Welcome to the DEMON'S LAIR! The spot where you can request albums and help other visitors obtain the music that they are looking for and interact (Blues, Rock,Bluegrass,Zydeco,Soul,R&B....as announced in header of the blog)
30 June 2017
05 June 2017
Sankofa Strings - Carolina Chocolate Drops Present Colored Aristocracy
Label: Music Maker
Size: 88,3 MB
Time: 37:58
File: MP3 @ 320K/s
Styles: Old Time Music, String Band, Ragtime
Art: Full
01 - Viper Mad [2:54]
02 - Colored Aristocracy [2:42]
03 - Walk Right In [3:00]
04 - Likes Likker Better Than Me [4:05]
05 - Little Sadie [3:34]
06 - Black-Eyed Blues [3:22]
07 - Another Man Done Gone [2:15]
08 - Johnny Too Bad [3:31]
09 - Banjo Pickin’ Girl [6:12]
10 - Cluck Ol’ Hen [2:15]
11 - Banjo Dream [3:00]
12 - Jalidong [4:18]
13 - Black Eyed Daisy [0:06]
This is actually by the Sankofa Strings, the predecessor to the Carolina Chocolate Drops who formed in 2005 after their meeting at the Black Banjo Gathering in Boone, NC. As Black History fans know, "Sankofa" is a Ghanaian word that loosely translates into the appreciation of the past being the foundation of the future. The title refers to a song from the 1890s that was performed in one of the legendary Bert Williams' musical comedies about the emerging Black middle class and the cover pictures are of the groups' direct ancestors. This instrumental version does not include the original thought-provoking lyrics though. But the album itself is so enjoyable. It also has heavy input from charter member Sule Greg Wilson, who would later make occasional appearances on the CCD cds. There are a good number of foot-stomping string-band swing-yer-partner hoedowns that are a staple of today's CCDs. "Banjo Picking Gal/Cluck Ol' Hen" is a foot-stomper featuring CCD chanteuse Rhiannon Geddins and charter member Lalenja Harrington (more on her later). Folk fans will smile at the often covered "Walk Right In," which carries the cheerful spirit in this performance that is necessary to make the song work. "Viper Mad" is a cheeky marijuana tune (described here as a "homage to the anti-glaucoma leaf") originally from the 1930s. Incidentally, almost identical versions of "Black Eyed Daisy," "Another Man Done Gone," and "Little Sadie" would reappear in later versions on the "Dona Got a Ramblin' Mind" Cd. ~ Andre M.
Malted Milk - Get Some
Label: Dixiefrog
Size: 103,5 MB
Time: 44:51
File: MP3 @ 320K/s
Styles: Soul, Funk
Art: Full
01 - Human Wave [4:27]
02 - Hope She Believes In Me [3:57]
03 - Touch You [3:23]
04 - Sweet Baby [3:56]
05 - True Love [6:45]
06 - Since You Left Me [5:23]
07 - Soul Of A Woman [4:06]
08 - NOLA Dance [3:54]
09 - Brand New Man [4:11]
10 - I know It Was Your Love [4:45]
Originating from Nantes (France), Malted Milk moves within the sheerest Afro-American musical tradition, brilliantly combining blues and funky soul. The band has become one of the major figures of the French blues scene. This notoriety goes far beyond the French border, since the band has also performed abroad on many occasions, to back headliners such as Big Joe Turner or to participate in the finals of the Memphis International Blues Challenge in 2007. The great Soul sounds of Black America have rocked our lives for the past fifty years, but it doesn’t mean that this precious musical heritage shouldn’t be revitalized, that its groove couldn’t be reinvented! Malted Milk’s unrivaled soulfulness is more than a sign of their respect for this glorious past. The boundless energy you will find on “Get Some” is a mere sample of their ability, a glimpse oftheir electrifying potential on stage. Malted Milk’s time may well have come...! ~ www.bluesweb.com
VA - The Story Of Vee-Jay
Label: Vee-Jay/Metro
Size: 166.4 MB, 169 MB
Time: 66:27, 67:34
File: MP3 @ 320K/s
Styles: Blues/Gospel/R&B;/Soul
Art: Full
Disc 1:
01 - The El Dorados - Bim Bam Boom (2:53)
02 - Gene Chandler - Duke of Earl (2:19)
03 - Betty Everett - The Shoop Shoop Song (It's in His Kiss) (2:14)
04 - The Dells - Oh What a Nite (2:53)
05 - Jay McShan & Priscilla Bowman - Hands Off (2:51)
06 - John Lee Hooker - Dimples (2:11)
07 - Eddie Taylor - Big Town Playboy (2:59)
08 - Pee Wee Crayton - I Found My Peace of Mind (2:34)
09 - The Harmonizing Four - Wade in the Water (3:06)
10 - The Swan Silvertones - Mary Don't You Weep (2:48)
11 - Jerry Butler & The Impressions - For Your Precious Love (2:44)
12 - Gene Allison - You Can Make It If You Try (2:09)
13 - Rosco Gordon - Just a Little Bit (2:06)
14 - Dee Clark - Raindrops (2:51)
15 - The Pips with Gladys Knight - Every Beat of My Heart (2:04)
16 - Joe Simon - My Adorable One (2:24)
17 - Jimmy Reed - Bright Lights, Big City (2:40)
18 - Elmore James - It Hurts Me Too (3:19)
19 - The Original Blind Boys Of Alabama (ft Clarence Fountain) - I'm Journeying On (1:52)
20 - The Argo Singers - Jesus Is the Answer (2:44)
21 - The Magnificents - Up on the Mountain (2:40)
22 - The Spaniels - Baby It's You (2:33)
23 - Betty Everett - You're No Good (2:16)
24 - Little Richard - I Don't Know What You Got But It's Got Me (4:05)
25 - The Staple Singers - Uncloudy Day (2:59)
Disc 2:
01 - John Lee Hooker - I'm in the Mood for Love (2:44)
02 - Elmore James - 12 Year Old Boy (3:05)
03 - Little Richard - Whole Lotta Shakin' Goin' On (2:27)
04 - Jimmy Reed - Honest I Do (2:40)
05 - Rosco Gordon - No More Doggin' ((2:39)
06 - Dee Clark - Hey Little Girl (1:52)
07 - Jerry Butler - Moon River (2:35)
08 - Jerry Butler & Betty Everett - Let It Be Me (2:40)
09 - The El Dorados - I'll Be Forever Loving You (2:29)
10 - Gene Chandler - Rainbow (2:46)
11 - The Dells - Stay in My Corner (2:55)
12 - The Original Blind Boys Of Alabama (ft Clarence Fountain) - Precious Lord (3:50)
13 - The Swan Silvertones - Sinner Man (3:06)
14 - Billy Boy Arnold - Rockin'itis (2:38)
15 - Hank Ballard & The Midnighters - The Twist (2:34)
16 - John Lee Hooker - Boom Boom (2:28)
17 - Jimmy Reed - Big Boss Man (2:45)
18 - The El Dorados - At My Front Door (2:34)
19 - Memphis Slim - Mother Earth (3:31)
20 - The Staple Singers - If I Could Hear My Mother Pray (2:50)
21 - Betty Everett - Getting Mighty Crowded (2:12)
22 - Jerry Butler - Make It Easy on Yourself (2:37)
23 - Fred Hughes - Oo Wee Baby, I Love You (2:18)
24 - Dee Clark - Nobody But You (2:24)
25 - The Spaniels - Goodnite, Sweetheart, Goodnite (2:42)
"America's Premier Black Music Label" says the small print on the front sleeve, and while that's highly disputable, Vee-Jay was undoubtedly one of America's premier black music labels from the mid-'50s to the mid-'60s. This two-CD, 50-song set is a strong and varied selection of their wares, focusing mostly but not exclusively on their hit singles and better-known performers. Vee-Jay went into every area of black music, and though their jazz roster isn't represented here to keep the scope more manageable, every other genre is: R&B;, doo wop, blues, gospel, rock & roll, and early soul. As with any select condensation of a huge vault, there's bound to be some argument among knowledgeable fans as to what tracks were selected; it seems odd that Billy Boy Arnold's "Rockin'itis" is here rather than his seminal blues "I Wish You Would," for example. But you can't argue with the bounty of hits that are present, from Jerry Butler, Betty Everett, Jimmy Reed, the El Dorados, Dee Clark, John Lee Hooker, the Spaniels, the Dells, Gladys Knight & the Pips, and Gene Chandler. Hits like "Duke of Earl," "The Shoop Shoop Song," "For Your Precious Love," "Every Beat of My Heart," "Raindrops," and "Boom Boom" (all here, of course) might be expected from any Vee-Jay compilation, but to its credit this also has a lot of smaller hits or non-hits that have escaped oldies rotation. There's Fred Hughes' fine midtempo soul-popper "Oo Wee Baby, I Love You," for instance, a number three R&B; hit in 1965 that barely made the pop charts; Memphis Slim's mordant blues "Mother Earth"; Hank Ballard's first version of "The Twist," predating both his own hit version and Chubby Checker's cover, recorded in 1958 but not issued until 1985; Little Richard's mid-'60s single "I Don't Know What You Got But It's Got Me," with Jimi Hendrix on guitar; Betty Everett's "You're No Good," just a moderate hit in 1963 but a much bigger one for Linda Ronstadt in the '70s; Jay McShann and Priscilla Bowman's jump blues "Hands Off"; Rosco Gordon's oft-covered R&B; classic "Just a Little Bit"; and Gene Allison's early soul ballad "You Can Make It if You Try," covered by the Rolling Stones on their first album. Perhaps it might have made more sense to make the stylistic tone more even and not include gospel cuts as well. But the gospel acts represented here are undeniably important, including the Original Blind Boys of Alabama, the Swan Silvertones, and (on the mid-'50s sides) the Staple Singers. ~ Richie Unterberger, AllMusic
