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jasapaal
 Into the Rhythm
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2001: Red - Songs From A Room |
Avantgarde, Blues |
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 Artists: Red Album: Songs From A Room Label: Rectangle Year: 2001 Format, bitrate: Mp3, 320kbs Time: 44:24 Size: 92.9 Mb This is one of those tribute albums in which an artist even appropriates an original album title and expertly re-creates the cover art of the artist and album being so honored. In this case we have a tribute to Leonard Cohen and his album Songs From a Room performed by the Parisian musician known simply as Red, and released through his collaboration with the artistically interesting Rectangle label, also based out of Paris. Do the French take Leonard Cohen more seriously than he is taken in his homeland? Perhaps this collection is an indication that he is taken less seriously. But, in reality, many listeners might prefer the versions of Cohen songs by Red to the originals. In the case of a listener who had so little knowledge of Cohen that the cover art duplication went totally unnoticed, the effect of Red's range of vocal delivery and low-key backup was definitely positive. Fans of the music of artists such as Jandek will also enjoy this recording, as some of the tracks have the same kind of strange ambience. When the backup players get into kind of a mellow jazz groove, the sound is reminiscent of Tim Hardin, a comparison that the singer is capable of either settling into by concentrating on the handsome sound of his voice or smash to bits by growling like someone trying to scare off an exorcist. Most impressive is the fact that most of the backing is created by Red all on his own, utilizing just guitar and electronics. Let's see smarty-pants Cohen try that. ~ Eugene Chadbourne, All Music Guide |
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1969: Muddy Waters - After The Rain |
Music » Blues » Modern electric blues |
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 Artist: Muddy Waters Album: After The Rain Label: Cadet Year:1969 Format, bitrate:MP3 128kbps (LP-rip) Time:34 min Size: 36 mb The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late 60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983. After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players. This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass: "I Am the Blues", "Ramblin' Mind", "Bottom of the Sea", and "Blues Trouble." After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters. ~ Editorial Reviews |
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1970: Etta James - Etta James Sings Funk |
Music » Blues » Blues woman |
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 Artist: Etta James Album: Etta James Sings Funk Label: Cadet Year: 1970 Format, bitrate: MP3, 254 (VBR) Size: 65,3 MB Etta James Sings Funk seems to be one of the least known of Miss James' records. Although recorded in Chicago, most of the LP breathes that Southern Soul vibe that graced 'Tell Mama'. ‘Tighten Up Your Own Thing’ has big-voiced Etta in a ferocious funk bag. A mildly political song, this horn riddled, busy “sock-it-to-me” workout is every bit the equal to James Brown's then current output. But despite the album's title, there are quite a few beautifully arranged, slow paced gems here as well. Case in point is the lamenting, heavenly cruising ‘Sweet Memories’. The funk returns with a vengeance on ‘Quick Reaction & Satisfaction’, a fatback vamp of Memphis-styled nitty gritty groove, layered in brass and propelled by an incessantly poppin' bass. Miss James heads South even deeper as she belts out the slow burnin' blues-drenched romp ‘Nothing From Nothing Leaves Nothing’, and really tears it up with ‘My Man Is Together’, a masterful slab of gutbucket, full-throttled Southern Soul. Closing side A is the exquisite ‘Are My Thoughts With You’, one of the most haunting tracks of the album. Greasy, well-oiled, brassy full-powered Soul opens the flipside, with Etta churning out another gospelfide vocal on ‘The Man I Love’, after which the more rock-oriented heavy tour de force, ‘Sound of Love’, follows. ‘When I Stop Dreaming’ is turned, through Etta’s raw vocals, into a gospelish Southern Soul belter that even the at times intrusive arrangements can't drown out. Things get far sweatier on the last two selections here: the bluesy, persistently slow grooving ‘What Fools We Mortals Be’ features a dazzling, horn heavy finale, while ‘Your Replacement’ closes the album in an apt Southern Soul-styled sermonizing vein. What's left to say: Etta James Sings Funk is an underrated, sadly forgotten masterpiece. ~ rateyourmusic.com |
