With the incredible voice of The Duke and the great guitar playing of Bas van den Booren, DD proves why they are one of Holland's finest Blues bands. Duketown Dogs plays own material from the albums "Snakehat" and "Chasing Tail" along with covers from such blues heroes as Willie Dixon, Leroy Carr and Albert King to mention a few.
The Blues that the Duketown Dogs are playing can best be described as a crossover between blues and big rock. This Dutch band plays their Blues outer limits. Particularly the extra-ordinary guitar playing and singing qualities impress. Duketown Dogs released two albums. The last one called "Chasing Tail" released in October 2010 by German company BSC Music. This album has been declared (Dutch Blues Foundation) to the fifth best blues album of 2010, this after a release of only three months.. (http://www.duketowndogs.com)
Seit etlichen Jahren spielen wir mit dieser fantastischen Sängerin auf Festivals, in Clubs und zu vielen verschiedenen Anlässen - jetzt ist endlich eine gemeinsame CD entstanden. "Soulful Stew" ist ein - wie ich meine - wunderschöner Mix aus dem Live-Programm mit Harriet Lewis und der Gregor Hilden Band - aufgenommen in dem hervorragenden Fox-Music-Studio.
Neben Blues-, Soul-, und Gospelklassikern, die allesamt auf eine eigene Art arrangiert sind finden sich hier auch neue Kompositionen von Gregor Hilden, Harriet Lewis und Thomas Hufschmidt. (http://www.gregorhilden.de/)
Artists:
Harriet Lewis - Voc.
Gregor Hilden - Git.
Thomas Hufschmidt - Grand Piano, Fender Rhodes Piano
Sascha Oeing - Bass
Jochen Welle - Drums
Special Guests:
Horst Bergmeyer - B-3 Organ
Volker Wink - Tenor Sax (4, 5, 10)
Thomas Feldmann - Harp
On request of the artist all download-links removed, but by the kindly permission of Red House I got all the spotify-links, so you can listen for free to all the tracks by clicking on the track-title.
Hi Mile
I've just found your blog SouthernBluesRock. It's very nice, and thank you
for promoting Blues music and live music, that's great!
But I would like you to remove the cd's from online. We are a small group
from Madrid. We've been 15 years playing and living on the road, so our
incomes come from the gigs and the cd selling. It's true that until 2011
our music maybe was difficult to be found, as you just could get our cd's
in one shop in Madrid or in our gigs, but right now, finally we are
online, thanks to a friend who could move us on Spotify, iTunes, etc. So,
as now, our music can be listened for free with spotify, you could change
the direct download of the cd with the link to our music in Spotify. So
you keep the music available on your site, and each time somebody listen
to one of our songs, we would be earning 0,001€ to 0,002€, minus 20% that
the online company charges us by managing our online music, but hey, at
least it's something!
What do you think about this? If you agree I would send you the links to
our six cd's we have recorded (actually you just have three).
Number one' is the Kingsnakes' debut [2000]. It earned these musicians lots of rave reviews, and they deserve nothing less. The growling voice of singer Sven is the most striking ingredient of the Kingsnakes-sound. He is a worthy harp-player too, and his wailing harmonica-solos are a real treat. Eric [drums] and Rob [bass] put up a good show themselves. A great rhythm-section, complemented by André with his unwavering guitarchops and solid leadparts. There are two guests, on piano and sax, who enliven a couple of tracks. The CD features mostly shuffles in a variety of styles, and there is only one slower blues, which happens to be my personal favourite. The band recorded two originals that are performed with ripping intensity, but the twelve tightly played covers really make this album worthwhile. Unfortunately, these guys only rock for 53 minutes. (John Wigmans from Blues Matters! Magazine, England.)
The Hardcount is a rock n roll band cut from the same cloth as Motorhead, the Misfits, AC/DC, the Ramones and Johnny Cash. Rock n Roll is in our blood, it keeps us sane enough to walk the planet with "normal people".
