Поиск по этому блогу

пятница, 28 апреля 2017 г.

The Randy Stephens Band - No Strings Attached

Bitrate: 320K/s
Year: 2013
Time: 47:44
Size: 111,1 MB
Label: Self Released
Styles: Contemporary Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Bad Economy - 4:49
 2. The Fool - 4:58
 3. Read em&Weep - 5:25
 4. Ambient Love - 5:38
 5. Aint No Lease - 4:05
 6. Everybody Knows The Blues - 4:03
 7. Rocking Good Way - 3:54
 8. I'm Doing Fine - 3:52
 9. Summer Rain - 4:36
10. Use Me - 6:21

Here, you get what it says on the tin – Florida blues, straight and direct with no frills and no monkeying about. No surprise maybe that a tune named Bad Economy features Stephens’ times-is-hard, downbeat vocal, it’s an impressive stretching number with stratospheric guitar flying over Randy McCormick’s bass and Carl Grieco’s drums, it sounds traditional but it’s a new, proclaiming blues. The band’s playing on Everybody Knows The Blues might seem like they’re winging it, on the lam, but the pieces, the fills, the patterns, dovetail with comforting predictability. The re-write of Al Bernard’s 1921 Read ‘em And Weep presents a contrast of accelerated jazzier keyboards vamping. that sounds like it was taped live and like the boys were having a real ball.
RSB are, however, all about straight down the middle, meaty electric guitar blues, feedback lurking just under the surface, and there’s a “don’t mess with us” sonic menace, scarcely hidden. If you like your blues rough, tough, with a working man’s sensibility and laden with Fender Stratocaster and Telecaster grace and muscle, you’ll love the hell out of this.
The waves being made by Florida-based guitarist Randy Stephens have been growing over the past few years. His 2011 instrumental blues-rock album, American Guitar, garnered some glowing reviews. No Strings Attached, which he started to write and record in 2012, is his impressive follow-up.
As you might expect from an award-winning guitarist, the blues-rock songs on No Strings Attached highlight Stephens’ dexterous virtuosity on a variety of planks. Happily, however, unlike many guitar-slingers, he does not sacrifice the song simply to show off his six-string skills. The well-constructed songs on this album cover a wide range of styles, all based in the blues, but with a liberal dose of rock as well. There are also hints of funk in “Read ‘Em & Weep”, gospel in “I’m Doing Fine”, and jazz-funk in “Summer Rain”.
Stephens has a neat line in lyrics, for example on “Bad Economy”, the first song on the album, where he sings over a funky blues backing: “I called my woman, I said ‘babe, there’s something on my mind. I’ve been meaning to tell you, baby, for the longest time. I’m going to quit you; I’ve got to set you free. I’ve run the numbers and you’re bad, too bad, for my economy.’”
He wrote seven of the songs himself; the three covers being Bill Withers’ “Use Me”, Harvey Watkins Jr’s “I’m Doing Fine” and the Brook Benton and Dinah Washington’s classic “Rocking Good Way” (Lauren Mitchell provides the female vocals on Stephens’ interpretation). He also produced the album, sings and plays all the guitars and bass on three songs. The drum stool is occupied by Carl Grieco and Jessie Stephens (Randy’s child), David C Johnson and Randy McCormick share the remaining bass duties.
Stephens’ playing thoughout is exemplary. He coaxes a vast array of tones from his Stratocaster and Telecaster, particularly on the “Ambient Love”, which recalls both Stevie Ray Vaughan and Jeff Beck at times. And the controlled fury of his playing on the “The Fool” perfectly matches the anger in the lyrics.
One of the highlights of the album is the gospel-tinged “I’m Doing Fine”, which was originally recorded by the Canton Spirituals. Stephens gives the song a hefty rock edge, whilst retaining the original gospel melody and the result is a gem of a ballad, which could easily have graced one of Eric Clapton’s mid-80s albums. Stephens plays with a slightly fatter tone on this track, but also uses the Clapton trick of holding off from immediately applying vibrato to a bent note. Johnson, whose day job is as a member of theAaron Neville quartet, provides subtle organ backing.
As you might expect from a man who plays in a Stevie Ray Vaughan tribute band, there is a lot of guitar on this album. But if you like the guitar-led blues-rock of SRV, Johnny Winter or Jeff Beck, you’ll love No Strings Attached.

No Strings Attached

четверг, 27 апреля 2017 г.

