderous than it actually is, and the result is the weakest album Zeppelin had yet recorded.Review by Stephen Thomas Erlewine


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srijeda, 27.09.2006.

LED ZEPPELIN - Physical Graffiti (1975)

Led Zeppelin returned from a nearly two-year hiatus in 1975 with Physical Graffiti, a sprawling, ambitious double album. Zeppelin treat many of the songs on Physical Graffiti as forays into individual styles, only occasionally synthesizing sounds, notably on the tense, Eastern-influenced "Kashmir." With John Paul Jones' galloping keyboard, "Trampled Underfoot" ranks as their funkiest metallic grind, while "Houses of the Holy" is as effervescent as pre-Beatles pop and "Down by the Seaside" is the closest they've come to country. Even the heavier blues -- the 11-minute "In My Time of Dying," the tightly wound "Custard Pie," and the monstrous epic "The Rover" -- are subtly shaded, even if they're thunderously loud. Most of these heavy rockers are isolated on the first album, with the second half of Physical Graffiti sounding a little like a scrap heap of experiments, jams, acoustic workouts, and neo-covers. This may not be as consistent as the first platter, but its quirks are entirely welcome, not just because they encompass the mean, decadent "Sick Again," but the heartbreaking "Ten Years Gone" and the utterly charming acoustic rock & roll of "Boogie With Stu" and "Black Country Woman." Yes, some of this could be labeled as filler, but like any great double album, its appeal lies in its great sprawl, since it captures elements of the band's personality rarely showcased elsewhere -- and even at its worst, Physical Graffiti towers above its hard rock peers of the mid-'70s.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - Houses Of The Holy (1973)

Houses of the Holy follows the same basic pattern as Led Zeppelin IV, but the approach is looser and more relaxed. Jimmy Page's riffs rely on ringing, folky hooks as much as they do on thundering blues-rock, giving the album a lighter, more open atmosphere. While the pseudo-reggae of "D'Yer Mak'er" and the affectionate James Brown send-up "The Crunge" suggest that the band was searching for material, they actually contribute to the musical diversity of the album. "The Rain Song" is one of Zep's finest moments, featuring a soaring string arrangement and a gentle, aching melody. "The Ocean" is just as good, starting with a heavy, funky guitar groove before slamming into an a cappella section and ending with a swinging, doo wop-flavored rave-up. With the exception of the rampaging opening number, "The Song Remains the Same," the rest of Houses of the Holy is fairly straightforward, ranging from the foreboding "No Quarter" and the strutting hard rock of "Dancing Days" to the epic folk/metal fusion "Over the Hills and Far Away." Throughout the record, the band's playing is excellent, making the eclecticism of Page and Robert Plant's songwriting sound coherent and natural.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - IV (1971)

Encompassing heavy metal, folk, pure rock & roll, and blues, Led Zeppelin's untitled fourth album is a monolithic record, defining not only Led Zeppelin but the sound and style of '70s hard rock. Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope. Even at its most basic -- the muscular, traditionalist "Rock and Roll" -- the album has a grand sense of drama, which is only deepened by Robert Plant's burgeoning obsession with mythology, religion, and the occult. Plant's mysticism comes to a head on the eerie folk ballad "The Battle of Evermore," a mandolin-driven song with haunting vocals from Sandy Denny, and on the epic "Stairway to Heaven." Of all of Zeppelin's songs, "Stairway to Heaven" is the most famous, and not unjustly. Building from a simple fingerpicked acoustic guitar to a storming torrent of guitar riffs and solos, it encapsulates the entire album in one song. Which, of course, isn't discounting the rest of the album. "Going to California" is the group's best folk song, and the rockers are endlessly inventive, whether it's the complex, multi-layered "Black Dog," the pounding hippie satire "Misty Mountain Hop," or the funky riffs of "Four Sticks." But the closer, "When the Levee Breaks," is the one song truly equal to "Stairway," helping give IV the feeling of an epic. An apocalyptic slice of urban blues, "When the Levee Breaks" is as forceful and frightening as Zeppelin ever got, and its seismic rhythms and layered dynamics illustrate why none of their imitators could ever equal them.Review by Stephen Thomas Erlewine


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utorak, 26.09.2006.

LED ZEPPELIN - III (1970)

On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth. And even the rockers aren't as straightforward as before: the galloping "Immigrant Song" is powered by Robert Plant's banshee wail, "Celebration Day" turns blues-rock inside out with a warped slide guitar riff, and "Out on the Tiles" lumbers along with a tricky, multi-part riff. Nevertheless, the heart of the album lies on the second side, when the band delve deeply into English folk. "Gallows Pole" updates a traditional tune with a menacing flair, and "Bron-Y-Aur Stomp" is an infectious acoustic romp, while "That's the Way" and "Tangerine" are shimmering songs with graceful country flourishes. The band hasn't left the blues behind, but the twisted bottleneck blues of "Hats off to (Roy) Harper" actually outstrips the epic "Since I've Been Loving You," which is the only time Zeppelin sound a bit set in their ways.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - II (1969)

Recorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the time. Not only did the short amount of time result in a lack of original material, it made the sound more direct. Jimmy Page still provided layers of guitar overdubs, but the overall sound of the album is heavy and hard, brutal and direct. "Whole Lotta Love," "The Lemon Song," and "Bring It on Home" are all based on classic blues songs -- only, the riffs are simpler and louder and each song has an extended section for instrumental solos. Of the remaining six songs, two sport light acoustic touches ("Thank You," "Ramble On"), but the other four are straight-ahead heavy rock that follows the formula of the revamped blues songs. While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint.Review by Stephen Thomas Erlewine


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LED ZEPPELIN - I (1969)

Led Zeppelin had a fully formed, distinctive sound from the outset, as their eponymous debut illustrates. Taking the heavy, distorted electric blues of Jimi Hendrix, Jeff Beck, and Cream to an extreme, Zeppelin created a majestic, powerful brand of guitar rock constructed around simple, memorable riffs and lumbering rhythms. But the key to the group's attack was subtlety: it wasn't just an onslaught of guitar noise, it was shaded and textured, filled with alternating dynamics and tempos. As Led Zeppelin proves, the group was capable of such multi-layered music from the start. Although the extended psychedelic blues of "Dazed and Confused," "You Shook Me," and "I Can't Quit You Baby" often gather the most attention, the remainder of the album is a better indication of what would come later. "Babe I'm Gonna Leave You" shifts from folky verses to pummeling choruses; "Good Times Bad Times" and "How Many More Times" have groovy, bluesy shuffles; "Your Time Is Gonna Come" is an anthemic hard rocker; "Black Mountain Side" is pure English folk; and "Communication Breakdown" is a frenzied rocker with a nearly punkish attack. Although the album isn't as varied as some of their later efforts, it nevertheless marked a significant turning point in the evolution of hard rock and heavy metal.Review by Stephen Thomas Erlewine.


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ponedjeljak, 25.09.2006.

======== JOHN BONHAM ========

31.5.1948 - 25.9.1980.

Moby Dick Part 1



Moby Dick Part 2

======= WISHBONE ASH =========

WWW.WISHBONEASH.CO.UK

During the early- and mid-'70s, Wishbone Ash were among England's most popular hard rock acts. The group's roots dated to the summer of 1966, when drummer Steve Upton formed a band called Empty Vessels with bassist/vocalist Martin Turner and guitarist Glen Turner. Empty Vessels soon changed their name to Tanglewood and moved to London; during a gig at the Country Club in Hampstead, they were seen by would-be rock manager Miles Copeland, who was impressed with the jazz and progressive rock influences within the band and offered to be their manager.

Glen Turner left the band at that point, and an advertisement for a guitarist resulted in the addition of both David Alan "Ted" Turner and Andy Powell, who provided the basis for the sound of the new lineup with intertwining riffs and phrases drawn from both soul and blues, coupled with Martin Turner's melodic bass sound and Upton's jazz-influenced drumming. A new name was called for, and after several suggestions by Copeland that proved unacceptable, "Wishbone Ash" was chosen from two lists of words. The group rehearsed for weeks at Copeland's home, working out an entirely new repertoire, and played their first gig opening for the Aynsley Dunbar Retaliation. It wasn't too long before they were opening for Deep Purple, where a sound check jam between Powell and Ritchie Blackmore led to a recording contract with the American Decca label.

Their self-titled first album appeared in 1970; Pilgrimage and Argus followed over the next two years, and each showed a major advance in the band's sound. The release of 1973's Wishbone Four reflected a greater maturity to the group, and was their first fully developed album, with songwriting that didn't hide behind a progressive pose but luxuriated in the members' folk music inclinations, without compromising the harder edge of their music. The album also saw the departure of Ted Turner, who was replaced by Laurie Wisefield.

Locked In and New England followed; Martin Turner departed after 1979's Just Testing, to be replaced by ex-King Crimson bassist/singer John Wetton. Wishbone Ash soldiered on through the 1980s, and in 1986 even got back with Copeland, by now a major player in the recording industry by virtue of his management of the Police and his founding of I.R.S. Records. Wishbone Ash's history came full circle with the reunion of Powell, Upton, Ted Turner, and Martin Turner, and the recording of three albums for I.R.S.. They remained a working band into the 1990s, led by Andy Powell and Ted Turner and touring and recording regularly.