The Story Of Vee-Jay - CD1 + Art + Info (MC)
The Story Of Vee-Jay - CD2 (MC)
Lavelle White - It Haven't Been Easy
Label: Discovery Records (74709) / Antone's records
Size: 109,9 MB
Time: 47:19
File: MP3 @ 320K/s
Styles: Female Blues Vocals, Soul/R'nB
Art: Full
01 - I've Never Found A Man To Love [3:47]
02 - Lay Down Beside Me [4:34]
03 - Don't Let My Baby Ride [4:03]
04 - Wootie Boogie [2:55]
05 - A Little Bit Of This, A Little Bit Of That [4:27]
06 - Mississippi , My Home [5:08]
07 - Automatic Love [3:47]
08 - Black Widow Spider [3:56]
09 - Oh What A Feeling [3:18]
10 - It Haven't Been Easy [4:51]
11 - Can't Take It (I Don't Give A Damn) [3:58]
12 - Those Lonely Lonely Nights [2:29]
Lavelle White was born is Louisiana and moved to Houston in the mid 1950s when she was 15. There she met guitarist Clarence Hollimon, a first-rate blues artist whose own recording career has also been revived recently. Another Texas bluesman, Johnny Copeland, helped get her a recording contract in 1958 with Duke Records, a home for many Texas blues artists at the time. She made several records, some of which became regional hits, for Duke until 1964. Unlike many women blues singers at the time, Miss La-Vell, as she was known on record at the time, was a prolific songwriter. Indeed she ghost-wrote Bobby Blue Bland's 1960 hit Lead Me On, which was credited to Deadric Malone. During the 1960s, she toured extensively with Bland, Junior Parker and shared stages with Sam Cooke, Otis Redding, Jerry Butler, the Drifters, the Isley Brothers and James Brown, among others. In 1978, she moved to Chicago where she became a regular on the club scene for the next eight years, before returning to Texas in 1986. In recent years, she has been part of the prolific Austin music scene, being a regular at "Antone's blues club".The associated label, "Antone's Records" released her comeback album in 1994, called "Miss Lavelle". Now she is out with the outstanding followup, "It Haven't Been Easy". She is joined by a blue-chip backup band, including among others, Clarence Holliman, plus guitarist Derek O'Brien, who served as the album's producer, a horn section including Mark Kazanoff and veteran Gulf Coast studio drummer George Raines. They serve up a great mix of some blues, but mainly sweet soul and R&B, encompassing the Memphis, Muscle Shoals, early Motown, Texas and even the old Atlantic Records Aretha Franklin sound. It's all performed with generous amounts of taste, enthusiasm and the kind of musical honesty that makes this album something really special. Miss White herself is a fine singer, who can belt out a song, or deliver a smooth ballad with the kind of voice of experience that makes every note just right. She also brings that level of class to her songwriting. Most of the album's music is original, and she has penned a bunch of new songs that could easily become R&B standards. The album begins, however, with one of its relatively few covers. Eddie Floyd's I've Never Found a Girl, Miss Lavelle reworks as "I've Never Found a Man". It's given the classic Memphis soul sound, and proves an excellent illustration of how everyone on this records gets it just right.
The first of the originals is a slow, jazzy ballad called "Lay Down Beside Me", which Ms. White gives a soulful, gospel influenced performance, taking the song miles from the lounge arranagement the tune could easily fall into. As a contrast is another original "Wootie Boogie", a great Texas boogie-woogie and rockabilly influenced song, featuring Riley Osbourne pounding away at the piano. Ms. White's years spent singing the blues in Chicago are reflected in her song "Mississippi, My Home". In addition to her memorable vocal, once again, the backing musicians are definitely a class act. Yet another facet of Ms. White's songwriting comes out on "Black Widow Spider", which I think is one of her strongest pieces of songwriting. The tune is a kind of low-down Muscle Shoals-style funk that has an irresistible groove. Showing Motown stylistic bloodlines is "A Little Bit of This, A Little Bit of That", a song for which Miss Lavelle served as lyricist. With a little James Brown-style funk is another original called "Can't Take It (I Don't Give a Damn)", with a great set of lyrics about hanging on to what is yours. The title track, the original song "It Haven't Been Easy", is another highlight, with its Fats Domino reminiscent sound, and Miss Lavelle's combination of first-rate lyrics and even better vocal performance. The album ends with a track bearing a similar groove, "Those Lonely Lonely Nights", a cover of a song recorded by Eddie King and Johnny 'Guitar' Watson. Although not the album's strongest piece, Miss Lavelle and company give it a reading that still qualifies as first-rate R&B.
It Haven't Been Easy, the new album by veteran blues and soul singer-songwriter Miss Lavelle White is one of the most honest, unpretentious, classy, beautifully performed and downright enjoyable blues-influenced albums of its kind to come along in quite a while. Miss Lavelle is a fine performer who can deliver the songs without a lot of fuss, but can drive home their message with a soulful elegance that recalls some of the great R&B singers of the past and present. The backing musicians, in this Austin, Texas, made album, couldn't have done any better in both arrangements and performance. Producer/guitarist Derek O'Brien deserves high praise for capturing the spirit of the music, and with engineer Stuart Sullivan, getting it on tape with the kind of integrity sonically that Miss Lavelle brings to her music. The mix and recording are absolutely first-rate. The more time goes by, the more one comes to appreciate musical honesty and lack of pretense. This album is a textbook example of doing everything right, and a reminder of why classic American styles like this will survive all the changing winds of the pop fads.(~George Graham)
The first of the originals is a slow, jazzy ballad called "Lay Down Beside Me", which Ms. White gives a soulful, gospel influenced performance, taking the song miles from the lounge arranagement the tune could easily fall into. As a contrast is another original "Wootie Boogie", a great Texas boogie-woogie and rockabilly influenced song, featuring Riley Osbourne pounding away at the piano. Ms. White's years spent singing the blues in Chicago are reflected in her song "Mississippi, My Home". In addition to her memorable vocal, once again, the backing musicians are definitely a class act. Yet another facet of Ms. White's songwriting comes out on "Black Widow Spider", which I think is one of her strongest pieces of songwriting. The tune is a kind of low-down Muscle Shoals-style funk that has an irresistible groove. Showing Motown stylistic bloodlines is "A Little Bit of This, A Little Bit of That", a song for which Miss Lavelle served as lyricist. With a little James Brown-style funk is another original called "Can't Take It (I Don't Give a Damn)", with a great set of lyrics about hanging on to what is yours. The title track, the original song "It Haven't Been Easy", is another highlight, with its Fats Domino reminiscent sound, and Miss Lavelle's combination of first-rate lyrics and even better vocal performance. The album ends with a track bearing a similar groove, "Those Lonely Lonely Nights", a cover of a song recorded by Eddie King and Johnny 'Guitar' Watson. Although not the album's strongest piece, Miss Lavelle and company give it a reading that still qualifies as first-rate R&B.