Tijerina - Meant To Be

Bitrate: 320K/s
Year: 2010
Time: 44:53
Size: 103,2 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Nothin' Like the Blues - 3:06
 2. Life's Too Short - 3:05
 3. I Tried - 3:57
 4. I'd Rather Drink Muddy Water - 2:34
 5. Barely Gettin' By - 3:41
 6. Roses - 3:44
 7. Crossroads - 2:39
 8. Sweet November - 3:06
 9. Meant To Be - 3:26
10. Born Under a Bad Sign - 4:31
11. I Hate My Job - 3:42
12. Wrong Side - 3:37
13. Lookin' Away - 3:39

A fierce collection of electric and acoustic songs of love, regret and looking at the bright side while displaying elements of Blues, funk, Americana and pop that showcase this power trio’s brand of original blues-rock.
Praise for Meant To Be:
“This raw, intimate sounding recording presents a phenomenal guitarist…His musical talent & song writing skills are Top Shelf throughout “Meant To Be” and his razor edged solos show his knowledge of the fret board!! This Bluesman deserves a Celebration of the highest mark” Jackie Gisclar, Electric Rooster Entertainment
“Reminiscent of an almost-Robert Cray vocal vibe and writing style, blended with a slight Stevie Ray guitar motif, Tijerina continues the long tradition that is the blues. The latest release, Meant to Be, has all the frills of a solid blues record.” Chibo Acevedo, Marquee Magazine
“Meant To Be…combines traditional blues sounds and themes with words of positivity and hope…The solos are classy, tasteful, and will not lead you wandering off the strong beat provided by Dave Heidt on bass, and Curly Castillo on drums. The songs are original, almost eclectic, while still maintaining integrity. The vocals compliment the mix, and the songs are easy to get into and sing along with.” *4 star rating* - Steamboat Local
“One of the reasons that make this album so special is the freshness, the excitement and the grit that Tijerina infuses.”David Steinberg, Albuquerque Journal
“Tijerina is a master of vivid story telling though modern sound, and this energizing trio keeps the beat powerful and fresh.” Diego Mulligan, Weekly Alibi
About the Band
For over a decade guitarist/singer/songwriter, Todd Tijerina, (Tee-her-ee-na) has steadily made a living playing his fierce brand of cutting edge blues-rock in Chicago and the greater US as Tijerina's (formerly The Todd Tijerina Band) guitarist/singer. In addition to front man duties, a three year stint in Chicago ('97 - '00) offered opportunities to work as guitarist for such artists as internationally revered bluesman, Byther Smith, the legendary Harmonica Hinds, and BB's daughter, Shirley King. It was during this time in the Windy City that Todd and his band won Chicagoland's Rory's Blues Talent Competition 1999 which featured 35 acts from across the US. The victory funded recording expenses for the group's 2000 release, The Lowdown. Since then the band has released two more albums, Welcome Home in 2004 and Now in 2006, which have enjoyed radio play in the US, Australia and Europe.
Infusing funk, rock and jazz elements into his blues stylings, Todd has always striven to be unique as a songwriter and guitarist. Rootstime (Belgium) declares that he “creates his own style and sound… His manner of guitar playing, singing and songwriting is refreshing and inspiring.” The Promised Land Entertainment Magazine states, “[the band's] newest release is a perfect example of how to take the old and mix in the new to get a feeling of something very special… From the opening instrumental you can tell you're in for a ride you won't forget.” Putnay Thomas of Blues On Stage magazine states, “His music is distinctive… His guitar playing as much power and expression as any guitarist I've heard…It's just a matter of time before he gets a major label release.” Todd's unique sound is a result of his own take on songwriting with an emphasis on maintaining potent hooks, personal identity and grooves that cross genre lines which help explain his contribution's relevancy to blues as an evolving art form.
Providing the backbone and punch in Tijerina's grooves on bass/background vocals and drums respectively are Dave Heidt and Bill Vietch, both of whom have toured nationally and recorded with various blues, funk, latin, rock and jazz ensembles. Along with frontman, Todd Tijerina, they are well established as a force to experience first hand.

Meant To Be

Lightnin' Bug - Lincolnshire Session [Originals]

Bitrate: 320K/s
Year: 2012
Time: 32:10
Size: 74,0 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Miss Cora Lee - 3:34
 2. Gonna Make It - 4:21
 3. Entire Life - 3:26
 4. Annick Pink And Black Blues - 6:17
 5. Protest Blues - 3:46
 6. Bad Poker Player - 3:02
 7. My Fags - 7:43

Musicians:
Greg - Guitar and vocals;
Bidon - Bass and Backing Vocals;
Axel - Drums.