(1970) Wishbone Ash
(1971) Pilgrimage
(1972) Argus
(1973) Live Dates
(1998) Distillation
(2002) Bonafide

(2001) Live Dates 3 (30th Anniversasy Concert)

WISHBONE ASH - Jailbait 1971

WISHBONE ASH - The King Will Come

WISHBONE ASH - Distillation (1998)

While it's certainly too much for the average Wishbone Ash fan, Distillation is an excellent three-disc, 55-track box set that features the best of the band's heavy boogie from the '70s. None of the group's essential tracks are missing, and it contains a few fine rarities, making this an essential overview for the collector or serious fan.


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WISHBONE ASH - Bonafide (2002)

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WISHBONE ASH - Live Dates 3 (30th Anniversasy Concert recorded 1999/released 2001)

Running Time: 1h36'15'' - 695 MB



Info/download link:

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Movie links :

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Bonus Video :

Wonderful Stash - 41 MB

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nedjelja, 24.09.2006.

WISHBONE ASH - Wishbone Ash (1970)

For a band that quickly evolved into a radio-friendly prog-leaning outfit, it's a wonder that Wishbone Ash started out as the boogie and blues-based group that this debut reveals. If the term "jam band" existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year. Not as complex or calculated as Led Zeppelin's Led Zeppelin III but definitely more focused than Mott the Hoople's Mad Shadows, Wishbone Ash more closely resembled Benefit by Jethro Tull, a group that hadn't yet adopted its own progressive elements. The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been. The follow-up, Pilgrimage, took steps to rectify Wishbone Ash's odd position, but this album nevertheless opened eyes and ears and revealed to the rock & roll community a band with incredible potential and talent.


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WISHBONE ASH - Pilgrimage (1971)

Wishbone Ash's sophomore release, Pilgrimage, unveiled their creative genius after a debut that merely presented them as a boogie- and blues-based rock outfit. The opening track, "Vas Dis," with its jazz bassline, slicing rhythm guitar, and gibberish vocals was their answer to "Hocus Pocus" by Focus (or vice versa as both were released in 1971). "No Water in the Well" is one of the great rock instrumentals of the early '70s as it accentuates the dual lead guitar acumen of Andy Powell and Ted Turner. "Jail Bait" has gone on to become a Wishbone Ash staple as well as possessing one of the more memorable guitar riffs of '70s rock & roll. A conscientious effort seemed to be in place for this band to write and perform material better suited to their gentler vocal tendencies. Where Wishbone Ash essentially went full tilt throughout, Pilgrimage is a moodier affair that includes beautiful, slower melodies like the brief instrumentals "Alone" and "Lullaby" along with the chilling "Valediction," which should have been an Ash classic but is rarely featured on live and hits collections. Even though this band toned it down a bit for this album, their impressive guitar playing was heightened due to the variance in their songwriting. Next to Argus this is the Wishbone Ash album to judge all other Ash albums by.


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WISHBONE ASH - Argus (1972)

If Wishbone Ash can be considered a group who dabbled in the main strains of early-'70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own. The album boasted extended compositions, some of them ("Time Was," "Sometime World") actually medleys of different tunes, played with assurance and developing into imaginative explorations of new musical territory and group interaction. The lyrics touched on medieval themes ("The King Will Come," "Warrior") always popular with British rock bands, adding a majestic tone to the music, but it was the arrangements, with their twin lead guitar parts and open spaces for jamming, that made the songs work so well. Argus was a bigger hit in the U.K., where it reached the Top Five, than in the U.S., where it set up the commercial breakthrough enjoyed by the band's next album, Wishbone Four, but over the years it came to be seen as the quintessential Wishbone Ash recording, the one that best realized the group's complex vision.


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subota, 23.09.2006.

GUY DAVIS - Chocolate To The Bone (2003)

With each new release, the clothes of an old bluesman fit Guy Davis more and more comfortably. By now the blues are completely a part of who he is, so when he reworks an old Sleepy John Estes song into the opener, "Limetown," it feels completely natural; even with the familiar "Rollin' And Tumblin'" riff. He mixes it up well between covers and originals, taking in quite a range — there's John Lee Hooker, Willie Dixon, and Blind Lemon Jefferson all sitting amicably together in his style; as well as some pieces like "Step It Up And Go" that are just plain old. His own material is less familiar, of course, but just as good, with the careful (if not wholly accurate) patina of age about it. Perhaps the best thing about Davis is that he never tries to be something he's not; there's no fake Southern accent. What you hear is what you get. And while he's hardly the guitar genius that Charley Patton and Robert Johnson were, he's more than adequate, and his excellent band backs him up solidly and subtly, never stepping out too far. There's plenty of talent in Davis, but there's also an obvious and deep love for the blues, especially the rural country blues, and he brings to his music a real timelessness. The man just keeps getting better and better.


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PHIL BROWN - Cruel Inventions (2003)

From Los Alamos, New Mexico, the nuclear blues capital of the world inventing the one & only Phil Brown-foremost blues guitarist and vocalist extrordinaire. Phil is all about deep guitar tones, a bluesy groove and a dark voice that he uses effectively with some deliberate vocal phrasing. Phil's talents are a wonder to behold on this 12 song stunner.


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RANDY DAWSON - D'Nile Blues (2004)

RANDY DAWSON regularly performs around the Toronto area as a freelance performer, solo or fronting the RANDY DAWSON GROUP and D'NILE BLUES BAND. This blues rock CD featuring nine originals and one cover.


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======== DAVE HOLE ========

WWW.DAVEHOLE.COM

Australian slide guitarist Dave Hole is noted for his energetic, high-volume rock & roll/blues music and unusual playing style. Though left-handed, Hole plays guitar right-handed and developed a technique to compensate for a finger injury in which he places his fingers over the top of the neck. He also uses a pick for a slide and utilizes fingerpicking when playing normally.

Born on March 30, 1948, in England, but raised from age four in Perth, Australia, Hole became interested in blues guitar around age six after hearing a schoolmate's Muddy Waters album. He received his first guitar at age 12, but became discouraged trying to learn it by himself (teachers were in short supply in isolated Perth) and abandoned it until he was 16. This time, he began picking up riffs and techniques from records. Primary influences include Eric Clapton, Jimi Hendrix, Robert Johnson, Elmore James, and Mississippi Fred McDowell. Hole became a professional in 1972 when working with a band in London. Returning to Perth in 1974, he began his long stint touring the western Australian club circuit, playing 20 years in remote towns before making Short Fuse Blues, an album he financed, produced, and recorded with his band Short Fuse in three days in 1990. He then hawked the album during club performances and on a whim, sent a copy to Guitar Player magazine in the U.S. The editor listened to it, liked it, wrote a praise-filled article hailing him as the newest guitar wizard and comparing him to such greats as Stevie Ray Vaughan and Albert King. He then helped Hole land a distribution deal with Alligator Records and released Working Overtime (1993), Steel on Steel (1995), Under the Spell (1999), and Outside Looking In (2001). With each new release, Dave Hole continues to build a respectable following in the U.S. and European blues scene that grows stronger every year.


1992 Short Fuse Blues
1993 Plumber
1993 Working Overtime
1995 Whole Lotta Blues
1995 Steel on Steel
1997 Ticket to Chicago
1999 Under the Spell
2001 Outside Looking In
2003 The Live One

------------------------- THANKS TO VARG -------------------------------

Dave Hole At North Atlantic Blues Festival

DAVE HOLE - Short Fuse Blues (1992)

Dave Hole's American debut album is a stunning display of slide guitar pyrotechnics. Hole runs through a dizzying array of licks and solos, pulling out a variety of different tones and textures from his guitar. He can play it straight and greasy or spooky, tough and gritty or subtle and melodic — his technique is quite impressive. Although the songs themselves are occasionally weak, Short Fuse Blues is essentially a guitar record, so the songs don't matter as much as the playing. And the playing is superb throughout Short Fuse Blues.


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http://www.megaupload.com/?d=00FP4KOH

petak, 22.09.2006.

DAVE HOLE - The Plumber (1993)

"DOWNLOAD"
http://www.axifile.com/?1068722

DAVE HOLE - Working Overtime (1993)

Hole's second disc features nine original compositions and covers of Muddy Waters and Big Bill Broonzy, rendered in a vocal and guitar style somewhat similar to Johnny Winter's best blues work but with an edge of youthful vigor. "Biting slide guitar work" is an understatement. Hole can also play the thoughtful Roy Buchanan card on the likes of "Berwick Road."


"DOWNLOAD"
http://www.megaupload.com/?d=XQNSOJC4

DAVE HOLE - Steel On Steel (1995)

With his third album, Steel on Steel, Dave Hole turns in another set of ready-made originals and covers, all highlighted by his sizzling slide guitar work.


"DOWNLOAD"
http://www.megaupload.com/?d=G5B6Y6IP

četvrtak, 21.09.2006.