It Haven't Been Easy, the new album by veteran blues and soul singer-songwriter Miss Lavelle White is one of the most honest, unpretentious, classy, beautifully performed and downright enjoyable blues-influenced albums of its kind to come along in quite a while. Miss Lavelle is a fine performer who can deliver the songs without a lot of fuss, but can drive home their message with a soulful elegance that recalls some of the great R&B singers of the past and present. The backing musicians, in this Austin, Texas, made album, couldn't have done any better in both arrangements and performance. Producer/guitarist Derek O'Brien deserves high praise for capturing the spirit of the music, and with engineer Stuart Sullivan, getting it on tape with the kind of integrity sonically that Miss Lavelle brings to her music. The mix and recording are absolutely first-rate. The more time goes by, the more one comes to appreciate musical honesty and lack of pretense. This album is a textbook example of doing everything right, and a reminder of why classic American styles like this will survive all the changing winds of the pop fads.(~George Graham)
Lavelle White - Miss Lavelle
Label: Antone's Records (ANT 0031)
Size: 116,1 MB
Time: 49:52
File: MP3 @ 320K/s
Styles: Female Blues Vocals, Texas Blues,..
Art: Full
01 - Yes, I've Been Crying [3:54]
02 - Voodoo Man [4:29]
03 - Why Young Men Go Wild [3:31]
04 - You're Gonna Make Me Cry [4:44]
05 - Stop These Teardrops [3:14]
06 - Go To The Mirror [5:10]
07 - For You, My Love [4:23]
08 - Lead Me On [3:18]
09 - About The Facts Of Life [4:15]
10 - Wrappin' Up Our Love [3:24]
11 - It's A Miracle [3:22]
12 - Tin Pan Alley [6:03]
Lavelle White has toured across the United States, and shared musical stages with many performers including Bobby Bland, Sam Cooke, Otis Redding, Junior Parker, Aretha Franklin, Junior Wells, Lonnie Brooks, Buddy Guy and Jerry Butler. White was voted Houston’s Blues Artist Of The Year, has been nominated several times for a Blues Music Award,and in 2006 was inducted into the Texas Music Hall of Fame. At the age of 15 Lavelle White started to perform in Houston’s’s blues clubs with the guitarist Clarence Hollimon. Her break came when Johnny Copeland recommended her to Don Robey, the owner of the Duke and Peacock record labels.She was then billed as ‘Miss La-Vell’. White recorded fourteen tracks, released as a number of singles on Duke, between 1958 and 1964. These included “If I Could Be with You,” “Just Look at You Fool,” “Stop These Teardrops,” and “The Tide of Love.” Several of her songs were self penned, a process of writing that has lasted most of her lifetime. Under the pseudonym of Deadric Malone, White also wrote Bobby Bland’s “Lead Me On”, which was a hit in 1960. She appeared in local revues up to the late 1960s. White moved to Chicago, Illinois in 1978, where she appeared at various clubs and worked with Junior Wells, Lonnie Brooks and Buddy Guy, before returning to Houston eight years later. Her debut album was not released until 1994, when "Miss Lavelle" was issued on the Antone’s label. It was her first recording for almost 30 years. White appeared at the San Francisco Blues Festival in 1995. She has also performed at the Houston International Festival. Her second album was "It Haven’t Been Easy" (1997). Both albums featured guitar work from her former performing colleague, Clarence Hollimon. The same year, White appeared with Delbert McClinton on the television program, Austin City Limits. Her third album, "Into the Mystic", was released in 2003.
Today, more than 30 years after she got her humble start in the blues clubs in Houston, Lavelle White sings as well as she ever did, and though she's had time off from the road over the years, she's never stopped singing or writing songs. All of this is apparent with one listen to "Miss Lavelle". The dignified manner in which White conducts herself on stage, dressed in flashy outfits and walking about confidently, is something that was instilled in her from an early age. This respect for the stage, or stage presence, that is apparent when Miss Lavelle White performs is something the younger generation of blues players (and many rock & rollers) seem to lack.(~Richard Skelly)
Today, more than 30 years after she got her humble start in the blues clubs in Houston, Lavelle White sings as well as she ever did, and though she's had time off from the road over the years, she's never stopped singing or writing songs. All of this is apparent with one listen to "Miss Lavelle". The dignified manner in which White conducts herself on stage, dressed in flashy outfits and walking about confidently, is something that was instilled in her from an early age. This respect for the stage, or stage presence, that is apparent when Miss Lavelle White performs is something the younger generation of blues players (and many rock & rollers) seem to lack.(~Richard Skelly)
04 June 2017
Gina Sicilia - Tug Of War
Label: Blue Elan records
Size: 92,2 MB
Time: 39:45
File: MP3 @ 320K/s
Styles: Female Blues Vocals, Singer-Songwriter
Art: Front, Pic
01 - I Don't Want To Be In Love [3:50]
02 - Damaging Me [4:40]
03 - He Called Me Baby [4:12]
04 - I'll Stand Up [3:43]
05 - Never Gonna End [3:36]
06 - I Cried [3:56]
07 - They Never Pay Me [3:34]
08 - Abandoned [3:00]
09 - Tell Him [3:02]
10 - All My Loving [3:13]
11 - Heaven [2:55]
"Tug of War" celebrates Gina Sicilia's status as one of the reigning voices in modern blues and marks a potent evolution in her songwriting. The 11-song set is Sicilia's seventh release since her emergence as a doyenne of the genre a decade ago. Today, Sicilia's experience and the fully realized powers of her warm, flexible, emotionally nuanced singing resonate like never before. Produced by Grammy-winning producer Glenn Barratt and Grammy-nominated producer Dave Darling.
Gina Sicilia is set to drop her new album, "Tug of War", on June 2nd. Emotional release appears to be the key ingredient in blues albums this year. So it is with her seventh career record. Writing and performing the blues has always been cathartic. Pent up emotions liberated through song. On this offering, she had a great deal of emotions to expunge. “I’ve been through a lot in the past three years,” she relates, “I suffered through a painful and dramatic event in my life and needed to start over, so I moved to Nashville, where I didn’t know anybody, and went into a period of really challenging myself as a songwriter.”
A decade ago, this dynamic singer burst onto the blues scene, and has never looked back. Her debut album, "Allow Me to Confess", caught the attention of the entire blues world. It not only charted, and sold well, but garnered her a BMA nomination for “Best New Artist Debut.” In her early 20's at the time, the record was full of lyrics she’d been writing since age 12. Now comes "Tug of War". The title alludes to the complexities of life, and speaks of Sicilia’s own experiences.
