EVERMORE BLUES: 08/01/2008

Sunday, August 31, 2008

[BY REQUEST] THE CONTENTS ARE - THROUGH YOU (garage rock 1967)

HAIR - ORIGINAL SOUNDTRACK RECORDING

No need for a special introduction to this record, my favorite soundtrack.

Released:	1979
Genre:	Jazz, Rock
Style:	Soul-Jazz, Classic Rock
Credits:	Vocals - Annie Golden , Beverly D'Angelo , Cheryl Barnes , Don Dacus , Dorsey Wright , John Savage , Melba Moore , Treat Williams

Tracklisting:

Aquarius (4:47)
Sodomy (1:29)
Donna / Hashish (4:20)
Colored Spade (1:33)
Manchester, England (1:57)
I'm Black / Ain't Got No (2:24)
Party Music (3:25)
My Conviction (1:47)
I Got Life (2:15)
Hair (2:42)
L.B.J. (Initials) (1:07)
Electric Blues / Old Fashioned Melody (3:53)
Hare Krishna (3:24)
Where Do I Go? (2:48)
Black Boys (1:11)
White Boys (2:35)
Walking In Space (6:13)
Easy To Be Hard (3:39)
3-5-0-0 (3:49)
Good Morning Starshine (2:24)
What A Piece Of Work Is Man (1:39)
Somebody To Love (4:12)
Don't Put It Down (2:25)
The Flesh Failures / Let The Sunshine In (6:04)

Link : http://rapidshare.com/files/141589971/Hair__US_OST_.rar

Ripped by : Evermoreblues.blogspot.com
Artwork included

BABY WHALE _ THE DOWNHILL CLIMB

Reminiscent of Curved Air on an acid folk trip, Baby Whale is a hard-hitting folk document from the ever-prolific scene evolving in and around Cambridge in the 70s. They put themselves at the forefront of the English folk-rock movement combining beautiful and eccentric songs, with often bizarre instrumentation.

Trackllisting :

1 The Old Man and the Sea
2 The Downhill Climb + The Cuckoo's Nest
3 Cornfields + The Cuckoo
4 This Time
5 Circles and Circuses
6 Dependable Spokes
7 Things Are Not Free
8 Evening Song
9 This Ain't My Life
10 Cabin Town
11 Easy Feeling
12 The Strangler

Band Members :
Anne Baker – vocals, guitars
Steve Brooks – vocals, electric guitar
Nick Barraclough – vocals, bass, harmonium
Adrian Kendon – vocals, fiddle
Brian Wren - fiddle
Lindsey Scott – fiddle

Link : http://rapidshare.com/files/141571006/BW.rar

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Artwork Included

HEAVEN - BRASS ROCK 1

Heaven, a jazz rock group from Portsmouth, burst forth onto the British rock scene in 1970 when they appeared at the legendary Isle of Wight festival sharing a bill with The Who, The Doors, Jimi Hendrix et al. Making a stunning debut, the band (now managed by festival organiser Rikki Farr), soon secured a recording deal with CBS Records who signed the band for a large advance. The resulting double album "Brass Rock 1" appeared in 1971, adorned in a lavish fold-out sleeve. Well received critically, the album failed to achieve the expected success and Heaven soon disbanded, leaving behind a fine example of classic jazz rock. Officially released on CD for the first time, this Esoteric Recordings reissue is digitally re-mastered from the original m
aster tapes and restores the artwork of the album in full.

1	Things I Should've Been
2	This Time Tomorrow
3	Never Say Die
4	Come Back
5	Song for Chaos
6	Morning Coffee
7	Number One
8	Number Two
9	Dawning
10	Got to Get Away

+ 2 Bonus

11 Hangin' on
12 Funny Lines

Link : http://rapidshare.com/files/141551830/Brass_Rock_1.rar

Ripped by: Evermoreblues.blogspot.com
Artwork included

Saturday, August 30, 2008

MARY BUTTERWORTH S/T 1969

"A fine progressive rock album which maintains a good standard throughout and features lots of good keyboards and drums. Phase II and Its a Hard Road are perhaps the pick of the bunch, but really every track's a winner. Recommended. Two of its finer moments, Phase II and Week in 8 Days (a bluesy number), can also be heard in Valley of the Son of the Gathering of the Tribe."

In the Spring of 1968 the Mary Butterworth band was formed. They enjoyed playing a variety of engagements around the Southern California area and in 1969, the recorded the one and only album entitled Mary Butterworth. This original, vinyl album was pre-sold to fans and friends only-- it was never available to the general public. Shortly thereafter, the group split up and never performed together again.

Years passed and rumors spread that Mary Butterworth had made it big. However, that was not the case. What did happen was that one of those original vinyl albums made it into the hands of "bootleggers" in another country. They thought enough of the music to reissued the album, and they began a sales campaign of their own. It didn't stop there. The Butterworth album has been bootlegged at least three other times in two different countries.

The bootlegging has created a Mary Butterworth following and pushed the price of the original vinyl album to over $1,000.00 per vinyl album. The Psychedelic Rock Music of the '60's is still regarded, even today, as some of the greatest live music ever created -- and Mary Butterworth will be a lasting part of that history. This CD also includes many photos of the group. The CD, like the original vinyl album, is bound to be a collector's item. Now you can find out why.

Tracklisting :

Phaze II
Optional Blues
It's a hard road
Make you want me
Feeling I get
Week in 8 days

Link : http://rapidshare.com/files/141332702/MB.rar

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Artwork included

BEAVER & KRAUSE - IN A WILD SANCTUARY / GANDHARVA

Composers and synth players Paul Beaver and Bernie Krause were among the most high-profile electronic music acts of the late '60s, recording a series of LPs distinguished not only by their groundbreaking studio advances but also by the presence of notables including Gerry Mulligan and Mike Bloomfield. Krause -- a onetime member of the legendary folk group the Weavers -- was working as a staff producer at Elektra Records when he met Beaver, a former jazz musician; under the name Beaver & Krause, they began assembling electronic pieces employing spoken-word passages, acoustic instruments, tape loops and improvisational techniques, debuting in 1968 with The Nonesuch Guide to Electronic Music. After 1969's Ragnarok Electric Funk, the duo issued In a Wild Sanctuary a year later; 1971's Gandharva -- recorded live in San Francisco's Grace Cathedral and featuring cameos from Mulligan and Bloomfield as well as Bud Shank and Ronnie Montrose -- was the most popular of their releases. After 1972's All Good Men, Beaver recorded the solo LP Perchance to Dream; sadly, it was his final work -- he suffered a fatal heart attack on January 16, 1975 at the age of 49. Krause later resurfaced as a noted expert in environmental sound recording. ~ Jason Ankeny, All Music Guide

Tracklisting:

1		Another Part Of Time (5:00)
2		And There Was Morning (2:35)
3		Spaced (3:51)
4		So Long As The Waters Flow (5:35)
5		Aurora Hominis (1:19)
6		Salute To The Vanishing Bald Eagle (2:48)
7		People's Park (2:33)
8		Walking Green Algae Blues (7:07)
9		Sanctuary (1:43)
10		Soft / White (0:52)
11		Saga Of The Blue Beaver (4:19)
12		Nine Moons In Alaska (3:04)
13		Walkin' (2:42)
14		Walkin' By The River (2:39)
15		Grandharva (1:12)
16		By Your Grace (5:13)
17		Good Places (3:37)
18		Short Film For David (5:23)
19		Bright Shadows (4:53)

Link : http://rapidshare.com/files/141323300/B_K.rar

Ripped by: evermoreblues.blogspot.com
Artwork included

SHIRLEY COLLINS & DOLLY COLLINS - ANTHEMS IN EDEN

Anthems in Eden: Shirley Collins, Dolly Collins, The early Music Consort of London - David Munrow, dir. & al.
EMI EMS 1477 - 0777 7 81473 2 9 [CD]
BGO Records BGOCD 442 [CD]

A Song-Story (Medley)

Shirley Collins / Dolly Collins

A. A Beginning
Trad. Collins / arr. Collins
B. A Meeting: Searching for Lamas
C. A Courtship: The Wedding Song
D. A Denying: The Blacksmith
E. A Forsaking: Our Captain Cried
F. A Dream: Lowlands
G. A Leavetaking: Pleasant and Delightful
Copper Family / Collins / Marshall / arr. Collins
H. An Awakening: Whitsun Dance
Shirley Collins / Dolly Collins
I. A New Beginning: The Staines Morris

Trad., arr. Shirley Collins / Dolly Collins

Rambleaway

Trad., Burns, arr. Shirley Collins / Dolly Collins

Ca' The Yowes

Williamson

God Dog

Trad., arr. Shirley Collins / Dolly Collins

Bonny Cuckoo
Nellie the Milkmaid
Gathering Rushes in the Month of May
The Gower Wassail
Fare Tee Well My Dearest Dear

Anon., Trouvères, 12/13th c., arr. Southcott

C'est La Fin/Pour Mon Cuer

Trad., arr. Collins

Bonny Kate

Trad., arr. Collins / Rodd

Adieu To All Judges and Juries

Anon., England, 13th c., arr. Collins / Southcott

Edi Beo Thu Hevene Quene

Trad., arr. Collins

Black Joker / Black, White, Yellow & Green

Playing time: 69' 55"