DAVE HOLE - Ticket To Chicago (1997)

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http://www.axifile.com/?9422434
http://www.axifile.com/?2713321

DAVE HOLE - Under The Spell (1999)

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http://lix.in/1a096a
http://lix.in/0206d3

DAVE HOLE - Outside Looking In (2001)

Slide-slinging hotshot Dave Hole doesn't stray far from the basics on his sixth album for Alligator, which ought to please his established fans just fine. After all, he's not striving to bring new depth to high-energy blues-rock; he's happy to just keep the fire burning by whipping off biting, energetic riffs that slash and sting with the nimbleness of Duane Allman and the uncut fury of Elmore James, two of his most obvious influences. Although the majority of the album is self-penned, it's easy to hear strains of Rory Gallagher and Johnny Winter in Hole's attack. A few acoustic tracks — like the languid "Nobody," where the singer sounds a bit like Leon Redbone, and "Get a Job" — ease the sonic aggressiveness, but not for long. Hole's songwriting won't win him any comparisons to Willie Dixon, but who's going to argue when he plows through a simplistic Bo Diddley beat on "Insomniac" with pile-driving force and a vocal similarity to Eric Clapton, evoking Slowhand's "Willie and the Hand Jive." Even on ballads, like the beautifully languorous "Out of My Reach," Hole tosses in a flame-throwing solo reminiscent of David Lindley's work with Jackson Browne. Covers of B.B. King's "You Move Me So" and Jimmy McCracklin's "He Knows the Rules" become frameworks for Hole's fiery pyrotechnics. He's not changing the world, but with Outside Looking In, Dave Hole's just making it a little jumpier. Sure to enliven any party, this is fuel-injected high-quality house-rockin' music that'll blow the roof off any shindig.


"DOWNLOAD"
http://lix.in/88759c
http://lix.in/d1b998

srijeda, 20.09.2006.

BLIND FAITH - [2000 Deluxe Edition]

Blind Faith's lone album is often considered vivid proof as to why superstar collaborations simply don't work but, in retrospect, it does have something to offer. For a number of years, partisans have trumpeted that the album was "not all that bad," and though they may overcompensate with their affection for this messy affair, it does have two songs that are classics of classic rock: "Can't Find My Way Home" and "Presence of the Lord." "Had to Cry Today" is also pretty effective, as is the Buddy Holly cover "Well All Right." Still, for those who subscribe to conventional rock critic doctrine, it may seem a little strange that an album as muddied as Blind Faith was given this lavish 2001 Deluxe Edition, containing basically everything capable of release that the group cut during these sessions. This expanded edition will not change any minds; just on principle, it may even sour some open-minded listeners who have a distaste for meandering, endless jams. They may be right, since the four jams that comprise the nearly hourlong second disc just aren't that interesting, even if fleeting moments work well. The bonus tracks on the first disc are interesting (apart from the winding 15-minute "Acoustic Jam"), including two previously unreleased versions of "Sleeping in the Ground" (the one on Crossroads is missing), an electric version of "Can't Find My Way Home," and "Time Winds." The fact remains that — even with these new tracks and the lavish presentation — this is a muddled album, but it's still a hell of a set for the dedicated, filled with unheard music, good liners, and beautiful packaging. Those who do love the album will not be disappointed by this. [The two bonus tracks that appeared on the initial CD release of Blind Faith are not here, since they apparently were not recordings of the group.]


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http://rapidshare.de/files/33465877/Blind_Faith_-_Deluxe_Edition.rar.html

THE FABULOUS THUNDERBIRDS - Hot Stuff: The Greatest Hits (1992)

The best tracks from the Fabulous Thunderbirds' more rock-oriented years at CBS Associated Records are collected on this single-disc compilation.


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http://rapidshare.de/files/27384218/Thunderbirds_by_Fireball.rar

THE JIMMY ROGERS ALL-STARS - Blues Blues Blues (1998)

Jimmy Rogers was very much a musician's musician — the kind of guitarist that earned accolades from contemporaries and successors alike — yet one who never wins a wide, mainstream audience. Blues Blues Blues was designed as the album that would find Rogers a larger audience, and as such, it has all the bells and whistles of a big-deal blues album. It has the classics ("Trouble No More," "Bright Lights, Big City," "Sweet Home Chicago," "Don't Start Me to Talkin'"), remakes of Rogers standards ("Ludella," "That's All Right"), cult covers (Muddy Waters' "Blow Wind Blow," which kicks off the album on just the right note) and an astounding number of guest appearances, including cameos from (get ready): Jimmy Page and Robert Plant, Keith Richards and Mick Jagger, Lowell Fulson, Johnnie Johnson, Eric Clapton, Taj Mahal, Ted Harvey, Carey Bell, Stephen Stills, and Jeff Healey. That's a lot of star power — too much, as a matter of fact — since they occasionally overwhelm Rogers himself. And it has to be said that Rogers' playing simply isn't as dynamic or overpowering as it once was. Nevertheless, when it's judged alongside other contemporary electric blues albums, Blues Blues Blues holds up very well. Like its peers, such as John Lee Hooker's Point Blank recordings, the record is slick and well-crafted — it may be blues-lite, but it's highly enjoyable. And it's likely that it would have broken Rogers' career wide open, if he had lived to see its release. Knowing that makes Blues Blues Blues a little bittersweet. Yes, it's enjoyable, but it would have been great to hear Rogers really tear it up on his final record.


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http://rapidshare.de/files/32908907/TJRAS.rar.html

utorak, 19.09.2006.

THE FABULOUS THUNDERBIRDS - Tuff Enuff (1986)

Their breakthrough success. The title track and soul covers point the band in a new, more mainstream direction.


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http://rapidshare.de/files/22789209/FblsThndrbrds_TffEnfff.rar

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THE FABULOUS THUNDERBIRDS - Powerful Stuff (1989)

Like the previous Hot Number, Powerful Stuff is a weak collection of watered-down blues-rock that makes too many concessions to the commerical constraints of AOR radio stations. Occasionally, the band works up some energy or Jimmie Vaughan or Kim Wilson turn out a good solo, but for the most part, Powerful Stuff is bland, faceless mainstream rock & roll.


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http://rapidshare.de/files/22795268/FblsThndrbrds_PwrflStff.rar

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THE FABULOUS THUNDERBIRDS - The Essential (1991)

The Fab T-Birds were considered the best bar band to come out of Austin, Texas, in the late '70s. Which is saying a lot, since we're talking about a musical hotbed. Frontman and harmonica player Kim Wilson and Stevie Ray Vaughan's older brother, Jimmie Vaughan, melded together two of Austin's favorite sounds--blues and rock--scoring a major-label deal and eventually becoming the only band to be produced, at separate times, by both Rockpile leaders, Dave Edmunds and Nick Lowe. You won't find the Edmunds stuff here, nor "Tough Enough," their one Top 40 hit. Still, these tracks are taken from the group's first three Chrysalis LPs as well as their Tacoma indie-label debut, the albums most aficionados still consider their best. --Bill Holdship


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http://rapidshare.de/files/28661578/
essentialfabuloustbirdscollection_nongseynyo.blogspot.com_.zip

ponedjeljak, 18.09.2006.

JEFF BECK - Rough And Ready (1971)

Recouping after a car crash and faced with the loss of Rod Stewart and Ron Wood, Jeff Beck redefined what the Jeff Beck Group was about, deciding to tone down the bluesy bombast, adding keyboardist Max Middleton for a jazz edge, then having Bob Tench sing to give it an overblown early-'70s AOR edge. As expected, these two sides are in conflict and Tench can be a little overbearing, but there are moments here that bring out the best in Beck. Namely, these are the times when the group ventures into extended, funk-inflected, reflective jazzy instrumental sections. These are the moments that point the way toward the success of Blow by Blow, yet this remains an unabashed rock record of its time, and it falls prey to many of its era's excesses, particularly lack of focus. Still, there are moments that are as fine as anything Beck played here.


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http://rapidshare.de/files/32600593/048.rar

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JEFF BECK - Wired (1975)

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, "Led Boots," where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused "Come Dancing," which adds an unnamed horn section. While Walden's "Sophie" is overly long and marred by Hammer's arena rock clichés, his "Play With Me" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, "Love Is Green"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, "Head for Backstage Pass," finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's "Blue Wind" features an infectious riff over which Beck and Hammer trade heated salvos. As good as "Blue Wind" is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' "Goodbye Pork Pie Hat." Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.


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http://rapidshare.de/files/32516687/047.rar

"PASSWORD"
_koukos

JEFF BECK - Jeff Beck With The Jan Hammer Group Live (1976)

Jeff Beck toured to promote Wired, backed by a jazz fusion group led by synthesizer player Jan Hammer. This straightforward live souvenir combines songs from Blow by Blow and Wired, plus a few other things, and while it features typically fiery playing from Beck, the backup is a bit too heavy-handed and the occasional vocals (by Hammer and drummer Tony Smith) are embarrassing.


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http://rapidshare.de/files/32637885/50.rar

"PASSWORD"
_koukos

nedjelja, 17.09.2006.

DELBERT McCLINTON - Never Been Rocked Enough (1992)

One of those influential "musician's musician" types, vocalist/harp-player Delbert McClinton was able to call on the likes of Bonnie Raitt, Tom Petty and Melissa Etheridge for support on Never Been Rocked Enough. The results cover the whole checkerboard while remaining vintage McClinton: his harp wails on "Everytime I Roll the Dice"; "Can I Change My Mind" flirts with Motown soul; "Blues as Blues Can Get" defines the confessional blues ballad; "I Used to Worry" and the title track chug into Band/Little Feat territory. The disc also includes the performer's Grammy winning duet with Bonnie Raitt, "Good Man, Good Woman."


