Artist: Seasick Steve
     Album: Dog House Music.
     Label: Bronzerat
     Year: 2006.
     Format, bitrate: mp3;320k/s
     Size: 149 mb.
     AMG rating

Yes, they really do still make albums like this in the 21st century. Steve Wold, otherwise known as Seasick Steve, released his second album, Dog House Music in 2007, his first purely solo effort; he had previously released an album entitled Cheap several years earlier for which he shared the credit with Swedish band the Level Devils. Dog House Music is like a really old John Lee Hooker or Muddy Waters album, or maybe something even less commercial as Steve strums his guitar and sings along, his voice sounding drowned in bourbon, and occasionally a song such as "Fallen off a Rock" crashes to life, literally, with the guitar no longer picking out a sorrowful blues lick but strumming wildly and the drums smashing away in the foreground played by two members of his family, HJ Wold and PM Wold. Apart from that however, the entire album is played by Steve, recorded in what sounded like one take, when he might have been sitting in a leaky shack by the Mississippi, almost every track given a short introduction almost as if to explain to a personal audience what the forthcoming song is about and why it is important. The album begins with the very short (just over one minute) track, "Yellow Dog" which sounds like it was been recorded at the bottom of a well, the acoustics are so terrible. When the final track, "I'm Gone," finishes, there is a small gap which is followed by Steve reciting a real shaggy dog story, over five minutes long, no music, just Steve rambling about being arrested and after spending six months in jail, looking for his runaway dog; this eventually runs into another sad blues song (about a dog). Not sure why anybody would want to listen to this story more than once. Even the album cover looks like it was designed and drawn by a six-year-old, but that simply adds to the unpolished and underproduced nature of the work, which is a credit, not a fault.~ Sharon Mawer, All Music Guide

     Artist: Seasick Steve
     Album: Man From Another Time.
     Label: Warner Bros
     Year: 2009.
     Format, bitrate: mp3;320k/s
     Size: 76,1 mb.
     Total time: 50:43


Recorded live on old-style analogue equipment, Man from Another Time is typically enjoyable, though not quite as potent as the quarter-million-selling I Started Out with Nothing and I've Still Got Most of It Left – despite Steve's lo-fi ringing of the changes, with his trusty "three-string trance wonder" guitar set aside occasionally in favour of slide licks played on a homemade cigar-box guitar ("Happy"), and more primitive still, the single-string device whose construction is explained and demonstrated in "Diddley Bo".

He may no longer ride the rails, but Steve's hobo experiences still drive his muse, with recollections of time spent sleeping rough, picking apples as a migrant worker ("Wenatchee") and spending time in Spokane jail ("Never Go West"). Elsewhere, "Just Because I Can" and "Big Green and Yeller" respectively find a nostalgic Steve hopping a freight train for old time's sake, and devising a plan to buy himself a tractor and caravan and "drive down the highway blockin' traffic every chance I can". He has two basic modes: the itchy boogie groove most effectively employed on the prison lament "That's All", evoking the restless frustration of pacing a tiny cell; and the more low-key style of "The Banjo Song", a sympathetic reflection on the ostracism of ageing drifters, where the dry-gulch plunk of his banjo perfectly matches the hoarse rasp of his voice. ~ The Independent

     Artist: Buddy Guy
     Album: The Definitive Buddy Guy.
     Label: Shout Factory.
     Year: 2009.
     Format, bitrate: mp3;320k/s
     Size: 185 mb.
     AMG Rating