Belgian Blue(s) Band Lightnin' Bug page from their label V92DVG, with releases and gig info/
https://lightninbug.bandcamp.com/releases
http://www.lightninbug.com/

Lincolnshire Session [Originals]

Garrett LeBeau - Gone So Long

Bitrate: 320K/s
Year: 2014
Time: 23:37
Size: 54,5 MB
Label: Music Road Records
Styles: Blues/Soul
Art: Front

Tracks Listing:
 1. Gone So Long - 3:08
 2. Heavy Duty Booty - 2:12
 3. Highway Song - 5:16
 4. Killing Me - 5:28
 5. Lovin' Man - 4:14
 6. Time Song - 3:17

Garrett Lebeau was born and raised on the Wind River Indian Reservation near Lander Wyoming and is an enrolled member of the Shoshone tribe. Speaking to both his playing and formative years, he has this to say...
"Growing up we listened to very little music. There was mostly just the 80's top 40 so, we didn't listen much to the radio. there was so much wide open space, I think that is in the music somehow. I didn't really start playing much until I was out of school and then it was a very slow process where I taught myself  notes and chords.
The Blues spoke to me, the raw unadorned honesty is what still motivates me musically.. It spans all styles. When I say soul, I mean "SOUL" you know when music has it.I am not speaking of some narrow definition for a style of music. I speak of music with spirit about life... the trials and tribulations of the working man. Folk music is kin in spirit as is most music that I love.
My goal is to connect with other like minded human beings, to keep the tradition of soul music alive. Where you write, play and sing from your own self - Just like the early blues musicians.. Feeling has no genre". "Rise to the Grind" is Garrett Lebeau's debut album on Jimmy Lefave's Music Road Records.

Gone So Long

Garrett LeBeau - Rise To The Grind

Bitrate: 320K/s
Year: 2013
Time: 54:44
Size: 125,8 MB
Label: Music Road Records
Styles: Blues/Soul
Art: Front

Tracks Listing:
 1. Crazy World - 5:00
 2. Brothers - 3:26
 3. Broke Down Dream - 5:58
 4. Blue Eyed Girl - 3:40
 5. Eyes on You - 4:46
 6. Dark of the Night - 5:23
 7. When Love Was New - 4:16
 8. Passionate Fool - 5:37
 9. Darkness - 6:23
10. How Come - 4:05
11. Rise to the Grind - 6:06

Garrett Lebeau is a natural player. New and old fans hear Van Morrison, Boz Scaggs, Al Green and J.J. Cale in his songs and vocals. His playing style veers from blues through rock, jazz into folk. They all find a home in the music of Garrett Lebeau. The common ground lies in Garrett's ability to use genres as an influence and allow the music to find its way. Garrett has the unique ability to fit into a song so perfectly that it is difficult to separate the man from the music. The result is songs that are emotionally accessible. Tunes that cannot be cornered into a category. Garrett Lebeau was born and raised on the Wind River Indian Reservation near Lander Wyoming and is an enrolled member of the Shoshone tribe. Speaking to both his heritage and his playing, Garrett summed up how both have affected him; ''As a child my parents listened to very little music. There was mostly 1980s top 40 on the radio dial, so we didn't listen to the radio much. I didn't really start playing until I was out of school and then it was a very slow process where I taught myself notes and chords. The blues spoke to me and that raw unadorned honesty is what still motivates me musically. It spans all styles and is really the same thing as Soul. Folk music is kin in spirit, as is most music that I love. My goal is to connect with other like-minded human beings, and keep the Blues traditions alive? feeling has no genre.'' Rise to the Grind is the Garrett Lebeau's debut album on Music Road Records. Musicians performing on the album include the rhythm section of Roscoe Beck (bass) who has backed Leonard Cohen, Robben Ford and Jennifer Warnes and J.J Johnson (drums) currently with the Tedeschi Truck Band following a stint with John Mayer. Other musicians include legendary B3 player Red Young and also keyboard player Stefano Intelisano, who recently toured in the Jason Mraz band. Rise To The Grind will be released May 7 and will find a home across many radio formats. Music Road label mate Jimmy LaFave calls Garrett Lebeau, ''a musical soul gypsy of the first degree with guitar stylings unique and authentic.''