The Hardcount is led by singer the Reverend Adumb Green (brother of Modest Mouse drummer Jeremiah Green), who has his hand on the trigger at all times and does not hesitate to pull it. The Reverend preaches his message to the congregation, delivering lyrics that cover life's ups and downs by way of his gravelly, whiskey-soaked voice, not unlike Tom Waits or maybe Lemmy of Motorhead.
The guitar is conquered by Disco Donnie, a man built from equal parts love and hate. With an ammunition box loaded with Gibson guitars and Marshall amps, his sound is rooted in classic rock tone but delivers it in his own unique way. His past includes being a founding member of both "Guns of Nevada" and "Jack the Hotrod".
Providing the low end thunder on bass is the infamous Spike Hell. Just ask him to tell you some of his tour stories and you’ll wonder why he hasn’t written a book, “the Spike Diaries.” A couple bands on his resume include, “Go Like Hell” and “Los Bastardos.” This guy attacks the Bass, period.
The raw power driving this band forward is generated by drummer, Vincent Lane. A hard-hitting, straight to work, no bullshit great drummer. A true gentlemen.
Nothing in the world is black and white. Everything is gray and we hope to paint a picture with our music that we are all stuck on this garbage planet, we all have heartbreak, loneliness, bad times, good times, the mornings (or afternoons) we don't want to get out of bed, questions about the meaning of life, traffic jams, hangovers, empty bank accounts, momentous joy, death and, most importantly.....life!
The hardcount is soaked in a combination of Blues, Punk, Rock and Americana.
We'd love to have you give it a spin. Keep up the great work on your site.
Bullfrog Blues Machine is een bluesrockformatie met gevarieerd, stevig en swingend uitgevoerd eigen repertoire dat sterk geworteld is in de Texas bluestraditie.
Artists:
Hans Klerken: gitaar, zang
Mark Spronk: toetsen
Chris Janssen: bas
Evert Veenhuis: drums
Tracklist:
01 - Doin't It Too 04:53
02 - Way To Go Johnny 04:26
03 - Buckle-Up 03:26
04 - The Decision Is Yours 04:27
05 - Searching For The Blue 08:02
06 - Blue With A Feeling 02:17
07 - Spent The Night In A Chickenshack - Hello Old Friend 07:53
Much like the timeless rock bands which have inspired Guns of Nevada, their sound is defining a new blend of rock and roll music creating a distinct sound and a unique mix of Cowpunk, Americana, and Roots Rock.
Led by front man Earle Thunders, Guns of Nevada delivers a musical cocktail of one-part Outlaw Country, one-part Bluesy Rock, and one-part pure Americana. It’s a potent mix of powerful songs which appeal to all age brackets and will remind you where the roots of rock and roll came from.
Their melodic three and four part harmonies, foot-stomping groove, and fist pounding rhythms are guaranteed to be memorable and will stick with you long after the show. A Guns of Nevada performance is a dynamic, good old fashioned crowd pleasing experience. If you’re looking for great music, fun times and camaraderie in the crowd, then it’s time to see Guns of Nevada play live!
Seattle based band Guns of Nevada, founded in 2007, has two albums already under their belt. Their first release was mastered by legendary Seattle producer and icon, Jack Endino, who is well known for his work with Mudhoney, Soundgarden and Nirvana. Guns of Nevada are four veterans of the Seattle music scene, Earle Thunders lead vocalist and guitar, John (Jethro) Pagano on bass and vocals, John Holme on drums and vocals, and Scott Riley on guitar.
Heavily influenced by bands like The Clash, Social Distortion, the Ramones and even AC/DC they manage to create a sound interwoven from genres like Punk, Blues and Rock. Experiencing a Guns of Nevada show live is where you’ll see them shine playing to standing room only crowds whether it’s in the heart of the club scene or energizing crowds in rural settings often overlooked by their contemporaries.
To their credit, Guns of Nevada’s music has been featured in three independent films and on the CMT reality show, “Chopper Challenge” where the songs “Outlaws” and “Hard to Wave Goodbye in Handcuffs” were showcased in the summer of 2008. They’ve played the Gorge Amphitheater in WA alongside such rock legends as Joe Cocker, Tom Petty and even country star Toby Keith. Guns of Nevada can be heard on several radio stations across the country, and even in other countries such as Spain.