Performers:
[1]-[8] Shirley Collins (folk singer) & Dolly Collins (folk singer)
The Early Music Consort of London [Adam Skeaping (bass viol, violone), Roderick Skeaping (rebec, treble viol, bass viol), Oliver Brooks (bass viol), Michael Laird (cornett), Richard Lee (descant recorder, treble recorder), Alan Lumsden (sackbut), Christopher Hogwood (harpsichord), Dolly Collins, (organ), Gillian Reid (bells), David Munrow (soprano, crumhorn. alto crumhornsm, bass rackett, tenor sordun, treble recorder)] - David Munrow, dir.
Chorus "The Home Brew" [Michael Clifton, Ray Worman, John Fordham]
Royston Wood, Steve Ashley, John Morgan
[9] John Rodd (anglo-concertina), Chris Hogwood (virginals), Simon Nicol (acoustic guitar), Pat Donaldson (electric bass guitar, Dave Mattacks (drum), Roger Brenner (alto sackbut), Colin Sheen (tenor sackbut), Paul Beer (tenor sakbut), Martin Nicholls (tenor sackbut)
[10] John Sothcott (vièle)
[11] John Kirkpatrick (melodeon), Terry Potter (mouth organ), john Reid (anglo-concertina), Ashley Hutchings (acoustic bass guitar), Dave Mattacks (drum)
[12] John Rodd (anglo-concertina), Simon Nichol (electric guitar), Pat Donaldson (electric bass guitar),Martin Nicholls (bass sackbut), Dave Mattacks (regal, drums)
[13] John Sothcott (vièle, recorder)
[14] John Watcham (anglo-concertina), John Kirkpatrick (button accordion), John Rodd (anglo-concertina), Terry Potter (mouth organ), Simon Nicol (electric guitar), Ashley Hutchings (electric bass guitar), Dave Mattacks (drum), David Busby (dancing, vocals), Mike Clifton (dancing, vocals), Dots Daultrey (dancing, vocals), Stuart Hollyer (dancing, vocals), Rogerr Rigden (dancing, vocals), Ada Turnham (dancing, vocals)
The Albion Morris Men (in Black Joker)

Recording site and date:
[1]-[8] Unknown [06/1969]
[9]-[14] Sound Techniques Studio, Cambridge [1975 / 1976]
Rel.: 1993 (for EMI), 1999 (for BGO)

Excerpts:
[1]-[8] Harvest 754 [LP] Anthems in Eden
[9]-[14] Harvest ??? [LP] Amaranth

Artwork Included

Link: http://rapidshare.com/files/141284460/Anthems_in_Eden.rar

Friday, August 29, 2008

DECAMERON - THIRD LIGHT 1975

Formed in Cheltenham, England 1968. Decameron played contemporary folk-rock music, much of which was written by key members Dave Bell and Johnny Coppin. The group recorded for a variety of British labels during the early seventies and later on also performed some American doo wop tracks under the name The Magnificent Mercury Brothers.

The band fused together rock and folk in their own individual and distinguishable style.

LP Transatlantic1975 304

Tracklisting:

1. Rock and Roll Away
2. All The Best Wishes
3. The Strawman
4. Saturday
5. Wide As The Years
6. Journey's End
7. Road To The Sea
8. Trapeze
9. The Ungodly
10. Morning Glory

Band members:

Artist Credit
John Coppin Guitar / Keyboards
Decameron Main Performer
Dave Bell Guitar / Bass
Dik Cadbury Bass / Vocals / Guitar
Al Fenn Harmonica / Bass / Guitar
John Halsey Drums
Geoff March Keyboards / Saxophone / Vocals
John Mealing Keyboards
Michael WinfieldHorn

Link:

http://rapidshare.com/files/141131256/Decameron_Third_Light.rar

Ripped by : Evermoreblues.blogspot.com
Bitrate : 256k Mp3
Artwork Included

MOLOCH S/T 1972

Excellent US Blues Rock, LP-Enterprise, ENS-1002.

Tracklisting:

1 Helping Hand
2 Maverick Woman Blues
3 Outta Hand
4 Same Old Blues
5 Going Down
6 She Looks Like an Angel
7 Gone Too Long
8 Dance Chaney Dance
9 Mona
10 People Keep Talking
11 I Can Think the Same of You
12 Night at the Possum

Band Members :

Lee Baker Guitar / Vocals
Phillip Durham Drums / Vocals
Fred NicholsonOrgan
Steve Spear Bass
Gene Wilkins Vocals

Link : http://rapidshare.com/files/141114184/Moloch_1972.rar

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Bitrate : 256k Mp3
Artwork Included

THE ROBERT CRAY BAND - BAD INFLUENCE

Category Rock/Pop Albums, Rock CDs, Blues, Contemporary Blues, Enhanced CD
Orig Year 1983
Discs 1
Release Date Oct 25, 1990
Studio/Live Studio
Mono/Stereo Stereo
Producer Bruce Bromberg; Dennis Walker
Engineer Bill Dashiell
Personnel Philip Walker, David Ii

Track listing

1. Phone Booth (3:32)
2. Bad Influence (2:56)
3. Grinder (4:09)
4. To Make A Comeback (5:52)
5. So Many Woman, So Little Time (4:01)
6. Where Do I Go From Here (4:03)
7. Waiting For The Tide To Turn (3:31)
8. March On (2:25)
9. Don't Touch Me (3:25)
10. No Big Deal (4:14)

Bonus Tracks

1. Got Loaded (3:37)
2. Share What You've Got, Keep What You Need (3:50)

Bad Influence is a 1983 blues album by the blues singer-songwriter and guitarist Robert Cray. Released with Hightone Records, this was the album thought to have put Cray on the map, prior to his explosion into the mainstream with Strong Persuader in 1986.

It was his second release, and contained two cover versions: Johnny Guitar Watson's "Don't Touch Me" and Eddie Floyd's "Got To Make A Comeback". The most well-known and memorable song off the album was probably the slow blues song, "Phone Booth". The album runs 41 minutes and 57 seconds.

Career

Cray started playing guitar in his early teens. At Denbigh High School in Newport News, Virginia, his love of blues and soul music flourished as he started collecting records. Originally, Robert Cray wanted to become an architect, but at about the same time he was going to study design in architecture he formed a local band "Steakface", described as "the best band from Lakewood you never heard of". Cray on guitar and vocals contributed greatly to Steakface's set list of songs by Jimi Hendrix, Quicksilver Messenger Service, Fleetwood Mac, The Grease Band, Blodwyn Pig, Jethro Tull, Spirit and The Faces.

By the time he was twenty, Cray had seen his heroes Albert Collins, Freddie King and Muddy Waters in concert, and decided to form his own band. His band started playing college towns on the West Coast. After several years of regional success, Cray was signed to Mercury Records in 1982. His third album release, Strong Persuader, received a Grammy Award, while the crossover single "Smokin' Gun" gave him wider appeal and name recognition. By now, Cray was an opening act for major stars, such as Eric Clapton (who remains a friend to this day), and sold out larger venues as a solo artist. By the early 1990s his name was immediately associated with his soothing, soulful voice, crisp, clean guitar work, and innovative modern blues sound.[citation needed] Cray has generally played Fender guitars (Telecasters and Stratocasters) and there are two signature model Robert Cray Stratocasters available from Fender. The Robert Cray Custom Shop Stratocaster is made in the U.S. in the Fender Custom Shop and is identical to the guitars that Cray currently plays, while the Robert Cray Standard Stratocaster is a less expensive version made in Fender's Ensenada, Mexico plant.

Cray also had the opportunity to play alongside John Lee Hooker, on his album Boom Boom. Cray plays the guitar solo in the song "Same Old Blues Again". He is also featured on the critically acclaimed album, The Healer, another recording from John Lee Hooker. Cray plays a guitar solo on the song "Baby Lee".

Cray was invited to play at the "Guitar Legends" concerts in Seville, Spain at the Expo in 1992, where amongst others, he played a signature track "Phone Booth", wowing the audience. Also on the bill on this blues night of the "Legends" gigs was Albert Collins

Cray continues to record and tour. He appeared at the Crossroads Guitar Festival, and supported 'Slowhand' on his 2006-2007 world tour.

He also appeared on a 2007 tour with Eric Clapton. In Fargo, North Dakota, he joined Clapton as backup guitar for the Cream song "Crossroads."

Also, in the film Animal House, Cray plays the uncredited bassist in Otis Day and the Knights.

Link : http://rapidshare.com/files/141104672/bad_influence.rar

Ripped by : MAGUS

BItrate : 256kbit

Full Artwork Included

BLACK PEARL - S/T 1969

Black Pearl was a West Coast rock group of the late '60s and early '70s led by Bernie "B.B." Fieldings. They had two charting albums, Black Pearl (1969) and Black Pearl -- Live! (1970).

Tracklisting:

	Crazy chicken Thinkin' 'bout the good times
White devil Mr. Soul satisfaction Forget it Climbing up the walls Bent over Endless jorney Reach up Link : http://rapidshare.com/files/141016086/black_pearl_1969.rar Artwork included

Thursday, August 28, 2008

LEB I SOL RUCNI RAD 1979

Ethno - Jazz - Fusion

Biography:

In the first half of the seventies of the last century, the music scene in Skopje was rather small so the future members of the LEB I SOL often worked in same bands. The first more serious project Vlatko and Garo had, was with the jazz-rock band BREG which leader was Miki Petkovski.

On 1st January 1976 Vlatko and Bodan founded LEB I SOL together with the keyboard player Kokan Dimushevski and the drum player Dimitrije Chochorovski. The first singles "Etida br.3", "Devetka" and "Pesna za nas" were recorded in the studio of Radio Skopje in only two hours. They had the first performance out of Macedonia in 1977 in Novi Sad. Based on that footage they were invited at the Youth Festival in Subotica. There they won a prize and were widely acknowledged for the fist time and they signed a contract with PGP-RTS. In August of the same year they performed as a foregroup of Bijelo Dugme at the legendary concert "Hajduchka Cheshma", as well as in Sarajevo, Novi Sad and Skopje. Garo is playing with them as well, after having joined them few weeks before.

LEB I SOL recorded their debut album LEB I SOL 1 at the studio of RTV Novi Sad in September 1977. The jazz-rock themes with ethno influences dominate the album, and six themes out of nine are instrumental. All four of the members are composing, though Vlatko is the most productive one. The song "Nisam Tvoj" can be singled out as the hit of that record.

They soon climb the top of the Yugoslavian chart and for the second album LEB I SOL 2 are being provided with much better studio conditions. Following the style of the debut album, the second album, besides the highly rate "Aber dojde Donke", offers the excellent songs "Marija", "Akupunktura" and "Talasna Duzina".
In 1978, according to the readers of the music magazine "Jukebox", the most influential in Yugoslavia at that time, they received the title "Group of the year".