To call this collection of tunes from blues legend Buddy Guy definitive is not a stretch by any means, as it is a cohesive, thoughtful, chronological collection that accurately represents all of his changes and phases through six decades. Overall, it is a mellow compilation that showcases many of Guy's laid-back songs, several with longtime partner Junior Wells. It's sprinkled with the many all-star bluesmen he has collaborated with over the years, and is tastefully programmed to offer what is essentially cream of the crop blues from one of its enduring legends. Your hear music issued on singles, LPs and CDs recorded from 1958 through 2004 via various recordings done for the Artistic, Chess, Delmark, Vanguard, Blue Thumb, Atco, Evidence, Alligator, JSP, Blind Pig, and Silvertone labels. It really is a comprehensive overview of Guy's best known songs, and gives fans or neophytes an accurate big picture of why Buddy Guy remains one of the most influential artists in American popular music. The CD starts in slow grind mode with classics like "Sit & Cry" in the style of Howlin' Wolf with all-stars Otis Rush and Willie Dixon, the most well-known "First Time I Met the Blues" with pianist Little Brother Montgomery; "Ten Years Ago" in his first teaming with Wells from 1960; the downhearted "When My Left Eye Jumps" with four horns and Lafayette Leake on the organ; and the all-time great showtime tune with Wells' "Hoodoo Man Blues" from the Delmark LP of the same name from 1966 that has become synonymous with electric Chicago. Guy's distinctive solo guitar style is front and center on the intro of "A Man & the Blues" alongside the immortal pianist Otis Spann, while the sole track from Buddy & the Juniors, "Five Long Years," is a toned-down acoustic number with Wells and pianist Junior Mance from that rare Blue Thumb recording. A funky R&B number "A Man of Many Words," from Atco Records in 1972 features, Eric Clapton, Dr. John, saxophonist A.C. Reed and Wells, while Guitar Slim's standard, "The Things I Used to Do," again with Wells live at Montrueux, Switzerland, languishes over its time. Brother Phil Guy joins Buddy in a two-guitar tandem for Champion Jack Dupree's eight-minute, low-key slow jam "When I Left Home" and the rock & roll "Dust My Broom" styled "She Suits Me to a T." Another two live tracks, the upbeat shuffle of Sonny Boy Williamson's "Checkin' on My Baby" and Dixon's "Let Me Love You Baby" featuring Pinetop Perkins, Bill Wyman, and Charlie Watts, and G.E. Smith's nine-piece Saturday Night Live Band, respectively. The final selection, "Baby Please Don't Leave Me," with Jimbo Mathus is a heavy contemporary stomper that shows a new attitude toward the blues that steers away from authenticity, but more toward a youth oriented audience. This CD is recommended without reservation, a great single CD overview of Buddy Guy's soul and spirit as a true pioneer of the blues. ~ Michael G. Nastos, All Music Guide

     Artist: The Atomic Fireballs
     Album: Torch this place
     Year: 1999
     Label: Atlantic
     Genre: Retro Swing
     Format, bitrate: MP3@320 kbps
     Size: 93.6 m

Эта бомба должна быть здесь!!!
Альбом в лучших традициях фильма Маска!

     Detroit's Atomic Fireballs bring a fresh attitude to swing on their debut album Torch This Place. Tracks like "Man with the Hex," "Mata Hari" and "Starve a Fever" have a driven energy that shows why the group won many new fans on the 1998 Vans Warped Tour. Torch This Place is powerful fun for anyone into the new swing scene. Heather Phares, AMG

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     Artist: Ry Cooder
     Album: Crossroads
     Label: Warner Brothers
     Release 1986
     Format, bitrate: 320 kbit/s
     Size: 95 mb

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     Artist: VA (The Original Motion Picture Soundtrack)
     Album: The Blues Brothers
     Label: Atlantic / Wea
     Year: 1980
     Format, Mp3 @ 320 Kb/s
     Size: 82 Mb

   Artist: Roy Buchanan
   Album: My Babe
   Label: Akarma Italy
   Year: 1981
   Format, bitrate: MP3, 320 kbps
   Time; 38:00
   Size: 89 MB



   Buchanan was a terrific guitarist, but My Babe is not the place to hear him in his glory. Too often, the album is dragged down by slick production and Paul Jacobs' overbearing vocals. Buchanan's playing is fairly good, but he sounds a little uninspired, which is understandable, considering his surroundings.
    ~ Stephen Thomas Erlewine, All Music Guide

     Artist: Roy Buchanan
     Album: De Luxe Edition
     Label: Alligator
     Release: 2001
     Format, bitrate: MP3, 320 kbps
     Size: 144 mb
     Time: 61:02