The first track, “I Don’t Want to Be in Love,” comes closer to the Memphis sound than that of Nashville. A soulfully arranged masterpiece, it hits home with all of us who have fallen again, after a heartache. Just when we think we’re all set in our singleness, bam, along comes someone trying to steal our heart. Producer Dave Darling co-wrote the opener with Sicilia, and plays some wicked guitar on the track as well. The funny thing is, “I Don’t Want to Be in Love,” could very well be the sequel to the second song on the album, “Damaging Me.” With lyrics such as, “I’m blue and I’m black. I’m tattered and torn. Picking up my pieces off the floor,” there’s little doubt to the point she is trying to make. “Damaging Me,” does have more of the flavor of her adopted hometown. We could imagine this topping out country music charts as a blues cross-over hit. The entire album has a strong blues base, which has been Sicilia’s bread and butter. Her rich, honey soaked voice was created for the genre. She works it to her advantage across every song, from the thundering anthem, “I’ll Stand Up,” to the smooth rocking “Abandoned.” Long time fans will hear the southern spice throughout the album, and we think that’s the point. New home. New surroundings. New influences. It’s all part of the healing. Part of the purging that was necessary to make this record. Multiple Grammy Award winning producer, Glenn Barratt, was at the helm for the majority of Tug of War. He also produced her 2013 album, "It Wasn’t Real", a bit more traditional sounding blues album to be sure. However, the Music City influences that soaked into this collection of songs, fit hand in glove with Sicilia’s vocals. She’s at the top of her game on the mostly original recording. There are a couple of stand out covers on Tug of War. One is a song she’s been singing since childhood. Her stylistic adaptation of the Exciter’s hit, “Tell Him,” is a growling, groovy, tour de force. Keeping all the elements that made it a classic dance hit, Sicilia adds enough attitude to give the song, in a word, balls. The other is purely phenomenal. With Darling in the pilot’s chair once again, Sicilia takes the Beatles classic, “All My Loving,” and makes it entirely her own. Slowed to a snail’s pace, and filled with tremolo guitar, it becomes a haunting ballad. Her Stevie Nicks-ish vocal styling on this cut matches the heavy tremolo of Darling’s guitar, taking a song as familiar as our own names and turning it into something completely original. With apologies to her Witchiness, Stevie couldn’t come close to matching the range that Gina pulls off on this one. "Tug of War" has grit. It has depth. It showcases the songwriting talents of Gina Sicilia in a whole new light. And, it has a place in your collection. (~JD Nash; americanbluesscene.com)
Gina Sicilia is set to drop her new album, "Tug of War", on June 2nd. Emotional release appears to be the key ingredient in blues albums this year. So it is with her seventh career record. Writing and performing the blues has always been cathartic. Pent up emotions liberated through song. On this offering, she had a great deal of emotions to expunge. “I’ve been through a lot in the past three years,” she relates, “I suffered through a painful and dramatic event in my life and needed to start over, so I moved to Nashville, where I didn’t know anybody, and went into a period of really challenging myself as a songwriter.”
A decade ago, this dynamic singer burst onto the blues scene, and has never looked back. Her debut album, "Allow Me to Confess", caught the attention of the entire blues world. It not only charted, and sold well, but garnered her a BMA nomination for “Best New Artist Debut.” In her early 20's at the time, the record was full of lyrics she’d been writing since age 12. Now comes "Tug of War". The title alludes to the complexities of life, and speaks of Sicilia’s own experiences.
The first track, “I Don’t Want to Be in Love,” comes closer to the Memphis sound than that of Nashville. A soulfully arranged masterpiece, it hits home with all of us who have fallen again, after a heartache. Just when we think we’re all set in our singleness, bam, along comes someone trying to steal our heart. Producer Dave Darling co-wrote the opener with Sicilia, and plays some wicked guitar on the track as well. The funny thing is, “I Don’t Want to Be in Love,” could very well be the sequel to the second song on the album, “Damaging Me.” With lyrics such as, “I’m blue and I’m black. I’m tattered and torn. Picking up my pieces off the floor,” there’s little doubt to the point she is trying to make. “Damaging Me,” does have more of the flavor of her adopted hometown. We could imagine this topping out country music charts as a blues cross-over hit. The entire album has a strong blues base, which has been Sicilia’s bread and butter. Her rich, honey soaked voice was created for the genre. She works it to her advantage across every song, from the thundering anthem, “I’ll Stand Up,” to the smooth rocking “Abandoned.” Long time fans will hear the southern spice throughout the album, and we think that’s the point. New home. New surroundings. New influences. It’s all part of the healing. Part of the purging that was necessary to make this record. Multiple Grammy Award winning producer, Glenn Barratt, was at the helm for the majority of Tug of War. He also produced her 2013 album, "It Wasn’t Real", a bit more traditional sounding blues album to be sure. However, the Music City influences that soaked into this collection of songs, fit hand in glove with Sicilia’s vocals. She’s at the top of her game on the mostly original recording. There are a couple of stand out covers on Tug of War. One is a song she’s been singing since childhood. Her stylistic adaptation of the Exciter’s hit, “Tell Him,” is a growling, groovy, tour de force. Keeping all the elements that made it a classic dance hit, Sicilia adds enough attitude to give the song, in a word, balls. The other is purely phenomenal. With Darling in the pilot’s chair once again, Sicilia takes the Beatles classic, “All My Loving,” and makes it entirely her own. Slowed to a snail’s pace, and filled with tremolo guitar, it becomes a haunting ballad. Her Stevie Nicks-ish vocal styling on this cut matches the heavy tremolo of Darling’s guitar, taking a song as familiar as our own names and turning it into something completely original. With apologies to her Witchiness, Stevie couldn’t come close to matching the range that Gina pulls off on this one. "Tug of War" has grit. It has depth. It showcases the songwriting talents of Gina Sicilia in a whole new light. And, it has a place in your collection. (~JD Nash; americanbluesscene.com)
Tug Of War (MC)
North Mississippi Allstars - Prayer For Peace
Label: Sony Legacy / Songs Of The South Records
Size: 98,3 MB
Time: 42:41
File: MP3 @ 320K/s
Styles: Blues-Rock, Southern Rock, Jamband,...
Art: Front,Front + CD
01 - Prayer For Peace [3:40]
02 - Need To Be Free [4:28]
03 - Miss Maybelle [2:40]
04 - Run Red Rooster [2:20]
05 - Stealin [2:54]
06 - Deep Ellum [4:19]
07 - Bird Without A Feather [4:34]
08 - You Got To Move [2:03]
09 - 61 Highway [3:06]
10 - Long Haired Doney [4:39]
11 - Bid You Goodnight [5:02]
12 - P4P2017 [2:52]
Founded in 1996 by brothers Luther (guitar and vocals) and Cody Dickinson (drums, piano, synth bass, programming and vocals), North Mississippi Allstars are entering their second decade with what is unquestionably the most vital album of their brilliant career. "Prayer For Peace" sees the now-venerable band continuing to think globally following 2013’s Earth-shaking "World Boogie Is Coming". That album, North Mississippi Allstars’ seventh studio recording, proved the planetary sensation its title promised, with The Guardian simply declaring it the band’s “best yet.” Now North Mississippi Allstars weave their bred-to-the-bone musical sensibility with a potent message of positivity, inclusion, family, and hope. As ever, original songs like the powerhouse title track and classic covers including Mississippi Fred McDowell’s “You Got To Move” – the latter featuring accompaniment from Hill Country Blues guitar hero Kenny Brown and award-winning singer/bassist Danielle Nicole – pay homage to the Dickinsons’ long lineage of musical heroes, celebrating the blues’ extraordinary legacy while reshaping and pushing it into contemporary relevance with fatback funk, slippery soul, and pure unadulterated rock ‘n’ roll.
