It's about time a blues guitarist came out with something really different. Rarely these days do I hear a new electric blues guitar release that sparks my interest, because so often the "artists" seem mired in imitation.
John McVey's "Gone to Texas" strikes me because there is really nothing to which it can be compared. I could name a few apparent influences, but McVey, as a stylist, has ventured beyond his influences to where the magic of true creation occurs.
This is a phenomenal GUITAR album. Be forewarned: it is not a vocalist's album. Although there are lyrics to every song, somehow the vocals seem secondary, simply sketching the painting. Colours and details are boldly laid out by McVey's guitar, with occasional flourishes from Joel Guzman on accordion, Riley Osbourn on keys and Kim Wilson on harp...all on a canvas of fantastic players from the Texas blues scene. The end results are vivid musical stories, fiery, fun and honest. "Gone to Texas" swept me along and then left me with a sense of satisfaction the likes of which I have not experienced from a new blues album in a very long time. (Jaime Pasekoff)
We recommend that you play this album LOUD! No SRV licks were tested or injured during the making of this album. (John McVey)
“You cats play like you mean it!!” Praise indeed, coming as it does from the great Grammy Award winning harmonica player Sugar Blue who has played with some of the musical greats of The 20th Century - including Willie Dixon, Stan Getz, Frank Zappa, Bob Dylan, The Rolling Stones, Ray Charles, Jerry Lee Lewis, Junior Wells, James Cotton.
The Dirty Aces have been cooking up a storm with their filthy and tough harmonica and guitar led blues. Still all under 30, they play with an emotional power that goes beyond their age conveying to people the power and spirit of unrestrained low down blues. This, their debut EP "One Good Reason" perfectly captures their sound.
Within the first month of being posted online, their songs were played thousands of times, and gig offers and plaudits poured in from across the globe from Chicago to Helsinki, Dublin to Brazil. They will be introducing themselves to the world in 2008 by touring off the Channel Island of Jersey,
their current base.
Gravado ao vivo em Juiz de Fora, MG, registra um trabalho mais visceral através de uma nova formação - sem teclados - que perduraria até o término do grupo, em 2002.
Artists:
Ricardo Werther: vocals
Big Gilson: guitar
Ugo Perrotta: bas & backing vocals
Beto Werther: drums & backing vocals
I bought the CD of the Fryed Brothers Band and dammit! That's quite a band! If you're involved in the Harley-Davidson thing don't miss this terrific team. Especially this well produced Roar Of Dirty Thunder. Perfectly rasping voice, high-powered guitars in brief Good music by the bikers for the bikers (among others). They play an efficient explosive mixture of Country-Rock 'n' Roll period. It is a classic of its kind. Good time guaranteed... (Régis Ledrel)
Flávio Guimarães is a harmonica player, singer and Brazilian Blues pioneer. During a career that has spanned two decades, he has released 17 CDs - seven solo albums and ten as part of Brazil's premier Blues-Rock band "Blues Etílicos".
He is THE harmonica reference in Brazil, not only due to his pioneering work with the blues diatonic harmonica, but also due to his consistently evolving playing and the passing on of harmonica information. He has teached a whole generation of harmonica players in Rio de Janeiro, where he lives, commencing the blues harp movement in Brazil.
He has opened for B.B. King and Robert Cray. He has performed on stage with Buddy Guy, Taj Mahal, Charlie Musselwhite, Sugar Blue, Mark Ford, Mark Hummell, Walter Wolfman Washington and others.
Howard Levy, Charlie Musselwhite and Sugar Blue are also special guests in some of Flávio's albums. He and his harmonica make regular appearances on recordings of top Brazilian musicians, as well as on television commercials and film and television soundtracks. (http://www.flavioguimaraes.com.br/)
Memphis-based blues band Delta Highway is a fairly new unit, only coalescing as a band after 2003. This band’s music is pure living blues for modern times; it’s not rock-blues, soul-blues or any other hyphen-blues. The band features guitar, harp, organ/keys, bass and drums - no frills, just fine soulful ensemble blues playing. The band was originally formed by, and is centered on Brandon Santini (harp and vocals) and Justin Sulek (guitar). Both men were originally from the piedmont region of North Carolina, and came to Memphis in 2003 in order to absorb the blues sounds and history of the Mississippi delta region. Traditional sounds form the core of the Delta Highway’s sound, but the band doesn’t let their love of traditional blues forms stagnate them or tie their hands. They take the best of what makes the blues such a vital art form and merge it with their own sensibilities and ideas.