Rise To The Grind

среда, 26 апреля 2017 г.

Craig Erickson, Rob Lamothe & The Voodoo Brothers - Ride

Bitrate: 320K/s
Year: 2003
Time: 46:09
Size: 105,8 MB
Label: Provogue
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Deep River - 5:30
 2. Ride - 4:14
 3. Conection - 4:04
 4. Hide With You - 4:17
 5. Too Good For Me - 4:39
 6. Which Way To Go - 5:25
 7. Everybody's Crazy - 3:28
 8. Walk Away - 5:25
 9. Echo Hill - 6:52
10. Walk Away Jam/Outro - 2:12

Musicians:
Rob Lamothe - lead vocals, harmony vocals and percussion;
Craig Erickson - guitars, harmony vocals, lead vocals and percussion;
Paul Intson - bass, organ, harmony vocals and percussion;
Richard Bell - Hammond organ;
Danny Lockwood - drums, harmony vocals and percussion.

Vor ungefahr 15 Jahren gab es eine Band, RIVERDOGS, die war zum Verlieren geboren. Die waren namlich so gut, dass sie ihre Mischung aus Rock & Roll, bluesig-souligem Gesang, wunderschonen Balladen und Hard Rock nicht an den Mann bringen konnten und bald von der Grunge-Dilettanten-Schrabbelwelle hinweggefegt wurden. Na ja, ein klein wenig waren sie auch selber schuld, denn sie haben es nicht geschafft, den hohen Qualitatsanspruch ihrer besten Songs uber die gesamten CD-Langen zu bringen und deshalb schlichen sich immer ein paar Durchhanger ein. Andererseits, die 75% gro?artiger Songs auf jeder ihrer Platten hatten fur samtliche Grunger bis an deren Lebensende (das bei dem einen und anderen dann auch relativ schnell kam) gereicht.  Vor gut 10 Jahren wurde ein weiterer Flitzefinger-Gitarrist aus der beruchtigten 6-Saiten-Schule des Mike Varney entlassen und nervte ein paar Jahre lang auf diversen Neo-Heavy-Bluesrock-Compilations aus dem Hause Blues Bureau, dem Mr. Varney als Chef und Produzent ("bei mir darf spielen wer will, hinterher klingt eh alles gleich") vorstand. Vor etwa 2 Jahren trafen sich der Loser von den RIVERDOGS, genannt Rob Lamothe, und der funky angehauchte Dudelkonig aus dem Spiel-schneller-oder-es-gibt-was-auf-die-Finger-Labor, seine Eltern tauften ihn Craig Erickson, und nahmen ihre erste gemeinsame CD "Shine" unter dem Namen CRAIG ERICKSON PROJECT auf. Und jetzt liegt ihre zweite Kollaboration vor. Lamothe und Erickson firmieren mittlerweile unter eigenem Namen und anonymisieren ihre Begleitmucker als THE VOODOO BROTHERS.
"Ride" ist eine Platte, die Menschen wie mir gefallt. Nur leider, fur einen auch nur halbwegs zufriedenstellenden kommerziellen Erfolg sind die beiden der Zeit mal wieder hinterher. Knapp 25 Jahre, wurde ich sagen. Damals hatte man Erickson und nicht ab '83 einen gewissen Stevie Ray Vaughan als neuen Gitarren-Heilsbringer ausgerufen. Und Lamothe ware seinerzeit als direkter Nachfolger von Gesangshelden wie Paul Rodgers durchgegangen. SRV und Rodgers sind heute Legenden, der eine etwas toter als der andere, und Rob und Craig werden sich wohl auf ewig den Angriffen boser Menschen erwehren mussen, die sie als Epigonen bezeichnen. Das ist eindeutig unfair, denn den beiden muss man eine mehr als anstandige Leistung bescheinigen und, bitte, was sollen sie denn tun? Sie stehen nunmal auf diese Musik und die bringen sie ehrlich, (im Rahmen des heute moglichen) authentisch und musikalisch perfekt ruber. Ganz speziell der Gesang ist durch und durch von Seele getrankt und steht Lichtjahre uber dem Gejaule vieler Mochtegernblueser der heutigen Generation. Okay, fur einen Genreklassiker wird es bei "Ride" naturlich nicht reichen, aber immerhin fur eine sehr erfreuliche CD aus dem Jahr 2003. Wer also auf Hendrix, Vaughan, satten und unaufgeregten Gesang, leicht funkig gepragten Bluesrock und ein paar nette, gut abgehangene Rocker steht, der sollte sich die Scheibe holen. Das wurde vielleicht helfen, den beiden Protagonisten das Elend eines gewissen Vivian Campbell zu ersparen. Der spielte fruher mit Lamothe bei den Flusshunden und muss sich inzwischen als Tierpfleger bei tauben Leoparden verdingen. Das wollen wir doch alle nicht, oder?

