After more than 5 years it is time to say good bye and this blog shuts its doors.

Thank you very much for all your support through out this time.

Friday, June 18, 2010

Luther Allison 2002 Pay It Forward

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 01:08:01
Size: 155,56 MB

United States

My Blues have taken me around the world, from Chicago to Berlin, from Tokyo to Paris. It's never mattered to me what colour your skin is or what country you live in, as long as we share in that feelin' I call the Blues and become friends ... (Luther Allison)


Luther, like other Blues artists before him, intuitively embraced the "pay it forward" philosophy. Grateful to those who helped him while he was "comin' up", he eagerly shared his talent and energy with others, paying favors bestowed upon him not back, but forward to those who would eventually replace him in this world. While living in Europe Luther graciously and willingly embraced the responsibility of keeping the Blues alive by mentoring and serving as an example of the concept of pay it forward. He felt that his good deed would be passed on to the future. Luther used the jam to mentor and encourage talented and hard-working musicians, gifted or not, to experience the magic of the music and thrill of live performances by sharing his stage and his audience with them. He truly enjoyed the status and potential for positive influence he had attained in Europe and was honored when asked to "guest star" on friends' albums, which he did as often as his hectic touring schedule permitted. The selections in this album demonstrate just a few of the many instances of his "pay it forward" philosophy.

It is through his gift of self to others that Luther remains with us still, intrinsically woven, person by person, note by note, thread by lustrous thread, into the rich, colorful and enduring tapestry known as the Blues. The connection he made with each of us was personal, intense and unconditional - leaving indelible imprints, each upon the other, concert by concert, recording by recording, jam by incredible jam - past, present & future. Please remember to pay it forward when you can. Luther made a difference - you can too.
Rocky. July 2002


01 - I Wanna Be With You 04:11

02 - Still Called The Blues 05:35

03 - Dock Of The Bay 08:18

04 - Just As I Am 05:10

05 - Nobody But You 03:42

06 - Perfume & Grime 08:07

07 - Cherry Red Wine 04:25

08 - Idols In My Mind 04:25

09 - Hoochie Coochie Man 08:20

10 - Slipping Away 05:27

11 - Love Is Free 05:48

12 - I Know (Bonus Jam) 04:33



Enjoy the music!

Thursday, June 17, 2010

Eric Clapton With Duck Band 1985 Chicago No Bad Blues

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 01:45:42
Size: 241,80 MB



01 - Tulsa Time 04:29

02 - Motherless Children 04:16

03 - I Shot The Sheriff 06:03

04 - Same Old Blues 09:42

05 - Tangled In Love 04:41

06 - White Room 06:21

07 - Steppin' Out (Vo. S. Murphy) 07:55

08 - Wonderful Tonight 05:15

09 - She's Waiting 04:44

10 - She Loves You (Vo. S. Murphy) 04:40


01 - Badge 06:00

02 - Let It Rain 05:06

03 - Double Trouble 10:58

04 - Cocaine 06:04

05 - Layla 07:46

06 - Forever Man 02:55

07 - Further On Up The Road 08:47


Part1 Part2 Part3

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Wednesday, June 16, 2010

Phillip Walker 2007 Going Back Home

Genre: Blues
Rate: 224 kbps CBR / 44100
Time: 00:48:29
Size: 77,65 MB

United States

Review by Hal Horowitz

The plan going into Phillip Walker's first studio set in nearly a decade (since his last label, Black Top, went belly up) was to revisit some early influences that formed the bluesman's unique approach. Add a few similarly styled originals from producer/Delta Groove label honcho Randy Chortkoff and the results are a comeback of sorts for this classy and underappreciated journeyman guitarist, vocalist, and bandleader. Walker is no stranger to putting his personal stamp on others' songs -- his previous album was also predominantly covers -- but this one takes him back to his roots, as its title infers.

He gets into a John Lee Hooker/New Orleans groove on Frankie Lee Sims' "Walking with Frankie"; slows things down on a swampy "Sweet Home New Orleans" with help from its writer, Al Blake, on harmonica; and strips the instrumentation to a core of harp, sparse drums, and tasty guitar for an emotional spin on Lightnin' Hopkins' "Don't Think 'Cause You're Pretty." He burns through Lonesome Sundown's shuffle "Leave My Money Alone" and gets lowdown with Ray Charles' "Blackjack." A backup band of talented vets lends support with a sympathetic vibe throughout. Established guitarist Rusty Zinn generally sticks to rhythm but takes lead duties on three tracks, including a peppy version of Eddie Shaw's "Mean Mean Woman," where his more driving attack meshes nicely with Walker's subtler touch. Jeff Turmes' bass work, especially on standup, provides a sturdy yet flexible bottom that perfectly supports Walker's affable vocals and stylish guitar work.

Walker sounds like he's having a blast, and you can practically see the smile on his face as he greets these songs like the old friends they are. The session gels with an effortless vibe like the finest blues discs, and shows just how vital Walker remains, especially with a sympathetic producer, classy material, and a great band behind him.


01 - Lying Woman 03:10

02 - Mama Bring Your Clothes Back Home 04:25

03 - Mean Mean Woman 04:10

04 - Blackjack 03:45

05 - Honey Stew 03:16

06 - Don't Think Cause You're Pretty 03:56

07 - Leave My Money Alone 03:12

08 - Bad Blood 03:53

09 - Lay You Down 05:15

10 - If You See My Baby 02:56

11 - Sweet Home New Orleans 02:33

12 - Happy Man Blues 03:03

13 - Walking With Frankie 04:55



Enjoy the music!

Stan Webb's Chicken Shack 1989 Simply Live

Genre: Blues-Rock
Rate: 256 kbps CBR / 44100
Time: 01:02:15
Size: 113,89 MB

Originally released in 1989, Simply Live was recorded in Hamburg, Germany on March 3rd, 1989 with Gary Davies on back up guitar and is an absolute must for Stan Webb fans.