"DOWNLOAD"
http://rapidshare.de/files/7688146/Never_Been_Rocked_Enough.rar
http://rapidshare.de/files/7691173/Never_Been_Rocked_Enough.r00
http://rapidshare.de/files/7691932/Never_Been_Rocked_Enough.r01

DELBERT McCLINTON - Honky Tonk And Blues (1994)

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http://rapidshare.de/files/24853864/M005.rar

DELBERT McCLINTON - One Of The Fortunate Few (1997)

Like the first track says, Delbert McClinton is like an old weakness, comin' on strong. McClinton's music is a hybrid of rock, country and blues, though that's much too analytical for this roadhouse. Sung and played thoughout with sass and a knowing grin, this is music that speaks to everyone. And for once the guest artists add just the right amount, neither dominating nor lessening the proceedings.


"DOWNLOAD"
http://rs.dr.ag/y0/MjkyMDh6N3k-d/DMOneOfTheFortunateFew.zip

"PASSWORD"
bluestown.blogspot.com

subota, 16.09.2006.

MARK KERR - One Drink Away From The Blues (2005)

Mark Kerr was born in Tennessee. His early influence in guitar started at 12 years old with his first guitar instructor who was accomplished Jazz musician. Mark honed his skills and entered a guitar competition which gained him a music scholarship to the University of Tennessee.
Not satisfied with one style of music, Mark dedicated himself to become an accomplished guitarist in such genres as Rock, Country, and Blues. Mark also studied music theory at North Western State University. Mark has played with such greats as Percy Sledge and Curtis Mayfield's "Impressions". Mark Kerr is considered by many to be one of the hottest Modern Blues guitarist on the stage today.


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http://rs.dr.ag/y0/Mno2OHl4OTg-d/KerrODAFTBnagi40.rar
http://rs.dr.ag/y0/Mno2ODk5ODI-d/KerrODAFTB2nagi40.rar

"PASSWORD"
bluestown.blogspot.com

JONNY LANG - Lie to Me (1997)

Like his peers Kenny Wayne Shepherd and Chris Duarte, Jonny Lang is a technically gifted blues guitarist, capable of spitting out accomplished licks and riffs at an astonishingly rapid rate. That doesn't necessarily mean the album has much emotional weight — Lang can deliver the style, but not the substance, simply because he still needs to grow as a musician. Lang does boast an impressive array of licks and instrumental technique, but he needs something more to make Lie to Me a substantive record.


"DOWNLOAD"
http://rapidshare.de/files/32323554/Lang_Lie_by_Fireball.rar

JONNY LANG - Smokin' (1995)

Smokin' is a good electric blues album, but it's hard to divorce an assessment of it from the knowledge that singer/guitarist Jonny Lang was a mere 14 years old when he recorded it. Would one consider it such an achievement if the bandleader were twice that age? Probably not. Without Lang's precocity as a draw, the album is a competent work in a hidebound form. The guitar playing is fluid and professional in a style reminiscent of many other players, notably B.B. King. The singing is fine, but unremarkable. The backup band maintains a groove and gives Lang something to play off of. If you saw a band playing like this in a local club, you'd have a good time. And if you could tell that the guitar player was underage, you'd be far more impressed. But then, that's the point, isn't it?


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http://rapidshare.de/files/32323342/Lang_Smokin_by_Fireball.rar

petak, 15.09.2006.

THE WALTER TROUT BAND - Prisoner Of A Dream (1991)

"DOWNLOAD"
http://ifolder.ru/175737

THE WALTER TROUT BAND - Tellin' Stories (1994)

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http://rapidshare.de/files/6543085/fishytales1.rar
http://rapidshare.de/files/6545102/fishytales2.rar
http://rapidshare.de/files/6545213/fishytales3.rar

"PASSWORD"
sonic

RORY GALLAGHER - Etched In Blue (1998)

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http://rapidshare.de/files/32959041/RG-1998-EIB.rar.html

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1998

četvrtak, 14.09.2006.

COCO MONTOYA - Ya Think I'd Know Better (1996)

With his second album Ya Think I'd Know Better, Coco Montoya ditches the guest stars and opts for a menu of pure, unadulterated Montoya. The results are quite impressive, to say the least. For the moment, overlook his somewhat pedestrian vocals and just concentrate on his scintillating guitar work. It's no secret that Montoya cultivated a reputation as one of the finest guitarists of the '80s and '90s through his session work, but even those familiar with his gutsy, electrifying style will be taken aback by the stylistic variety and musical depth on Ya Think I'd Know Better. Montoya even pulls skunk-hot solos out of the most predictable blues-rockers, while his smoldering solos on slower numbers like "Dyin' Flu" are passionate and moving. Best of all, Coco puts down his electric for acoustic romps like the earthy "Hiding Place." In short, Ya Think I'd Know Better answers the question whether Coco Montoya is a vital bluesman for the '90s, and the answer is an emphatic "yes!"


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http://rapidshare.de/files/29745151/CcMntya_YaThnkIdKnwBttr.rar

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COCO MONTOYA - Suspicion (2000)

Montoya's first solo disc for Alligator finds the former Albert Collins sideman following in the doorsteps of his "godfather" with an album simply top-heavy with fiery guitar work and comfortable vocals. The production from Jim Gaines is as fat as any modern-day blues record has a right to be, and Montoya does not disappoint at any moment along the ride. He tips his hat to his old employer on Collins' "Get Your Business Straight," but the stronger tunes here come from Coco's own pen, like the closing "Nothing But Love." A strong and solid effort that also sounds great in the car when you're driving a little faster than the speed limit allows.


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http://rapidshare.de/files/29618798/CcMntya_Sspcn.rar

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COCO MONTOYA - Can't Look Back (2002)

Coco Montoya's second album for Alligator records finds the guitarist moving away from the sound of his mentor, Albert Collins — although there certainly are licks throughout the album clearly inspired by "the Iceman," particularly when the tempo slows down — and toward big rock productions. This album sounds huge: The rhythm section provides a gigantic foundation, sprawling from speaker to speaker, then the keyboards and backing vocals are added, with guitars pushed to the forefront. On top of that, Montoya is demonstrating a greater inclination to soul and R&B than ever before, choosing to cover Holland-Dozier-Holland (a terrific take on "Something About You"), along with other tuneful soul tunes, and writing it that vein as well. This suits him well, since not only his full-throated vocals feel at ease with these melodies, he's turning out tasteful, melodic solos that punctuate and further the tune, instead of just being virtuosic showcases. The production may still be too big for some tastes, but look beyond that and hear what Montoya is doing with the music, and it becomes clear this is a nice step forward.


"DOWNLOAD"
http://rapidshare.de/files/28026150/CcMntya_CntLkBk.rar

"PASSWORD"
eadgbe

srijeda, 13.09.2006.

STEVIE RAY VAUGHAN - Live (1979. - 1980.)

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http://rapidshare.de/files/31178104/SRV5lv.part1.rar.html
http://rapidshare.de/files/31186787/SRV5lv.part2.rar.html
http://rapidshare.de/files/31196369/SRV5lv.part3.rar.html
http://rapidshare.de/files/31205894/SRV5lv.part4.rar.html
http://rapidshare.de/files/31214972/SRV5lv.part5.rar.html
http://rapidshare.de/files/31226467/SRV5lv.part6.rar.html
http://rapidshare.de/files/31220685/SRV5lv.part7.rar.html

"PASSWORD"
purgatory

THE ERIC STECKEL BAND - High Action (2004)

Originally known around the Lehigh Valley, PA region for his energetic guest appearances with many of the area's finest performers, Eric's early musical influences inspired him to pick up his first Fender Stratocaster at the age of nine.
There was no looking back.......

Eric's love of the Blues and natural command of the scene enabled him to eventually share the stage with many nationally known artists including Bob Margolin, Debbie Davies, James Armstrong, Steve Guyger, Kenny Neal, Chris Beard, Tommy Castro, Joe Kubek, Solomon Burke and Hubert Sumlin.
In 2004, Eric joined John Mayall and The Bluesbreakers on their Scandinavian Tour as the "youngest person ever on stage with the Bluesbreakers".

When I saw Eric live I had to keep looking to make sure it was him playing! I had to tell him that having seen SRV in person the sounds and the feelings evoked were the same! This is the CD to buy if you like blues guitar at all and if you would like to be a part of future history.


"DOWNLOAD"
http://rapidshare.de/files/32350756/The_Eric_Steckel_Band_-_High_Action_2004_Blues.rar

STEVIE RAY VAUGHAN AND DOUBLE TROUBLE - Live At Montreaux '82 (1982)

Stevie Ray Vaughan's frenetic Montreux performance is captured here on the guitarist's earliest available live album to feature Double Trouble. Liner note contributor David Bowie was in attendance at the 1982 show, and asked Vaughan that night to be his guitarist for the Let's Dance album and tour. Already an established artist on the Southern blues circuit, Vaughan was initially booed at this '82 appearance as part of a bill featuring "acoustic blues artists." He fittingly opens with Freddie King's "Hide Away" and then plays like a man possessed on "Rude Mood" and "Pride And Joy" (both soon to be released on 1984's Could't Stand The Weather). Vaughan absolutely sears the listener on "Love Struck Baby," and then slows the pace on the equally blistering "Dirty Pool." This set demonstrates that Vaughan not only wrote great blues songs, but brought them to another level in a live setting.