Ride

вторник, 25 апреля 2017 г.

Rob Lamothe - Above The Wing Is Heaven

Bitrate: 320K/s
Year: 2003
Time: 38:10
Size: 87,9 MB
Label: Southgroove Records
Styles: Folk/Folk Rock/Folk Blues
Art: Full

Tracks Listing:
 1. It's So Easy - 4:30
 2. Ashes to Ashes - 2:49
 3. Time Will Go By - 4:39
 4. Roads to Freedom - 4:34
 5. Blue Ray - 2:38
 6. Water - 3:31
 7. Paranoid - 3:28
 8. Lies - 2:05
 9. I Ride the Waves - 9:51

An awesomely crafted folk-soul creation where Rob Lamothe has found the perfect platform for his incredible, soul-powered, potent vocals. A deeply introspective batch of tunes that will slowly sink deep into your skin. Songs about love, life and "being human".
"Above the Wing is Heaven", the 7th solo album from world-class, gifted singer/songwriter Rob Lamothe, is a deep musical revelation featuring nine beautiful trax of "pure acoustic soul" stripped down to the dirt floor. Songs about love, life and "being human". A deeply introspective batch of tunes that will slowly sink deep into your skin.
On "Above the Wing is Heaven" (the first disc for the newly formed Southgroove Records), Rob Lamothe has "laid his burdens down" with a pure, soulful, bluesy bare-bones acoustic trip that is the perfect musical platform for his righteous, beautiful music which, in this setting, takes on a deep, intimate, ethereal quality that is "out of this world". Songs full of graceful beauty and integrity. The lean production is tastefully sparse bringing his soulful voice and striking lyrics well to the fore and provides an ideal finish for Lamothe's gently soulful sound. Acoustic guitars shimmer & weave an expansive bed for him to stretch his vocals out upon, talent balances technical abilty with emotional output in a flawless blend. There is a subtle beauty to the man's music that is rich with soul and emotion. Rob Lamothe is a true musical gem. The depth and range of his voice knows no limits or boundries; he has something intelligent to say and says it with a sense of total conviction that can't help but draw the listener in.
"Above the Wing is Heaven" features 9 awesome new trax, including uniquely beautiful, stripped-down acoustic versions of "Paranoid" by Black Sabbath and a righteous, obscure track by Robin Trower called "Roads To Freedom" in rememberance of James Dewar where Rob simply "shines" and guest guitarist Craig Erickson lays down some wah-guitar. Thin Lizzy guitarist Brian Robertson co-wrote and plays guitar on the stellar "Time Will Go By" and there is also a way-kool bluesy acoustic re-working of "Blue Ray" for brother Ray Gillen. The disc is packaged in a kool digi-pack design complete with an incredible, a cappella "hidden bonus track" that is guaranteed to trip many brains. And, as an added bonus, "Above the Wing is Heaven" is an enhanced disc featuring live performance video footage of several tracks from the disc, plus an incredible solo acoustic version of the classic Beatles track, "Lucy In The Sky With Diamonds" that is worth the price of admission alone. Rob Lamothe's treatment of this track is brilliant beyond words and begs to be seen and heard. "Above the Wing is Heaven" is the perfect collectors item and musical document on this gifted musician. Hardcore fans of his solo music, classic Riverdogs daze and new fans alike will unite with "joyful noise" over the incredibly cool "pure acoustic soul" found deep within the grooves on "Above the Wing is Heaven".
"Above the Wing is Heaven" is an awesomely crafted folk-soul creation and Rob Lamothe has found the perfect platform for his potent voice. Rob Lamothe moves far beyond earnest acoustic folk and comes up with something exquisite, soulful and rich. On "Above the Wing is Heaven", Lamothe & company mingle shadows and light, and the result is something very beautiful, compelling and restrained...a cool storm.
"In the tradition of any great folk singer/songwriter, Rob shares intimate morsels from his life with a clever ability for story telling through beautiful poetry and vocal emotion." ..."a collection of songs full of grace and vision... ...be prepared to be brought to your knees, gently."