01 - Everyday 05:16

02 - The Thrill Has Gone 06:53

03 - Broken Hearted Melody 07:44

04 - Running And Hiding 05:16

05 - Nightlife 05:03

06 - Sweetest Little Thing 08:15

07 - C. S. Opera 11:03

08 - Poor Boy 12:45


Part1 Part2

Enjoy the music!

Tuesday, June 15, 2010

Keef Hartley Band 1969 Halfbreed

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 00:50:48
Size: 116,28 MB

The Keef Hartley Band's 'Halfbreed' is arguably the best English blues album ever recorded. Having just been fired from the drum kit in John Mayall's Bluebreakers -- Keef Hartley took with him seemingly the entire horn section of the Bluebreakers who had just recorded the great 'Crusade' album. Joining them was Gary Thain on bass (who would later show up on Uriah Heep's best efforts like 'Demons & Wizards' and 'Look At Yourself'), along with Spit James and Miller Anderson on guitars. Two incredably talented guitarists whose work on cuts like 'Born To Die' is as good as any work by better known guitarists, such as Clapton, Beck, Peter Green, etc. These guys were incredible. Miller Anderson also had a voice that was born to sing the blues -- it is an incredibly expressive voice that carries so much strength, emotion and tenderness (when needed) that few singers are his equal. To fill it all out, Peter Dines was on piano and the Hammond B3 organ to give that fat sound that only a B3 can bring to the blues. Gorgeous stuff. Brash stuff. Blistering stuff. It's all here. Their version of 'Leavin' Trunk' will peel the paint off the walls and the aforementioned 'Born To Die' would easily make any Best 10 Cuts of English Blues albums that were really worth their salt. This album was, for me, in 1969 when it was released, the high-water mark of English Blues. These guys were incredible. Today, my son listens to it and tells me that it's one of the best albums he's ever heard -- it is. If you can find a copy, don't pass it up. (Amazon)


01 - Sacked 07:55

02 - Born To Die 10:02

03 - Sinnin For You 05:54

04 - Leavin Trunk 05:58

05 - Just To Cry 06:22

06 - Too Much Thinking 05:33

07 - Leave It To The Morning 03:28

08 - Think It Over 05:36


Part1 Part2

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Bryce Janey 2003 Live At J. M. O'Malleys

Genre: Blues-Rock
Rate: 320 kbps CBR / 44100
Time: 00:44:14
Size: 101,18 MB

Album Notes

Bryce Janey began his career in his hometown of Marion, IA at the age of 13 in a blues-rock trio called The Janey’s. With his mother on drums and his father BillyLee on guitar, The Janey’s played regionally and nationally from Chicago to Los Angeles. They shared the stage with over 50 national acts, including Buddy Guy, Delbert McClinton, Blues Traveler, Johnny Winter and Koko Taylor.

While still in The Janey’s, Bryce began a solo career. Bryce’s influences include many artists ranging from Gene Vincent, Buddy Holly, and Chuck Berry to Jimi Hendrix, Cream and The Band, in addition to many blues artists—Chicago style to Old Delta Robert Johnson. He also has a great love for country and folk music and tries to combine these into a melting pot genre of his own version of rock ‘n’ roll, country, and blues with a touch of acoustic ballads and R&B. His voice likens Kim Wilson of the Fabulous Thunderbirds and his guitar playing has been compared with Robert Cray and Buddy Guy.


01 - Hold On 06:02

02 - Long Time Runnin┤ 04:46

03 - Strat Blues 07:05

04 - Practice What You Preach 06:10

05 - Workin┤ Fool 06:19

06 - Sweet Baby Jane 05:39

07 - Walking Blues 05:00

08 - Trick Bag 03:13



Enjoy the music!

Monday, June 14, 2010

Smokin' Joe Kubek feat. B'nois King 1990 Steppin' Out Texas Style

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 00:41:07
Size: 94,07 MB


"Great lowdown Texas-style blues, the real thing... watch out for these guys!" - Jimmie Vaughan

Smokin' Joe Kubek can flat play the hell out of a guitar. He's learned the subtleties of his trade from the right people, a list of teachers that includes Freddie King, Albert King, John Lee Hooker and Little Joe Blue. Our bet is that it won't be long before he assumes his rightful place among the great Texas players. There's also the band's "secret weapon." the great B'nois King, whose vocals elevate this band from "another great Texas blues band" to "like no other Texas blues band." - adapted from the enclosed notes by Jay Sheffield


01 - Comin' Home Today 02:51

02 - I Wonder Why 05:24

03 - Natural Born Lover 03:36

04 - Everybody's Talkin' 03:05

05 - Square Bizness 05:31

06 - Hands On It 03:02

07 - Smokin' Joe's Cafe 05:42

08 - That's All I Want 04:17

09 - Steppin' Out 03:12

10 - Lonely Days 04:27



Enjoy the music!

Sunday, June 13, 2010

Freddie King 1975 Hamburg 19.10.1975

Genre: Blues
Rate: 236 kbps VBR / 44100
Time: 02:32:53
Size: 260,35 MB

United States


01 - Introduction 02:18

02 - Big Leg Woman 06:46

03 - The Moon Is Rising 07:07

04 - Woman Across The River 07:28

05 - Boogie Funk 06:41

06 - 56th And Wichita 10:42

07 - Feelin' Alright 05:01

08 - Mojo Boogie 08:58

09 - Have You Ever Loved A Woman 05:49

10 - Rock Me Baby 05:23

11 - Something You Got 06:16

12 - Messin' With The Kid 05:56

13 - Sweet Home Chicago 06:59

14 - You're The One 09:35

15 - Woke Up This Morning 05:29

16 - Ain't Nobody's Business 06:58

17 - Kings Thing 07:13

18 - Going Down 09:59

19 - The Things That I Used To Do 04:27

20 - Let The Good Times Roll 07:08

21 - Stormy Monday 16:40


Mirror Part1

Mirror Part2

Enjoy the music!