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http://rapidshare.de/files/21072927/SRV_LvAtMntrx82.rar

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eadgbe

utorak, 12.09.2006.

TONY JOE WHITE - Uncovered (2006)

Swamp Fox indeed. At this juncture, Tony Joe White should be called the Swamp Monster because on Uncovered he takes it to the limit. There are seven new cuts on Uncovered, and reworked versions of "Rainy Night in Georgia," "Taking the Midnight Train," and "Did Somebody Make a Fool Out of You." White has been making records for a long time, though not many in the U.S. noticed after the late '70s. Since late in the last century, White has been kicking them out from his home studio in Nash Vegas. The sound is trademark, slow-burning, and growling. It's sultry as a late August night in the bayou. There are also, as is becoming de rigueur for legends these days, some surprise guest appearances. White has used them before and recently, on his killer Heroines set, where he played and sang with Shelby Lynne, Lucinda Williams, and Emmylou Harris. This time out he's got some great partners. He cut "Not One Bad Thought," with Mark Knopfler. The skittering interplay between them is worth the disc price to be sure. The pair apparently got together around a campfire with some food and beer and played the tune there first; they cut it in the studio shortly thereafter. Michael McDonald -- yep, that one -- guests on piano and vocals on "Don't Look Down," and it works like a charm, surprisingly. But the biggest news here is "Shakin' the Blues" with the late Waylon Jennings. It's one of the last performances he ever wrote or laid down on tape, and the pair feel like the old friends they are. White can sing or play with anybody, which is why his music translated so well to other performers -- primarily soul and R&B artists -- but when collaborating, that guitar and slow, drawling menace are so sinister, there's no mistake about whose tune it is. Only on "Shakin the Blues" does that feel different, because of the sheer strength of Jennings' enigma. On other tracks, such as "Louvelda," J.J. Cale contributed from Oklahoma, and wrote and sang two new verses for the song. Eric Clapton recorded his additions to "Did Somebody Make a Fool Out of You" from London and sent them -- ahhhh -- via digital technology. The whispering, funky blues of "Rebellion" when White lets it rip is another high point, and his band is perfectly suited to his pace and tension dynamic. "Rainy Night in Georgia," suffers not a bit from having been re-recorded. It's still one of the most beautiful songs to come out of the Deep South. The disc ends on an evil note with "Keeper of the Fire," with its fuzzed-out blues simmer and soulful backing vocals by Odessa Settles, and a horn section featuring Wayne Jackson on trumpet. White never needs to raise his voice because the power in its nearly whispered restraint has all the power of a slow-burning fire that becomes a blaze. For those who didn't already know, White is back -- with a vengeance.Review by Thom Jurek(allmusic.com)

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http://rapidshare.de/files/32588291/tonyjoe.rar

OR

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http://rapidshare.de/files/32645698/TONYUncovered.rar

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zinhof

J.J.CALE - Collected ( 3 CD)

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http://rapidshare.de/files/31040824/kale.rar

CHRIS REA - New Light Through Old Windows (1988)

New Light Through Old Windows is a significant baker's dozen of Chris Rea's early material, leading up to but not including work from his Road to Hell album. Rea's stature was always larger in the United Kingdom than in the U.S., with his only American Top 40 single coming from the newer version of "Fool (If You Think It's Over)," a re-release of the same song which failed to garner any attention the first time around. Rea's soothing voice is indeed attractive, and the songs that are included on this set are wisely chosen examples of his smooth style. "I Can Hear Your Heartbeat" from Water Sign and "Stainsby Girls" off Shamrock Diaries are two of the better tracks that showcase his slick, demure-like manner. "On the Beach," from his best-selling album of the same name, and his highest charted single in the U.K., the perky "Let's Dance," represent a lean toward a more commercial sound. "Ace of Hearts," "Josephine," and "Candles" all focus on Rea's softer side, and although the writing is average, his emotive singing carries these songs through and rescues them from being clichéd singer/songwriter material. After its release, New Light Through Old Windows peaked at number five in the U.K., proving that this compendium can be a substitute for most of Chris Rea's early work (with the exception of Water Sign, On the Beach, and Shamrock Diaries, which stand up well on their own). True Rea enthusiasts will notice the omission of a few songs that garnered some attention, such as "Diamonds," "Dancing Girls," and "Loving You," but New Light still holds up as an excellent starting point for those who want to investigate the high points of his first ten years. For those who want more, The Best of Chris Rea digs a little deeper.


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http://rapidshare.de/files/32228866/creaNLTOW.rar

"PASSWORD"
zinhof

ponedjeljak, 11.09.2006.

ELMORE JAMES - King Of The Slide Guitar: The Complete Chief & Fire Sessions [Import Box set]

Mississippi born and raised, Elmore James learned his trade in the Delta in the 1930s, emerging in the early 1950s as the godfather of modern electric guitar, and no guitarist who ever plugged an instrument into an amp is free of his influence. Not only did he create the template for electric slide players everywhere, he also reworked his amps until they delivered a raw, overdriven sound that became endemic in pop and rock music a decade later, and no punk band ever sounded more ragged or passionate than Elmore James in full stride. James recorded for some dozen labels during his short recording career (he died in 1963 of a heart attack at the age of 45), and he is one of those rare artists whose recorded output was seamless from the first to the last. His first recording, one of many versions he would do of Robert Johnson's "I Believe I'll Dust My Broom," was made for Lillian McMurray's Trumpet label in 1951, and the raw power, swooping slide runs and impassioned singing that track displayed were repeated time and time again on his subsequent releases. This wonderful three-disc set includes that first version of "Broom" along with a half-dozen other versions (and a half-dozen more under different titles) that James recorded for Trumpet, Mel London's Chief Records, and Bobby Robinson's Fire label between 1951 and 1963. But James wasn't a one-trick pony, and aside from recycling killer version after killer version of "Dust My Broom," this set also contains his classic takes on the majestic "It Hurts Me Too," "The Sky Is Crying," "Rollin' and Tumblin'," and his rewrite of another Johnson standard, "Standing at the Crossroads." Check out the distortion, dirt and tone of his guitar on little known tracks like "Got to Move" and "Find My Kind of Woman," or the ragged yet elegant drive of "Can't Stop Loving My Baby" or "Elmore Jumps Up (Up Jumped Elmore)," to hear why he remains a guitarist's guitarist to this day. And don't forget James as a vocalist, either. He sang like his life depended on it every second, which is why there is literally no Elmore James collection that won't deliver the goods. This box set is no exception.


"DOWNLOAD"
http://www.megaupload.com/?d=8IZ1WZR3
http://www.megaupload.com/?d=7SAY17N1
http://www.megaupload.com/?d=K5JX4BZI

ETTA JAMES - The Right Time (1992)

A myriad of big names came together for the making of this album. Jerry Wexler produced it, sidemen include Steve Cropper and Lucky Peterson — but the final product is a disappointment. It's just too slickly rendered to come close to the knockout punch of her vintage Chess material.


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http://rapidshare.de/files/7502411/EJ-TRT.1.rar.html
http://rapidshare.de/files/7504178/EJ-TRT.2.rar.html
http://rapidshare.de/files/7505358/EJ-TRT.3.rar.html

"PASSWORD"
georgebukki

ETTA JAMES - Let's Roll (2003)

These days, the blues market often functions as a sanctuary for R&B artists who still provide soul and/or funk as we knew it in the '60s and '70s. Sounding a lot like Sam & Dave or Wilson Pickett won't get you on urban contemporary radio — actually, it will probably keep you off urban radio — but it might result in a gig at the Chicago Blues Festival or a contract with Alligator Records. For Etta James, refusing to embrace urban contemporary-style R&B has meant two things: (1) zero airplay on modern black stations, and (2) an enthusiastic following in the blues market. James has always been more of an R&B singer than a blues singer, but because she's so rootsy by today's standards, this 2003 release will get much of its support from blues fans. James, who turned 65 on January 25, 2003, is in fine form throughout the CD. Over the years, James has worked with a variety of producers, but she produced Let's Roll herself — and the result is one of her most rock-minded releases. A few of the tracks have a blues-rock outlook, including "The Blues Is My Business" and a gutsy performance of Billy Beck's early-'50s hit "Stacked Deck." But much of the time, James favors a rock-influenced approach to Southern soul. In fact, many of the selections recall Ike & Tina Turner's '60s and early-'70s output, especially "Strongest Weakness," "Lie No Better," and "Somebody to Love" (not to be confused with the psychedelic Jefferson Airplane classic). James' longtime fans will be happy to know that she is very much on top of her game throughout this excellent CD.


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http://rapidshare.de/files/8213511/EJ-Let_sRoll.1.rar.html
http://rapidshare.de/files/8236498/EJ-Let_sRoll.2.rar.html
http://rapidshare.de/files/8238586/EJ-Let_sRoll.3.rar.html

"PASSWORD"
georgebukki

nedjelja, 10.09.2006.