In February of 2012 they released their newest album, “Songs in the Key of Whiskey”. With new management, a new album, planned 2012 tour dates and increased airplay expect to hear more from Guns of Nevada.
Earle Thunders, Lead Vocalist, Guitar: Earle is a veteran of the Northwest music scene. Before the formation of Guns of Nevada he was the singer/main instigator for the band, Lucky Stiff as well as the guitarist for the short lived ska/punk band, Stumblebum. In the early 90’s he worked briefly on radio and for a Seattle based indie record label. When not performing with Guns of Nevada you can most likely find him playing small, one man acoustic shows around the greater Northwest region.
John “Jethro” Pagano cut his teeth in the music biz on the mean streets of Hollywood performing for acts such as Betrayer and Mystery City. After a short jaunt in Portland Oregon creating the band Beggar’s Opera with now front man Jeff Loftis of Malfunkshun John moved to his new home in Seattle. There he has been influential in the post grunge scene with such bands as The Lesbian Muff Divers, Men From Mars, The Hell Monkey, Roller and more recently Hartwood. When not playing with Guns of Nevada, John is enjoying his own creation of "country disco" with the Seattle band, The Disco Cowboys
John Holme, Drums, Backup Vocals: John has been playing drums professionally for the better part of 30 years. Getting his start in the Wild West country of Montana, his musical adventures have taken him on a journey to various locations and situations. John worked with Lucky Stiff previously and continues to play the occasional show with Dirty Hollywood, the ultimate Motley Crue tribute band.
Scott Riley, Guitar: Scott grew up in the Rock & Roll Mecca of Bremerton Washington. As a guitarist he has played with countless projects over the last three decades, a few being Bent Richard in the 90’s and The Prom Kings through much of the 2000’s. Since 1996 he has been the owner/engineer/producer at his Seattle based Independent label Shortdog Records working with many local bands and song writers in his home based studio known as the Doghouse.
SweetKiss Momma, out of Puyallup, WA (about 30 min. south of Seattle), is a band for the ages. Though they have been fittingly described as a "roots" or "southern" rock, those classifications fall short when you recognize the late-60's British invasion, 70's era jam band, and even early 80's metal that impressively seeps it's way into the "SKM" brew. Whether it be classic blues riffs, multi-part harmonies, funk-inspired breakdowns, or grandiose anthems, none are out of place in their dynamically capable hands. These guys obviously spent some time digesting their parent's record collections, and seem as though they would be right at home on a vinyl LP circa '74.
At the heart of their original material is a soulful bend that is completely genuine. These boys, who were raised on a steady diet of hymns and spirituals, skillfully combine aspects of this upbringing with the sunny-day vibe and playful bravado you would expect from a group just as concerned with rocking your socks off as any other article of clothing. Lyrically, "SKM" embraces such classic themes as; cheap love, costly loss, and afternoons spent wasting time, all with a slight wink to a naughty streak buried just under the surface.
If you have been longing to find others like you; lovers of honest music who still believe that Rock-n-Roll can help save the world, then let me introduce you to your new favorite band: SWEETKISS MOMMA.
Er zijn mensen die staan te juichen over de ondergang van de platenmaatschappijen. Eindelijk kan je helemaal zelf bepalen waar je naar luistert, in plaats van dat dat bepaald wordt door een groepje oligarchen in "de industrie". Maar er is ook een schaduwzijde van deze ontwikkeling.
Stel, je wilt een goede Nederlands bluesrockband ontdekken. Dan moet je al die MySpace-pagina's afstruinen. Gezien het hoge percentage prutsers in het genre doe je dat je ergste vijand nog niet aan. Dan moet je blij zijn dat er idioten zijn zoals bij Cool Buzz, het label dat al jaren die Sisyphus-arbeid met verve verricht. In het verleden gaven ze ons al The Cuban Heels en Drippin' Honey, recentelijk The Death Letters en Big Blind.