Saturday, June 12, 2010

It's A Beautiful Day 1971 Choice Quality Stuff

Genre: Psych/Flower/Accid/Rock
Rate: 256 kbps CBR / 44100
Time: 00:34:54
Size: 63,88 MB

Review by Lindsay Planer

Choice Quality Stuff/Anytime is not only the third long-player from It's a Beautiful Day, it also includes a personnel unique from either of its predecessors. This revolving-door musical cast ultimately resulted in decades of litigation. Perhaps most importantly, it also accounts for the disparate musical styles accompanying all three of the band's albums. Further, it was during the creation of this disc that lineup number two was replaced by lineup number three -- netting a separate band for the "Choice Quality Stuff" side and the "Anytime" side.

It's a Beautiful Day, in essence, was becoming somewhat of a loose aggregate of Bay Area "all stars" by 1972. When the dust eventually settled, listeners were treated to notable contributions from Santana members Jose Chepitó Areas (percussion), Coke Escovedo (percussion), and Gregg Rolie (keyboards), as well as Bill Atwood (trumpet) -- who had already begun making a name for himself with contributions to Malo -- Cold Blood, and the Grateful Dead. The album also includes licks from Bruce Steinberg (mouth harp), who was better known for his LP cover artwork than musical abilities. A pleasant surprise is that this incarnation is as interesting in the grooves -- on tracks such as "Words" or "Bitter Wine" -- as they might seem on paper. However, any enthusiasts of the progressive rock leanings on their first release or even the decidedly pastoral work of Marrying Maiden would have been, quite frankly, at a loss for a majority of Choice Quality Stuff/Anytime. There is a distinct blues-based rock & roll attitude on "Creed of Love" and "Bye Bye Baby," which are more similar to Brit bluesmen John Mayall and Jeff Beck than any previous It's a Beautiful Day outing. This album is far from a washout. It is likewise remote in its musical representation of the band's previous sound.


01 - Creed Of Love 03:46

02 - Bye Bye Baby 03:29

03 - The Grand Camel Suite 02:55

04 - No World For Glad 03:11

05 - Lady Love 02:54

06 - Words 03:04

07 - Place Of Dream 03:09

08 - Oranges And Apples 02:32

09 - Anytime 03:45

10 - Bitter Wine 03:10

11 - Misery Loves Company 02:59



Enjoy the music!

Friday, June 11, 2010

Coen Wolters Band 2001 A Bit Of Everything

Genre: Blues-Rock
Rate: 192 kbps CBR / 44100
Time: 00:57:19
Size: 78,66 MB


Influenced by musicians such as Jimi Hendrix, Albert King, Chris Duarte, Jimi Hendrix and Eric Clapton, Coen Wolters is regarded as a "big tone" guitar player. With guitar playing often compared to a combination Jimi Hendrix-Albert King, this Dutchman is a real crowd-pleaser at any blues or blues/rock venue, always bringing the audience to their feet and bringing them closer to the stage with his mean, grooving and honest riffs and licks. Because of his unrestrained love of playing in front of a live audience, his performances are always high energy. His guitar style is unique and emotionally charged, spiced with just a touch of Texas.


01 - The Rocket 03:02

02 - Time After Time (Rat Sessions) 04:07

03 - King's Cafe (Remix) 03:33

04 - Ain't No Way 07:22

05 - Time After Time 04:01

06 - Yvi's Mood 05:04

07 - City Of The Kings 02:27

08 - Dance On The Moon 05:47

09 - I Should Be Crying 02:51

10 - Ghost Track Of Dance On The Moon 06:37

11 - I'm Losing You 09:34

12 - Saltillo 02:54



Enjoy the music!

Thursday, June 10, 2010

Stan Webb's Chicken Shack 1981 Roadies Concerto

Genre: Blues-Rock
Rate: 256 kbps CBR / 44100
Time: 00:40:18
Size: 73,72 MB


01 - Tell Me 05:03

02 - Why I Sing The Blues 02:02

03 - Back Door Man 06:55

04 - Black Night 05:54

05 - So Far Back 06:32

06 - The End (Prisoner) 04:10

07 - Poor Boy 04:29

08 - Shake Your Money Maker 03:56

09 - Hideaway 01:17



Enjoy the music!

Fleetwood Mac 1969 The Pious Bird Of Good Omen

Genre: Blues
Rate: 256 kbps CBR / 44100
Time: 00:36:55
Size: 67,52 MB

The Pious Bird of Good Omen is a compilation album by Fleetwood Mac, released in 1969. It consisted of the first four UK singles and their B-sides, two tracks from the second album Mr. Wonderful, and two tracks by blues artist Eddie Boyd with backing by members of Fleetwood Mac. These two tracks came from Boyd's album 7936 South Rhodes. (wikipedia)


01 - Need Your Love So Bad 03:57

02 - Comin' Home 02:42

03 - Rambling Pony 02:44

04 - The Big Boat 02:40

05 - I Believe My Time Ain't Long 02:59

06 - The Sun Is Shining 03:15

07 - Albatross 03:14

08 - Black Magic Woman 02:51

09 - Just The Blues 05:41

10 - Jigsaw Puzzle Blues 01:38

11 - Looking For Somebody 02:54

12 - Stop Messin' Round 02:20



Enjoy the music!

Wednesday, June 9, 2010

Ronnie Earl 2003 I Feel Like Goin' On

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 01:14:51
Size: 171,21 MB


Ronnie Earl's debut for Stony Plain is (almost all) instrumental, featuring his working band, plus one track with Boston's Silver Leaf Gospel Singers. Ronnie is one of his generations most acclaimed blues guitarists and the winner of two W.C. Handy Awards. With over a dozen releases since the late eighties, Ronnie says this is his best studio blues recording and we feel the same way.