SONNY LANDRETH - Outward Bound (1992)

Sonny Landreth is the Louisiana-based slide-guitar master known for his work with John Hiatt and B.C.'s Sue Medley (both make backup vocal appearances here). Like fellow ace Ry Cooder, Landreth's playing sizzles and slashes on his debut solo outing Outward Bound without idle wanking. There's lots of space where what isn't played is just as important as what is. "Back to Bayou Teche" echoes the performer's early days backing some of Louisiana's best known Cajun musicians; aboriginal rhythms grace "Sacred Ground"; commercial pop meets Southern boogie on "New Landlord"; Landreth borrows a lick or two from buddy Hiatt for "Common-Law Love."


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http://rapidshare.de/files/30685598/SL_OB.rar.html

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holadriho

SONNY LANDRETH - Down In Louisiana (1993)

This is music from the Saturday night dances in Louisiana; the hot and sweaty have a good time dancing, drinking, and looking at all the people. Do not look for the Royal Albert Hall production on this CD, as on his stunning South of I-10 with its myriad "guest artists." The feel for this music is shown by someone who grew up with it. Listen to the respect and feeling he gives to Clifton Chenier's "If I Ever Get Lucky." Try to keep your body and feet from bouncing to the beat of "Sugar Cane" or "Little Linda." Doesn't your eye start to look around for a dance partner, even though you're in your living room? There is solid playing throughout this CD even though the sound is a bit thin at times and the big-name guests are nowhere to be found. It is a solid effort that spans the musical boundaries of all of Louisiana. Cajun, zydeco, blues, and country are all blended together so they are no longer confining, but a homogenous mix. A solid effort.


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http://rapidshare.de/files/30691410/SL_DiL.rar.html

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holadriho

SONNY LANDRETH - The Road We're On (2003)

Following a few years after Levee Town, an album tightly focused on a specific place and time, Landreth dedicates The Road We're On to the more intangible magic of the blues. The music this time scans a vast panorama, from the Texas shuffle of "All About You" and zydeco pulse of "Gone Pecan" through the tub-thump beat of some Bayou dive on "Juke Box Mamma." Aside from a couple of cuts on which he plays standard guitar, Landreth fills this album with wizardly slide work: A shimmering lick at the end of "A World Away" provides the most gorgeous sonic moment, though his extended jam on the environmental call to arms "Natural World" sustains a high level of intensity through several choruses. On most of these tracks Landreth performs in a raw trio setting, almost all the time recording live; on "Hell at Home" he even keeps the scratch vocal, rather than overdub a fresh version, because the four-beat groove, reminiscent of "Walking Blues" on Paul Butterfield's East-West, is so in-the-pocket. With more focus on the playing and less on studio polish than he's shown in years, Landreth affirms his mastery in all the feels of The Road We're On and, more importantly, reminds listeners that bottomless power still lives in the body of the blues.


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http://rapidshare.de/files/30689728/SL_TRWO.rar.html

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holadriho

subota, 09.09.2006.

THE 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.


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http://rapidshare.de/files/25061962/Healey_Hell_by_Fireball.rar

THE JEFF HEALEY BAND - Feel This (1992)

Third time up for sightless guitar wunderkid Jeff Healey and gang; Feel This offers the power trio's meatiest and most satisfying outing. JHB's brand of roadhouse rock can be somewhat bland on disc; here the group captures much more of its trademark live intensity than in the past. The unobtrusive addition of keyboards adds a more expansive dimension to several tracks. Boogie fans will want to check out the ZZ Top-like "Cruel Little Number"; blues-rockers will come away satisfied with the likes of "House That Love Built." Hip-hop connoisseurs, on the other hand, will likely want to avoid JHB's rap spoof on "If You Can't Feel Anything Else."


"DOWNLOAD"
http://d.turboupload.com/de/757222/vwraw2plhw.html

THE JEFF HEALEY BAND - Cover To Cover (1995)

Jeff Healey's collection of cover songs is fitfully entertaining, but his choice of material is predictable and when he does take a chance, such as on Stealer's Wheel's "Stuck in the Middle with You," he spends too much time trying to make it fit into his trademark stomping blues-rock style.


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http://rapidshare.de/files/25060073/Healey_Cover_by_Fireball.rar

petak, 08.09.2006.

ROBIN TROWER - Another Days Blues (2005)

British guitarist Robin Trower re-enters the fray with a solid, electric, British blues record. Another Days Blues features longtime drummer Reg Isidore, vocalist Davey Pattison (who sounds an awful lot like the late James Dewar), organist Nicky Brown, and bassist Dave Bronze, as well as a couple of ringers like keyboardist/bassist Paul Page, drummer Pete Thompson, and vocalist Hazel Fernandez. But the real story is the playing. Trower structured the sound and feel of this recording to be juxtaposed against albums like Twice Removed from Yesterday and Bridge of Sighs. While all the tracks are blues cuts, the silvery liquid darkness of his guitar and the background atmospherics stretch this beyond the usual Brit blues cage. His playing is better than ever — a listen to the tasteful, slow yet biting "Someday Blues," the steamy roll in "21st Century Blues" or the gritty, punch-drunk fervor of "Next In Line," or the sheer wah-wah Hendrixian whomp of "Go My Way" is all the evidence one needs to know this is the best Trower recording in a dog's age — or even two. Even the ballads such as "Shining Through," or the dreamy, psychedelic haze of the album's closer "This Blue Love," are shot through with teeth and taste. Highly recommended.


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http://rapidshare.de/files/31476456/Robin_Trower_-_Another_Days_Blues.rar.html

JONNY LANG – Turn Around (Advance 2006)

TURN AROUND is a wholly appropriate title for Jonny Lang's 2006 album, since it marks a significant change in direction as the young blues singer/guitarist's first full-fledged Christian outing. Having embraced spirituality after his hard-living days as a child prodigy performer, the North Dakota-raised Lang leans strongly toward soul and gospel on this record, as evidenced on the passionate "Anything's Possible," a lightly funky tune that finds his searing six-string lines matching his dynamic and expressive vocals. Along with writing assistance from CCM luminary Steven Curtis Chapman ("My Love Remains"), TURN AROUND also features contributions by singer Michael McDonald, mandolin player Sam Bush, and violinist Sara Watkins (Nickel Creek), making the album a faith-based coming-out party for Lang.


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http://rapidshare.de/files/34786092/JONNYAround.rar

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OST - Road House: (The Orginal Motion Picture Soundtrack)

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http://www.megaupload.com/?d=068RP0KC

četvrtak, 07.09.2006.

TEN YEARS AFTER - Alvin Lee & Company (1972)

After Ten Years After found commercial success with a new record label, Columbia, and the hit single "I'd Love to Change the World," the band's former label released this collection of outtakes from earlier recording sessions. One listen shows why these tracks were not included on album releases at the time of their recording.


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http://rapidshare.de/files/31225727/
Alvin_Lee___Company__1972_.rar.html

TEN YEARS AFTER - Recorded Live (1973)

This two-record set is okay, in small doses. Ten Years After were always rooted in the blues, and the highlights here, such as "Good Morning Little Schoolgirl" and "Slow Blues In C" show they hadn't changed. While this set is competent enough, there just isn't enough of the excitement you would expect coming from the band here. You could say that they could do no more and no less, and that proved to be the conundrum for Ten Years After. With Recorded Live they had become predictable, and there wasn't really anywhere left for them to go.


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http://rapidshare.de/files/31267305/Ten_Years_After_-_Recorded_Live.rar.html

ALVIN LEE & TEN YEARS LATER - Ride On (1979)

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http://rapidshare.de/files/31265929/Alvin_Lee___Ten_Years_Later_-_Ride_on.rar.html

srijeda, 06.09.2006.

ALVIN LEE - In Tennessee (2004)

Although technically he never left, Alvin Lee is back. Recorded in 2003 at original Elvis guitarist Scotty Moore's Nashville home studio, with Moore as the mastermind behind the sessions (although due to ear problems he only plays on two tracks), along with Presley's drummer D.J.Fontana on the skins, this would be a listenable effort regardless of who was singing. With ex-Ten Years After's Alvin Lee playing guitar and taking the lead vocals it's a powerfully compelling disc that approximates many of the Sun label greats. Recorded predominantly live in the studio and sounding it, these songs—mostly originals written expressly for the sessions and an unexpectedly rip-snorting run through of the TYA chestnut "I'm Going Home"—find Lee at his most enthusiastic. He's clearly having a blast returning to his roots with some of the original architects of the sound backing him up, and that energy jumps out of the grooves. The songs aren't particularly memorable ("I'm Gonna Make It" is little more than a rewrite of "Great Balls of Fire," "How Do You Do It" sounds like any number of Chuck Berry tunes) but Lee is singing harder and riffing with more fire than he has in years. With blistering support from a band that can play this stuff in their sleep, Lee is in full flight. Of particular note is Pete Pritchard's rollicking double bass and Willie Rainsford's jaunty piano, both of whom are veterans who add extra fuel to the proceedings. Things slow down for the bluesy country of "Getting Nowhere Fast," an acoustic based piece that gives the group a chance to show their chops is a less frenzied setting. The audio and production is clean and crisp, with each instrument sounding warm and defined. It meets contemporary standards but retains the retro feel of Sun studios, a tricky balancing act pulled off with class and style. The album is highly recommended for all rockabilly fans and even those who felt the guitarist's work with Ten Years After or solo was too flashy and pretentious. This is a terrific return to form, arguably Lee's best and certainly most passionate solo album ever, as well as a sizzling performance throughout. Crank it up and get gone.