Waar The Death Letters overduidelijk zijn geïnspireerd door Jack Whites gierende hardrockinterpretatie van de blues, daar bouwt Big Blind op zijn tweede album verder op het werk van The Cuban Heels en ook The Red Devils.
Waarin Big Blind zich vervolgens onderscheidt van de meeste bluesbands, is juist door het vrijwel geheel ontbreken van de gierende gitaren. Het kwartet uit Noordwijk kiest meestal voor een relaxte, soulvolle swing - check dat intro van 'My Ol' Suitcase'. Gitarist JJ van Duijn is zo verstandig sfeer en stijl te laten prevaleren boven het toonladdertjes raggen. De akoestische afsluiter 'Just for You' gaat zelfs helemaal naar dat heerlijk landerige "hangen op de veranda met een fles bier" countrybluesgevoel toe.
Als er dan al gegierd wordt, dan is het door Wesley van Werkhoven op zijn mondharmonica. Maar ook bij hem ligt daar niet zijn grootste talent; dat is het zingen. Zonder enig moment geforceerd te klinken, zingt hij met donkerbruine stem de plaat vol, als een soort Nederlandse tegenhanger van Eli 'Paperboy' Reed.
Geen wonder dus dat Big Blind al heeft mogen optreden in Raymann Is Laat en in Club 3voor12, beiden toch bepaald niet bastions van bluespurisme. Big Blind is namelijk het niveau van de bluesbarband ver ontstegen.
On request of the artist all download-links removed, but by the kindly permission of Red House I got all the spotify-links, so you can listen for free to all the tracks by clicking on the track-title.
Hi Mile
I've just found your blog SouthernBluesRock. It's very nice, and thank you
for promoting Blues music and live music, that's great!
But I would like you to remove the cd's from online. We are a small group
from Madrid. We've been 15 years playing and living on the road, so our
incomes come from the gigs and the cd selling. It's true that until 2011
our music maybe was difficult to be found, as you just could get our cd's
in one shop in Madrid or in our gigs, but right now, finally we are
online, thanks to a friend who could move us on Spotify, iTunes, etc. So,
as now, our music can be listened for free with spotify, you could change
the direct download of the cd with the link to our music in Spotify. So
you keep the music available on your site, and each time somebody listen
to one of our songs, we would be earning 0,001€ to 0,002€, minus 20% that
the online company charges us by managing our online music, but hey, at
least it's something!
What do you think about this? If you agree I would send you the links to
our six cd's we have recorded (actually you just have three).
Das Quintett um die sympathische Frontfrau Mattanja Joy Bradley hat mit "Shotgun Bunny" ihr aktuelles Album am Start und bereits nach einem Durchlauf wird klar, dass die Band auch mit einer Konserve überzeugen kann.
Die elf Songs verteilen sich auf eine dreiviertel Stunde Spielzeit und sie sind so vielschichtig wie ihr Auftritt beim Festival.
Wer hat schon die Stirn, ein Album mit einem groovenden Slow-Song zu eröffnen? Bradley's Circus natürlich. Flotteres folgt später. Und sie servieren dem Hörer mit "Deal" bereits den ersten Ohrwurm, der die volle Aufmerksamkeit einfordert. Fast schon charismatisch muss man die Ausstrahlung der Stimme von Frau Bradley bezeichnen. Vor dem geistigen Auge erschient sie einem (wenn man die Combo live gesehen hat), bereits nach den ersten gesungenen Worten.
It's Only Rock'n'Roll…
Bradley's Circus haben den Groove, wenn es, flotter als im Eröffnungsstück, mit "Lizzy" weiter geht. Fünfzigerjahre Stil trifft auf eine rockige Jimmy The Lounge-Gitarre und dann gibt es da ja noch die rothaarige Lidewij Veenhuis, welche eine teuflisch gute Harp spielt, so, als wäre sie stets eins mit diesen kleinen Instrumenten. Die lebt durch ihre Harp.
"Let's Go" ist Rock'n'Roll!