Above the Wing Is Heaven

четверг, 20 апреля 2017 г.

Lincoln Durham - The Shovel vs. The Howling Bones

Bitrate: 320K/s
Year: 2012
Time: 38:05
Size: 90,7 MB
Label: Rayburn Publishing
Styles: Blues
Art: Full

Tracks Listing:
 1. Drifting Wood - 4:23
 2. Last Red Dawn - 3:10
 3. Living This Hard - 3:26
 4. Clementine - 3:22
 5. Mud Puddles - 3:27
 6. Reckoning Lament - 3:10
 7. How Does a Crow Fly - 2:36
 8. Love Letters - 2:57
 9. Georgia Lee - 3:19
10. People of the Land - 3:23
11. Trucker's Love Song - 4:46

Equipped with old, makeshift 1950s amps, resonators, fiddles, harmonicas, tin can microphones, slides, stomp boards and you name it, Lincoln gives birth to a sound that transcends genres.
Drivin' down Purgatory Road just outside of Wimberley as the sun's goin' down casting a vibe that's angelic, yet suggests the hint of something slightly demented, as the hills of southwest Texas begin to glow in the last light of day. There is something cool and sweet, nasty and hot; I start to get a notion of why such amazing and distinctive music comes out of this place.

We're in an old white van filled with guitars and amps, mic stands and assorted musical paraphernalia, swapping war stories about the good ol' days, when we were young and wild, talking up a storm about the music that has shaped our respective lives: down and dirty blues and endless nights of rock and roll.

"Hey, man. Check this out."

The driver takes his hand off the wheel and hands me a CD.

Lincoln Durham.

He's an intense-looking young man with an old bastardized Gibson acoustic. Worn-out blue jeans and a crop of long, wavy hair. But there is something in his eyes, something that suggests he knows something most people don't. The eyes of an old soul. The soul of an old bluesman, withered, weathered, worn but primed and ready to burst out of this young man and preach the news of some new kind of depraved music.

"He any good?" I ask.

The driver of the van, Ray, looks over at me with a huge smile and says, "The real deal, man."

That dangerous smile of Ray Wylie Hubbard speaks volumes!

Ray starts to tell me about Lincoln Durham, whose EP he had recently finished co-producing, which is some kind of an endorsement coming from a Texas music legend. He tells me about this kid who had become an accomplished fiddle player around Arkansas and Oklahoma and who had won the Texas State Youth Fiddle Championship by the age of 10. Lincoln had afterward followed the path so many musicians have, finding his vice in the seductive, siren-like callings of the electric guitar. Or really acoustic slide guitar with gnarly pickups screwed into it. I popped the EP into the deck and I’m immediately hooked. It is as if I’m walking through the hills and a nasty old rattler springs up and bites me. The venom rushes through my body and settles in my gut and head. I see visions of a shadowy figure off a ways in the distance digging a hole, hard to tell, could of been a grave...

I ask Ray, “did you see that?”

“See what?”

“That guy diggin' in that field.”

Ray says, “No, try to keep my eyes on the road when I drive these days.”

I get real quiet while the song continues. I keep my music-induced hallucinations to myself.

When we get to our destination, Ray Wylie looks over and says,

“The Shovel vs. The Howling Bones.”

“Say what?”

“The name of Lincoln Durham’s new album.” And he gives that RWH smile. One bite, venom flowing, visions in the twilight, something deep and outrageous is coming at you. Lincoln Durham.

Lincoln had already sunk the fangs of his intoxicating gritty blues guitar and voice into me, and I wanted more. Hadn't had a drink for over 30 years, but I was feeling more than a bit tipsy. I knew this was something out of the ordinary.

Everyone who has heard Lincoln Durham's EP or has had the pleasure of seeing him perform live, wants the same thing: More. But the good news is the debut album is finished. “The Shovel vs. The Howling Bones” is an album of self-destruction. “It is my agony put into words and music via 11 songs,” Lincoln explains. “It is the story of building dreams and tearing down those dreams all in the same moment. I am both the shovel and the howling bones. Burying while at the same time howling and contesting my own burial. It is my existence.”

I'm still living in the mountains of northern California and have yet to make it back down to Texas. But I have nearly worn out Lincoln’s EP. I have watched every video clip of his live performances I can find on the Internet. And if you like what you hear on the disc, you will be blown away by his live performances.