Santini is a fine young singer, possessing soulful, deep-toned vocals with a slight drawl which acts to enhance that soulfulness. At times his tone reminds me of Steve Guyger, at other times a grittier version of Noah Hunt (who you may know from his work with Kenny Wayne Sheppard) and at other times his phrasing is reminiscent of Paul Reddick’s. Brandon’s amplified harp tone is heavy, thick and warm - I hear influences ranging from Gary Primich to Mark Sallings to Jason Ricci, even some John Popper (but don’t let that scare you away if you’re not a Popper fan.) There’s a good chance that Santini will become a rising star in the world of blues harp players. Delta Highway’s rhythm section (at the time of this recording) consisted of bassist Paul Chase and drummer Steady Keven Eddy (Keven has played with both Mojo Buford and Blind Mississippi Morris). If I’m not mistaken, both men used to work with Jason Ricci, during Ricci’s Memphis/Mississippi days – prior to the formation of his New Blood band. Guitarist Justin Sulek is another young player you should keep your eyes on. He knows when to sit back and play to the songs, knows when to step up front, displays a nice tonal palette, and can really play that greasy, swampy North Mississippi/Memphis style well. Also, he know how to, and seem to enjoy, playing along with a harp player. Not all guitarists master this trick.
The band reminds me a lot of Paul Reddick’s band in his 1990s ‘Sidemen’ days, but with a growly drawl channeling Memphis grit and Mississippi Hill Country feel. Brandon has a style of vocal and harmonica phrasing that reminds me very much of Reddick’s work (this should be considered a compliment), although his vocal tone is different that Paul’s vocal tone. Personally, I think this band has tremendous potential. In fact, I’m not the only one who is thinking that way – Delta Highway was nominated for the 2009 Blues Music Award in the Best New Debut Artist category. That is high praise, indeed. (http://stlblues.net/)
BluesTrain features Blues-Rock in a big band format! Inspired by the tradition of blues based artists like The Allman Brothers Band, Stevie Ray Vaughan and Eric Clapton, BluesTrain melds blues and rock with style and passion. Combining reverence for our great American Blues heritage with a modern rock styling, BluesTrain is a musical bridge between past and present of blues-influenced music. (http://www.bluestrain.com)
Formed in 1992, Big Allanbik is the leading blues band in Brazil. Their breakthrough came at the Nescafé and Blues Festival in Sao Paulo where they most successfully competed with such as Robert Cray, Otis Clay, Eric Burdon, Robben Ford and Lonnie Brooks. In 1996 Big Allanbik toured the U.S. appearing at New York's Blue Note and Miami's Tobacco Road. In Chicago, the City of Blues, the band performed with Duke Robillard at Buddy Guy's Legends and with Lonnie Brooks at the Blue Note.
Singer Ricardo Werther (voted blues singer # 1 in Brazil and sometimes reminiscent of Pearl Jam's lead vocalist), guitar player Big Gilson (who solos like a heavy metal star), keyboarder Alan Ghreen (who already played with blues greats like B.B. King) and the refreshing groove team Ugo Perrotta and Beto Werther have definitely "forged their own distinct and unique style" (Blue Note, NYC) by peppering American blues and rock with Brazilian rhythms.
On their new CD, "Batuque Y Blues," the Brazilian quintet widens its original concept of carioca blues by adding ethnic percussionist Ricardo "Siri" to the band's personnel. Thus incorporating Brazilian rhythms and heavy rock riffs into a straight-ahead blues approach, Big Allanbik presents original compositions along with classics by the likes of Willie Dixon, T.Bone Walker, Louis Armstrong and the Allman Brothers Band. This sterling album was produced in New York's Avalon Studio by Bob Stander who has become famous for his work with Roy Buchanan, Paul Simon, Pete Townsend and Kiss. (http://www.enjarecords.com)
A voice keeps calling to me, so loud and so clear....I'll just pretend I'm not here" Classic Dan Hicks lyrics with toe tapping post-hippie mountain swing. The group was able to steer clear of pre-disco rumblings, mainstream "western" twangy, and lost rock taint. It's a musical picture of Hogie Carmicheal with a roachclip. (http://www.amazon.com)
An energetic brand of American roots music with an irresistible stew of country, blues, swing, boogie-woogie and good old roadhouse rock and roll. (http://www.cdbaby.com)
Street Survivors is a southern rock album by Lynyrd Skynyrd, released in October 1977 (see 1977 in music). Three days after the album's release, the band's chartered airplane crashed en route to Baton Rouge, Louisiana, killing the pilot and some band members, including lead singer and songwriter Ronnie Van Zant and guitarist/singer/songwriter Steve Gaines, and severely injuring most who survived the crash. Perhaps partially as a result of the attention garnered by the tragedy, the album and the lead single "What's Your Name" did quite well on the charts. After an extensive recovery process, the surviving original band members ultimately decided to disband Lynyrd Skynyrd. In the early 1980's, two derivative bands, The Rossington-Collins Band and The Allen Collins Band, rose from the figurative ashes of this rock n roll disaster to achieve moderate and minimal success, respectively.