     The third non-crossed licensed anthology from the master guitarist focuses on his three-album stint at Chicago’s blues-based Alligator Records. The artist considered the music he made during his 1985-1987 association with the label the most honest of his career. Since he received complete creative control on these discs, his 1988 suicide, a short year after Hot Wires—one of Roy Buchanan’s best albums ever—was released, makes his untimely death even more shocking. With its 16 tracks—two previously unreleased—almost evenly divided between instrumentals and (predominantly) guest vocals shared by Otis Clay, Delbert McClinton, and Johnny Sayles (Buchanan tentatively and gruffly talks/sings three selections), this is not only a terrific overview of the musician’s astounding guitar virtuosity, but a sad coda to a short yet intense career that never broke him through to a wide audience. ”You know I ain’t broke, but I’m badly bent” are not only lyrics to ”Ain’t No Business,” but also the sad state of affairs the artist found himself in as he was recording his final disc. With a completely unique guitar style that effortlessly shifted from a crying moan (as in the opening bars) to his cover of Otis Redding’s ”These Arms of Mine” to a raging howl—exemplified by the thumping take on Willie Dixon’s ”You Can’t Judge a Book by the Cover”—Buchanan effectively covered all the blues-soul-rock bases with passion, integrity, and class. His economy of style is obvious in the concentrated 2:29 track (and appropriately titled) instrumental ”Whiplash.” Although the guitarist’s material was often subpar on his two previous labels, the music he recorded during these three years was top-notch, and consistently throbbed with his trademarked rugged, steely tone. While he occasionally stooped to slinging out a wild flurry of fret-shredding cacophony, as in the middle of ”Peter Gunn,” just to provide proof of his jaw-dropping abilities, Buchanan more frequently kept those more ostentatious impulses in check. There’s none of the gospel and low-key country he often dipped into during his Polydor years, yet the essence of those genres is imbedded in his blues and R&B work here. This Alligator Deluxe Edition features rare photos, adequate track information, and a heartfelt remembrance penned by label boss Bruce Iglauer. At 61 minutes, only its playing time is questionable, since there easily could have been another quarter-hour of music added. Still, for those who need a concise compilation of Roy Buchanan’s phenomenal skills with no filler, this handy disc fits the bill.
   ~ Hal Horowitz, All Music Guide

     Artist: Roy Buchanan
     Album: Loading Zone
     Label: Sony BMG
     Release: 1977
     Format, bitrate: 320 kbps
     Size: 98,3 mb
     Total time: 40:35


     Loading Zone, Buchanan's second solo album for Atlantic, is produced by Stanley Clarke, a built-in guarantee for jazz-rock legitimacy. More importantly, Clarke's rep as the killer bass player of the decade has had a positive, prodding effect on Buchanan's playing. He shifts into overdrive on the first track, a fiery and propulsive Clarke composition entitled "The Heat of the Battle," and never looks back for the whole album. He has always been the master of the Fender Telecaster squeal, but on some of these tracks his frenzied excursions into overtones, harmonics and tight clusters of notes played largely in the upper register of the instrument move beyond traditional lead-guitar histrionics. One gets an acute physical sense of Buchanan literally shredding his way through the blues-rock clichйs to get to a higher, abstract plane. Sometimes he tries too hard—even the majestic exchange with Steve Cropper on the supersonic remake of "Green Onions" threatens to run on too long. But, like Beck, he is trying to take lead guitar into another dimension and his sparkling work on tunes like "Judy," "Hidden" and the tongue-in-cheek "Adventures of Brer Rabbit and Tar Baby" (featuring Clarke on "country-sprung" bass) augurs well for his continuing development.

     Artist: Walter Trout
     Album: Prisoner of a dream
     Year: 1991
     Label: Provogue
     Format, bitrate: 320 kbit/s
     Size: 126 mb

REPOST with new links from Mr. pakospain

     After two decades as a side man for the likes of John Mayall and John Lee Hooker, Walter Trout finally signed a recording contract of his own. His early albums, including this one, were distributed only in Europe and not in his native America. This album approaches perfection as an exposition of magnificent electric blues. . . .