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1981: Paul Butterfield - North South |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Album: North South Label: Rhino Year:1981 Format, bitrate: mp3, 320 kbps CBR Time: 35:02 min Size: 79.11 Мb This is absolutely terrible! East West is one of my favorite Paul Butterfield albums (actually I like all 3 of them) and was surprised to find an album I'd never heard of. This album is a bunch of 70's disco songs with Paul Butterfield listed as doing back up vocals. Must have sold the rights to use his name. ~ Amazon.com |
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1976: Paul Butterfield Blues Band - Put It In Your Ear |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Blues Band Album: Put It In Your Ear Label: JVC Compact Discs Year: 1976; release: 2005 Format, bitrate:mp3 320 kbps CBR Time: 35:37 min Size: 78.62 Mb The Butterfield Blues Band has been critically acclaimed as one the greatest electric blues bands ever! Lead by singer & harmonica player Paul Butterfield, their albums have stood the test of time as classics of the 60's & early 70's. Put It In Your Ear was originally issued in 1975 & features David Sanborn, Eric Gale, plus Garth Hudson & Levon Helm from The Band. ~ Wounded Bird Records. 2005. |
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1947-1950: Todd Rhodes And His Orchestra - Blues For The Red Boy: The Early Sensation Recordings |
Music » Blues » Rhythm-n-Blues |
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 Artist: Todd Rhodes And His Orchestra Album: Blues for the Red Boy: Early Sensation Recordings Label: Ace Year: 1947-1950 Release: 2002 Format, bitrate: Mp3, 320 Kbps Size: 181 Mb AMG Rating:   ~ Richie Unterberger, All Music Guide |
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1976: Santana - Amigos |
Latin, Blues-Rock |
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 Artist: Santana Album: Amigos Label: Columbia Year: 1976 Format, bitrate: Mp3, 320 Kbps Time: 41:14 Size: 102 MB AMG rating:  Это уже более блюзовый альбом, который вернул группе былые позиции. Но как по мне, тут не везде проявляется духовный феномен Сантаны и переживаемом нами диске, более проявляюся течения ужасного денежного поглотителя. By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status. ~ William Ruhlmann, All Music Guide |
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1999: Etta James - Heart Of A Woman |
Blues woman, Soul |
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 Artist: Etta James Album: Heart Of A Woman Label: Private Music/Windham Hill Year: 1999 Format, bitrate: Mp3, 320 Kbps CBR Time: 01:06:16 min Size: 148.30 Mb Heart of a Woman is a great idea for an album. Etta James chose 11 love songs from her favorite female singers -- Billie Holiday, Dinah Washington, Sarah Vaughn, and Carmen McRae -- augmenting the album with a new version of her signature song, "At Last." She has recorded several of these songs before (including Alice Cooper's "Only Women Bleed," which inexplicably became a standard for both her and McRae), but the difference with Heart of a Woman is the context. Here, they're put in a smooth jazz setting, masterminded by James, who has producer credit. There's no denying that Etta James is a powerhouse, one of the finest blues singers of the 20th century, and she still possesses an exceptionally strong voice, robust and filled with passion. ~ Stephen Thomas Erlewine, All music Guide |
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1973: Paul Butterfield's Better Days - It All Comes Back |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield's Better Days Album: It All Comes Back Label: Bearsville / WEA - BR 2170 Year: 1973 Format, bitrate: mp3 320; kbps CBR Time: 39:03 min Size: 87.04 Mb This blues album from The Band collaborator Paul Butterfield and his group Better Days, with Geoff Muldaur, Ronnie Barron, Christopher Parker, Billy Rich, Amos Garrett, and Howard Johnson, has a cover of the Rick Danko/Bobby Charles composition "Small Town Talk". The song was originally written for the album Bobby Charles, and Rick Danko also used it on his 1978 solo debut Rick Danko. ~ theband.hiof.no |
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1994: Various Artists - The Aladdin Records Story |
Music » Blues » Rhythm-n-Blues |