His healing and spiritual approach to guitar playing delivers each note with ultimate passion.


01 - Hey Jose 05:12

02 - Blues For Otis Rush 08:30

03 - Little Johnny Lee 06:34

04 - Wolf Dance 06:27

05 - Mary Don't You Weep 06:46

06 - Howlin' For My Darlin' 07:45

07 - Blues For The Homeless 11:23

08 - Big Walter 05:35

09 - Alone With The Blues 04:25

10 - Travelin' Heavy 04:50

11 - Donna 07:24


Part1 Part2

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Tuesday, June 8, 2010

Boogie Bone 2009 Bone-A-Fied

Genre: Blues-Rock
Rate: 320 kbps CBR / 44100
Time: 00:54:19
Size: 124,22 MB


Some of the blues purists may be put off by the diversity of material on display by this powerhouse quintet emerging from Portland, Oregon, but it doesn’t seem to bother them or their fans The Boneheads in the least.

The second self-produced effort from Boogie Bone begins traditionally enough with an old school slide guitar groove and dirty harp accompaniment that sound like it might have been laid down on the porch swing in front of a shack in Mississippi. The story teller begins his preamble about the unsettled times of 1856 when slave owners and abolitionists were at odds. But be prepared for a mule kick when the Avenging Angel enters in full battle array. Big and loud and demanding to be heard.

Boogie Bone explodes on this disc as they have on the fertile blues scene in Portland. Mild mannered, and good natured, until they reach full flash mode and all hell breaks loose. Most of the time using a blues base to explore other genres, but not afraid to knock down some of the walls that stand in their path.

Bone-A-Fied covers a wide range of blues influenced music. From the Zeppelinesque Avenging Angel to the neo-swing Boogie Bone Boogie. Other cuts like the New Orleans stylised Make it Easy, slow ballad Don’t Mean A Thing, and traditional lumpy rocker Where’s My Lady , keep the vibe and groovin’ and movin’ as the disc progresses.

“We were raised on the blues music of our parents, Magic Sam, Paul Butterfield, BB King, but that gave way to the bands that took it to the next level” explains Boogie Bone guitarist/songwriter Steven Dee Williams. “For me it was the bands like Led Zeppelin, Hendrix, and later Stevie Ray Vaughn that struck me. It was bands with attitude, that weren’t afraid to step on a few toes that really opened my eyes to the blues.”

These guys have know each other for years and had played in various bands together, but never all in the same band at the same time. Life long musicians that have played many genres of music in their careers and came together as old friends returning to their roots and playing the music that moved them regardless of commercial potential or success. And it is just that approach that has endeared them to their fans, and fuelled the engine of creativity.

All of the material is written by Williams and singer Jake Johnson who have known each other for over twenty years but had never done any serious collaborating until drummer Todd Stevens called Johnson to throw together a blues band for a beer brewers party. Johnson called Williams and convinced him to throw his chops at the the blues and a band was born. After burning through a couple of bass players Williams brought in Henry Gavaldon who had played in an original rock band with Stevens and Williams throughout most of the eighties. The line up seemed set until multi-instrumentalist and Oregon Music Hall of Fame member Steve Snyder (Shock) sat in with them and blew his sax at a road gig. The crowd went wild and he has been with the band ever since, playing three saxophones, keys, harmonica, and flute.

Williams remembers, "The next morning we are at breakfast and Snyder was just leaving. He told me how much fun he had playing with us the night before. I said that it was mutual and he was welcome to play with us whenever he wanted. I didn't figure he would join us full time. He was in another band, had been a pro for years, is in the Oregon Music Hall of Fame, the whole deal. Well, he was at the next rehearsal and became a permanent member of the band. The whole thing was typical Boogie Bone, we weren't even looking to add anybody and he falls out of the sky.

We are influenced by a broad range of artists but here are a few that we cover and may be reflected in our original music: Stevie Ray Vaughn, Led Zeppelin, and Joe Bonamassa.

Ultimately we are a blues rock band, but we have traveled a different path than most rock bands do. We have played in hard rock, metal, jazz, funk, R&B, and soul bands. We have stumbled our way back to our roots, and it feels like home.

What we bring to the audience is a high energy, fun loving style of music that is highlighted by fantastic musicianship. By the end of night you feel like you have been hanging out with us as long as we have been hanging together. Old friends partying with old friends.


01 - Angel Preamble 01:22

02 - Avenging Angel 04:08

03 - Lovin On The Run 04:18

04 - Where's My Lady 04:47

05 - Don't Mean A Thing 06:41

06 - Make It Easy 04:18

07 - Boogie Bone Boogie 04:54

08 - Long Goodbye 03:22

09 - Blues Police 05:03

10 - My Way Home 03:29

11 - Hold It Down 04:12

12 - I Don't Know 03:39

13 - Gotcha Baby 04:06


Part1 Part2

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Freddie King 1990 Texas Sensation

Genre: Blues
Rate: 128 kbps CBR / 44100
Time: 00:42:10
Size: 38,57 MB

Biography by Stephen Thomas Erlewine & Cub Koda

Guitarist Freddie King rode to fame in the early '60s with a spate of catchy instrumentals which became instant bandstand fodder for fellow bluesmen and white rock bands alike. Employing a more down-home (thumb and finger picks) approach to the B.B. King single-string style of playing, King enjoyed success on a variety of different record labels. Furthermore, he was one of the first bluesmen to employ a racially integrated group on-stage behind him. Influenced by Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, King went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.

Freddie King (who was originally billed as "Freddy" early in his career) was born and raised in Gilmer, TX, where he learned how to play guitar as a child; his mother and uncle taught him the instrument. Initially, King played rural acoustic blues, in the vein of Lightin' Hopkins. By the time he was a teenager, he had grown to love the rough, electrified sounds of Chicago blues. In 1950, when he was 16 years old, his family moved to Chicago, where he began frequenting local blues clubs, listening to musicians like Muddy Waters, Jimmy Rogers, Robert Jr. Lockwood, Little Walter, and Eddie Taylor. Soon, the young guitarist formed his own band, the Every Hour Blues Boys, and was performing himself.