Much of "Prayer For Peace" was co-produced and recorded at Memphis’ famed Royal Studios with the great Boo Mitchell behind the board. The hard-touring band also recorded as they traveled the country, lighting up studios in St. Louis, Kansas City, New Orleans, Brooklyn, Austin, and of course, their legendary father Jim Dickinson’s Zebra Ranch in the Allstars’ own Hernando, MS. A number of old friends join the congregation, among them bassist Oteil Burbridge (Allman Brothers Band, Dead & Company), Graeme Lesh (Midnight North, The Terrapin Family Band), vocalist Sharisse Norman, bassist Dominic Davis (Jack White), and singer/fife player Shardé Thomas, daughter of Mississippi blues giant Otha Turner. Simultaneously master curators, expert revivalists and forward-thinking visionaries, the Dickinson Brothers have crafted their most daringly creative and provocatively topical collection to date. "Prayer For Peace" stands tall as yet another milestone marking North Mississippi Allstars’ own inimitable place in the American musical tradition.North Missisippi Allstars is a 3 time Grammy nominated band for Best Contemporary Blues Album.
REVIEW:
Twenty years into their career, the word “sellout” remains a foreign concept to America’s diehard retro boogie masters, the North Mississippi Allstars. That’s true even as they cozy up to the suits on the group’s debut for the multi-national behemoth Sony corporation, a company that probably spends more on lunch for their executives in a week than the Allstars gross on a tour. Brothers Luther (guitar/vocals) and Cody (percussion, piano, etc.) Dickinson are the stripped down members of this aggressive, uncompromising group whose dedication to the raw, rural blues of R.L. Burnside and Mississippi Fred McDowell (both of whose songs they cover here), along with the backwoods fife music of Otha Turner, has informed eight previous albums and helped make Luther a sort of go-to guitarist for bands, like the Black Crowes, looking for some rootsy credibility. Even though the Allstars have occasionally mixed rugged hip-hop and psychedelic rock into this dusky stew, they have never abandoned the gutsy soul at their core and the duo’s credentials remain impeccable. Despite the jump to a major label, that doesn’t change on "Prayer for Peace", the hard touring band’s eighth platter and first studio effort since 2013’s suitably titled breakthrough "World Boogie is Coming". Instead of shifting towards a commercial middle ground, the twosome doubles down on their dusky, swamp infested, high wattage basic blues and boogie. It’s an approach made clear on the opening title track that, with its driving drums, Luther’s grinding guitar, darkly bubbling bass from ex-Allman Brothers Band member Oteil Burbridge and pulsating fife, sets the disc’s murky tone. Luther heads into Hendrix “Hear My Train A-Comin’” territory for the electrifying “Need to be Free” and “Bird Without a Feather,” slithers into Johnny Winter land on a riveting cover of McDowell’s classic “You Got to Move” (a sassy duet with the soulful Danielle Nicole), takes an excursion down ZZ Top’s on-ramp for the driving, slide guitar infused “61 Highway” and references Cream’s version of “Crossroads” with the crowing “Run Red Rooster.” The pile-driving version of Burnside’s “Long Haired Doney” is another in a series of highlights that turn the heat of Luther’s guitar into an explosive device. They unplug for a peppy cover of the Gus Cannon classic “Stealin’” and close with a sweet take on the traditional spiritual “(We) Bid You Goodnight,” a Grateful Dead favorite, where Luther’s slide emulates both Jerry Garcia’s lofty floating lines and Duane Allman’s singing sound. Even though the tunes were recorded in no fewer than five different studios, including about half co-produced by the legendary Boo Mitchell at the similarly legendary Royal Studios in Memphis, the album hangs together as a well-crafted whole. To their credit, the Allstars show no interest in expanding or compromising their style to attract others beyond the dedicated base they have acquired over two decades. There aren’t any revelations on Prayer For Peace, but the energy, excitement and intensity poured into every performance makes this a standout in an impressive Dickinson brothers catalog that doesn’t have any weak entries.(~Hal Horowitz; americansongwriter.com)
Much of "Prayer For Peace" was co-produced and recorded at Memphis’ famed Royal Studios with the great Boo Mitchell behind the board. The hard-touring band also recorded as they traveled the country, lighting up studios in St. Louis, Kansas City, New Orleans, Brooklyn, Austin, and of course, their legendary father Jim Dickinson’s Zebra Ranch in the Allstars’ own Hernando, MS. A number of old friends join the congregation, among them bassist Oteil Burbridge (Allman Brothers Band, Dead & Company), Graeme Lesh (Midnight North, The Terrapin Family Band), vocalist Sharisse Norman, bassist Dominic Davis (Jack White), and singer/fife player Shardé Thomas, daughter of Mississippi blues giant Otha Turner. Simultaneously master curators, expert revivalists and forward-thinking visionaries, the Dickinson Brothers have crafted their most daringly creative and provocatively topical collection to date. "Prayer For Peace" stands tall as yet another milestone marking North Mississippi Allstars’ own inimitable place in the American musical tradition.North Missisippi Allstars is a 3 time Grammy nominated band for Best Contemporary Blues Album.
REVIEW:
Twenty years into their career, the word “sellout” remains a foreign concept to America’s diehard retro boogie masters, the North Mississippi Allstars. That’s true even as they cozy up to the suits on the group’s debut for the multi-national behemoth Sony corporation, a company that probably spends more on lunch for their executives in a week than the Allstars gross on a tour. Brothers Luther (guitar/vocals) and Cody (percussion, piano, etc.) Dickinson are the stripped down members of this aggressive, uncompromising group whose dedication to the raw, rural blues of R.L. Burnside and Mississippi Fred McDowell (both of whose songs they cover here), along with the backwoods fife music of Otha Turner, has informed eight previous albums and helped make Luther a sort of go-to guitarist for bands, like the Black Crowes, looking for some rootsy credibility. Even though the Allstars have occasionally mixed rugged hip-hop and psychedelic rock into this dusky stew, they have never abandoned the gutsy soul at their core and the duo’s credentials remain impeccable. Despite the jump to a major label, that doesn’t change on "Prayer for Peace", the hard touring band’s eighth platter and first studio effort since 2013’s suitably titled breakthrough "World Boogie is Coming". Instead of shifting towards a commercial middle ground, the twosome doubles down on their dusky, swamp infested, high wattage basic blues and boogie. It’s an approach made clear on the opening title track that, with its driving drums, Luther’s grinding guitar, darkly bubbling bass from ex-Allman Brothers Band member Oteil Burbridge and pulsating fife, sets the disc’s murky tone. Luther heads into Hendrix “Hear My Train A-Comin’” territory for the electrifying “Need to be Free” and “Bird Without a Feather,” slithers into Johnny Winter land on a riveting cover of McDowell’s classic “You Got to Move” (a sassy duet with the soulful Danielle Nicole), takes an excursion down ZZ Top’s on-ramp for the driving, slide guitar infused “61 Highway” and references Cream’s version of “Crossroads” with the crowing “Run Red Rooster.” The pile-driving version of Burnside’s “Long Haired Doney” is another in a series of highlights that turn the heat of Luther’s guitar into an explosive device. They unplug for a peppy cover of the Gus Cannon classic “Stealin’” and close with a sweet take on the traditional spiritual “(We) Bid You Goodnight,” a Grateful Dead favorite, where Luther’s slide emulates both Jerry Garcia’s lofty floating lines and Duane Allman’s singing sound. Even though the tunes were recorded in no fewer than five different studios, including about half co-produced by the legendary Boo Mitchell at the similarly legendary Royal Studios in Memphis, the album hangs together as a well-crafted whole. To their credit, the Allstars show no interest in expanding or compromising their style to attract others beyond the dedicated base they have acquired over two decades. There aren’t any revelations on Prayer For Peace, but the energy, excitement and intensity poured into every performance makes this a standout in an impressive Dickinson brothers catalog that doesn’t have any weak entries.(~Hal Horowitz; americansongwriter.com)
NOTE: Other reviews in post.