Lincoln Durham simply owns the stage! Equipped with old, makeshift 1950s amps, resonators, fiddles, harmonicas, tin can microphones, slides, stomp boards and you name it, Lincoln gives birth to a sound that transcends genres. His dark, poetic and raw writing style is reminiscent of his mentor R.W. Hubbard, telling tales that Poe would have been proud of. His guitar work is like a locomotive pumping and driving the runaway train that is Lincoln Durham and his music. This is not to imply that any of it is in any way out of control. On the contrary, he never stops driving that train.

Face it, bios are usually a bunch of facts about someone's life. Admittedly, I do not know a lot about the life of Lincoln Durham, aside from what I have been told and read in various places. But this is not a bio, not even much of a review; this is a testament to the rare talent of a young man who has gone against the grain of his peers. If what this songwriter/musician is doing makes him some sort of black sheep or seems in some way off kilter, good. Make no mistake, it takes something beautifully “off” to get up on stage with just hands and feet for a band driven by an amazing voice to perform some of the most solid music I've heard in a long time. Music that harkens back to the old blues masters, Son House and Fred McDowell, infused with the likes of Tom Waits and Ray Wylie Hubbard himself.

I admit that I am curious how a young fiddler makes the leap into a foot-stomping, raunchy, old-time blues groove. As a lover of music, a player myself and an artist in a few mediums there is a question that often pops into my head. Whatever a musician’s roots might be, especially as a kid, wherever the strange and curious places your artistic path takes you, what is it that makes someone like Lincoln Durham comfortably ease into that venerated old place of the bluesman? Does the music choose you? Is it something like destiny? One word pops into my mind: Passion.

Lincoln Durham’s passion seems to know no bounds. He has taken the roots of the blues and bluegrass and has carried them to a new place. Intelligent lyrics, strong musicianship, a seriously infectious vocal style that slays – he's rolled them all together into a perfect package that can only be called Lincoln Durham.

I admit this is hardly a conventional bio. Truth is, I don't know that I could write one even if I wanted to; but most important, it would not do justice to Lincoln. For anyone who really wants a bio of Lincoln Durham, listen to him, go see him perform. In his songs, in the way he delivers them, is everything you'd ever want to know about the man. His music is his bio.

I'm grateful to my friend Ray Wylie Hubbard for believing in this amazing young artist and for having turned me on to his talent. Bio? The story of Lincoln Durham has only just begun.

Michael Clark Lorenzo
Novelist/Poet/Author

The Shovel vs. The Howling Bones

среда, 19 апреля 2017 г.

The Kilborn Alley Blues Band - Tear Chicago Down

Bitrate: 320K/s
Year: 2007
Time: 47:44
Size: 110,0 MB
Label: Blue Bella Records
Styles: Blues
Art: Front

Tracks Listing:
 1. I'm Spent - 4:19
 2. Christmas in County - 4:42
 3. Fire with Fire - 3:38
 4. Crazier Things - 4:49
 5. Come Home Soon - 3:39
 6. Redneck in a Soul Band - 2:51
 7. It's a Pity - 6:33
 8. Tear Chicago Down - 3:13
 9. The Weight on You - 4:14
10. Lay It Down - 3:35
11. She Don't Know - 3:01
12. Redneck in a Soul Band - 3:04

Musicians:
Andy Duncanson - vocals, guitar
Nick Moss - guitar
Abraham Johnson - vocals
Joe Asselin - harmonica
Dave Fauble - saxophone
Chirs Breen - bass guitar
Ed O'Hara - drums
Guests:
Gerry Hundt, Josh Stimmel