In the mid-'50s, King began playing on sessions for Parrott and Chess Records, as well as playing with Earlee Payton's Blues Cats and the Little Sonny Cooper Band. Freddie King didn't cut his own record until 1957, when he recorded "Country Boy" for the small independent label El-Bee. The single failed to gain much attention.

Three years later, King signed with Federal Records, a subsidiary of King Records, and recorded his first single for the label, "You've Got to Love Her With a Feeling," in August of 1960. The single appeared the following month and became a minor hit, scraping the bottom of the pop charts in early 1961. "You've Got to Love Her With Feeling" was followed by "Hide Away," the song that would become Freddie King's signature tune and most influential recording. "Hide Away" was adapted by King and Magic Sam from a Hound Dog Taylor instrumental and named after one of the most popular bars in Chicago. The single was released as the B-side of "I Love the Woman" (his singles featured a vocal A-side and an instrumental B-side) in the fall of 1961 and it became a major hit, reaching number five on the R&B charts and number 29 on the pop charts. Throughout the '60s, "Hide Away" was one of the necessary songs blues and rock & roll bar bands across America and England had to play during their gigs.

King's first album, Freddy King Sings, appeared in 1961, and it was followed later that year by Let's Hide Away and Dance Away With Freddy King: Strictly Instrumental. Throughout 1961, he turned out a series of instrumentals -- including "San-Ho-Zay," "The Stumble," and "I'm Tore Down" -- which became blues classics; everyone from Magic Sam and Stevie Ray Vaughan to Dave Edmunds and Peter Green covered King's material. "Lonesome Whistle Blues," "San-Ho-Zay," and "I'm Tore Down" all became Top Ten R&B hits that year.

Freddie King continued to record for King Records until 1968, with a second instrumental album (Freddy King Gives You a Bonanza of Instrumentals) appearing in 1965, although none of his singles became hits. Nevertheless, his influence was heard throughout blues and rock guitarists throughout the '60s -- Eric Clapton made "Hide Away" his showcase number in 1965. King signed with Atlantic/Cotillion in late 1968, releasing Freddie King Is a Blues Masters the following year and My Feeling for the Blues in 1970; both collections were produced by King Curtis. After their release, Freddie King and Atlantic/Cotillion parted ways.

King landed a new record contract with Leon Russell's Shelter Records early in 1970. King recorded three albums for Shelter in the early '70s, all of which sold well. In addition to respectable sales, his concerts were also quite popular with both blues and rock audiences. In 1974, he signed a contract with RSO Records -- which was also Eric Clapton's record label -- and he released Burglar, which was produced and recorded with Clapton. Following the release of Burglar, King toured America, Europe, and Australia. In 1975, he released his second RSO album, Larger Than Life.

Throughout 1976, Freddie King toured America, even though his health was beginning to decline. On December 29, 1976, King died of heart failure. Although his passing was premature -- he was only 42 years old -- Freddie King's influence could still be heard in blues and rock guitarists decades after his death.


01 - You've Got To Love Her With A Feeling 03:14

02 - Hideaway 02:36

03 - Have You Ever Loved A Woman 03:06

04 - Sen-Sa-Shun 02:54

05 - Look Ma, I'm Cryin' 03:12

06 - San-Ho-Zay 02:37

07 - I'm Tore Down 02:39

08 - Driving Sideways 02:48

09 - Takin' Care Of Business 02:53

10 - Someday After A While (You'll Be Sorry) 04:34

11 - The Stumble 03:14

12 - She Put The Whammy On Me 02:57

13 - High Rise 02:42

14 - The Welfare (Turns Its Back On You) 02:44



Enjoy the music!

Monday, June 7, 2010

Freak Out 1971 Life

Genre: Rock
Rate: 256 kbps CBR / 44100
Time: 00:50:40
Size: 92,70 MB

In 1971, Freak Out from Knittelfeld in Austria, named after the first Mothers of Invention LP, released the 7" single "Jaming brother" / "Crazy colours of life" (Cosmos 2234) and the LP "Life" (Cosmos 2235), both in a small circulation of around 200 copies each. This is why the band is relatively unknown among collectors. This CD contains both the LP and the two single tracks.

Garden of Delights has, as usual, taken the original cover artwork of the LP for this CD. Some critics may doubt the musical quality of this CD since eight of the eleven tracks were cover versions of songs by bands like Blodwyn Pig, East of Eden, Spirit or Mothers of Invention, but the performance was really good, with the saxophone adding a lot of originality. The LP was recorded live in Klagenfurt in front of an audience of around 1000 people on Saturday, 24 April 1971.


01 - Evil Ways 03:41

02 - See My Way 03:33

03 - Sing Me a Song That I Know 02:07

04 - Leaping BeautiesFor Rudy 04:44

05 - Jamming Brother 03:53

06 - Son of Mr Green Genes 04:41

07 - Fresh Garbage 09:57

08 - Everybody Needs Somebody To Lve 10:58

09 - Ramadhan Part III 00:26

10 - Jamming Brother (Bonus) 03:25

11 - Crazy Colours Of Life (Bonus) 03:15



Enjoy the music!

Queen 1979 Live Killers

Genre: Rock
Rate: 283 kbps VBR / 44100
Time: 01:30:17
Size: 167,53 MB

Review by Greg Prato

By 1979, Queen was considered among rock's elite class, and rightfully so. With a string of hit albums, singles, and sold-out tours to their credit, the group was about to enter a new musical phase of its career with 1980's mega-hit The Game. And since bootleg copies of their concerts were fetching exorbitant prices among their fans, what better way to close phase one but with their first official live double album, Live Killers. For reasons unknown, the record was criticized harshly when it was first released, but listening to it today, it is an excellent document of Queen at the height of their '70s arena rock powers.