Prayer For Peace (MC)
Sherman Lee Dillon - State Of The Blues
Label: Wepecket Island Records
Size: 113,2 MB
Time: 48:16
File: MP3 @ 320K/s
Styles: Mississippi Blues, Roots, Americana
Art: Front, Pic
01 - Stack O Lee [5:34]
02 - Way Cool [2:47]
03 - Little Red Rooster [3:12]
04 - Maybelline [2:19]
05 - Rock Me, Baby [4:09]
06 - Spoonful [3:29]
07 - Trouble In Mind [3:03]
08 - Ashtray Taxi [3:49]
09 - Crazy Little Girl [2:24]
10 - Mississippi Highway Three [3:41]
11 - Devil With The Blue Dress On [3:39]
12 - Good Mornin' Little School Girl [2:48]
13 - On The Road Again [4:09]
14 - Jackson Stomp [3:06]
"Genuine, authentic, down home and personal with songs and stories that are pure Americana, Sherman Lee Dillon is the real deal from central Mississippi. You have heard about Delta and Hill Country blues, but Sherman Lee brings you the blues from the central part of the state. Whether festival, club, house concert, or arts center, Sherman Lee Dillon delights audiences with sly humor, roots singing and playing, and irrepressible charm."
"Sherman Lee Dillon"- A serious musician who knows how to have fun. The essence of what Mississippi offers the music world, Jimmy Rogers to Robert Johnson, in a creative, fresh modern sound."
Sherman Lee Dillon was born in Meadville, Mississippi (pop 451), in 1951. Fifteen miles outside of town is where Sherman Lee spent his formative years. Cousin Geraldene had a piano, so whenever he'd walk to her house, she'd give him lessons. Uncle Erastus taught old time shaped note singing and made sure his nephews carried on the tradition. At age 12, Sherman Lee began playing the guitar, at 14 the harmonica, at 15 the banjo and steel guitar (not to mention playing trumpet and baritone in the school band and teaching his brother the tenor sax). Living in a dry county with only one black-topped road, his performing experience had mostly been for neighborhood gatherings with payment in homemade wine. One night a band from McComb (Bo Didley's home) drove up to the Dillon house. They asked him to be their guitar player and go to Baton Rouge, Louisiana to make a record with them. At the age of 16 Sherman left home and has been playing music professionally ever since. While many of his friends and partners went to Memphis, Nashville, New York, L.A., or hooked up with big names, Sherman took a less sensational but probably more rewarding road. Married at age 19 he and his wife Louise raised seven children while he continued to play the bars, honky-tonks and juke joints of Mississippi. Deciding to be a regional performer has actually worked quite well. Rufus Thomas, King Floyd, William Bell, McKinnley Mitchell, Sam Myers, J.T. Watkins (to mention a few) have called Sherman Lee to play with them when they were in the area. Sherman has performed in various configurations on shows with such notables as B.B. King, Johnny Winter, Koko Taylor, Little Milton and Bobby Rush. When Sandy Davis, Casting Director for "O Brother, Where Art Thou?" came to Jackson, she used him as a voice model, personal musical coach to Tim Blake Nelson (Delmar) and consulted him almost daily throughout their Mississippi filming. He was one of the three Dobro players in the film and was asked to perform at the cast party. Sherman Lee represented the state of Mississippi as a finalist in the 2010 International Blues Challenge in Memphis. In 2014, his CD, "State of the Blues," was named Traditional CD of the Year by the Rural Roots Music Commission.
"Sherman Lee Dillon"- A serious musician who knows how to have fun. The essence of what Mississippi offers the music world, Jimmy Rogers to Robert Johnson, in a creative, fresh modern sound."
Sherman Lee Dillon was born in Meadville, Mississippi (pop 451), in 1951. Fifteen miles outside of town is where Sherman Lee spent his formative years. Cousin Geraldene had a piano, so whenever he'd walk to her house, she'd give him lessons. Uncle Erastus taught old time shaped note singing and made sure his nephews carried on the tradition. At age 12, Sherman Lee began playing the guitar, at 14 the harmonica, at 15 the banjo and steel guitar (not to mention playing trumpet and baritone in the school band and teaching his brother the tenor sax). Living in a dry county with only one black-topped road, his performing experience had mostly been for neighborhood gatherings with payment in homemade wine. One night a band from McComb (Bo Didley's home) drove up to the Dillon house. They asked him to be their guitar player and go to Baton Rouge, Louisiana to make a record with them. At the age of 16 Sherman left home and has been playing music professionally ever since. While many of his friends and partners went to Memphis, Nashville, New York, L.A., or hooked up with big names, Sherman took a less sensational but probably more rewarding road. Married at age 19 he and his wife Louise raised seven children while he continued to play the bars, honky-tonks and juke joints of Mississippi. Deciding to be a regional performer has actually worked quite well. Rufus Thomas, King Floyd, William Bell, McKinnley Mitchell, Sam Myers, J.T. Watkins (to mention a few) have called Sherman Lee to play with them when they were in the area. Sherman has performed in various configurations on shows with such notables as B.B. King, Johnny Winter, Koko Taylor, Little Milton and Bobby Rush. When Sandy Davis, Casting Director for "O Brother, Where Art Thou?" came to Jackson, she used him as a voice model, personal musical coach to Tim Blake Nelson (Delmar) and consulted him almost daily throughout their Mississippi filming. He was one of the three Dobro players in the film and was asked to perform at the cast party. Sherman Lee represented the state of Mississippi as a finalist in the 2010 International Blues Challenge in Memphis. In 2014, his CD, "State of the Blues," was named Traditional CD of the Year by the Rural Roots Music Commission.
Sherman Lee Dillon - vocals, acoustic guitar, banjo, and harmonica
Mike Higgins - acoustic guitar
Greg Lee - mandolin
Art Manchester - tenor sax and clarinet
Mike Paolucci - electric guitar
Jack Radcliffe - piano and hand percussion
Don Barry - acoustic bass
Dale Ellenberg - drums
Joanne Doherty - backup vocals and hand percussion
Erik Lindberg - hand percussion
For BigD on request
State Of The Blues (MC)
Billy Lee Riley - Live At The Whisky' A Go Go + Big Harmonica Special (Fan Club only twofer)
Recorded: 1964 & 1965
Label: Mercury Records
Size: 151,9 MB
Time: 65:26
File: MP3 @ 320K/s
Styles: Blues, Rhythm & Blues
Art: Full
Whisky A Go Go Presents Billy Lee Riley:
01 - Mojo Workout [2:32]
02 - Baby Please Don't Go [3:42]
03 - You Don't Love Me [2:08]
04 - High Heeled Sneakers [3:21]
05 - Have Mercy Baby [3:40]
06 - Charlene [3:05]
07 - Dimples [2:33]
08 - Tobacco Road [3:02]
09 - Lonely Weekend [2:10]
10 - Big Boss Man [2:56]
11 - Geraldine [2:36]
12 - Everyday I Have The Blues [3:51]
Big Harmonica Special:
13 - Bo Diddley [2:16]
14 - Memphis [2:29]
15 - My babe [2:53]
16 - Suzie Q [2:15]
17 - Cottonfields [2:24]
18 - You Got Me Runnin' [2:04]
19 - High Heeled Sneakers [2:40]
20 - Page One Funk [2:04]
21 - Work Song [2:54]
22 - Kansas City [2:24]
23 - Mary Lou [2:51]
24 - You Can't Judge A Book By The Cover [2:26]
In 1991, it seems that the Dutch Billy Lee Riley fan club and the artist's former label Mercury came to an understanding, allowing members of the club to get their hands on this non commercial twofer comprised of a 1964 release, Big Harmonica Special, and a 1965 one recorded at the Whisky A Go Go. Lucky Dutch, and lucky you too, as you can now enjoy both of these albums as one. ~ LC
Live At The Whisky' A Go Go + Big Harmonica Special (MC)
Randy 'Rare' Resnick - To Love
Label: Resmo (France) (RMR 1991)
Size: 100,9 MB
Time: 43:10
File: MP3 @ 320K/s
Styles: Rock'n Roll, Blues, Blues-Rock, Jazz,...