The eagerly anticipated follow-up to the Blues Music Award-nominated Put It In The Alley! The members of The Kilborn Alley Blues Band - Andrew Duncanson, Joe Asselin, Chris Breen, Josh Stimmel, and Ed O'Hara - are a true band, together of personal volition and sheer joy. According to Chicago blues matriarch Mary Lane, ""You meet a lot of people in a lifetime in music, and the guys in Kilborn Alley are the kind I can say I am glad to know. They have that crazy love for blues and stay true to it."" Nick Moss produced the recording and joins the band on guitar on three tracks. Also guesting are Gerry Hundt and Abraham Johnson.
The Kilborn Alley Blues Band is the real deal, a rip snortin', fire breathin' gang that puts heart and soul into every note they play. Gritty, raw, and a bit sloppy in the best sense of the word, they hold nothing back and play the blues with a nasty rock edge that will appeal to youngsters as well as die-hard fans. They kick things off with "I'm Spent," a Chicago-meets-the Delta rave-up with hints of Little Walter in the wailing harmonica work of Joe Asselin. Andrew Duncanson lays back on the lead guitar to deliver a sweaty lead vocal while Asselin's honking accents up the ante. "Christmas in County" has a Memphis soul feel, the sad tale of a Christmas Eve drug bust, with stinging lead guitar work from Duncanson and wailing harp from Asselin laid down over the sinister groove of Chris Breen's bass and Ed O'Hara's drums. "Come Home Soon" has a bit of Al Green in its arrangement, a sad tale of a soldier in Iraq longing for his family. Sideman Gerry Hundt's organ provides a churchy, sanctified vibe to the proceedings, complementing Duncanson's sparse, stinging guitar and weary vocal. "Redneck in a Soul Band" is played tongue in cheek with a bouncy, bluegrass-like rhythm. Duncanson's singing is pure Chicago while Asselin's country blues harp zigzags in and out of the mix like a hungry fly dive bombing a puddle of barbecue sauce. Breen's extended melodic bassline brings extra tension to the aching soul of "It's a Pity." Duncanson's big, emotional vocal and his searing guitar set up Asselin's minimal but effective solo on this tale of anger and heartache. On funky dance tracks like "Lay It Down" and the title track, the ensemble lays down deep grooves marked by solos with an innate swing that's always impressive. Every member of this fine quintet can play their ass off, with Duncanson's guitar and Asselin's harp the obvious standouts, but everyone in the ensemble contributes formidable chops to this blistering set.

Tear Chicago Down

Rich Harper Blues Band - Bottled Up Blues

Bitrate: 320K/s
Year: 1999
Time: 47:46
Size: 110,3 MB
Label: Kanawha Street Records
Styles: Blues/Electric Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Workin' on Me - 4:54
 2. Mean Old World - 4:25
 3. How Much I Want You - 4:56
 4. Wrong Man - 3:40
 5. As She Moved In (My Guitar Moved Out) - 3:04
 6. All I Got Belongs to You - 3:44
 7. Blue Eyed Blues - 3:50
 8. Bound to Pay - 5:05
 9. Life - 4:34
10. Barrelhouse Stomp - 3:31
11. Train Song - 5:57

Rich Harper learned to play blues guitar the traditional way by primarily being self-taught listening to and learning from the recordings of artists like Eric Clapton, B. B. King, Rory Gallagher, Freddy King, Duane Allman, and so on. Rich developed his own slide style using the same Coricidin medicine bottle as Duane Allman. After paying his "blues dues" in small blue collar towns throughout Pennsylvania, Rich moved to Los Angeles to gather like minded musicians and formed the Rich Harper Blues Band. With the success of their debut CD, "Don't Think Just Play", the Rich Harper Blues Band was not only selected as one of Amazon.com's prestigious "Emerging New Blues Artists", but Taxim Records, a German label, joined the group's growing list of blues fans by placing another cut, "She's On Her Way Up", on their compilation album titled "More Desaster City Blues". It wasn't long before the band's name was popping up in blues magazines everywhere and blues societies were urging their members to check out the exciting new group who were carving out a unique niche for themselves in the blues world. By the time the band released their second CD, "Bottled Up Blues", Europe had jumped on board by making the band the #1 selling artists in Switzerland on Amazon's charts. Radio stations worldwide welcomed the new CD with open arms and this time one of the cuts, "As She Moved In (My Guitar Moved Out)", topped Rolling Stone Magazine's "MP3 & More Blues Chart" at #1. The international blues scene stood up, did a double take, and these talented artists haven't stopped since. An international promoter recalls how he came across the band in the Los Angeles area a few years ago: "While walking past a local club at 4 o'clock on a Saturday afternoon, I heard the faint sounds of a band playing, and my curiosity dragged me in. Onstage were three guys playing great music I did not recognize. I sat down, ordered a beer and wondered why there was nobody there. Half an hour later people started coming in, and by 5:30 the place was packed. The music got louder, and Rich Harper, with his tremendous musical creativity and playfulness held a tight grip on the crowd as it got wilder, and it was an amazing experience - like nothing I had ever witnessed before. It turned out to be a 3-7 pm Saturday gig, except the audience demanded an extra half set. I said to myself that music lovers around the world deserve to experience this!"

Bottled Up Blues