Bertus Borgers vocal, sax en ritmegitaar
Bonki Bongaerts orgel en piano
Broer Bogaart drums en conga
The Paay Sisters backing vocals
Golden Earring, R.J. Stips en Eelco Gelling gastmuzikanten
From the acoustic slide of Johnny Winter's classic Dallas to the 'Day of the Eagle' Trower influenced chromatic riffing of the title track, Corby Yates debut release is a solid outting of guitar driven blues influenced hard rock. Ten of the twelve songs are originals with thoughtful lyrics and inventive musical structure. Corby's voice conveys the emotion of the words he sings. Definitely one to buy if you are into guitar driven blues rock. (Russ Hammond)
Bland and King have shared stages since the '50s, when they were both members of the Beale Streeters, the legendary Memphis blues commune. In any case, this 1974 concert catches both artists at the peak of their game, recorded (with a nice sense of inside-the-band intimacy) in front of an extremely appreciative audience. Highpoints include a terrific call-and-response duet between the two stars on Bland's signature "That's the Way Love Is," and a riveting, can-you-top-this version of "3 O'Clock Blues," which features stinging guitar work by King and some of Bland's most impassioned singing ever. (http://www.cduniverse.com)
Bass – André Reynen, Herman Deinum, Mary Hehuat
Drums – Louis De Lussanet, Paul Van Wageningen
Percussion – Neppy Noya
Piano – Gerrit-Jan Leenders, Willem Ennes
Saxophone, Flute, Vocals – Tom Barlage
Vocals, Guitar, Tambourine – Kazimierz Lux
Bill Toms is an American, roots rock and roller. With his band Hard Rain (legendary Pittsburgh musicians), Bill's writing style captures the feel and life experiences of people in the rust belt like no other. (cdbaby)
Tracklist:
01 - Another Round For The West End Kid 04:19
02 - This Is Nowhere 05:01
03 - I Was In Love With You 04:28
04 - I Don't Live There Anymore 07:46
05 - Satan's On My Shouder (Jesus Ain't Nowhere In Sight) 02:50
By the time Wayne Baker Brooks released his debut album, he had played the blues in Lonnie Brooks' band for almost 15 years, served as a roadie for two years before that, and led his own band for seven years (in addition to still playing with his dad). Clearly, he did not rush into a recording career. Instead, he paid his dues and took the time to find his own voice: a course a less savvy bluesman might not have made, especially considering Brooks' family legacy. It was a wise decision, because Mystery is not just a strong debut, it's a fully formed new vision that updates the sound of the blues without falling into the same tired blues-rock clichés. Instead, Brooks adds some soul, funk, and even a little hip-hop to his solid blues foundation and comes up with a great set of all-original tunes.
Right from the opening title cut, you know this isn't your standard blues album. It opens with a tremoloed Fender Rhodes vamp with an acoustic rhythm guitar doing one thing in one ear and an electric doing something else in the other. And, are those turntables in the mix?! Yep, but it's a subtle touch like so many others throughout the album (and they're judiciously used on just two cuts). Brooks is a strong, soulful singer; he's got a big, meaty Gibson tone; and his solos often don't go where you're expecting them to. The production is crisp without being slick, and it's got a nice open mix. Brooks knew what he wanted from the tunes, and his arrangements are impressive. Hammond here, Clavinet there, horns on a couple tracks, some tasty slide, and well-done backing vocals all add variety, but Brooks' singing and guitar playing are always the focus. He's equally at home on uptempo numbers ("Sooner or Later," "It Don't Work Like That") as he is on the slower numbers like the soulful "Exiled." He brings a bit of the funk to "Baby Stop," and "Nu Kinda Blues" is just what it says with its pumping bass, scratching, and killer harmonica playing over a ZZ Top-style groove. But despite these additional influences, Brooks is a bluesman to the core, albeit a very modern one, and that becomes clear every time he starts playing his guitar (and check out the exchanges with Lonnie on "It Don't Work Like That"). Mystery is not just a great album; it marks Wayne Baker Brooks as someone to keep an eye on as the blues enter the 21st century. As Wayne himself said, "Blues purists might not get my music but blues has to breathe fresh air sometimes." Amen to that.
The 2nd album, Fried Goat, is due out on 2/25 and here are a couple of tracks...
Fried Goat is Southern Rock with a conscious.
Or a conscience. Take your pick, they're not spellers.
Unashamed. Not good with women. A dirty-floor bar band with a pop twist that comes and goes before you’re sure it’s OK to admit you heard it. Then you hear it again. It wears a nicked-up heart on its sleeve. It is rock 'n' roll without bravado.
This second studio album has something familiar for long-time fans all throughout it. Try 'Henry's Revenge.' Listen to ‘Guilt Trip' for notes of Bon Appetit.
But altogether this is a sweeter sound. A little more love-struck. Possibly wiser. There's a Christmas song. There's an almost Ska version of The Charlie Daniels Band classic, ‘Long Haired Country Boy’.
“Howl-N-Madd,” Mississippi Blues Family Man is a 27 minute documentary presenting Bill Perry, his music, his family, and his Mississippi heritage. A companion piece to our award winning True Delta, this is the second in our series of documentary blues portraits heralding musicians who are keeping the blues alive.
The film celebrates Perry’s musical career by highlighting magnetic live performances, from deep down in Mississippi up to the Terra Blues Club in New York City, featuring Bill, his son Bill Perry, Jr., and his daughter, Sharo Perry and includes songs from his 7 albums. And it shows how Pauline Perry, who is unflagging in her devotion to her husband, embodies the spirit of the song he wrote for her after 45 years of marriage, “Delta Women,” who, as Perry sings, “know how to shake that thing.”
Even if you can’t make one of his live performances, this documentary will let you enjoy the full range of blues that “Howl-N-Madd” writes and sings—the slow, mournful sort and the juking and jumping kind. We are delighted to bring “Howl-N-Madd” to blues lovers everywhere.
This raw and raunchy performance group shows off its superior musical talents and intuitive lyrical style. BluesCasters is a highly polished, soulful, original blues and blues-influenced rock 'n' roll band. Check it out!
"...in Italia, a parte Fabio Treves, bluesmen degni di questo nome ce ne sono pochi. Uno è Paolo Bonfanti che dal vivo è una forza della natura...The Chosen Few contiene Blues e Rock di alta qualità..." (ALBERTO TONTI - SPECCHIO, inserto de LA STAMPA, maggio 2006)
Kaz Lux (Dutch-Polish) was the lead singer of the legendary 'Brainbox', a band with Jan Akkerman before he formed 'Focus'. Kaz has a very 'special' voice. It allows him to bring a special dimension to old blues standards and funky music. On this album he sings funky-blues, country, rock and folk. All the songs are self-written with the exception of Johny Cash' 'I still miss someone'. Highlights are also: Drinking Song; A Dying Man's Eyewash; Cleo; Maybelle And Joanna.
Musicians: Pete Wingfield, Tony Stevens, Jan Akkerman, Bruce Rowland, Dick Perry and more. (beestie)