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 Artist: Various Artists Album: The Aladdin Records Story Label: Capitol Year: 1994 Format, bitrate: Mp3, 160 Kbps Time: 140:19 Size: 155 MB Size: AMG Rating: The 53 rhythm and blues classics contained on this two-disc compendium practically covers the entire lifespan of the Aladdin Records label. The imprint began as Philco in the mid-'40s by brothers Edward and Leo Mesner. After raising eyebrows from the manufacturers of Philco radios, they changed the moniker to Aladdin. The label's initial offerings were jazz-flavored R&B sides such as its first release "Flying Home" by Illinois Jacquet and his All Stars. The Mesners also began attracting top-shelf acts such as big band vocalist Helen Humes, who performs her own compositions "Be Baba Leba" and "He May Be Your Man" with Bill Doggett's Octet. Aladdin quickly became a haven for a plethora of A-list artists producing equally as impressive material. Among the roster to be included on the Aladdin Records Story (1994) are Mr. Blues himself, Wynonie Harris ("(I Don't Stand A) Ghost of a Chance"), Clarence "Gatemouth" Brown ("Guitar in My Hand"), Lightnin' Hopkins ("Shotgun Blues"), and the Five Keys ("Too Late," "Glory of Love," "Too Late," and "I'm High"). For a very short time, even the legendary Billie Holiday recorded there, backed by the equally revered Tiny Grimes ("Blue Turning Grey Over You"). As the R&B of the late '40s and early '50s began to shift into the seminal rock & roll era, so too did Aladdin. Classics such as Shirley & Lee's "Let the Good Times Roll" and "Rockin' With the Clock," as well as Lee Allen's "Rockin' at Cosmo's" and Thurston Harris' "Little Bitty Pretty One" all but defined the incremental stylistic progression from blues to rock. While the platters mentioned above only skim the surface, the entire two-plus hours reveal a true cross-section of the artists who created a musical glow in Aladdin's lamp. The double-CD set is packaged in a unique album style, similar to those that bound 78 rpm volumes. The accompanying 20-page booklet has photos and track annotations from Steve Kolanijan. The audio quality is nothing short of superior, impressing audiophiles and casual consumers alike. Sadly, the package has not been reissued and used copies have been known to trade hands for a princely sum. That said, the overwhelming value of adding these to any collection far outweighs most reasonable asking prices. ~ Lindsay Planer, All Music Guide |
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1970: Buddy Guy - Buddy and the Juniors |
Music » Blues » Acoustic blues |
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 Artists: Buddy Guy, Junior Wells, Junior Mance Album: Buddy and the Juniors Label: Verve Year: 1970 Quality: flac Size: 268 mb (with covers) The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining -- and oddly satisfying -- as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, were it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. According to producer Michael Cuscuna's liner notes on the CD reissue, Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz -- also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow; he jumped. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19 they mixed this album and the Vanguard date! While an acoustic pairing between Guy and Wells is a natural one, adding jazz pianist Mance -- a Chicago native whose early influences were the boogie-woogie recordings of Meade "Lux" Lewis and Albert Ammons -- to the mix was risky in terms of interpersonal dynamics, but in retrospect, proved a brilliant idea. The proceedings are informal and raw with plenty of fireworks. The first two tracks -- "Talkin' 'Bout Women Obviously" and "Riffin' [aka A Motif Is Just a Riff]" -- were the last two recorded. They're blazing, hairy, on-the-spot improvisational duets between Wells and Guy: the former offers lyrics in a back-and-forth extemporaneous style; the latter develops in intensity as it goes on. The playing by Guy and Wells is inspirational. "Buddy's Blues," the first interplay of the trio, has Mance digging deeply into the Otis Spann tradition, just rolling inside it, accenting lines, punching chords, and offering beautiful tags to Wells' harmonica lines. Wells' vocal on "(I'm Your) Hoochie Coochie Man" meets Guy's six-string head-on, with Mance comping and popping a melodic fill underneath each sung phrase. He introduces "Five Long Years" as a piano blues that gets countered in exponential grit by Guy's vocal and Wells' punchy harp; he shuffles, fills, trills, and blows straight at the the keyboard, creating a forceful gale of dialogue. On the slippery boogie-woogie set closer, Wells' "Ain't No Need," the listener grasps the deep communication of this trio. Given how earthy, informal, and joyful this acoustic session is, it conveys everything right about Chicago blues. ~ Thom Jurek, All Music Guide |
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1980: "Big" Walter Horton (feat.Ronnie Earl) - Live at the Knickerbocker |
Music » Blues » Harp |
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 Artist: "Big" Walter Horton Album: Live at the Knickerbocker Year: rec. 1980/rel. Jun 12, 2001 Label:JSP Format: MP3@320 Kb/s Time: 52:24 Size: 116.9 Mb Repost with new link from martura Люблю в блюзе звучание губной гармоники (harp), а когда играет один из лучших "харпистов" и легенда блюза, это еще и в двойне приятно слушать.