     Artist: Walter Trout
     Album: Livin' Every Day
     Label: Ruf
     Year: 1999
     Format, bitrate: MP3, 320 kb/s
     Size: 158 m

REPOST with new links from Mr. pakospain

     "Living Every Day" is Walter Trout's (whom the BBC elected as the world 6th best guitar player) worldwide debut album on RUF RECORDS. His worldwide label-change to RUF was the consequence of the success of his last album, wich was his first release on RUF and his first official US-release: Walter Trout took his native country by storm. The L.A. Times comments: "Trout continues to set standarts". Walter Trout: "It was a great motivation to work on a new album that will be released and promoted worldwide. Especially the reactions that we had on our recent American tour was a dream-come-true. I think I wrote some of my strongest (and most personal) songs to date". Beside his superior guitar work - Walter's trademark - "Livin' Every Day" stands out against Walter's previous albums with the very personal lyrics (all printed in the booklet).
   Release Notes

     Artists: B.B.King & Eric Clapton
     Album: Riding With The King
     Year: 2000
     Label: Reprise
     Format, bitrate: 320 kbit/s
     Size: 170 mb




   The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Clapton's supportive role fills out and surrounds King's stinging single-string playing. The result is an effective, if never really stunning, work. . . .

     Artist:Roy Buchanan
     Album: A Street Called Straight
     Year: rec. 1976 rel. 2002
     Label: Wounded Bird
     Genre: Modern Electric Blues
     Format Bitrate: MP3@320/Kbps
     Size: 92 mb





     Roy Buchanan was a guitar blues/rock virtuoso who put out numerous albums in the 70's & 80's. Tragically he took his own life in 1988. Between 1976 & 1978 Roy recorded three albums for Atlantic Records. A Street Called Straight hit the Billboard charts in 1976 and features his unique interpretation of the Hendrix classic 'If Six Was Nine'. This album is making its worldwide CD debut! Wounded Bird release. 2002.

    Artist: Ry Cooder
    Album: Jazz
    Year: 1978
    Release: 1987
    Label: Warner Bros / Wea
    Quality: MP3@320 kbps
    Size: 93 mb

   Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist. Spence's sacred songs are presented here in string and brass band arrangements that emphasize the Caribbean connection between his music and Morton's habaniera pieces. The complexity of the material on Jazz, as well as the arrangements by Joseph Byrd, dictate that this is Cooder's most polished and orchestrated effort to date. Whereas in the past, even at their most removed, Cooder's records usually kept at least one foot in rock & roll or blues, Jazz can, at times, lack some of that fire and be almost bookish in its approach. Still, there is enough excitement in the music's intricacies and Cooder's beautiful, fluid playing to forgive the politeness of some of the performances. From the informative liner notes by Ry Cooder himself to the brilliant compositions, Jazz is, at the very least, educational. But, a little time spent with this music and you'll see why it was and continues to be relevant, as well as beloved.
   ~ Brett Hartenbach, AMG

     Artist: Ry Cooder
     Album: Show Time
     Year: 1976
     Label: WEA International
     Genre: Blues
     Quality: MP3@320 kbps
     Size: 95 mb

     On this live set, Cooder is joined here by a typically diverse set of sidemen including accordian master Flaco Jimenez and vocalists Terry Evans and Bobby King. Features nine blues-drenched multi-culti tunes including "How Can A Poor Man Stand" and "Smack Dab In The Middle."

    Artist: Ry Cooder
    Album: Paradise and Lunch
    Label:
    Year: 1974
    Quality: MP3@320 kbps
    Size: 89 mb
    AMG Rating

   Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn't afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder's brilliant guitar, are taken to new territory where they can coexist. It's as if Washington Phillips' "Tattler" could have shared a place on the charts with Womack's "It's All Over Now" or Little Milton's "If Walls Could Talk." That he's successful on these, as well as the Salvation Army march of "Jesus on the Mainline" or the funky, gospel feel of Blind Willie McTell's "Married Man's a Fool," is not only a credit to Cooder's talent and ingenuity as an arranger and bandleader, but also to the songs themselves. The album closes with its most stripped-down track, an acoustic guitar and piano duet with jazz legend Earl "Fatha" Hines on the Blind Blake classic "Ditty Wah Ditty." Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder's masterpiece.
   ~ Brett Hartenbach, All Music Guide