Including selections from their debut, 1973's Queen, up until 1978's Jazz, the album is a solid mix of early hits and forgotten album tracks, all given new life in the concert setting while the zealous crowd often sings along. A different, more up-tempo version of "We Will Rock You" opens the album, starting things off in grand style. Other hard rock highlights soon follow, such as "Keep Yourself Alive," "Don't Stop Me Now," "Now I'm Here," "Bohemian Rhapsody," "Spread Your Wings," "Brighton Rock" (complete with an outstanding Brian May guitar solo), and a medley that contains such tracks as "Killer Queen" and "Bicycle Race," among others. The band also shows its softer side with such material as "Dreamer's Ball," "Love of My Life," and "'39," while ending things on a triumphant note with "We Will Rock You"/"We Are the Champions."



01 - We Will Rock You 03:19

02 - Let Me Entertain You 03:15

03 - Death On Two Legs 03:32

04 - Killer Queen 02:00

05 - Bicycle Race 01:29

06 - I'm In Love With My Car 02:02

07 - Get Down, Make Love 04:31

08 - You're My Best Friend 02:08

09 - Now I'm Here 08:42

10 - Dreamer's Ball 03:44

11 - Love Of My Life 04:57

12 - '39 03:27

13 - Keep Yourself Alive 04:02


01 - Don't Stop Me Now 04:28

02 - Spread Your Wings 05:23

03 - Brighton Rock 12:13

04 - Bohemian Rhapsody 06:02

05 - Tie Your Mother Down 03:41

06 - Sheer Heart Attack 03:35

07 - We Will Rock You 02:48

08 - We Are The Champions 03:28

09 - God Save The Queen 01:31


Part1 Part2

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Sunday, June 6, 2010

Smokin' Joe Kubek feat. B'nois King 1992 Chain Smokin' Texas Style

Genre: Blues
Rate: 256 kbps CBR / 44100
Time: 00:47:13
Size: 86,42 MB

Chain Smokin' Texas Style features Joe and Bnois firing up enough hothouse guitar to smoke every hot link In Texas ...
If Art Blakey did hard bop and Otis Clay hard soul, then assign to the Smokin' Joe Kubek Band featuring Bnois King and the niche of hard blues. Regard them as essential to a full perception of the modern blues experience. - TIM SCHULLER [from enclosed liner notes]


01 - Way Down There 03:19

02 - Just For A Little While 05:32

03 - Love To Live The Life 03:51

04 - That's What I'll Do For You 02:46

05 - Little Girl 04:22

06 - Good Understanding 02:59

07 - Overdues 02:47

08 - Come By Here 03:22

09 - I'm On My Way 03:13

10 - Chain Smokin' 02:51

11 - Walk With You 04:53

12 - Soft Touch 03:01

13 - Can't Quit My Baby 04:17



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Saturday, June 5, 2010

The Doors 1967 The Doors

Genre: Rock
Rate: 320 kbps CBR / 44100
Time: 00:52:26
Size: 119,97 MB

Review by Richie Unterberger

A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knockout punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison's captivating vocals and probing prose. "Light My Fire" was the cut that topped the charts and established the group as stars, but most of the rest of the album is just as impressive, including some of their best songs: the propulsive "Break On Through" (their first single), the beguiling Oriental mystery of "The Crystal Ship," the mysterious "End of the Night," "Take It as It Comes" (one of several tunes besides "Light My Fire" that also had hit potential), and the stomping rock of "Soul Kitchen" and "Twentieth Century Fox." The 11-minute Oedipal drama "The End" was the group at its most daring and, some would contend, overambitious. It was nonetheless a haunting cap to an album whose nonstop melodicism and dynamic tension would never be equaled by the group again, let alone bettered.


01 - Break On Through (To The Other Side) 02:29

02 - Soul Kitchen 03:35

03 - The Crystal Ship 02:35

04 - Twentieth Century Fox 02:34

05 - Alabama Song (Whisky Bar) 03:20

06 - Light My Fire 07:09

07 - Back Door Man 03:34

08 - I Looked At You 02:22

09 - End Of The Night 02:53

10 - Take It As It Comes 02:17

11 - The End 11:46

12 - Moonlight Drive (Version 1) 02:44

13 - Moonlight Drive (Version 2) 02:31

14 - Indian Summer (8.19.66 Vocal) 02:37


Part1 Part2

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Maggie Bell 1974 Queen Of The Night

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 00:41:27
Size: 94,81 MB

Review by Joe Viglione

Producer Jerry Wexler puts the earthy vocals of Maggie Bell in a beautiful setting here. She stretches John Prine's "Souvenirs" to the max with Steve Gadd ably assisting by splashing the drums as deep as Bell's vocals. Her uptempo version of J.J. Cale's "After Midnight" is more captivating than Eric Clapton's; she oozes that Etta James sexuality while Reggie Young throws some tasty guitar into the semi-calypso groove. Bell's identity is unique on much of the material, but a couple of tunes have her paying tribute to some of her sisters.

The title track, "Queen of the Night," is drenched in gorgeous harmonies by the Sweet Inspirations and is pure Genya Ravan, but conversely, the cover of "A Woman Left Lonely," embraced totally by Janis Joplin on Pearl, is a sweet vocal and totally alien to how Joplin ripped the song to shreds so wonderfully. It works on an entirely different level on Queen of the Night -- Bell's voice is an instrument that slips into different styles on a moment's notice. She takes the fun but silly Ringo Starr/Vini Poncia number five hit from the same year and gives it some style, then turns around with Deadric Malone's "As the Years Go Passing By" and delivers another brand of quality sound. Cornell Dupree's fabulous guitar leads cook in the background -- the frosting on the cake for "As the Years Go Passing By." Intense and beautiful, it is the real sleeper here. While Merry Clayton was singing backup on Ringo Starr's "Oh My My" and ex-Black Oak Arkansas Ruby Starr would track Paul McCartney's "Maybe I'm Amazed," Bell broke through her Stone the Crows image to cover a range of ideas, giving even David Clayton Thomas some respectability, taking his original "Yesterday's Music" to new heights with a Bonnie Bramlett-style touch of gospel.