Вашему вниманию очень хороший и редкий альбом от "Big" Walter Horton. Которого представлять надеюсь не нужно. Так, же с ним играет, еще тогда молодой Ronnie Earl. Это один из последних "живых" концертов "Big" Walter Horton.
Приятного прослушивания. |
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1971: The Paul Butterfield Blues Band - Sometimes I Just Feel Like Smilin' |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Blues Band Album: Sometimes I Just Feel Like Smilin' Label: Elektra Asylum Year: 1971 Format, bitrate: Mp3, 320 kbps CBR Time: 00:38:59 min Size: 86.47 Mb Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents. ~ Mike DeGagne, Rovi |
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1950-1954: Percy Mayfield - Poet Of The Blues |
Music » Blues |
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 Artist: Percy Mayfield Album: Poet Of The Blues Label: Specialty Records Year: 1950-1954 Release: 1990 Format, bitrate: Mp3, 320 Kbps Time: 67:20 Size: 143 MB AMG Rating:  The insightful songwriting skills of this West Coaster were matched by his wry, plaintive vocal delivery (Mayfield was usually his own best interpreter). The 25 sides here date from his hit-laden 1950-1954 stay at Art Rupe's Specialty logo and include his universal lament "Please Send Me Someone to Love," and the resolutely downbeat "Strange Things Happening" and "Lost Love," and an ironic "The River's Invitation." Saxman Maxwell Davis led the horn-powered combos providing sympathetic support behind Mayfield. ~ Bill Dahl, All Music Guide |
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1973: Paul Butterfield's Better Days - Live At Winterland Ballroom |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Paul Butterfield's Better Days Album: Live At Winterland Ballroom Label: Victor Entertainment Year: 1973 Release: 1999 Format, bitrate: Mp3, 320 kbps CBR Time: 01:02:58 min Size: 140.10 Mb Japanese edition of live album by the blues rock legends, recorded at the Winterland Ballroom in San Francisco on February 23rd, 1973. Nine tracks, including 'Country Side', 'Highway 28' & 'He's Got All The Whiskey'. Features earlier availability from Japan than the rest of the world. All tracks have been digitally remastered using 20 bit K2 technology. 1999 release. ~ Editorial Reviews, amazon.com |
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1964: The Paul Butterfield Blues Band - The Original Lost Elektra Sessions |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: The Original Lost Elektra Sessions Label: Elektra/WEA Year: 1964 Release: 1995 Format, bitrate: Mp3, 320 Kbps, CBR Time: 00:58:56 min Size: 128.43 Mb AMG Rating: All but one of these 19 tracks were recorded in December, 1964, as Paul Butterfield Blues Band's projected first LP; the results were scrapped and replaced by their official self-titled debut, cut a few months later. With both Michael Bloomfield and Elvin Bishop already in tow, these sessions rank among the earliest blues-rock ever laid down. Extremely similar in feel to the first album, it's perhaps a bit rawer in production and performance, but not appreciably worse or different than what ended up on the actual debut LP. Dedicated primarily to electric Chicago blues standards, Butterfield fans will find this well worth acquiring, as most of the selections were never officially recorded by the first lineup (although different renditions of five tracks showed up on the first album and the What's Shakin' compilation).~ Richie Unterberger, All Music Guide |
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1970: The Paul Butterfield Blues Band - Live |