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ERIC CLAPTON - No One Else (LIVE, 1983)

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http://rapidshare.de/files/30780944/ec_noe1.rar
http://rapidshare.de/files/30782117/ec_noe2.rar

JANIVA MAGNESS - Bury Him At The Crossroads (2004)

Magness, who won a 2004 W.C. Handy Award as Best Contemporary Blues Female Artist, seems cut from the same mold as singers like Lou Ann Barton — there's a lovely rasp and conviction in her singing that brings sometimes mundane material alive. Working with a small band this time around, she can focus more on her singing, rather than becoming lost in the arrangements, and, in fact, it's the acoustic material here that serves her best, such as the interpretation of J.B. Lenoir's "The Whale Has Swallowed Me." At times the ensemble (which features Colin Linden on guitar) sounds a bit like a very professional bar band, but Magness has the class to cut through that and take it all a notch higher. The title track — presumably a reference to Robert Johnson — is a beautiful piece of work, haunting in its simplicity, and "The Soul of a Man" shows that the line between blues and soul is blurred indeed (and you could add gospel into that mix). It would be good to hear her with more classic material — a lot of the songs here are good, but not completely memorable. However, there's no doubt that she deserves her award, and her future looks justifiably rosy.


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http://rapidshare.de/files/31691029/JaivMagnez.rar

utorak, 05.09.2006.

BERNARD ALLISON - Energized: Live In Europe (2006)

This double-CD set, also available as a DVD, is a perfectly titled document of a single Bernard Allison show recorded in Gottingen, Germany, on October 20, 2005. The band is tight and Allison is charged up, playing his rough-and-tough blues-rock like he invented it. The set is his usual mix of originals and covers, predominantly of his father Luther's songs, four of which appear here, with a lot of jamming in between. But even though the sound is excellent and the playing tight and spontaneous, the performances suffer from the tunes being stretched too thin. This is less of a problem on the DVD, as the visuals compensate for the extended solos that don't always equate quantity with quality. But as solid and rugged a guitarist as Allison is, he doesn't have enough creativity as a string-bender or vocalist to justify the length of these tracks. The band is muscular and more than capable, but lacks the subtlety to bring anything other than meat-and-potatoes playing to the table. Keyboardist Mike Vlahakis, originally from Luther Allison's band, is particularly impressive as he shifts from electric piano to organ seamlessly, and fills in plenty of holes. The 11-minute instrumental slide showcase "The Walk," which opens disc two, is a good example of where too much of a good thing, in this case a standard Bo Diddley beat enlivened by Allison's flame-thrower slide playing, yields diminishing returns. Certainly if you were there, this would have been an exciting showcase for Allison's slide skills, but having to endure it on an album is an exercise in stamina. The guitarist is also fond of his wah-wah pedal, a dated sound that tends to make his solos, especially on disc two, more monotonous than they are. Still, there is plenty to like here, especially if you have experienced Allison, or even his dad, in concert. The younger Allison earns every bit of his paycheck as he charges through a soulful, rock-oriented format best exemplified by the venomous "Snake Bit Again" and the stirring Luther ballad "A Change Must Come." It's certainly all the live Allison you will ever need, at least of the younger version, but those who want to get the most enjoyment from this show should spring for the DVD, where you can watch every sweat-soaked minute from the front row.


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http://rapidshare.de/files/31404178/Disc1Energized.rar
http://rapidshare.de/files/31408264/Disc2Energized.rar

JOHN MAYALL'S BLUESBREAKERS & WALTER TROUT - Blues Breaker (2000)

Walter Trout (born 1951 in Ocean City, New Jersey) is a blues guitarist and front man of Walter Trout and the Radicals. Trout's career began on the Jersey coast scene of the late 60's and early 70's that jump started the career of artists like Bruce Springsteen. He then decided to relocate to Los Angeles where he became a sideman for such artists as Percy Mayfield and Deacon Jones. He also worked in the bands of John Lee Hooker and Joe Tex. In 1981 be became the guitarist for blues rock band Canned Heat. This led to an invitation to play in John Mayall's Bluesbreakers where he shared the stage with guitarist Coco Montoya. He left the Bluesbreakers in 1989 and formed the Walter Trout Band which developed a successful following in Europe.


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http://rapidshare.de/files/31599491/WALTERBreaker.rar

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zinhof

RORY BLOCK - Best Blues And Originals (1987)

Best Blues & Originals collects the highlights from Rory Block's '80s albums for Rounder, saving a bunch of fine tracks from otherwise spotty releases. It's a nice overview and, consequently, a solid introduction to her catalog.


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http://rapidshare.de/files/31653513/RrybLokk.part1.rar
http://rapidshare.de/files/31656463/RrybLokk.part2.rar

ponedjeljak, 04.09.2006.

STEVE EARLE - Exit 0 (1987)

Exit 0 essentially follows the same formula as Guitar Town, and while it isn't as uniformly excellent as his debut, Steve Earle has come up with a couple of his best songs, including the yearning "I Ain't Ever Satisfied." The major difference between the two albums is the fact that Earle insisted on working with his road band the Dukes, which gives Exit 0 a tougher sound. If the material had matched the sound of the album, the record would have surpassed Guitar Town, but since the songs are uneven, it's just a respectable follow-up.


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http://rapidshare.de/files/31362858/1987_-_Exit_O.rar

STEVE EARLE - Copperhead Road (1988)

Steve Earle always played hard country music with the swagger of a rock & roll star, so it made sense that he would take a detour out of Nashville, both literally and figuratively. On Copperhead Road, Earle opted to record in Memphis and veered away from mainstream country in several directions at once — into potent hard rock (most notably on the superb title song, which became his first rock radio hit), as well as Irish folk (with the Pogues backing Earle on "Johnny Come Lately") and even bluegrass (virtuoso acoustic pickers Sam Bush and Jerry Douglas sit in on "Nothing But a Child"). If Copperhead Road lacked a bit of the tight focus of his acclaimed debut, Guitar Town, it had energy, firepower, and smart-ass humor to spare (along with Earle's always-superb songs), and it made clear that Steve Earle had the stuff to be a contender in rock & roll, if that were what he wanted.


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http://rapidshare.de/files/31466541/1988_-_Copperhead_Road.rar

STEVE EARLE - The Hard Way (1990)

"I defend The Hard Way to the death, because I almost died in the process of making it," Steve Earle told a reporter in 2000, and he wasn't just being melodramatic. Earle's well-documented addiction to heroin and cocaine was spiraling out of control in 1990 while he was holed up in Memphis recording The Hard Way. And while his 1988 album Copperhead Road showed him moving away from country and more toward hard rock — and earned him a minor crossover hit in the process — his record label was hoping for a major commercial breakthrough so that his sales might begin to match his good press. The resulting album is a bit of a mess, often sloppy and overbearing, where his country sides had been dynamic and precise, and Earle's voice was starting to show the strain of his lifestyle. Even his songwriting, usually peerless, wasn't at its best here, with "When the People Find Out," "Regular Guy," and "Justice in Ontario" sounding like they were tossed together fast to round out the album (the latter sounds like a transparent stroke to his Canadian fan base, where Copperhead Road went multi-platinum). But even his weakest studio album has plenty to recommend it, especially the swaggering title cut, the all-too-biographical "Have Mercy" and "West Nashville Boogie," and "Billy Austin," a deeply moving ballad about a man on death row. The Hard Way isn't much of an album by Earle's standards, but it's still got enough heart, soul, and fire to prove Earle couldn't throw away his talent, no matter how hard he tried.


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http://rapidshare.de/files/31370731/1990_-_The_Hard_Way.rar

nedjelja, 03.09.2006.

STEVE EARLE - Shut Up And Die Like An Aviator (1991)

Released on MCA in 1991, Shut Up and Die Like an Aviator was recorded live in Ontario, Canada, in October of 1990. The live hits collection was the last for Earle on MCA, as the songwriter was released after his contract with the label ran out despite having issued a string of critically acclaimed, Grammy-nominated records. Shortly afterward, the singer's addictions got the best of him and he ended up in prison for a while and out of the music scene completely for four years. So this live collection could be considered the last of Earle's pre-prison and personally dark years. Culled from the track lists of the songwriter's seminal MCA catalog, which includes monumental releases like Guitar Town and Copperhead Road, the songs on this live effort are unrepentant, almost effusive odes to hard-living, blue-collar American life, rich with their perfectly drawn characters and tragic narratives. Along with his band the Dukes, Earle blasts through country-rock (in the greatest sense of the term) anthems and heartbreakers like "Devil's Right Hand" and "Copperhead Road." A couple upbeat rockabilly numbers like "Snake Oil," twangy ballads like "Billy Austin," and nice covers (most notably the Jagger/Richards-penned "Dead Flowers") get tossed in to add to the live show's dynamic, making the whole thing one big rootsy riot that's just about as good as contemporary American music can get.