The third LP "Ruchni Rad" was recorded at Studio 5 of the Radio Belgrade. The four of them continued to be the authors of their work. The most ambitious themes of this album were the title song "Ruchni Rad", "Kumova Slama" and "Verni Pas". Following the release of that album, Kokan Dimushevski left the band. He was replaced by Miki Petkovsi who left LEB I SOL in 1980. After his departure they decided to work as a trio composing music for the theatre plays "Divo Meso", "Ubavata Vida", "Srekjna Nova 49" and lots of others. They went on a summer tour, had ten concerts and than in Skopje started preparing their new album "Beskonachno". They followed their style and the music was adjusted to the trio formation. The LP "Beskonachno" included the remake of the old folk song "Ajde sonce zajde", Vlatko's "Ziva rana", Garo's "Kasno popodne" and Bodan's "Skakavac". That summer Garo, who left the band was replaced by Dragoljub Gjurichic.

The LP "Sledovanje" was recorded in the studio of Radio Skopje and for the first time they were producers of their own album. This album for the first time concentrates on vocal songs and "Nosim tvoj zig" received the epithet of a radio hit.

In the summer of 1982 together with the KPGT theatre they had a two month tour in America. They performed in clubs and played together with the band Big Country.

With the release of the double album "Akusticna trauma" they left PGP-RTS and joined Jugoton. In 1983 for Jugoton they released the LP "Kalabalak". The guests of the album were Bobi Micev playing the keyboard and Petar Kargov playing the saxophone.

The album "Tangenta" was created at the Belgrade studio Aquarius in 1984 having Kevin Heyers as a producer.
He was the one who gave the title of this record because in his opinion the music created by the members of the LEB I SOL is grazing different styles. The guests of this record are Laza Ristovski playing keyboards and Nenad Jelic playing percussion. The radio hit from this album was "Kontakt je skup".

The ten year anniversary was celebrated towards the middle of 1986 with the release of the record "Zvuchni Zid" which contained the theatre, film and television music, as well as the themes of the TV show "Bushava Azbuka", the theatre plays "Osloboduvanje na Skopje", "Srekjna Nova 49", "Koshtana" and the films "Shmeker" and "Za sreka se potrebni trojca". The authors were Vlatko and Bodan. Garo, who in the meantime came back in the band, was also involved in the recording.

Soon after, the LEB I SOL were accompanied by the saxophone player Goce Micanov and the keyboard player Kiril Dzajkovski and together they recorded the album "Kao kakao" in 1987.

They decide on a significant style transformation of this record and release ten vocal songs. The album is produced by Bodan and Vlatko together with Braco Zafirovski, with the guest stars Bebi Dol, Ana Kostovska and Roni Vaten on Irish bagpipes. The lyrics were written by Vlatko and Goran Stefanovski. There were series of hits released from this record, such as "Skopje", "Kao Kakao", "Mamurni Ljudi" and "Chuvam noc od budnih".

The same band formation recorded the following album "Putujemo". Again they produced it together with Braco Zafirovski and again all the songs were vocal. By having Kaliopi as a back vocal, Zoran Jovanovic as a saxophone player and Kire Kostov playing the horn, LEB I SOL offered the audience the basic theme of the record connected to the physical and emotional journeys. For some time, the keyboard player in the band was Valentino Skenderovski, but soon after Kokan Dimushevski came back and participated in the recording of "Putujemo". The biggest hit of this album is the legendary "Chukni vo drvo".

One year later in 1990, Bodan and Vlatko released the CD "Zodijak" with music composed for the ballet performance "Zodijak" of the Mcedonian National Theatre.

In 1990 Garo again left the band.

In May 1991 LEB I SOL went on a tour in USA and Canada. The band is now consisted of Vlatko, Bodan, Kokan and Dragoljub. The concert held at the prestige CBGB in New York is documented on the CD "Live in New York". This album includes also the recordings of the rehearsals at the studio American, a record of the song "Blagoslov" of the Macedonian Orthodox church in Toronto, the theme "Going back to Skopje" recorded at the mobile studio in Toronto and the remake of the folk song "Uchi me majko, karaj me" recorded in Skopje in October 1991.

During their career, apart from the Yugoslavian tours, the LEB I SOL had tours in other countries:
- Cypress in 1982
- Russia in 1983 and 1988
- Italy and Spain in 1987
- Ireland, Sweden and Denmark in 1990

In the spring 1992, they sold out the Sava Centar in Belgrade four times in a row and they played at the prestigious club Paradiso in Amsterdam.

In December 1995 they had two sold out concerts in the hall "Vatroslav Lisinski" in Zagreb, as well as concerts in Pula and Rijeka.

That same year they released the double album "Anthology" with orderly overview of their career.

The last concert before the breakdown was at the legendary club Milos in Thessalonica in December 1995.

Four years after the breakdown "Croatia Records" republished the album "Kao kakao" on a CD and received the prominent award "Porin" for best re-edition.

In April 2006, right after the rejoining, LEB I SOL started work again. Vlatko, Bodan, Garo and Kokan had their rehearsals for the big tour at the legendary studio M2 of the MRTV.

Track Listings

1. Lenja pesma (4:32)
2. Rebus (5:12)
3. Hogar (4:21)
4. Rucni rad (5:07)
5. Kumova slama (5:20)
6. Put u vedro (5:20)
7. Verni pas (6:09)

Total Time: 36:01

Line-up/Musicians

- Vlatko Stefanovski / guitars, vocals
- Garo Tavitijan / drums
- Bodan Arsovski / bass
- Koki Dimusevski / keyboards

With:
- Milivoj Markovic / saxophones

Releases information

LP PGP RTB (1979); CD special edition "2LPon1CD" paired with "(Infinity)" T.Pics/PGP RTS CD 2046 (2000)

Link: http://rapidshare.com/files/140920108/1979_-_Ruchni_Rad.rar

Cover art included ( handmade back cover)

CREME SODA - TRICKY ZINGERS 1975

"Hailing from Milwaukee, Wisconsin, Creme Soda generated a fanatical following based on their legendary single '(I'm) Chewin' Gum/Roses All Around' which appeared on the Trinity label in 1975. Creme Soda are not an easy band to categorise as they were able to play virtually any musical genre with consummate ease. Their only full-length album, Tricky Zingers (which also includes their 'hit' singles), also made its appearance on Trinity (Trinity CST11) in 1975 and despite the considerable interest the record generated, the band, perhaps mindful of the adage 'quit while you're ahead,' did exactly that, never to be heard of again. Tricky Zingers is an impressive and relatively overlooked recording, which, despite being recorded in 1975, has a decidedly mid-'60s feel about it. The eleven self-penned songs range from very good to brilliant, particularly 'Tonight,' 'Keep It Heavy' and 'Roses All Around.' The album's style ranges from folkrock to wasted psychedelia, with two experimental tracks featuring drone effects and backwards guitar thrown in for good measure, as well as a couple of rootsy rock'n' roll numbers."

Tracklisting :

1	Give It Up (Man)
2	Tonight
3	Numero Uno
4	(I'm) Chewin' Gum
5	Deep in a Dream
6	Nazz Are Blue
7	Keep It Heavy
8	Roses All Around
9	And That Is That
10	Beat Song
11	When the Sun Shines
12	Daydreamin'

Link : http://rapidshare.com/files/140817684/Tricky_Zingers.rar

Ripped by: Evermoreblues.blogspot.com
Bitrate: 128k Mp3
Artwork included

Wednesday, August 27, 2008

AMAZING BLONDEL - A Foreign Field That Is Forever England. Live Abroad

AMAZING BLONDEL existed throughout the early seventies. Originally formed by John David GLADWIN, Terry WINCOTT and Eddie BAIRD after leaving another even more obscure band called METHUSELAH. For these three, the band was essentially a three piece singing and playing krumhorns, recorders, lute, theorbo, guitars, dulcimers, flute, piano, harpsichord, mellotron, organ, tabor, cittern tubular, bells, glockenspiel and percussion. English mostly acoustic 1969-76. Middle-age renaissance guitar, organ and other instruments, multipart harmony vocals, etc., bordering on the prog movement in England at the time. The musicians had earlier played rock and thus the music cannot be termed classical either. Among lots of famous guest musicians can be named Boz BURRELL, Eddie JOBSON, Steve WINWOOD and Mel COLLINS.

"The Amazing Bondel" was a collection of soft acoustic rock numbers that included one medieval-styled song that seemed to go over better than anything else, and that was the direction they aimed for in their future releases. "Evensong" is a folk album that harked back to the Middle Ages and the Renaissance. Madrigals and ballads performed on period instruments became their specialty and the trio's creative ideas led to the concept album "Fantasia Lindum", which belongs more to progressive-rock than to folk-rock. "England" used the same technique to craft elegant, lushly-arranged pop songs. GLADWIN left and the surviving duo veered towards STEELEYE SPAN's hard-folk with "Blondel", entirely composed by BAIRD, "Mulgrave Street", "Inspiration", "Bad Dreams". The band reunited 21 years later for "Restoration" (1997), an album which harkens back to their halcon days.

Their third and fourth albums "Fantasia Lindum" and "England" represent the most musically sophisticated of the material, which any progressive fan without an aversion to folk music should have no trouble enjoying. Most fans of early GRYPHON, FAIRPORT, and other British folk rock will be delighted with this band.

Live, released in 1996

Track Listings

1. Introduction (1:05)
2. Seascape (6:53)
3. Dolor Dulcis (4:24)
4. Willowood (3:22)
5. Pavan (3:29)
6. Spring Air (5:38)
7. Shepherd’s (10:55)
8. Celestial Light (4:04)
9. Fantasia Lindum (19:22)
10. Landscape (7:54)
11. Saxon Lady (3:59)

Total Time: 71:05

Line-up/Musicians

- John Gladwin / lead vocals, guitar, lute
- Terence Alan Wincott / crumhorn, vocals, recorders, flute
- Edward Baird / lute, guitar, cittern, vocals

Releases information

CD - HTD Records, HTD CD 56 (UK, 1996)

In 1998 Blue Frame Records (under license of HTD and distributed by Dragon Records, Milan, Italy) remastered the same CD with the tile "A Foreign Field That Is Forever England" (cat. code BFFK 001). This CD have completely new artwork.

Link : http://rapidshare.com/files/140548203/A_Blondel.rar

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Bitrate : 256k Mp3

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BLACK SPIRIT s/t

Italian stoned psych-rock band, the album was recorded in Germany between 1969 and 1978.