Modern electric blues, Blues-Rock, Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: Live Label: Wounded Bird Records Year:1970, release: 2005 Format, bitrate:mp3; 320 kbps CBR Time: 01:17:42 min Size:172.06 Mb For the Paul Butterfield Blues Band, this two-LP set proved that it all came down to Butterfield himself and his abilities as a leader in the end. For all of the adulation heaped on Mike Bloomfield, Elvin Bishop, et al., the group was ultimately an extension of Butterfield's abilities as a leader and player, and this set proved that Butterfield and the bandmembers he had assembled in 1971 had more than two LPs' worth of live playing in them that was worth releasing and worth buying. And that wasn't the half of it -- talk about ironies -- at the time the Paul Butterfield Blues Band recorded this live album, they were at their peak as a concert act; they were getting all the bookings they wanted at the best clubs in the biggest cities in the country, and a lot of other places as well, in front of enthusiastic audiences who were devouring their blues-jazz-rock-R&B hybrid sound as fast as they could pump it out on-stage. They just weren't selling many records, which was why few people ever got to hear this album. The four-man horn section and the single guitar are a long way from the band that dazzled audiences six years earlier on East-West, or at Monterey in 1967; this is big-band Chicago blues with a jazz base and a killer sound, ranging all over the musical map without peer. In the midst of all of those seemingly louder instruments blowing away, however, one can still find a great showcase for Butterfield's blues harp on numbers like Big Walter Horton's "Everything's Gonne Be Alright." The sound, recorded on then state-of-the-art equipment at the L.A. Troubadour, is excellent and the performances are as tight as anything ever delivered by the band, in many ways fulfilling the promise of the longer numbers represented on their earlier studio albums. The original double LP is still worth finding for vinyl enthusiasts. [In 2004, an expanded edition of the album was released on CD by Rhino Handmade with an additional 70 minutes of music on it.] ~ Bruce Eder, All Music Guide |
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1969: Jo-Ann Kelly - Jo-Ann Kelly |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jo-Ann Kelly Album: Jo-Ann Kelly Year: 1969, release: 1998 Label: Beat Goes On Quality: mp3/320 kbps Size: 127 MB Time: 32:53  AMG Rating:  На диске переиздан дебютный альбом британской блюзовой певицы и гитаристки Джо-Энн Келли, выпущенный CBS в 1969 г. В него вошел акустический материал, записанный в конце 60-х гг. в британских пабах и фолк-клубах продюсером Nick Perls. Основатель лейблов Yazoo и Blue Goose Records, в 1964 г. открывший широкой публике Son House, Перлз разглядел в молодой британской девушке с внешностью школьной учительницы уникальный талант исполнения аутентичного блюза. Действительно, до появления на сцене Джо-Энн Келли общепринятым мнением было то, что белые исполнители не способны играть музыку Дельты, а если кто и мог технически исполнить ее на гитаре, то уж петь как черные исполнители точно был не в состоянии. Но после выступления Джо-Энн в 1968 г. на Мемфисском фолк-блюзовом фестивале это мнение было опровергнуто. Причем она получила поддержку и признание не только и не столько от критиков, а от действительно уважаемых людей, таких как выступавшие там Bukka White и столетний патриарх Nathan Beauregard. После этого она привлекла к себе внимание крупных звукозаписывающих компаний. Перлз предложил издать сделанные им записи фирме CBS, которая в конце 60-х гг. активно входила в соул/блюзовый сегмент рынка, ранее игнорировавшийся ею. В рамках этого направления уже были подписаны контракты с Taj Mahal и Johnny Winter, так что Джо-Энн Келли пришлась как раз вовремя.