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http://rapidshare.de/files/31378025/1991_-_Shut_Up_And_Die_Like_An_Aviator__Live_.rar

STEVE EARLE - Train a Comin' (1995)

Released in 1995, Train a Comin' signaled Steve Earle's final declaration of independence from the Nashville assembly line. At last liberated from his personal demons, Earle found himself exiled from mainstream Nashville. So instead of releasing an album designed to appeal to honchos in Nashville or L.A., Earle released an album that appealed first and foremost to Earle. The result was a stupendous album, a foreshadowing of the renaissance of his career. The disc has the air of a "lost album" that somehow found its way to market. A crack band of Nashville string kings (Peter Rowan, Norman Blake, and Roy Huskey, Jr., with Emmylou Harris singing harmony) tears into quasi-legendary tunes that had been lying around Earle's repertoire, neglected for years. Earle's narrative genius is showcased on three numbers — "The Mercenary Song," the Civil War ballad "Ben McCulloch," and the classic outlaw tune "Tom Ames' Prayer," all of which sound as if they were branded into leather rather than written on paper. "Tom Ames' Prayer" especially takes the breath away with its killer final stanza: "And then he cocked both his pistols/Spit in the dirt/And walked out in the street." The album is not all a history lesson, of course. The semi-autobiographical "South Nashville Blues" alarms with its deadpan musings from his self-described two-year "vacation in the ghetto," while "Goodbye" ranks with "My Old Friend the Blues" as one of his teariest weepers. Train a Comin' has proven to be just that — the locomotive that Earle drove through some dark tunnels, pulling behind it a boxcar or two of the finest music of his career.


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http://rapidshare.de/files/31674289/1995_-_Train_a_Comin_.rar

STEVE EARLE - El Corazon (1997)

I Feel Alright capped off Steve Earle's comeback, restoring his position as one of the most critically acclaimed roots songwriters of the '80s and '90s. El Corazón, the follow-up to I Feel Alright, doesn't stray far from its predecessor's formula, offering a blend of introspective folk, gritty country, and piledriving rock & roll. If anything, Earle sounds looser than he did before, tearing into these songs with pure passion. He may be surrounded by guest artists — Emmylou Harris offers harmonies on "Taneytown," the Fairfield Four are on "Telephone Road," the Del McCoury Band supports him on "I Still Carry You Around," and the Supersuckers kick him in the ass on "N.Y.C." — but he remains the focal point of the music. While El Corazón isn't quite as consistent as I Feel Alright, it nevertheless confirms Earle's status as one of the finest roots songwriters of the '80s and '90s.


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http://rapidshare.de/files/23927520/thecsett.rar.html

subota, 02.09.2006.

THE BLACK CROWES – The Lost Crowes (2006)

The Lost Crowes is right -- only hardcore fans will know of the music on this two-CD set, and even then, chances are they haven't heard it. And it's not like this is an odds-n-sods collection of outtakes and B-sides, either: The Lost Crowes contains two complete unreleased albums called Tall and Band, recorded in 1993 and 1997, respectively, but in the vaults until now. They're interesting companion pieces, too, since they not only have different feels but were shelved for different reasons. Tall metamorphosed into the sprawling 1994 masterpiece Amorica, with a handful of its songs popping up elsewhere, including 1996's Three Snakes and One Charm; Band was simply left behind as the group moved on to By Your Side. Not surprisingly, Tall sounds like a rough draft of Amorica; a lot of the ideas are in place, along with such Crowes classics as "A Conspiracy," "Wiser Time," "Nonfiction," and "Cursed Diamond," but the sound isn't as full-bodied, nor is the band as wooly. This means Tall isn't as rich or robust as Amorica, but it's sure interesting to hear the roots of that album, and the previously unheard songs from these sessions -- such as the dirty funk of "Tied Up and Swallowed," the lazy hillbilly roll of "Thunderstorm 6:54," and the sweet acoustic "Tornado" -- fit into the cross-stitched fabric of Amorica quite well. There's a seed of a great album in Tall and the Crowes found that seed and made it grow for Amorica; this may not be as good -- and it's understandable why it was reworked -- but it's certainly worthwhile for any fan to hear.
If Tall did indeed need some reworking before it was released to the general public, it's a mystery why the band didn't release Band as is in 1997. Sonically falling halfway between the ragged Amorica and the hard-edged Three Snakes, this is a great Crowes album showcasing their skills as songwriters and as a loose yet muscular jam band. On the fringes of this album there is some country and the band does stretch out to improvise, but it never feels aimless, because there is an immediacy to the performances and because there are some terrific songs that center the album in a way that was lacking on Three Snakes. There is a hard-driving R&B and soul vibe here, ranging from the churning down-home funk of "Another Roadside Tragedy" and "Never Forget This Song" to the relaxed Faces-styled groove of "If It Ever Stops Raining," which is complemented by the few country flourishes, such as the mandolins on "Lifevest" or the high lonesome fiddles of "My Heart's Killing Me." This is the Black Crowes at their best, turning out classicist rock that flows so natural and easy it feels like these songs have always existed. It would have been great to have Band out in 1997, but having it arrive about ten years later only emphasizes how classic the Crowes sound at their peak, since it doesn't sound like a revival: it sounds like part of a tradition. And thankfully that tradition now contains these two albums, which do rank among the more interesting (Tall) and best (Band) records they've ever done.Review by Stephen Thomas Erlewine(allmusic.com)


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BLUES BROTHERS - Best Of The Blues Brothers (1981)

A solid collection, this includes the hits "Rubber Biscuit," "Soul Man," and "Gimme Some Lovin'," plus music from The Blues Brothers movie soundtrack.Review by All Music Guide


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http://rapidshare.de/files/31403843/3245_bb_bobb_alexun.rar

petak, 01.09.2006.

SMOKIN' JOE KUBEK BAND - Show Me The Money (2004)

SHOW ME THE MONEY is a worthy successor to Joe and Bnois’ acclaimed Blind Pig debut, ROADHOUSE RESEARCH. Kubek’s flame-throwing guitar work, tempered by the finesse of King’s accompaniment and smooth vocals remain the bedrock of a powerful, irresistible combination. Or, as the Minneapolis Star-Tribune put it, "a rare blend of hot guitars and cool savvy, that does, indeed, smoke."

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http://rapidshare.de/files/28867049/SmkinJoKbkBnd_ShoMetheMny.rar

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R.L. BURNSIDE - Well Well Well (2001)

At first glance, this archival collection may appear to be too much of a hodgepodge. The recording dates range from 1986 to 1993; the locations range from a large theater in The Hague to a shotgun house in New Orleans; the lineups range from solo performances by Burnside to trio sessions with Jon Morris and Calvin Jackson; and the songs range from Burnside originals to blues classics by Muddy Waters (Can't Be Satisfied), John Lee Hooker (Boogie Chillen'), Big Joe Williams (Mellow Peaches), and others. However, the material coheres fairly well despite the scattershot nature of this collection. Burnside's performances are relatively consistent in both quality and musical style; he sticks to straightforward blues without the hip-hop and techno elements found on some of his other recordings, and his dry sense of humor helps unify the music with the spoken word portions of the album. The one-minute interview segment (in which Burnside discusses fishing and guitar playing) and 93-second in-concert monologue (about a girl who saw him eat grass from her front lawn) fit comfortably next to the songs, and the bull-session atmosphere of ''Bad Luck Money Rap'' (in which he tells Morris and vocalist/harp player Curtis Salgado about certain things that make him so mad he could eat fried chicken) is compatible with the relaxed, informal feel of the album, although at six minutes and 30 seconds it's too long of an intermission from the music. Some of the album's highlights include a powerful rendition of ''Staggolee'' with explicit lyrics that ensure that this traditional tune is ''not suitable for airplay''; a short but sweet performance of the Lightnin' Hopkins song ''Mojo Hand''; a live version of Burnside's own ''.44 Pistol'' recorded at the Queen Street Playhouse in Charleston, SC; a recording of his signature song, ''Goin' Down South,'' with Morris and Jackson at a shed in Gieterveen, Holland; and a performance of ''How Many More Years'' in Athens, Greece, that proves that Burnside really can sing and play the blues, even though his vocals don't have the overpowering intensity of Howlin' Wolf's original version.


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R.L. BURNSIDE - Heritage Of The Blues: No Monkeys On This Train (2003)

Trying to chart the recording career of bluesman R.L. Burnside, like so many others, is damn frustrating. While finding a champion in Mississippi indie Fat Possum and earning considerable success throughout the 1990s, Burnside has recorded for a number of other labels. But trying to tell the difference between an original recording and a crassly opportunistic repackaging to cash in on the Fat Possum success is difficult. With No Monkeys on This Train, Hightone gathers a broad sampling of earlier Burnside tracks from throughout the 1980s and early '90s. The funky "Jumper Hangin' on the Line" and yet another version of "Goin' Down South," something of a modern blues standard by now, are standbys that have seen release in other forms before. Three tracks are listed as previously unissued (the very Muddy Waters-sounding "Fireman Ring the Bell" among them), but most of what is here comes from such diverse sources that it's hard to get a definitive grasp of Burnside's genius. Better to pick up one of the more consistent Fat Possum discs than No Monkeys for a complete picture. For completists only. First in a series of reissues from Hightone dubbed Heritage of the Blues.


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