Für das entspannte "The Game" lupft man das Gaspedal wieder mit Jimmy The Lounge an der akustischen Gitarre sowie am Gesangsmikrofon. Mit sehr sparsam eingesetzten Drums von Beewee Nederkoorn atmet der Song den Flair des Mississippi-Deltas.
Um zu ergründen, zu welchen gesanglichen Leistungen die Bradley in der Lage ist, sollte man einfach nur "Down On My Knees" genießen. Immer und immer wieder! Ebenfalls ökonomisch instrumentiert ein weiteres Highlight auf "Shotgun Bunny".
Höhepunkte reihen sich aneinander, wie Perlen auf einer Snchur. "Record Machine", irgendwo im Mid-Tempo angesiedelt, überzeugt durch eine erstklassige Rhythmus-Vorgabe von Nederkoorn sowie Kontrabassist Toine Strout. Schön der arrangierte Gimmick im Track: Man imitiert das Hängen bleiben der Nadel beim Abspielen einer Vinyl-Platte.
Dann kommen wir zu zentralen Stück von "Shotgun Bunny". "Tomboy Boogie", das auch live ein Höhepunkt des Auftritts war und von den beiden Frauen gespielt wird. Ich kann es nur wiederholen: »Ihr Song heißt "Tomboy Boogie" und war ein waschechter Boogie, an dem man sich nicht satt hören konnte.« Dabei bleibe ich, wenn die fast fünf Minuten vorbei ziehen. Nur kann ich jetzt die Repeat-Taste drücken um mir den Song stets wieder anzuhören. Und morgen und übermorgen und nächste Woche und…
Rollenwechsel: Für den Slow-Blueser Searching übernimmt Jimmy The Lounge wieder die Lead-Vocals und diese Lidewij Veenhuis an der Harp ist einfach nicht zu toppen. Hölle, hat die ein Feeling!
Schön auch die dahin schmelzenden Uhs und Ahs der beiden Frauen. Keinen Deut schmalzig oder aufgesetzt. Das klingt einfach überzeugend. Und für diesen Track holte man sich auch noch den Keyboarder Gabriël Peeters, der dezent den Song bereichern kann.
Bradley's Circus muss man nicht nur live gesehen haben. Ihr "Shotgun Bunny" ist eine sehr überzeugende Platte, bei der Langeweile und Abnutzungserscheinungen Fremdworte sind.
Wenn das niederländische Quintett so weiter macht, steht uns noch viel tolle Musik aus dem großen Feld des Blues bevor, die langlebiger ist, als der Auftritt des Oranje-Teams bei der Euro 2008.
Welch ein Energie-Bündel die Bradley ist, stellt sie abermals im letzten Song, "Singing To The Lord" unter Beweis. Hier spielt sie auch das Kazoo und richtig ausgelassen endet das Stück, bis zum 'lächerlichen' Ende. Wer hat dann da so eine dreckige Lache? (http://www.rocktimes.de)
Southern Wind Blowin' est un hommage en forme de clin d'oeil, d'une part au groupe Vent du Sud que j'ai eu avec mon père entre 1992 et 1995, d'autre part à la musique du sud des Etats Unis qui a bercé mon enfance : country, cajun, blues et rock n' roll. Ce disque a été enregistré en trois jours, exclusivement avec mon groupe de tournée et enregistré à Anglet dans le sud ouest de la France. Neal Black a écrit trois textes pour l'occasion. Le travail de préparation de cet album a été trés court. Le disque est sorti en un seul jet, aprés 3 ans de silence discographique. (http://www.groupe-blues.com/nico_wayne_toussaint.php)
Steve Tracy: vocals, harmonica
Phil Buscema: lead and slide guitar
Dudley Radcliff: guitar
Hudson Rivers III: bass
Richard Berry: drums
additional musicians and background vocals
The Brickyard bluesband, ontstaan toen een stelletje bluesmannen elkaar vonden en tegen elkaar zeiden:"Lets play some kickass blues."
De band heeft z'n roots in Amerongen. Een mooi historisch dorpje op de Utrechtse heuvel rug met veel blues in haar geschiedenis. Brickyard betekent letterlijk "bakstenen tuin" Op het industrie terrein, waar wij onze repetitieruimte hebben, stond vroeger een steenfabriek.