Изданный диск включает в себя одиннадцать композиций, большая часть которых является классикой довоенного блюза и включает в себя материал таких мастеров, как Чарли Пэттон, Сон Хаус, Роберт Джонсон, Чарли МакКой, Томми МакКленнан. Два авторских трека Келли – "Look Here Partner" и "Sit Down On My Knee" – следуют блюзу Дельты и практически неотличимы от традиционных вещей. На записи Джо-Энн аккомпанирует себе на слайд-гитаре без участия других музыкантов. В соответствии с практикой исполнения фолк-блюза, гитара является здесь не доминирующим инструментом, как в блюз-роке, а "вторым голосом" исполнителя, обеспечивая тесную взаимосвязь и взаимозависимость между вокалом и музыкой. Критики называли ее наследницей великой Бесси Смит, британским ответом Дженис Джоплин, но сама Джо-Энн не стремилась делать деньги и активно участвовать в шоу-бизнесе. Она успешно прошла прослушивание с группой Джонни Уинтера и должна была сопровождать их в американском туре. До этого у нее были сольные трехдневные гастроли по Штатам. Морально и психически вымотавшись уже за две недели выступлений, она бросила все и вылетела в Англию. На выступлениях с Уинтером и дальнейшем контракте с CBS был поставлен крест. Тем не менее, контакты с Перлзом не прервались, впоследствии он издавал ее на собственном лейбле Blue Goose, но уже с аккомпанирующей группой. ~ Сергей Исправников, Blues.ru For blues connoisseurs and fans Jo Ann Kelly was a real blue blood. She was unanimously heralded as the British "Queen of Blues", and could have worn this title with pride. But the friendly Englishwoman with her unpretentious manner never showed a trace of self importance. Big-time promotion campaigns for her own cause were not her style, either. Her modesty is probably one of the reasons why she never achieved stardom but rather earned primarily the respect of insiders. Her almost thirty-year career is only sporadically documented on records - which fails to do justice to a "queen" of her talent. When Jo Ann Kelly died on October 21, 1990 at the age of forty-six after a tragic illness the press praised her lifetime achievements and artistry in numerous obituaries, posthumous acknowledgement which should have been hers much earlier. ~ tradition-moderne.com |
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1995: Bob Brozman - Blues 'Round the Bend |
Music » Blues » Slide guitar |
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 Artist: Bob Brozman Album: Blues 'Round the Bend Label: Sky Ranch Year: 1995; release: 2000 Format, bitrate: mp3, ~220 kbps (VBR) Time: 54:23 min Size: 85.4 Mb "Today, my concert repertoire consists of 30% blues, 20% of pre-war jazz, 30% of Caribbean music, a bit of African music and completely new compositions. With my guitar, we mix such rate Malagasy Hawaiian technique and harmonies not listed. on my last album, Blues' round the bend, there are two pieces, Devil Got My Woman and East, where I asked the drummer to play a rhythmic hip-hop. I have always found the monotone rap, but hip-hop rhythm has a real swing. of course, all instruments are acoustic. for the occasion, I play a guitar Weissenborn whose handle is hollow and whose the back is made of one piece of wood. It has a very deep grave. It is this guitar used by Ben Harper. But do not accuse me of plagiarism. I had to buy this instrument year of birth (laughs) ... the result is almost psychedelic. Some believe the effects of electronics, but everything is done by hand. at the end of East, the blues became Arabist. musicologists have long thought that the blues came from West Africa but at the time when the U.S. began to import slaves, providers would be providing to the east. I have heard of ethnic music from 78s 'East Africa, the range and melodies used are the same as in Mississippi. and just change a note or two to be found in the Arab world. Soon, I also mean to devote myself to music movies and try something very experimental. I realize that I spent a lot of time to serve the ghosts of my teachers. It is time for me to create new music. But I could not play hip-hop psychedelic if I do not quite mastered the roots of blues and Hawaiian music. "~ Bob Brozman, "Les inrockuptibles, november 1995" |
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1993: Big Time Sarah And The BTS Express - Lay It On 'Em Girls |
Music » Blues » Modern electric blues |
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 Artist: Big Time Sarah And The BTS Express Album: Lay It On 'Em Girls Label: Delmark Records Year: 1993 Format: Flac Time: 51:11 Size: 321.08 MB (Full arts) AMG Rating: "Big Time" Sarah Streeter has the power, struttin' tone, and booming voice ideal for stomping, sassy numbers. This CD spotlights the band Streeter formed in 1989, the BTS Express. Her songs explore the familiar battle between the sexes, with Streeter sometimes angry, sometimes confused, and often confrontational in the "classic" blues style. She covers three numbers by Willie Dixon, as well as material from Bill Withers, George Gershwin, and Leonard Feather, and displays both a vibrant style and more versatility than might be expected.~ Ron Wynn, All Music Guide |
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