Art: Full
01 - What Kind Of World [3:58]
02 - Push Pull [3:11]
03 - To Love [3:23]
04 - Temptation [3:53]
05 - Fool's Paradise [2:48]
06 - Girls Please Girls [3:47]
07 - Dark Design [3:11]
08 - Into The Fire [4:21]
09 - Bidness Is Bidness [3:00]
10 - Woman In White [4:55]
11 - African Queen Of The Parisian Night [3:39]
12 - Log Jam [2:59]
Randy Resnick is an American guitarist who has played with many blues and jazz luminaries, such as Don "Sugarcane" Harris, John Lee Hooker, John Mayall and Freddie King. He was developing both one- and two-handed tapping style in the early 1970s. He published a CD of his own music in 1995, "To Love" under the name Randy Rare.
Resnick was born in Minneapolis, Minnesota. Resnick began his career playing in Minneapolis clubs, moving to Los Angeles in 1968. There he met drummer Paul Lagos who was working for the band, Kaleidoscope. Lagos eventually introduced Resnick to Canned Heat bassist Larry Taylor and violin player Don "Sugarcane" Harris. The four musicians formed a band called "Pure Food and Drug Act", based on Sugarcane's blues/jazz violin and singing. It was during this period that he developed his tapping technique. Sugarcane Harris died in 1999 in California. Paul Lagos died on October 19, 2009 in Minneapolis, MN. After quitting the PFDA, Resnick went on to play with John Mayall and recorded the album "The Latest Edition", with Larry Taylor on bass, Red Holloway, a seasoned jazz player on sax and flute, Soko Richardson, former Ike and Tina Turner drummer, and Hi Tide Harris sharing the guitar spotlight with a contrasting, simpler bluesy style. This band toured Europe and Asia in 1974. Although the musicians were all talented, the material was lackluster and the album did not sell. He then went on to tour with John Klemmer. Resnick has retired several times, disappearing for 6 to 8 years and resurfacing in strange places like Bordeaux, France where he now lives, and plays his music with a trio based in Paris, France. Return to the concert stage, October 2012: Canned Heat leader Fito de la Parra called Resnick to replace Harvey Mandel, who had to fly back to California for a family emergency. He played two dates of the Canned Heat European tour in Bergerac, France on October 4 and Avignon, France October 5th, but was unable to play the rest of the dates because of a prior commitment. Resnick was mentioned in the Eddie Van Halen biography for his contribution to the tapping guitar technique and by Lee Ritenour in the January 1980 Guitar Player Magazine, who saw Resnick use the tapping technique in 1974 at the Whisky a Go-Go with the Richard Greene Group. The legendary Ted Greene, from whom Resnick took one lesson, spoke of his playing in an interview given shortly before his death. In 1965, while working at B-Sharp, a local musical instrument shop, he presented George Harrison of The Beatles with a Rickenbacker 12-string guitar during their 1965 US tour. Photos of this presentation at the press conference were published in photographer Bill Carlson's book "The Beatles!: A One-night Stand in the Heartland". Other mentions include "All Music Guide to rock", "Rolling Stone Encyclopedia of Rock and Roll", "Billboard Magazine, Jul 29, 1972", "The Jazz Discography Volume 9","Cadence, Vol 21", "John Mayall: The Blues Crusader"
Resnick was born in Minneapolis, Minnesota. Resnick began his career playing in Minneapolis clubs, moving to Los Angeles in 1968. There he met drummer Paul Lagos who was working for the band, Kaleidoscope. Lagos eventually introduced Resnick to Canned Heat bassist Larry Taylor and violin player Don "Sugarcane" Harris. The four musicians formed a band called "Pure Food and Drug Act", based on Sugarcane's blues/jazz violin and singing. It was during this period that he developed his tapping technique. Sugarcane Harris died in 1999 in California. Paul Lagos died on October 19, 2009 in Minneapolis, MN. After quitting the PFDA, Resnick went on to play with John Mayall and recorded the album "The Latest Edition", with Larry Taylor on bass, Red Holloway, a seasoned jazz player on sax and flute, Soko Richardson, former Ike and Tina Turner drummer, and Hi Tide Harris sharing the guitar spotlight with a contrasting, simpler bluesy style. This band toured Europe and Asia in 1974. Although the musicians were all talented, the material was lackluster and the album did not sell. He then went on to tour with John Klemmer. Resnick has retired several times, disappearing for 6 to 8 years and resurfacing in strange places like Bordeaux, France where he now lives, and plays his music with a trio based in Paris, France. Return to the concert stage, October 2012: Canned Heat leader Fito de la Parra called Resnick to replace Harvey Mandel, who had to fly back to California for a family emergency. He played two dates of the Canned Heat European tour in Bergerac, France on October 4 and Avignon, France October 5th, but was unable to play the rest of the dates because of a prior commitment. Resnick was mentioned in the Eddie Van Halen biography for his contribution to the tapping guitar technique and by Lee Ritenour in the January 1980 Guitar Player Magazine, who saw Resnick use the tapping technique in 1974 at the Whisky a Go-Go with the Richard Greene Group. The legendary Ted Greene, from whom Resnick took one lesson, spoke of his playing in an interview given shortly before his death. In 1965, while working at B-Sharp, a local musical instrument shop, he presented George Harrison of The Beatles with a Rickenbacker 12-string guitar during their 1965 US tour. Photos of this presentation at the press conference were published in photographer Bill Carlson's book "The Beatles!: A One-night Stand in the Heartland". Other mentions include "All Music Guide to rock", "Rolling Stone Encyclopedia of Rock and Roll", "Billboard Magazine, Jul 29, 1972", "The Jazz Discography Volume 9","Cadence, Vol 21", "John Mayall: The Blues Crusader"
Randy Resnick - Guitar,Vocals
Larry Taylor (#1,4), Victor Conte (#5,6,7,12) - Bass
Jeff Byron (#2,9), Steven Hodges (#1,4) - Drums
Eddie Gordon(#1,4) - Harp
Coleman Head (#2,5,6,7,9,12) - Slide Guitar, Rhythm Guitar
To Love (MC)
Lavelle White - Into The Mystic
Label: Antone's records / Irond
Size: 113,8 MB
Time: 48:53
File: MP3 @ 320K/s
Styles: Female Soulful Blues Vocals,Singer-Songwriter
Art: Full
01 - Soul Deep [3:04]
02 - Into The Mystic [4:34]
03 - Livin' For The City [4:49]
04 - Today I Started Loving You [5:15]
05 - Watch What You Do To Me [3:59]
06 - Oh Happy Day [3:55]
07 - Love In Return [1:59]
08 - If (I Could Be With You) [3:52]
09 - Lord I Want To Thank You [4:01]
10 - Computer Blues [4:14]
11 - At Last [4:37]
12 - Movin' [4:28]