Tracklisting :

Crazy times
Punk Rock& roll
Nicolino
Who are you
Old times

Link : http://rapidshare.com/files/140531507/Black_Spirit.rar

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BRAINTICKET - COTTONWOOD HILL

Basically, BRAINTICKET were born out of a 60's jazz group featuring Belgian born keyboardist Joel VANDROOGENBROECK, and as history was made, BRAINTICKET became the project of a visionary talent. They were among the important pioneers of early psychedelic and spaced out cosmic.

Track Listings

1. Black Sand (4:05)
2. Places Of Light (4:06)
3. Brainticket Part I (8:21)
4. Brainticket Part I [Conclusion] (4:36)
5. Brainticket Part II (13:14)

Total Time: 34:22

Line-up/Musicians

- Ron Bryer / guitar
- Werner Fröhlich / bass
- Helmuth Kolbe / keyboards
- Cosimo Lampis / drums
- Dawn Muir / vocals
- Wolfgang Paap / percussion
- Werni Prahlach / bass
- Joel Vandroogenbroeck / keyboards, flute, vocals

Releases information LP Bellaphon BLPS 19019 (1971 Germany)
CD Bellaphon 288-07-102 (1989 Germany)

Link : http://rapidshare.com/files/140519485/Brainticket_-_Cottonwood_Hill.rar

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Tuesday, August 26, 2008

RORY GALLAGHER - JINX

Technical Info

Label: Chrysalis
Country: UK
Released: 1982
Genre: Rock
Style: Hard Rock, Classic Rock
Credits: Bass - Jerry McAvoy
Drums - Brendan O'Neill
Engineer - Jurgen Kramer
Keyboards - Bob Andrews
Mastered By - John Denth
Other [Design] - John Pasche
Photography - Brian Cooke, Erhard Schultz
Producer - Rory Gallagher
Saxophone - Dick Parry , Ray Beavis
Written By - M. Levy / H. Glover / T. Reid (tracks: B3) , Rory Gallagher (tracks: A1 to A5, B1, B2, B4)
Notes: Recorded at Dierks Studios (Koln, W. Germany). Mastered at the Sound Clinic.

Tracks

1. Big Guns
2. Bourbon
3. Double Vision
4. The Devil Made Me Do It
5. Signals
6. Jinxed
7. Easy Come Easy Go
8. Nothin' But The Devil
9. Ride On Red, Ride On
10. Lonely Mile
11. Loose Talk

[The passage below has been taken from the former page on Taste, Rory's first band.

Blues-rock is the most unfortunate genre in the world: its fans are in a pitiful minority, and both the working class representatives that far prefer the Sex Pistols and the witty elite that far prefers Emerson, Lake & Palmer despise it as something boring, repetitive and lacking entertainment value (in the first case), or as something simplistic, dated and primitive (in the second case). I know I should probably be hating it too, seeing as how blues-rock is one of the most derivative genres in rock and my position is always to stress the originality. But heck, I think the blues is one of the greatest musical forms ever created, and I have long before learned that the essence of blues is not in 'what' but in 'how'. Don't ask the blues guy: 'Why are you playing things that everybody else plays?' Instead, ask the blues guy: 'What is your personal contribution to blues and your own unique ways to interpret it? What's your special gimmickry? Why should we listen to you and not Long John Bauldry instead?' The band I'm going to review here certainly had a good and satisfying answer to that question. But nobody really wants to care about the answer - and this is probably the reason why the band I'm going to review here is virtually unknown in the States, and even in the UK none of their albums seem to be in print.

Come on now - have you ever even heard of Taste? One might have heard of Rory Gallagher and his solo 'guitar hero' career in the Seventies (not to mention that his untimely death in 1995 did lead to a sudden rise of interest towards the man, perverse as it is), but nobody remembers Taste, the band that arguably represents his best and freshest period of activity. The albums that I'm going to review below are impossible to find in the States or, in fact, all over the world; they are out of print for years and can probably be only got through special order in a half-obscure Internet used CD store. This is, however, the advantage of living in Russia: I managed to get both of their studio albums plus Live Taste (for the cheapest price imaginable, too), since they have been kindly printed by blues-friendly record companies. Maybe they're pirated, but I don't give a damn, being still happy as a pup!

No, I'm definitely not a hardcore blues or blues-rock fan. I, too, find blues as a genre somewhat (somewhat, but not gruesomely) overrated, and there are so many unimaginative, rip-off-ey blues-rock acts in the world that I fully understand how one can get sick of that crap. There is one big advantage to blues-rock, though: its primary form is so perfect, so brilliantly accomplished and wonderfully catchy from the very start, that one simply can't go wrong with playing electric blues - that is, if one knows how to do it really, really good. The standard blues formula might be one of the best musical forms of the 20th century, but it really all depends on how you do it. It isn't enough just to play a straight 4/4 and sing on key (or off key, for that matter). Some bands, like the Rolling Stones, Cream, or Led Zeppelin, knew how to make their blues sound wonderfully fresh and invigorating - with sharp, hard-hitting, well-tuned guitars (all the three), magnificent harmonica solos (Stones), dangerous-sounding vocals (Stones again), stunning guitar heroics (Cream) or a dark, mystical mood (Led Zep). Other bands, which I'll never even be naming here, never had anything of that - and ended up sounding dull, derivative and forgettable.

Taste were indeed 'taste', and an acquired one: one of the last great blues-rock bands, and certainly the last 'purist' blues-rock band with any significant importance (unless you count The Doobie Brothers, of course). They were an Irish 'power trio', modelling themselves after Cream, but they rarely sounded like Cream - not because they couldn't, but because they wouldn't. Drummer John Wilson was a really talented dude, with drums cleverly bashing all over the place, but he never engaged in lengthy, pointless drum solos, like Ginger Baker (I mean, he did drum solos, but short ones, and that's an entirely different matter). Bassist Richard McCracken might not have had the guts of Jack Bruce or Andy Fraser, but his steady rhythm work is highly laudable nevertheless. And, of course, there's the bright star of guitar player and lead vocalist Rory Gallagher (not to be confused with the wretched Oasis twins).

Rory was always distinguished by the fact that he could make a good use of everything, from his powerful voice to his well-learned guitar licks to even saxophone solos, but never did - and it still worked. What I'm a-meanin' is that, while he sure had a mighty fine voice and was able to kick Jack Bruce's old ass right in the gutter in that respect, he rarely engaged in romantic balladeering or complex blueswailing - instead, he just grunted and snorted. And he had a great guitar-playing talent - sometimes he was soloing like a demon, going off in all directions and easily keeping the energy on the same level as a Steve Howe or a Jimmy Page; but he preferred to play tasty disconnected licks or dirty, sloppy riffs instead, going for the heaviest sound possible, more Hendrix-style than Clapton-style. But in doing so, he created an identity for the whole band, and made damn sure that their blues records really stood out among the thousands of similar efforts by less worthy white boys. And no, I'm not saying that Taste albums are recommended for everybody; if you're a blues-hater, don't even worry. But if, like me, you're looking for something bluesy with a definite edge to it, this might just be your bet - provided that you can find their records.

JINX ***

Year Of Release: 1982

I think Jinx certainly indicated that Rory needed a break - which he did take immediately afterwards, releasing nothing for about half a decade. It's not a bad album (dang, for my money Rory never really made a bad album, what with his conservative and rigorous style), but it just kinda lacks the spark, if you know what I mean. It's somewhat of a cross between his early Seventies and late Seventies period; overall, more mellow and less ass-kicking than the last few albums (and also a kind of a relief for fans who weren't happy seeing Rory metamorphose into the big-metal-riff tear-it-down arena-rock prince), but certainly not an exact return to the acoustic-and-slide-drenched sound of Tattoo and its whereabouts. And by avoiding the extremes, it manages to come off kinda faceless, like a pale shadow of what has been done before.
Not that there aren't any prime numbers here. No Gallagher fan can live without adding 'Jinxed' to his collection; this painful, emotionally acute blues ballad should certainly be counted in at the very top. The thick ethnic percussion layers were a wonderful idea, as they serve to make the overall mood even more somber, but of course, it's the splendid guitar work and the vocals that do the trick. I mean, sometimes... well, I don't know how it happens, but sometimes you get this hundred percent sincere groove going on when everything seems to work and you don't really know why. There's a goddamn thin line between filler and revelation, you know, but the way Rory intones 'I don't care what anybody thinks - this must be some kind of jinx!' is certainly revelation. Now that I think of it, I really can't think of any blues-rock hero that would do those 'power ballads' as convincingly as Rory. Clapton's approach is totally different - usually much subtler and with loads more (occasionally grating) sentimentality; the Allman Brothers were good, but way too 'impersonal' as far as their songwriting went; and Ten Years After really did that stuff very, very rarely. Rory is da man when it comes to expressing his feelings in aggressive ballad form. That's why 'Easy Come Easy Go' is another excellent song on the album, even if it suffers from exaggerated sentimentality in the verses.

There are some top quality rockers as well. 'Double Vision' has the advantage of building upon a classy CCR-like riff, which pulls it out of the mediocrity range. The hilarious 'Devil Made Me Do It' is catchy as hell (although if I'm not mistaken, it's not a Rory original). And then there's 'Loose Talk' which closes the album and is the album's only "experimental" number. Maybe I'm mad, but I thought I heard a sitar out there in the background in the first verse... could it really be so or was that a weirdly processed acoustic sound? And then, while the song begins as a straightforward blues-rocker, it occasionally switches into hot funky mode. Plus, the guitar solos are scorching.

But really, what I'm doing here is trying to put in a good word for a somewhat mediocre and inconsistent record just because Rory was such a nice guy. There's not a single rocker on the record that I don't mildly enjoy while it's on, but then again, Jinx came on the heels of the totally devastating Stage Struck, Rory at his hard rock peak, want it or not, and the overall tone on all of these rockers is milder and more restrained. The album opener, 'Big Guns', might come close to the fury and anger of Stage Struck, but it certainly doesn't top it. The solos are mixed in way too quiet, the guitar tone in the riff is nowhere near as jagged and "rebellious" as before, and, well, by all means it's merely a compromise. And the same goes for almost everything else on here. Besides, the riffs themselves, apart from 'Double Vision', don't go any place special. And the tempos are slower, too. Mid-tempo almost all the way, which really doesn't put the melodies above KISS level - of course, I'll take Rory's worst song over KISS' best any time of day because of the attitude, but see, Jinx does very little to eliminate the rumour of Rory not being a good songwriter at all. I mean, what, 'Hellcat'? THIS is a good song? What would be distinguishable about it? The basic three-chord riff?