From Will Jennings to Carole Bayer Sager and Peter Allen, Bell's Queen of the Night is a stunningly marvelous mix of blues, pop, soul, and Southern rock. "We Had It All" builds with a smoldering tension that gives Bell a platform for her inspired phrasings. Sager must've been over the top when she first heard this version of "The Other Side." This is music straight from the heart, which concludes with "Trade Winds," piano, drums, and Bell's voice tapering off like the end of a great set at some intimate nightclub. This is an extraordinary creation worth pulling out when you want to appreciate a fine wine like Queen of the Night.


01 - Caddo Queen 03:37

02 - A Woman Left Lonely 03:54

03 - Souvenirs 05:33

04 - After Midnight 02:35

05 - Queen Of The Night 04:02

06 - Oh My My 02:56

07 - As The Years Go Passing By 04:21

08 - Yesterday's Music 03:27

09 - We Had It All 02:55

10 - The Other Side 02:53

11 - Trade Winds 05:14



Enjoy the music!

Friday, June 4, 2010

Fernando Noronha & Black Soul 2001 Live In Europe

Genre: Blues
Rate: 256 kbps CBR / 44100
Time: 00:53:18
Size: 97,53 MB

Album Notes

"Explosive guitar work with melodic integrity. Fernando Noronha & Black Soul are forging a new twist towards paying homage to their Heros and in creating originality."
(Chris Duarte / USA)

"Noronha's singing is effective, his guitar playing is informed by SRV and Jimi, but not a cookie-cutter-copied from them. Noronha has ingested the lessons of earlier players. His slow blues shows nice touches of T-Bone, Buddy , and others amid its dynamic shifts" (Blues Revue Magazine / #81 Apr/May 2003 / USA)

"Noronha, a world class Texas blues style guitarist, and band follow their very successful studio release "Blues From Hell" with a new set of 10 tracks recorded live in Holland during their fall 2001 tour of Europe. While Noronha's blistering guitar and soulful vocals take center stage, this is by no means a one man band... This is a band on the rise and Noronha and Company are one of those bands who have the potential to gain a very large world wide fan base. The 10 tracks are a blend of well chosen covers and Noronha originals, all accentuated by his smoldering guitar. As is the case of most of the CDs that I choose to review, there is not a weak offering in the set and this is a recording you will enjoy from start to finish. My favorite tracks include the band's cover of the Muddy Waters timeless classic "Manish Boy" which features some very evil guitar work, the rockin' Noronha original "Moondog Boogie" followed by an original slow blues burner "Ain't That A Shame" which demonstrate both Noronha's musical power and passion, and "Rock This House", which does exactly that." (Tom Branson - Bluesrockers - USA)

"Live in Europe" is the fourth and most recent album of the Brazilian quartet Fernando Noronha & Black Soul giving a perfect image of what this band represents. Their inspirations come from the harder elements of Blues with shades of Stevie Ray Vaughan and Lonnie Mack very much in evidence. Bluesrock then? Yes but with leanings toward traditional Blues thus keeping other species of Bluesfans interested. 5 of the 10 tracks are their own compositions and whilst some sound recognizable, with others it is obvious they're longing for a self identity. Covers, such as Freddie King's "Side Tracked" and J. Rogers' "Rock This House" get a more rock oriented touchup, proving they can also be done this way. His guitar work is excellent with explosive solo's in "Blues From Hell" then continuing with a softer approach in the slow Blues, "Ain't That A Shame". This album is not just about Bluesrock & guitarviolence, that message is clear & should not be misunderstood. Keyboard & Hammond player Luciano Leaes delivers perfect accompaniments keeping the music interesting and varied. Recorded during a live performance in the Gouden Leeuw Bluesclub in Dongen, NL on 28 Oct 2001, this CD is a fine souvenir of the occasion and a nice visiting card from Fernando Noronha & Black Soul.
(Bobtje Blues / Blues Free Press / England)

"Brazilian guitarist Fernando Noronha shows us blues is an international language. Although unknown in the United States, Noronha has gained some notoriety in South America with his battered Fender Stratocaster and wickedly rocking blues. Practically every cut is a guitar workout, with Hammond B-3 for hire Ron Levy on organ and production duties. Noronha sings soulfully in English (with a hit of Texas drawl yet) and sports a very good backing band. The music is mostly up-tempo, with the accent on guitar pyrotechnics. Fernando Noronha & Black Soul's third disc is a winner. Muy bueno!"
(Bob Cianci - Blues Access Magazine - Winter 2002 nº48 / USA)

"I feel so happy and proud when I see such a young band playing the blues so well"
(BB King)

"With all respect to the past, this group is forging their own identity into the future. It won't belong before they'll be playing everywhere else, kickin' butt, taking no prisoners" (Ron Levy - Producer and Organist)

"This guitar player improved and put in his own songs a touch that would make the late Stevie Ray Vaughan very proud" (Cover Guitar Magazine)

"We received your CD and began playing it immediately. WOW!! Hot Stuff!!! Several listeners have called to ask us -who is that great band?"
(Kathy Collins - Mana'o Radio - Maui - Hawaii)

"Fernando Noronha is without question one of the best yet relatively unknown guitarists I have heard in many a day and his band is first rate as well, anchored by the most excellent bass guitar of Xico Pretto and the solid percussion of Alexandre "Papel" Loureiro. Joining the band for this set is famed US keyboardist Ron Levy who not only adds his own brand of Hammond B-3 wizardry to the mix, but also doubles as producer. The end result of all of this is one of the freshest and most exciting recordings which has come along in some time. This is a very fine young band with a great future ahead of them."
(Tom Branson - USA)