Wij spelen stevige blues, maar zijn zeker geen rockband. Onze muziek heeft wel wat weg van bricks, mooi van vorm,door mensen met passie gemaakt en toch stevig. Elk nummer is een steen in onze muzikale tuin van bricks.
Artists:
Bertram Coenraats zang/bluesharp
Ruud Maalderink Gitaar
Tom Keesom Bas
Hans Heijster Drums
Alfred van Sprang Hammond/toetsen
For the past six years, Bradley’s Circus has travelled the world to play their music. They have attracted and generated fans that immediately fell in love with this truly special and genuine band. Bradley's Circus creates a unique interpretation, both style- and sound-wise, of songs that are firmly rooted in the rich American musical heritage. It generates a genre of its own they themselves like to call Contemporary Roots Music. For two years in a row, they have toured the US and were invited by five time Grammy Award winning producer John Snyder, to record their second studio album "Bang Bang Wa Wee's".
The Circus is headed by the beautiful, talented and authentic singer Mattanja Joy Bradley, who, despite her relatively young age, has a voice that will at times send shivers down your spine. The expression she can put in her singing is quite impressive, to say the least. Her voice varies from raw & rocking to sultry & seductive.
Lidewij Veenhuis excels by supporting in a real subtle manner, at other times vigorously chasing the rest of the band on the harmonica. Without doubt one of Holland's, perhaps even Europe's, best female harmonica players.
Next to them, guitarist André van den Boogaart creates special "licks" with a wonderful sound that will take any song to a higher level. The rhythm section consisting of Joris Verbogt on bass and Beewee Nederkoorn on drums lay down the groove for the rest.
Bradley's Circus adds something new to the Blues & Roots genres. They have created a style of their own that can be viewed as different and unique but is always recognizable. Reviewers are predicting a bright future for them, while in Belgium they have already been named Holland's best Roots band. Both recorded and live, this group is of such outstanding quality that they are certainly worth a detour!
If most people's appreciation of Canadian rock during the late '60s and early '70s begins and ends with the Guess Who, they are missing out on a host of great lesser-known bands. One of the most intriguing of those bands is the Blues Train, a sensational psychedelic blues combo that, like the Crazy People, put out an album on the Vancouver exploit label Condor. That immediately brings into question who exactly played on the album, since one theory holds that the same studio house band was responsible for all the label's product. Regardless of band makeup, though, The Blues Train is valuable on its own considerable merits. It houses some truly excellent music, and if it is not a proper band, it certainly comes across as the work of a legitimate unit -- and a pretty outstanding one at that.
As the band moniker implies and in keeping with perhaps the primary influence on the rock & roll scene of the era, there is a heavy identification with blues, including covers of Willie Dixon's "Hootchie Kootchie Man" and the traditional "Mojo" alongside convincing, like-minded originals like "Ride the Train" and "Busted in Chicago." There is some scorching guitar throughout, and a bass drum pulse that frequently mimics the chug of a train, an enduring symbol that holds romantic sway over the music (as the band itself articulates in the original liner notes). Joe Sanchez is (presumably) the main songwriter in the band, having contributed four of the 11 songs, and he turns out a few sensational tunes in "Missin' You," "A&R Man," and "Coast to Coast." The former song, with its chugging, jostling roadhouse groove and Tin Pan Alley piano, is Harry Nilsson on a prescription of the blues, while "Coast to Coast" is flawless honky-tonk blues with a dollop of sarcastic whimsy, again reimagining Nilsson as a grizzled old bluesman. If the Blues Train sounds like a bar-band version of the Grass Roots on occasion (which isn't even a bad thing, come to think of it) or overly emotes at others to pound home its love of the blues, the group never sounds like a pale imitation of the real thing. The Blues Train is a surprising delight -- scraggly, robust, and catchy with a wonderful sense of its place and purpose. It is perhaps even one of the strongest still unknown (and likely to remain so) blues-rock albums of the era.