Oh well. I guess this must have been some kind of jinx anyway. And besides, your style may be good, but if you're really conservative about the very soul of your melody-writing and your arrangements, how many blues-rock albums can you record before you start mercilessly running out of even minor ideas? Like I said - it was only too well that Rory took a long break after the album.

Link : http://rapidshare.com/files/140325499/Jinx.rar

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ROY BUCHANAN - SWEET DREAMS: THE ANTHOLOGY

Technical Info

Category Rock Albums, Blues CDs, Rock/Pop
Label Polydor
Orig Year 1992
Discs 2
Release Date Sep 22, 1992
Studio/Live Mixed
Mono/Stereo Stereo

Tracks

Sweet Dreams: The Anthology CD DISC 1:

1. Baltimore - (previously unreleased)
2. Black Autumn - (previously unreleased)
3. Story of Isaac, The - (previously unreleased)
4. There'll Always Be - (previously unreleased)
5. Sweet Dreams
6. Pete's Blue
8. Tribute to Elmore James
9. After Hours
10. Five String Blues
11. C.C. Rider - (previously unreleased, previously unreleased)
12. My Baby Says She's Gonna Leave Me
13. Please Don't Turn Me Away
14. Country Preacher
15. Wayfaring Pilgrim

Sweet Dreams: The Anthology CD DISC 2:

1. Down by the River - (previously unreleased, previously unreleased)
2. I'm a Ram
3. I'm Evil
4. Good God Have Mercy
5. If Six Were Nine
6. Green Onions
7. Soul Dressing - (previously unreleased, previously unreleased)
8. Hey Joe - (previously unreleased, previously unreleased)
9. Fly...Night Bird
10. Turn to Stone
11. Dual Soliloquy - (previously unreleased)

Roy Buchanan's musical career began in Pixley, California ,although he was raised in Ozark, Arkansas. His father was a sharecropper (not a Pentecostal preacher as Buchanan himself had claimed). Buchanan told how his first musical memories were of racially-mixed revival meetings his family would attend. "Gospel," he recalled, "that's how I first got into black music". He in fact drew upon many disparate influences while learning to play his instrument (although he later claimed his aptitude was derived from being "half-wolf"). He initially showed talent on the steel guitar before switching to the standard instrument in the early 50's.

In 1957, Buchanan made his recording debut, playing the solo on Dale Hawkins' "My Babe" for Chicago's Chess Records. Three years later, Buchanan headed north to Canada, where he took charge of the guitar role in Ronnie Hawkins' band (a group later to gain fame as The Band). The group's guitar player, Robbie Robertson, studied guitar under Buchanan, and took over the lead guitar spot when Buchanan left the group.

The early 60's found Buchanan performing numerous gigs as a sideman with multiple rock bands, and cutting a number of sessions as guitarist with musicians such as Freddy Cannon and Merle Kilgore.

Link1: http://rapidshare.com/files/140315951/Sweet_Dreams_-_The_Anthology_--_Disc_1.rar.html
Link2: http://rapidshare.com/files/140321428/Sweet_Dreams_-_The_Anthology_--_Disk_2.rar

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ROY BUCHANAN - LIVE STOCK

Technical Info

Release Date : 10/25/1990
Original Release Date : 1975
Label : Polydor (USA)
Number of Discs : 1
Runtime : 35m : 58s
Studio/Live : Studio
Mono/Stereo : Stereo

Tracks
1. Reelin' And Rockin'
2. Hot Cha
3. Further On Up The Road
4. Roy's Bluz
5. Can I Change My Mind
6. I'm A Ram
7. I'm Evil

Release Info
Personnel: Roy Buchanan (vocals, guitar); Billy Price (vocals); Malcolm Lukens (keyboards); John Harrison (bass); Byrd Foster (drums).
Recorded at Town Hall, New York, New York on November 27, 1974.
Digitally remastered by Dennis M. Drake.
This 1975 release, recorded live in New York City, finds axeslinger extraordinaire Roy Buchanan doing what he does best: ripping up the fretboard. Backed by a hard-driving quartet that includes lead vocalist Billy Price, Roy stretches out on "Hot Cha," "Reelin' and Rockin'," and his own "Roy's Bluz" and "I'm Evil" (on which he assumes vocal chores). Though the fare is standard blues-rock throughout, Buchanan's mastery over every nuance in his Fender Telecaster and his wide-ranging lexicon of chops--which includes scratching, wailing, tonal variations, and beautifully melodic passages--makes for scintillating listening.
"Roy's Bluz," in particular, is an epic six-string showcase that contains a veritable textbook of licks for blues guitarists to study. Buchanan was inevitably at his best in the live setting--where the energy of the audience and the thrill of spontaneous creation seemed to feed his inspiration--and LIVE STOCK is an impressive and enduring testament to that fact.

Link : http://rapidshare.com/files/140311072/Live_Stock.rar.html

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ROBBEN FORD - BLUE MOON

Category Rock/Pop Albums, Jazz CDs, Blues, Contemporary Blues, Rock, Enhanced CD
Label Concord Jazz
Orig Year 2002
Discs 1
Release Date Mar 12, 2002
Studio/Live Studio
Mono/Stereo Stereo
Engineer Walter New
Personnel Robben Ford - vocals, guitar, piano, Wurlitzer piano
Russell Ferrante - piano, synthesizer
Roscoe Beck - bass
Tom Brechtlein
Jimmy Earl - bass, programming
Dave "Woody" Woodford - tenor saxophone, baritone saxophone
Lee R. Thornburg - trumpet, trombone
Louis Pardini - background vocals

TRACK LIST

1) Up The Line (Little Walter Jacobs) 3:48
2) Hard To Please 4:12 (Robben Ford) Lyrics
3) Don't Deny Your Love 5:02 (Robben Ford - Kevin Bowe)
4) Make Me Your Only One 5:10 (Robben Ford - Mike Osborn)
5) Indianola 5:19
6) My Everything 4:41 Lyrics
7) The Way You Treated Me (You're Gonna Be Sorry) (Robben Ford) 6:44
8) Sometime Love (Robben Ford)* 3:58
9) Good To Love 3:42 (Robben Ford)
10) Something for the Pain 4:58 (Robben Ford - Kevin Bowe)
11) If it Don't Make Sense (You Can't Make Peace) 6:13 (Willie Dixon)
12) Remix: Don't Deny Your Love 4:56 (Robben Ford - Kevin Bowe)

Ford was born in Woodlake but raised in Ukiah, California, and began playing the saxophone at age 10, picking up the guitar at age 13. Robben and his brothers Mark (mouthharp) and Patrick Ford (drums) had a band they named the Charles Ford Blues Band in honor of their father.

Ford began playing professionally at age 18 when the Charles Ford Blues Band got a gig backing Charlie Musselwhite. The band also recorded two albums The Charles Ford Band and Discovering the Blues. Next Ford put together a band with Bay Area musicians that became Jimmy Witherspoon's backup band. Ford recorded two albums with Witherspoon, Live and Spoonful'. The Ford Blues Band reunites periodically, and released live albums in the 1980s and 1990s.

Ford joined L.A. Express led by saxophonist Tom Scott in 1974. That same year they backed George Harrison on his American tour. In addition to recording fusion albums, they served as Joni Mitchell's backup band on Hissing of Summer Lawns and the live album, Miles of Aisles.

After leaving L.A. Express in 1976, Ford recorded his solo album, The Inside Story with a band that was to become the Yellowjackets. He went on to play a starring role on the first two Yellowjackets albums, although he was listed as a guest artist due to recording contract arrangements.

Ford worked briefly with Miles Davis in 1986; he can be heard on Davis' Montreux box set. Ford released his next album, called Talk to Your Daughter in 1988, a return to his blues roots. In 1989 he joined Philippe Saisse, Marcus Miller and J.T. Lewis in the cast of The Sunday Night Band for the second and final season of the acclaimed late-night NBC television musical performance program, Sunday Night.[1] His best work in the 1990s include Robben Ford & the Blue Line, and Tiger Walk. In addition to recording and touring with his own blues band, Ford continued to tour and play with other bands/artists such as Jing Chi (his fusion band), Greg Allman and Phil Lesh. He has received nominations for four Grammy Awards.

Several Ford tribute bands exist, a statement to his artistry and popularity with the cognoscenti.[citation needed]

Ford was named one of the "100 Greatest Guitarists of the 20th Century" by Musician magazine.[2]

Ford uses Dumble Amplifiers. When travelling abroad he tends to use rented Fender amplifiers along with a Zendrive overdrive pedal by Hermida Audio. Guitar manufacturer Fender used to make a Robben Ford signature guitar, although lately Ford tends to favour Gibson Les Pauls and a custom-made model by Sakashta Guitars.

Ford is married to the cabaret singer, Anne Kerry Ford, and collaborated with her on various projects

Link : http://rapidshare.com/files/140261623/BLUE_MOON.rar.html.

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BItrate : 192Kbps

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ROBBEN FORD - DISCOVERING THE BLUES

Category Rock/Pop Albums, Jazz CDs, Blues, Live Performances, Contemporary Blues, Rock
Label Avenue Jazz
Orig Year 1997
Discs 1
Release Date Apr 15, 1997
Studio/Live Live
Mono/Stereo Stereo
Producer Jerry Goldstein; Mike Vernon
Engineer Chris Huston; Stan Agol
Personnel Robben Ford - vocals, guitar, saxophone
Stan Poplin - bass
Jim Baum - drums
Paul Nagle - keyboards

TRACK LIST

Sweet Sixteen
Blue And Lonesome
You Don't Know What Love Is
It's My Own Fault
You Drive A Hard Bargain
My Time After Awhile
Raining In My Heart

Ford was born in Woodlake but raised in Ukiah, California, and began playing the saxophone at age 10, picking up the guitar at age 13. Robben and his brothers Mark (mouthharp) and Patrick Ford (drums) had a band they named the Charles Ford Blues Band in honor of their father.