"What a great new blues band. You would never know these guys were from Brasil. After listening to this disc I was blow away. They sound like they were born & raised in Texas. The CD itself is a major label sound quality produced by Ron levy and is full of great tunes that flow perfectly together. It's hard to believe this is an indie. Fernando is one of the best new blues rock guitarist I've heard in a while. He's got that SRV Texas tone down pat and his solo's are smokin'... red hot"
(Steve Albanese - Two Guys Music / USA)

"One of the most greatful surprises who have showed up in the brazilian musical scene" (Cover Guitarra Magazine)

"To say it with historical words: They came, they saw and they won! And how!! Those 4 brazilians guys play the blues straight from the heart and as good as many of the big names in the bluesland.We're looking forward to see them again in our club"
(Michel Hofkens - Willem Tell Blues Club - St. Lenaarts - Belgium)

"When we booked Fernando Noronha & Black Soul we had no idea about the blues from Brazil. OK, the CD they had sent us was impressive, but the blues must be live. I saw the band two times during their European tour and two times I was excited. They have a very good feeling how to play the blues, with individually strong musicians. Most songs they play were their own songs and I love that. Fernando is a real front man and he knows how to comunicate with the audience, not with his talking, but he has a real charisma. I hope they can ecxist for a long time." (Peter Nooten - The Gouden Leeuw Blues Club - Dongen / Holland)

"Noronha opened the event with a vigorous sound. With a Fender Stratocaster he exploded with compositions of his two CDs. Not afraid of going deeper he conquered the audience with a magnificent technique, quick phrasing, excellent vibratos and bends and lots of feeling" (Guitar Player Brazil Magazine)


01 - Side Tracked 06:23

02 - Rock This House 05:42

03 - Hip Shake 04:56

04 - Manish Boy 07:03

05 - Blues From Hell 04:50

06 - Moondog Boogie 04:32

07 - Ain't That A Shame 10:07

08 - Fat Cherry Lips 04:07

09 - Pay Back 04:17

10 - While We Cry 01:21



Enjoy the music!

Thursday, June 3, 2010

Junior Wells & Buddy Guy 1990 Live In Japan, 1975

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 01:09:33
Size: 159,11 MB

United States


01 - Let Me Love You Baby 04:34

02 - How Blue Can You Get 05:27

03 - High Heel Sneakers 05:22

04 - First Time I Met The Blues 07:06

05 - Stone Crazy 05:24

06 - Fever 03:44

07 - Come On Home To Me Baby 04:38

08 - Little By Little 05:05

09 - Don't Go No Further 05:12

10 - Snatch It Back And Hold It 04:56

11 - Help Me Darling 04:49

12 - Hoochie Coochie Man & Someday 07:55

13 - Waterman Blues 05:21



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Rossington Collins Band 1981 Passaic Prime Time

Genre: Southern Rock
Rate: 192 kbps CBR / 44100
Time: 01:02:34
Size: 85,83 MB

United States


01 - Prime Time 04:30

02 - Opportunity 04:21

03 - Don't Stop Me Now 03:47

04 - Next Phone Call 03:52

05 - Getaway 07:49

06 - Means Nothing To You 05:51

07 - One Good Man 05:18

08 - Gonna Miss It When It's Gone 04:53

09 - Don't Misunderstand Me 05:07

10 - Pine Box 02:27

11 - Freebird 14:39



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Wednesday, June 2, 2010

Joe Cocker 2009 Live At Woodstock

Genre: Rock
Rate: 320 kbps CBR / 44100
Time: 01:17:17
Size: 176,76 MB

United Kingdom

Issued in 2009, the 40th anniversary of Woodstock, the most famous rock music festival in history, Joe Cocker's performance at the festival turns out to be one of the defining moments of his career thus far. Who knew? Cocker's turn on the stage came on Sunday afternoon, August 17, 1969. He had issued his brilliant debut album, With a Little Help from My Friends, the previous February, and his sophomore follow-up -- not as dynamic a recording but a more consistent one overall -- would be issued in December.

Backed by the Grease Band (not to be confused with the vanguard U.S. outfit the Hampton Grease Band) and a trio of backing vocalists, his 11-song show included six cuts from the debut, two from his then upcoming album (including a dynamite cover of Bob Dylan's "Dear Landlord" that opened the gig), a stellar reading of Ashford & Simpson's "I Don't Need No Doctor," and "Something to Say,"an original that didn't appear officially on one of his own sets until 1973. From that opening Dylan cut throughout his 62-minute outing, Cocker never really let up in energy or graciousness toward the crowd. The ballads, such as "Do I Still Figure in Your Life," are delivered with soul and as much fire as harder-driving rhythm & blues-inflected numbers such as "Feelin' Alright" and "Hitchcock Railway." The summation of the show is that utterly in-the-red performance of the Beatles' "With a Little Help from My Friends," well-known to fans of Cocker and the Woodstock musical and cinematic offerings.

This is easily one of the finer offerings to come from the Woodstock anniversary recordings. While the documentation on the disc is rudimentary -- such as who the backing vocalists in fact were -- the sound is terrific. ~ Thom Jurek


01 - Dear Landlord 08:42

02 - Something's Coming On 04:04

03 - Do I Still Figure In Your Life 04:00

04 - Feelin' Alright 05:24

05 - Just Like A Woman 06:24

06 - Let's Go Get Stoned 07:07

07 - I Don't Need No Doctor 12:14

08 - I Shall Be Released 06:00

09 - Hitchcock Railway 05:52

10 - Something To Say 09:23

11 - With A Little Help From My Friends 08:07




Enjoy the music!
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