Texas-based vocalist and songwriter "Miss" Lavelle White has a significant discography of singles, most dating back to the 1950s and '60s, but she only released her first full length album, "Miss Lavelle", on the Austin, TX-based Antone's label in 1994. To say the album has been a long time coming would be the understatement of the year, for White's talents as a songwriter and singer were well-known in 1950s Houston, where she recorded several singles for the Duke/Peacock labels. In the late '50s, her labelmates included Bobby "Blue" Bland, B.B. King, and Junior Parker. Miss Lavelle was White's first recording of any kind, in fact, in 30 years. The fact that it's a gorgeous album helped White play some large blues festivals across the U.S., Canada, and Europe, but for a number of years when she had no record deal, White continued to entertain club crowds with her singing in Chicago, Texas, Louisiana, and Florida. White's first big break as a vocalist came about with something she wrote for herself, "If I Could Be with You," and a procession of other singles followed for the Duke/Peacock label, including "Just Look at You Fool," "Stop These Teardrops," and "The Tide of Love." Unlike many other blues singers, White didn't get started recording until she was 25, thanks to fellow Houstonian Johnny "Clyde" Copeland, who brought White to Duke/Peacock owner Don Robey's attention. White began writing poems and songs when she was 12, she said in a 1994 interview. "Hardships in life made me start to write," she explained, "and the first record I cut was with a gospel group,'Precious Lord, Lead Me On.'" When she was 16, White moved to Houston and fell into the city's burgeoning blues club scene with Clarence Hollimon, who now records with his wife Carol Fran for the Rounder label. Today, long after she got her humble start in the blues clubs in Houston, White sings as well as she ever did, and though she's had time off from the road over the years, she's never stopped singing or writing songs. She released her first album, Miss Lavelle, in 1994. It was followed three years later by "It Haven't Been Easy". (~Richard Skelly)
"There's no denying the power of Lavelle White's singing....She proves again that she's among the most soulful female singers on the scene." (~Living Blues)
"There's no denying the power of Lavelle White's singing....She proves again that she's among the most soulful female singers on the scene." (~Living Blues)
Lavelle White - vocals
Derek O'Brien - guitar, acoustic guitar, electric guitar
Malcolm "Papa Mali" Welbourne - guitar
Jud Newcomb, Casper Rawls - acoustic guitar
Guy Forsyth - electric guitar, slide guitar, harmonica
Mark "Kaz" Kazanoff - tenor saxophone
Gary Sletcha - trumpet
Riley Osbourne - electric piano, organ, keyboards
Neil Pederson - electric piano
Roscoe Beck - upright bass
Barry "Frosty" Smith - drums, percussion
George Rains, David Robinson , Brannen Temple - drums
Carmelo Louis Torres, James Fenner - percussion
Yashika Vaughan, Rayvon Foster, Malford Milligan, Mike Cross, Steve Chadie - background vocals
Into The Mystic (MC)
Jan Preston - Wild Mood Swing
Label: Black Market Music
Size: 90,7 MB
Time: 38:55
File: MP3 @ 320K/s
Styles: Boogie Blues Piano
Art: Full
01 - The Blue Light Boogie [3:27]
02 - Scared Of The Dark [2:58]
03 - At The Gate [3:43]
04 - Hey Preston [2:23]
05 - Shout For Joy [2:47]
06 - I Was Once Young [2:41]
07 - I Want A Little Sugar In My Bowl [2:50]
08 - Old Enough To Be Your Mother [2:10]
09 - Rock The boat [2:23]
10 - The Second Hand Car Blues [1:49]
11 - Wild Mood Swing [2:34]
12 - Better Said In Bed [2:31]
13 - The Richest Guy In The Graveyard [3:21]
14 - Father's Day [3:12]
Jan Preston "Queen of Boogie Woogie Piano" and Kiwi expat, is recognised as one of Australias Leadingfemale blues/jazz artists. Jans unique ability lies not only in her exceptional talent as a piano player, singer and songwriter, but also as an Entertainer, and her Mastery of Boogie Woogie piano leaves audiences in raptures. Her show includes a superb rendition of Winifred Atwells Black and White Rag, along with some quick finger playing covers of Professor Longhair, Fats Domino, Jerry Lee Lewis, Albert Ammons, and many other of the Jan Preston's earliest musical memories were of singalongs at the piano with one Aunt playing boogie/stride piano and another on violin. All the Prestons sang and played some instrument, even if it was only eggbeater or tea chest bass. Jan was born in the South Island of NZ, studied classical piano and singing from an early age, and always loved performing live. After completing a music degree, she joined the infamous Red Mole Theatre troup in Wellington, toured NZ with Spilt Enz, and was musical director for the legendary and enormously popular Red Mole Cabaret shows in Wellington. At this time she was asked by Sam Neil (then a film director) to write music for a documentary he was making, and Jan has been composing for films ever since. In the late 1970's she moved briefly to New York where she heard many of the great r'nb piano players, came back to NZ and formed the rock/reggae band "Coup D'Etat" who's song "Doctor I Like Your Medicine" was a no 1 hit., and then moved on to Sydney where she has lived since1980. Jan is a fulltime composer, songwriter, and piano player. She has played many music festivals in Australia, NZ and Europe, composed and performed music for silent films, and continues to write film scores for NZ and Australian drama and documentary. Jan has won 3 Awards for Best Film Score, and 2 for Best Australian Female Blues Artist. ~ www.australianbluesmusic.com.au
Wild Mood Swing (MC)
The Campbell Brothers - Sacred Steel On Tour
Label: Arhoolie
Size: 164,0 MB
Time: 70:51
File: MP3 @ 320K/s
Styles: Sacred Steel, Gospel
Art: Full
01 - Thank Ya' [7:59]
02 - Put A Little Love In Your Heart [5:58]
03 - A Prayer Meeting At Mary's House [7:46]
04 - I'll Fly Away [7:21]
05 - I've Got A Feeling [7:41]
06 - Scott's Testimony [6:29]
07 - Pass Me Not [7:00]
08 - Didn't It Rain [7:35]
09 - Love Lifted Me [2:44]
10 - J-E-S-U-S [4:16]
11 - Morning Train [2:08]
12 - Oooh Ooooh [3:49]
The Campbell Brothers can play up a storm, there's no doubt about that. It makes no difference whether they're in church or in a club, the place becomes sanctified by their gospel offering -- which musically is heavily tinged with rock, blues, and more than a smidgen of soul. While their studio album excited, they need the free rein of live performance to really let go and, from the start of "Thank Ya'," this is a full-tilt show. Well, it's more than that -- it's a service, with Rev. William Scott testifying and the gospel singing of Katie Jackson and others, led by the stinging and virtuosic steel playing of Chuck and Darick Campbell, with brother Phillip contributing some stinging lead playing. Whether moving through a slow song like "I'll Fly Away" or letting it all go during "A Prayer Meeting at Mary's House," they read each other as only siblings can. About the only odd piece out is a cover of "Put a Little Love in Your Heart," which never quite achieves liftoff. But when they do reach critical mass, the stratosphere's the limit, and you'll hear steel playing like no one else can manage, working off each other, pushing it further and further, like the very best jam band. They temper themselves toward the end, in tracks recorded at religious functions, but the intensity is every bit as high. If you don't want to go to church but still need a helping of the spirit, it's like having a revival in your living room. ~ Chris Nickson
Sacred Steel On Tour (MC)
03 June 2017
Sweet Mama - Dig It! (EP)
Size: 63,1 MB
Time: 27:07
File: MP3 @ 320K/s
Styles: Blues, Ragtime, Jug, Swing
Art: Front, Back,CD
01 - I'm Putting All My Eggs In One Basket [4:54]
02 - Muddy Waters [5:36]
03 - No More Rockin' [4:32]
04 - Air Mail Special [3:26]
05 - Ain't No Use [4:21]
06 - Five Guys Named Moe [4:16]
Led by "Cajoune", a washboard specialist, one woman band and singer, Sweet Mama bandmates repertoire is made of a subtle mix of blues, swings, boogie-woogie, shuffles and calypsos, with an accent put on unique arrangements.
They're inspired by Stuff Smith, Jimmy Reed, Willie Dixon, Rosetta Tharpe, Oscar Aleman, Tiny Grimes, Fats Waller... (~sweetmama86.jimdo.com)
They're inspired by Stuff Smith, Jimmy Reed, Willie Dixon, Rosetta Tharpe, Oscar Aleman, Tiny Grimes, Fats Waller... (~sweetmama86.jimdo.com)
PERSONNEL:
Catherine 'Cajoune' Girard - Vocals, washboard,Percussion, flute
Jean-Christophe Rouet - Violin
Stéphane Barral - Double Bass
Siegfried Mandacé - Guitar,vocals
Dig It! (EP) (MC)
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