Ford began playing professionally at age 18 when the Charles Ford Blues Band got a gig backing Charlie Musselwhite. The band also recorded two albums The Charles Ford Band and Discovering the Blues. Next Ford put together a band with Bay Area musicians that became Jimmy Witherspoon's backup band. Ford recorded two albums with Witherspoon, Live and Spoonful'. The Ford Blues Band reunites periodically, and released live albums in the 1980s and 1990s.

Ford joined L.A. Express led by saxophonist Tom Scott in 1974. That same year they backed George Harrison on his American tour. In addition to recording fusion albums, they served as Joni Mitchell's backup band on Hissing of Summer Lawns and the live album, Miles of Aisles.

After leaving L.A. Express in 1976, Ford recorded his solo album, The Inside Story with a band that was to become the Yellowjackets. He went on to play a starring role on the first two Yellowjackets albums, although he was listed as a guest artist due to recording contract arrangements.

Ford worked briefly with Miles Davis in 1986; he can be heard on Davis' Montreux box set. Ford released his next album, called Talk to Your Daughter in 1988, a return to his blues roots. In 1989 he joined Philippe Saisse, Marcus Miller and J.T. Lewis in the cast of The Sunday Night Band for the second and final season of the acclaimed late-night NBC television musical performance program, Sunday Night.[1] His best work in the 1990s include Robben Ford & the Blue Line, and Tiger Walk. In addition to recording and touring with his own blues band, Ford continued to tour and play with other bands/artists such as Jing Chi (his fusion band), Greg Allman and Phil Lesh. He has received nominations for four Grammy Awards.

Several Ford tribute bands exist, a statement to his artistry and popularity with the cognoscenti.[citation needed]

Ford was named one of the "100 Greatest Guitarists of the 20th Century" by Musician magazine.[2]

Ford uses Dumble Amplifiers. When travelling abroad he tends to use rented Fender amplifiers along with a Zendrive overdrive pedal by Hermida Audio. Guitar manufacturer Fender used to make a Robben Ford signature guitar, although lately Ford tends to favour Gibson Les Pauls and a custom-made model by Sakashta Guitars.

Ford is married to the cabaret singer, Anne Kerry Ford, and collaborated with her on various projects.

Link : http://rapidshare.com/files/140255719/DISCOVERING_THE_BLUES.rar.html

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BItrate : 128Kbps

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THE KEEPERS - SLOW DELIVERY 1994

Extremely rare , private issue, gem of blues .

Trackilsting:

Spider tree
Slow delivery
That lover is me
when he's gone
Tunnel thru the fortress
Bright train
Alone like that
What can you do
Jacob Marley's ghost
Establishing a psychic connection with Jed Clampett
Gentle old curse
Let it go
Soul eclipse

All songs written by Mark and Susan Corbett

The Keepers :

Susan Corbett - bass guitar & vocals
Mark Corbett - guitars & Vocals
Claes Lillig - guitars
Kyle Hudson - drums
Guest artist Rch Bigham - harmonica

Link : http://rapidshare.com/files/140241129/The_Keepers_Slow_delivery.rar.html

Ripped by : Evermoreblues.blogspot.com
Bitrate : 256 Mp3
High res scans included

Monday, August 25, 2008

SWEETWATER CYCLES 1999

Sweetwater was a Los Angeles based band which was signed to Reprise Records in 1968. Their debut album, Sweetwater, was a near-perfect collection of folk-and-jazz-based psychedelic rock. Imagine if the original Jefferson Airplane had been influenced by cellos, flutes, and Ornette Coleman, and you have some idea of that early Sweetwater sound.

Back then Sweetwater was one of those bands that gigged everywhere. Small venues. Festivals. Television. And they were the first band to play at the original Woodstock Festival in 1969. As a VH-1 movie profiling the group noted: "500,000 heard them at Woodstock. No one heard from them again." This was because Sweetwater came to a screeching halt when their lead singer, Nancy Nevins, was involved in a serious automobile accident which sidelined her for a dozen years.

Using some vocals Nancy had recorded prior to the loss of her singing voice, Sweetwater released two more albums over the next few years. Both Just For You and Melon have brilliant moments, even if they lack the unifying spark present throughout that first exquisite album. Sweetwater, for a number of reasons which were likely inevitable, fell apart as a band toward the end of 1971.

Sweetwater’s Cycles: The Reprise Collection gathers 19 of these original 1968-1971 Reprise album tracks. It's got a 20-page booklet with lyrics, track-by-track commentary from the band and photos and artifacts from their personal collections. Created with Sweetwater's active participation, Cycles: The Reprise Collection also contains three previously unreleased tracks including their performance of "What's Wrong" recorded live at the original Woodstock Festival in 1969 as well as one studio track from the recently reunited band, recorded in 1998, entitled "Home Again." All three of Sweetwater's Reprise albums have been out of print for decades and these recordings, remastered with care from the Reprise vault masters, appear on compact disc for the first time anywhere.

Cycles: The Reprise Collection is available as an individually numbered limited edition of 10,000 copies.

Tracklisting:

Motherless Child
Here We Go Again
What's Wrong
In A Rainbow
My Crystal Spider
Rondeau
Two Worlds
Through An Old Storybook
Why Oh Why
Whats Wrong (Live At Woodstock 1969)
Just For You
Day Song
Song For Romeo
Look Out
God Rest Ye Merry Gentlemen
Get It When You Can
Dont Forget
Join The Band
Home Again
Link 1:
http://rapidshare.com/files/140022352/Sweetwater_cycles_the_reprise_collection_1969.part1.rar.html
Link 2:
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Sunday, August 24, 2008

ALBERT KING LIVE WIRE BLUES POWER 1968

Live Wire/Blues Power is a Blues album by Albert King, recorded live in June of 1968 at the Fillmore Auditorium. This was Albert King's first live album. Leftovers from these live recordings were released later in 1990 in the albums Wednesday Night In San Francisco and Thursday Night In San Francisco.

Tracklisting :

"Watermelon Man" (Herbie Hancock) – 4:04
"Blues Power" (King) – 10:18
"Night Stomp" (Raymond Jackson, King) – 5:49
"Blues At Sunrise" (King) – 8:44
"Please Love Me" (B.B. King, Jules Taub) – 4:01
"Look Out" (King) – 5:20

Personnel:

Albert King – Electric guitar and vocals
Willie James Exon – Guitar
James Washington – Organ
Roosevelt Pointer – Bass
Theotis Morgan – Drums

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JONNY LANG - LONG TIME COMING

Category: Music Blues Contemporary Blues
Format: mp3
Release Date: October 14, 2003
Label: A&M Records (USA
Duration: 56:51
Size, Mb: 92,9

Track listing

Give Me Up Again - Johnny Lang
Red Light - Johnny Lang
Get What You Give - Johnny Lang
The One I Got - Johnny Lang
Touch - Johnny Lang
Beautiful One - Johnny Lang
If We Try - Johnny Lang
Goodbye Letter - Johnny Lang
Save Yourself - Johnny Lang
To Love Again - Johnny Lang
Happiness And Misery - Johnny Lang
Hide Your Love - Johnny Lang
Long Time Coming - Johnny Lang
Dying To Live - Johnny Lang
Livin' For The City - Johnny Lang

Jonny Lang Biography

Born January 29, 1981, near Fargo, ND; son of a drummer; three sisters. Addresses: Home--Minneapolis, MN; Record company--A&M Records, 1416 N. La Brea Ave., Hollywood, CA 90028 Phone: (213) 856-2695 Fax: (213) 856-2645.

Those who subscribe to the notion that only age and a lifetime of hardships can produce a blues musician have probably never heard Jonny Lang play guitar. Just ask legendary bluesman Buddy Guy, who toured with Lang in the summer of 1998: "That kid has just got what it takes, man," Guy said to Sean McDevitt of Guitar magazine. "Someone told me once that blues is like whiskey. They keep whiskey in the barrel for so many years, and then they talk about how well it's aged. But I don't think that goes for him. I think this young man has just stepped in there sayin', 'I'm gonna prove you all wrong.' I think he's like a watermelon, man. He's ripe." Blues godfather B.B. King felt the same way, according to A&M Records, adding, "When I was young, I didn't play like I do today. So these kids are starting at the height that I've reached. Think what they might do over time."

The teenage Lang intends to dispel beliefs that he is just another child novelty and to gain an audience beyond the typical curiosity seekers. As he told Ray Rogers of Interview, "If you do anything that's unusual when you're young, people love to accentuate the novelty, and the press loves to exploit it. But I've always told myself I'm going to be rated as a musician, not by how old I am. I said, 'I'm not going to be good for my age; I want to be good period.'" Rogers added that in addition to his skill at playing blues guitar in a way that makes the music sing through with a voice of experience, "Lang also has the grace of someone untainted by the world, a free spirit whose music and very person refuse to be bound by class, race, age, or any other expectation."

In 1997, after the release of Lang's major-label debut Lie to Me, Guitar magazine readers voted the 16-year-old "Best New Guitarist" in the publication's annual readers poll, and the editors of Newsweek placed Lang's name on their prestigious Century Club list, a roster of 100 Americans expected to influence society and culture in the next millennium. Rock guitarist Jeff Beck realized Lang's talent as well and asked the young musician to appear with him at a ceremony for the Rock and Roll Hall of Fame. Two years later, Lang shook the blues scene again, releasing Wander This World, an album that incorporated elements of soul, rhythm and blues, funk, and hard rock in addition to blues standards and originals.

Jonny Lang was born and raised outside Fargo, North Dakota. The third child and only boy in a family of four children, Lang enjoyed a pleasant upbringing. His father played drums, and his mother revered roots music and the soul of the Motown era, so the Lang household was always filled with inspirational grooves. Growing up, Lang had fond memories of singing Motown tunes with his three sisters and mother. "It was pretty easy for me to identify with blues music after that because blues and soul are pretty close in a lot of ways. I could just hear it and mentally decipher it," Lang told Rogers. Despite his exposure to soul at home, Lang never felt out of sorts with the music his peers listened to. As he told Rogers, "I was into Nirvana like crazy, and Stone Temple Pilots and Pearl Jam, too. But for me, it was more real to play roots music."