The original pressing of the cover of Street Survivors had a photograph of the band standing in flames. Eerily, in the original cover, Gaines' eyes were closed and his head appears to be surrounded by flames. The cover was changed to an alternate photo with an all-black background in respect of the deceased. Today, thirty years later, the original "flames" cover is on the front of the case, while the alternate cover serves as the back of the case.
"The day we made this record was special. The vibe in the room was unbelievable. The fans knew something extraordinary was happening. As the night went on the crowd got stronger, and began feeding the band with support. Becoming an integral part off the outcome, like a fifth member of the band. That's when we all knew we were in for something very special."
This record was made for our fans and friends. Lee Parvin and I wanted to record a CD that would be an authentic representation of what this band does live. No set list. It wasn't easy trying to choose from over seven hours of music, that's why this is a 2 CD set. It was a lot of work and at the end of the night everyone was exhausted - but we all had a ball. I hope you enjoy it" - Daniel Castro
There is a second CD with outtakes available. If you can offer a DL-Link please post it into the comment-section or shout-box!
This album is also known as 'Can't Keep A Good Band Down' or 'Eric Quincy Tate Collector's Edition'.
Eric Quincy Tate were not a person, they were a band - a quartet of down-and-dirty swamp rockers, Naval reservists stationed in Quincy, MA, but based down South, playing regularly in Texas where they were discovered by Tony Joe White, who shared a similar taste for blues, R&B, and soul.
Eric Quincy Tate is pure swamp pop, mixing up soul, blues, country, and rock & roll into a dynamite concoction of thick, funky roots rock.
Tracklist:
01 - Brown Sugar 05:51
02 - Hit The Road Jack 02:09
03 - Cherry Pie 03:03
04 - Shake Rattle & Roll 03:36
05 - Whiskey Woman Blues...I Can't Turn You Loose 06:16
Mark Cook is one talented young man. On his last outing, "An Evening With The Blues," he handled just about every chore, from writing to multi-instrumental duties to production and engineering. A fine debut, that project was marred only by unconvincing vocals. Mark continues to wear many hats with "The Promise Highway"; not only did he write all the songs (with help on just one), he engineered, produced, mixed and arranged the project. Restricting himself to guitar, he's now working with a full band, and has solved his vocal dilemma quite nicely by recruiting two fine singers in the persons of Roman Broadus and DaRon Washington.
Mark's blues lean to the rock side (lots of fiery fretwork in evidence), spiced with equal measures of funk, a bit of jazz, even some pop. Whereas such a blend can often result in a lack of focus, Mark holds everything together nicely, sequencing things intelligently to deliver a satisfyingly integrated package, the variety a plus rather than a distraction.
The title track, a funky declaration of defiance, is fuelled by B3 and harmonica, Mr. Broadus' vocals just this side of overwrought; "Another Year Goes Passing By" (not, as one might suspect, an answer to Albert King's similarly-titled classic) is a bouncy shuffle. Mark shows his blues chops on "Down With The Blues," with Ms. Washington's soulful pleading deriving much of its passion from the church. Mark's work here shows both maturity and restraint. Again the B3, courtesy of Bobby Mobley, provides a solid and soulful cushion of support.
"Mood Swing" is a jazzy little jump number; there's a delta groove to "You Can Take Away My Woman (But Don't Take Away My Wine)," and slippery funk on "This Is My Life." Elsewhere there are furious shuffles ("Bummin's My Profession" and "Don't You Ever Leave"), more funk (the aptly-titled "Funk The Blues"), breezy, jazz-inflected pop (think George Benson) on ""When The Blues Takes Hold Of Me," even a bit of swamp with "The Bitter Truth," a duet with Ms. Washington and Roman spurring each other on to frenzied heights - toss in a fine sax solo by Randy Hunter and this one may well be the disc's highlight. Mark wraps things up with a solo "Blues For A Rainy Day," a moody instrumental that effectively conjures up a dreamy, almost otherworldly atmosphere. Short and sweet, it's very pretty, very relaxing, yet Mark manages to make it swing just a bit. Very nice indeed.