     Artist: Ry Cooder
     Album: Ry Cooder
     Year: 1970
     Label: Reprise
     Format/Bitrate: mp3, 320 kb/s
     Size: 59 mb

     а продолжу-ка я выкладывать всю его дискографию

     Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder's eponymous debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker's idiosyncratic production; and Parks and Kirby Johnson's string arrangements. And while he's still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems — spanning six decades dating back to the 1920s — by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition. Still, as great as his outside choices are, it's the exuberant charm of his own instrumental "Available Space" that nearly steals the show. Its joyful interplay between Cooder's slide, Van Dyke Parks' music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If "Available Space" is the record's most playful moment, its closer, "Dark Is the Night," is the converse, with Cooder's stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson's mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder's need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. Brett Hartenbach, AMG

     Artist - Joe Bonamassa
     Album - Blues Deluxe
     Label - Premier Artists
     Year: 2003
     Quality : MP3@320 kbps
     Size: 121.88 MB
     Total time - 51:28

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     Artist: Joe Bonamassa
     Album: The Ballad of John Henry
     Label: Premier Artists
     Year: release February 24, 2009
     Format: MP3@320 Kb/s
     Size: 152 Mb.

     

     His guitar and voice carry equal weight as he runs through SRV-styled slow blues, a shuffle or two, acoustic numbers, covers, and originals -- everything that he's dabbled with on previous albums is pulled together here, making for his most varied album and possibly his best, even if that heaviness means that it's not necessarily the easiest to enjoy.

Artist: Eric Clapton
Album:Me And Mr Johnson
Label:EMI Warner
Year: , release 2004
Format, bitrate: 320 kb/s
Size: 123 mb

Ten years after his first all-blues album, From the Cradle, Eric Clapton released Me and Mr. Johnson, an album-length tribute to his hero, the legendary bluesman Robert Johnson. Not that this is the first time Clapton has paid tribute to Johnson. Throughout his career, Clapton has not only drawn on Johnson for inspiration, but he has covered his songs at pivotal moments: "Ramblin' on My Mind" on his classic album with John Mayall, Bluesbreakers; "Four Until Late" on the first Cream album; and, most memorably, the rampaging cover of "Crossroads" on Wheels of Fire that became his anthem and arguably his defining moment. Considering this long history, perhaps a full-length tribute was inevitable, yet Me and Mr. Johnson still is welcome, in part because it's been a long time since this guitarist has sounded so comfortable and relaxed, as if he was having fun making music. With the possible exception of the spotty yet charming B.B. King duet album Riding With the King, this is simply the most enjoyable record he's made since From the Cradle, and in some respects it's a better blues album than that since it never sounds as doggedly serious as that guitar-heavy affair. Given the somber, sometimes chilling lyrics Johnson wrote -- Clapton admits that "At first [his music] scared me in its intensity," an accurate summary of the haunting nature of those 29 sides the bluesman cut in the '30s -- it's a little ironic that this tribute winds up being fun, not somber, but the light touch makes for a better album. That lightness comes from the deep love Clapton holds for this music, since the enthusiasm and enjoyment he and his band -- all the old regulars like Andy Fairweather-Low plus Billy Preston on keyboards -- give the performance results in the album's light, infectious feel. While that does result in versions of "If I Had Possession Over Judgement Day" and "Hell Hound on My Trail" that sound anything but haunted, they do sound nicely next to the up-tempo rave-ups of "They're Red Hot," "Last Fair Deal Gone Down," and "Stop Breaking Down Blues" since all of them sound like Clapton is having a hell of a good time. Some might take issue with this, and others may find the album too slickly produced -- admittedly, blues albums should never boast a credit for Pro Tools, as this does -- but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums. ~ Stephen Thomas Erlewine, All Music Guide