During his time in school, Lang's father wanted his tall, lanky son to play basketball in addition to learning music. But Lang only lasted two games, admitting to Rogers, "I liked it all right, but I'd have rather sat at home and practiced saxophone." Starting out with saxophone at the age of eleven, Lang (at the time a huge fan of saxophonist Grover Washington, Jr.) concentrated on that instrument for a year before turning his attention to blues guitar. Guitarist Ted Larsen, a friend of Lang's father and former member of Lang's band, obliged to teach the anxious youngster how to play guitar if Lang agreed to learn only by playing the blues. Thus, "I was a blues snob at 13 years old.... My teacher fed me records and I started learning early stuff," Lang conceded to Guitar magazine's Bob Gulla. Practicing as many as six hours every day, Lang delved deep into the blues tradition developed by some of the most celebrated guitarists in blues history. "The blues was such a great place for me to start," noted Lang, according to his record company, "with Robert Johnson, Albert Collins, B.B. King, Freddie King and all those guys. It's where it all started which makes it a really good well that you can always draw from."

Before long, Lang progressed enough to begin paying his dues in clubs in North Dakota with an outfit called Jonny Lang and The Big Bang. Soon thereafter, club goers spread the word about the young teenager with a remarkable talent, and Lang and his band recorded an independent-label album entitled Smokin', a release that sold an estimated 25,000 copies. However, Lang felt that he had outgrown the confines of North Dakota and relocated to Minneapolis, a move he defined as "a very humbling musical experience." Full of ego as a consequence of his success in his native state, Lang immediately realized he still needed practice. "It didn't take long to see that there were a whole lot of bands that kicked our asses," he admitted to Gulla.

Motivated by the competition, Lang jumped into the Minneapolis club circuit with his band. One group that greatly inspired him to improve his technique was Doctor Mambo's Combo, a group that would frequently invite Lang on stage with them during their sets and force the teenage guitarist to improvise with them. He also made connections in Minneapolis with a number of former Prince cohorts, namely producer David Z, who offered to help Lang record a demo tape. Based on the demo with David Z, Lang received a contract offer from A&M Records.

Playing with some of the greatest blues legends in history, though, came to represent some of Lang's most memorable experiences. "Playing with B.B. has probably been the biggest thrill of my life," Lang admitted to Gulla. "Talk about humbling. I'm sitting next to God here. I just wanted to sit next to him and listen, not play at all. But he let me play, so I just... actually, I didn't know what I was doing. You don't wanna go 'diddly diddly diddly dee,' and play all these notes, 'cause B.B. will shut your ass up with one little 'biiinnggg,' and everybody will go wild. You can't be more tasteful than B.B. It's impossible."

Despite his admiration for the forbearers of blues, Lang also considered taking alternate musical directions, a contemplation resulting largely from his move to Minneapolis, a city where he could not ignore the music being created in other areas of music all around him. He admitted that when he first started playing blues, he was strictly a purist and refused to try anything else. Thus, after opening his eyes to other styles and using blues as a solid foundation, Lang released his follow-up album, Wander This World, in the fall of 1998. While Wander This World continued down the path of traditional blues, the album also incorporated a variety of unexpected musical destinations such as soul, rhythm and blues, and funk. For example, on the textured, mid-tempo title-track (written by band members Paul Diethelm and Bruce McCabe), Lang's seemingly aged vocal passion and finger picked guitar takes root amid Diethelm's accompanying Dobro. And the song "I Am," written by David Z (who produced the album as well) and Prince, featured a soulful funk sound, a thumping bass line, and a jazz saxophone.

"Playing funk on guitar is a different mind-set," Lang concluded to Gulla. "Junior Wells' stuff, or Buddy Guy's stuff like 'Good Morning Little School Girl' is so funky, you just have to listen to it. Funk is my favorite thing to play. I love funk more than anything. I could play rhythm guitar all day and be happy." One of Lang's friends from Blues Brothers 2000, Cropper, who Lang felt was one of the best funk guitarists, also came on board for the project. "Steve is so inspiring. He added the soul vibe to the whole album, so it's like listening to a Stax recording." Cropper's subtle technique sounded especially evident on the gospel-tinged "Leaving to Stay."

Lang's own heartfelt ballad "Breakin' Me" and the acoustic lament "The Levee" also forced critics to realize that the young star's career was only just beginning. He silenced those who labeled him as a fleeting child prodigy, demonstrating that not only could he draw from the rich blues tradition, but he could also learn to spread his creative wings in new directions with a sense of self-awareness rare in adults, let alone teenagers. The distinguished blues guitarist Luther Allison said of Lang before his death in 1997, as quoted by A&M Records, "Jonny Lang has the power to move the music into the next millennium by reaching the ears of a new generation. The great musicians have the power to break all of the 'isms'--race, age, sex, et cetera. Jonny Lang is one of those musicians."

by Laura Hightower

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JONNY LANG - WANDER THIS WORLD

Artist: Jonny Lang
Release Date: Oct 20, 1998
Label: A&M
Release date:1998
Duration: 55:44
Size, Mb: 89,3
Genre: Pop
Styles: Modern Blues, Blues Rock

Track listing

1. "Still Rainin'" (McCabe) – 4:49
2. "Second Guessing" (Z/McCabe) – 5:10
3. "I Am" (Prince/Z/Seacer) – 5:04
4. "Breakin' Me" (Lang/Bowe) – 4:32
5. "Wander This World" (Diethelm/McCabe) – 4:49
6. "Walking Away" (Lang/J.L. Williams) – 4:14
7. "The Levee" (Bowe/Lang) – 3:41
8. "Angel of Mercy" (McCabe/Henderson) – 4:30
9. "Right Back" (Williams/Kortchimar) – 3:59
10. "Leaving to Stay" (Bowe) – 4:35
11. "Before You Hit the Ground" (Bowe/Lang) – 3:55
12. "Cherry Red Wine" (Allison) – 3:31

Personnel

* Jonny Lang - vocals, guitar
* Richie Hayward - drums
* David Smith - bass
* Jack Holder - guitars, keyboards
* Steve Cropper - guitars
* Paul Diethelm - dobro on "Wander This World"
* Kevin Bowe - guitar on "The Levee"
* Tommy Burroughs - acoustic guitar on "Walking Away", background vocals on "Right Back"
* Bruce McCabe - keyboards
* Ricky Peterson - keyboards
* Jimmy Davis - background vocals on "Right Back"
* Eric Leeds - saxophone on "I Am"
* Tom Tucker - engineer

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JONNY LANG - LIE TO ME

Artist Jonny Lang
Format mp3
Genre Rock
Label Name A&M
Producer David Z.
Release Date 1997 01 28
Style.Categories : Contemporary Blues, Blues-Rock, Modern Electric Blues
Run Time 80:28

Song List
1: Lie to Me (4:14)
2: Darker Side (5:10)
3: Good Morning Little Schoolgirl (4:15)
4: Still Wonder (3:45)
5: Matchbox (3:30)
6: Back for a Taste of Your Love (3:54)
7: A Quitter Never Wins (5:57)
8: Hit the Ground Running (3:31)
9: Rack 'Em Up (4:08)
10: When I Come to You (4:59)
11: There's Gotta Be a Change (4:11)
12: Missing Your Love (3:54)

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Saturday, August 23, 2008

LIVING CHICAGO BLUES VOL.1

Artist: Various Artists

Styles: Contemporary Blues, Modern Electric Blues, Modern Electric Chicago Blues

Track Picks: "Feel Like Breaking up Somebody's Home," "Laundromat Blues," "Stoop Down Baby

Similar Albums: Deluxe Edition, Love Me Papa, Prime Chops: Blind Pig Sampler, Antone's - Bringing You the Best in Blues, Antone's 10th Anniversary Anthology, Vol. 2, Antone's 10th Anniversary Anthology, Vol. 1, Blues Hit Big Town, Second Wind, I'm Back, Down Yonder, Borned with the Blues and Raised on Rock 'n' Roll, Blues Dimension

Track listings:

1 Your Turn To Cry
2 Serves Me Right To Suffer
3 Ain't That Just Like A Woman
4 Feel Like Breaking Up Somebody's Home
5 It's Alright
6 Out Of Bad Luck
7 Stoop Down, Baby
8 Sitting On Top Of The World
9 My Baby's So Ugly
10 Come Home, Darling
11 Blues Won't Let Me Be
12 One Room Country Shack
13 Linda Lu
14 Too Late

Arguably the best entry in this pioneering anthology series, this features excellent sides by guitarist Jimmy Johnson Eddie Shaw. ~ Bill Dahl, All Music Guide and saxophonist

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Muddy Waters - The Blues Collection vol.11: Chicago Blues

Biography

A postwar Chicago blues scene without the magnificent contributions of Muddy Waters is absolutely unimaginable. From the late '40s on, he eloquently defined the city's aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar attack. When he passed away in 1983, the Windy City would never quite recover.

Like many of his contemporaries on the Chicago circuit, Waters was a product of the fertile Mississippi Delta. Born McKinley Morganfield in Rolling Fork, he grew up in nearby Clarksdale on Stovall's Plantation. His idol was the powerful Son House, a Delta patriarch whose flailing slide work and intimidating intensity Waters would emulate in his own fashion.

Musicologist Alan Lomax traveled through Stovall's in August of 1941 under the auspices of the Library of Congress, in search of new talent for purposes of field recording. With the discovery of Morganfield, Lomax must have immediately known he'd stumbled across someone very special.

Setting up his portable recording rig in the Delta bluesman's house, Lomax captured for Library of Congress posterity Waters' mesmerizing rendition of "I Be's Troubled," which became his first big seller when he recut it a few years later for the Chess brothers' Aristocrat logo as "I Can't Be Satisfied." Lomax returned the next summer to record his bottleneck-wielding find more extensively, also cutting sides by the Son Simms Four (a string band that Waters belonged to).

Waters was renowned for his blues-playing prowess across the Delta, but that was about it until 1943, when he left for the bright lights of Chicago. A tiff with "the bossman" apparently also had a little something to do with his relocation plans. By the mid-'40s, Waters' slide skills were becoming a recognized entity on Chicago's south side, where he shared a stage or two with pianists Sunnyland Slim and Eddie Boyd and guitarist Blue Smitty. Producer Lester Melrose, who still had the local recording scene pretty much sewn up in 1946, accompanied Waters into the studio to wax a date for Columbia, but the urban nature of the sides didn't electrify anyone in the label's hierarchy and remained unissued for decades.

Sunnyland Slim played a large role in launching the career of Muddy Waters. The pianist invited him to provide accompaniment for his 1947 Aristocrat session that would produce "Johnson Machine Gun." One obstacle remained beforehand: Waters had a day gig delivering Venetian blinds. But he wasn't about to let such a golden opportunity slip through his talented fingers. He informed his boss that a fictitious cousin had been murdered in an alley, so he needed a little time off to take care of business.

When Sunnyland had finished that auspicious day, Waters sang a pair of numbers, "Little Anna Mae" and "Gypsy Woman," that would become his own Aristocrat debut 78. They were rawer than the Columbia stuff, but not as inexorably down-home as "I Can't Be Satisfied" and its flip, "I Feel Like Going Home" (the latter was his first national R&B hit in 1948). With Big Crawford slapping the bass behind Waters' gruff growl and slashing slide, "I Can't Be Satisfied" was such a local sensation that even Muddy Waters himself had a hard time buying a copy down on Maxwell Street.

He assembled a band that was so tight and vicious on-stage that they were informally known as "the Headhunters"; they'd come into a bar where a band was playing, ask to sit in, and then "cut the heads" of their competitors with their superior musicianship. Little Walter, of course, would single-handily revolutionize the role of the harmonica within the Chicago blues hierarchy; Jimmy Rogers was an utterly dependable second guitarist; and Baby Face Leroy Foster could play both drums and guitar. On top of their instrumental skills, all four men could sing powerfully.

1951 found Waters climbing the R&B charts no less than four times, beginning with "Louisiana Blues," and continuing through "Long Distance Call," "Honey Bee," and "Still a Fool." Although it didn't chart, his 1950 classic "Rollin' Stone" provided a certain young British combo with a rather enduring name. Leonard Chess himself provided the incredibly unsubtle bass-drum bombs on Waters' 1952 smash "She Moves Me."

"Mad Love," his only chart bow in 1953, is noteworthy as the first hit to feature the rolling piano of Otis Spann, who would anchor the Waters aggregation for the next 16 years. By this time, Foster was long gone from the band, but Rogers remained, and Chess insisted that Walter -- by then a popular act in his own right -- make nearly every Waters session into 1958 (why break up a winning combination?). There was one downside to having such a peerless band; as the ensemble work got tighter and more urbanized, Waters' trademark slide guitar was largely absent on many of his Chess waxings.

Willie Dixon was playing an increasingly important role in Muddy Waters' success. In addition to slapping his upright bass on Waters' platters, the burly Dixon was writing one future bedrock standard after another for him: "I'm Your Hoochie Coochie Man," "Just Make Love to Me," and "I'm Ready," seminal performances all, and each blasted to the uppermost reaches of the R&B lists in 1954.

When labelmate Bo Diddley borrowed Waters' swaggering beat for his strutting "I'm a Man" in 1955, Waters turned around and did him tit for tat by reworking the tune ever so slightly as "Mannish Boy" and enjoying his own hit. "Sugar Sweet," a pile-driving rocker with Spann's 88s anchoring the proceedings, also did well that year. 1956 brought three more R&B smashes: "Trouble No More," "Forty Days & Forty Nights," and "Don't Go No Farther." But rock & roll was quickly blunting the momentum of veteran blues aces like Waters; Chess was growing more attuned to the modern sounds of Chuck Berry, Bo Diddley, the Moonglows, and the Flamingos. Ironically, it was Muddy Waters who had sent Berry to Chess in the first place.

After that, there was only one more chart item, 1958's typically uncompromising (and metaphorically loaded) "Close to You." But Waters' Chess output was still of uniformly stellar quality, boasting gems like "Walking Thru the Park" (as close as he was likely to come to mining a rock & roll groove) and "She's Nineteen Years Old," among the first sides to feature James Cotton's harp instead of Walter's, in 1958. That was also the year that Muddy Waters and Spann made their first sojourn to England, where his electrified guitar horrified sedate Britishers accustomed to the folksy homilies of Big Bill Broonzy. Perhaps chagrined by the response, Waters paid tribute to Broonzy with a solid LP of his material in 1959.

Cotton was apparently the bandmember who first turned Muddy on to "Got My Mojo Working," originally cut by Ann Cole in New York. Waters' 1956 cover was pleasing enough but went nowhere on the charts. But when the band launched into a supercharged version of the same tune at the 1960 Newport Jazz Festival, Cotton and Spann put an entirely new groove to it, making it an instant classic (fortuitously, Chess was on hand to capture the festivities on tape).

As the 1960s dawned, Muddy Waters' Chess sides were sounding a trifle tired. Oh, the novelty thumper "Tiger in Your Tank" packed a reasonably high-octane wallop, but his adaptation of Junior Wells' "Messin' with the Kid" (as "Messin' with the Man") and a less-than-timely "Muddy Waters Twist" were a long way removed indeed from the mesmerizing Delta sizzle that Waters had purveyed a decade earlier.

Overdubbing his vocal over an instrumental track by guitarist Earl Hooker, Waters laid down an uncompromising "You Shook Me" in 1962 that was a step in the right direction. Drummer Casey Jones supplied some intriguing percussive effects on another 1962 workout, "You Need Love," which Led Zeppelin liked so much that they purloined it as their own creation later on.

In the wake of the folk-blues boom, Waters reverted to an acoustic format for a fine 1964 LP, Folk Singer, that found him receiving superb backing from guitarist Buddy Guy, Dixon on bass, and drummer Clifton James. In October, he ventured overseas again as part of the Lippmann- and Rau-promoted American Folk Blues Festival, sharing the bill with Sonny Boy Williamson, Memphis Slim, Big Joe Williams, and Lonnie Johnson.

The personnel of the Waters band was much more fluid during the 1960s, but he always whipped them into first-rate shape. Guitarists Pee Wee Madison, Luther "Snake Boy" Johnson, and Sammy Lawhorn; harpists Mojo Buford and George Smith; bassists Jimmy Lee Morris and Calvin "Fuzz" Jones; and drummers Francis Clay and Willie "Big Eyes" Smith (along with Spann, of course) all passed through the ranks.

In 1964, Waters cut a two-sided gem for Chess, "The Same Thing"/"You Can't Lose What You Never Had," that boasted a distinct 1950s feel in its sparse, reflexive approach. Most of his subsequent Chess catalog, though, is fairly forgettable. Worst of all were two horrific attempts to make him a psychedelic icon. 1968's Electric Mud forced Waters to ape his pupils via an unintentionally hilarious cover of the Stones' "Let's Spend the Night Together." After the Rain was no improvement the following year.

Partially salvaging this barren period in his discography was the Fathers and Sons project, also done in 1969 for Chess, which paired Muddy Waters and Spann with local youngbloods Paul Butterfield and Mike Bloomfield in a multi-generational celebration of legitimate Chicago blues.

After a period of steady touring worldwide but little standout recording activity, Waters' studio fortunes were resuscitated by another of his legion of disciples, guitarist Johnny Winter. Signed to Blue Sky, a Columbia subsidiary, Waters found himself during the making of the first LP, Hard Again; backed by pianist Pinetop Perkins, drummer Willie Smith, and guitarist Bob Margolin from his touring band, Cotton on harp, and Winter's slam-bang guitar, Waters roared like a lion who had just awoken from a long nap.

Three subsequent Blue Sky albums continued the heartwarming back-to-the-basics campaign. In 1980, his entire combo split to form the Legendary Blues Band; needless to note, he didn't have much trouble assembling another one (new members included pianist Lovie Lee, guitarist John Primer, and harpist Mojo Buford).

By the time of his death in 1983, Waters' exalted place in the history of blues (and 20th century popular music, for that matter) was eternally assured. The Chicago blues genre that he turned upside down during the years following World War II would never recover.

source www.allmusic.com

Tracklisting :

1 Baby, Please Don't Go 2:50
2 Soon Forgotten 4:52
3 Corinne, Corinna 3:37
4 After Hours 5:40
5 Howlin' Wolf 6:26
6 Junior Shuffle 4:41
7 I'm Your Hoochie Coochie Man 3:02
8 Floyd's Guitar Blues 7:46
9 J. P.'s Boogie 3:29
10 Goin' Down Slow 7:19
11 What's The Matter With The Mill 4:53
Total Playing Time 54:35

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JOHN MAYALL & NEW BLUESBREAKERS

Label:	DeAgostini
Catalog#:	BLUES N011
Format:	CD
Country:	Netherlands
Released:	1994
Genre:	Blues
Style:	Electric Blues, Modern Electric Blues
Credits:	Bass - Bobby Haynes Drums - Joe Yuele Guitar, Vocals - Coco Montoya , Walter Trout Vocals, Guitar, Harmonica, Keyboards - John Mayall
Notes:	Part 11 of the Dutch version of "The Blues Collection" Recorded Live in Germany, April 1987

Tracklisting:

1		Ridin' On The L&N (5:51)
2		Help Me (6:51)
3		Racehorse Man (6:55)
4		All Your Love (4:49)
5		I Ain't Got You (4:14)
6		Wild About You (5:53)
7		It Ain't Right (4:25)
8		Room To Move (11:02)

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John Mayall, OBE (born 29 November 1933) is a pioneering English blues singer, songwriter, and multi-instrumentalist. His musical career spans over fifty years but the most notable episode in it occurred during the late '60s. He was the founder of John Mayall & the Bluesbreakers and has been influential in the careers of many instrumentalists, including Eric Clapton, Jack Bruce, Peter Green, John McVie, Mick Fleetwood, Mick Taylor, Don "Sugarcane" Harris, Harvey Mandel, Larry Taylor, Aynsley Dunbar, Jon Hiseman, Dick Heckstall-Smith, Andy Fraser, Johnny Almond, Jon Mark, Walter Trout,Coco Montoya, and Buddy Whittington.

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BITRATE : 320 Mp3
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Sunday, August 31, 2008

Saturday, August 30, 2008

A Song-Story (Medley)

Friday, August 29, 2008

Thursday, August 28, 2008

Wednesday, August 27, 2008

Tuesday, August 26, 2008

Monday, August 25, 2008

Sunday, August 24, 2008

Saturday, August 23, 2008

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