Saturday, December 31, 2016
Rate: 245 kbps VBR / 44100 from lossless source!
Size: 107,35 MB
01 - Introduction 00:14
02 - Johnny B. Goode 04:12
03 - Messin' With The Kid 04:45
04 - Help Me 06:30
05 - Hideaway 06:59
06 - Come On In My Kitchen 06:43
07 - Rollin' And Tumblin' 08:08
08 - Stranger 08:57
09 - Jumpin' Jack Flash 04:59
10 - Bony Moronie 05:20
11 - Closing 02:28
12 - It's All Over Now 05:09
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Rate: 296 kbps VBR / 44100 from lossless source!
Size: 98,28 MB
Within the first few bars of "Rainbow Riot," the opening track of the West Side Horns' San Quilmas, three great revelations came to me while getting reacquainted with the honey-dripping saxophones of Eracleo (Rocky) Morales, Spot Barnett, and Louis Bustos blending with Al Gomez' trumpet, Jack Barber's swinging bass, and Arturo (Sauce) Gonzalez's fat Hammond B-3 chops:
1.) Doug Sahm lives! The Horns defined Doug's puro San Antonio pachuco soul, and you can hear it right here.
2.) San Antonio Express-News music critic Jim Beal was right on comparing the West Side Horns to the Memphis Horns, and the reggae rhythms of Sly Dunbar and Robbie Shakespeare. They're that good, and that distinctive; worthy of the North Texas tenor tradition, articulated by Buster Smith and carried by David "Fathead" Newman, and the Honker & Shouter school, defined by Arnett Cobb and still practiced by Grady Gaines. The West Side Horns sound like San Antonio should, with roots firmly planted in the R&B and swing traditions of Aaron (T-Bone) Walker and Clarence (Gatemouth) Brown in particular, with a jalapeño con Big Red afterburn.
3.) They're pretty great taken on their own terms, especially with the added presence of Johnny Moeller on guitar and his brother Jay on drums. They traffic in a bluesy instrumental jazz-funk, where lead breaks are economical, short, and to the point, and all ears are first and foremost locked on the rhythm. Sort of like those other all-stars from Memphis, Booker T. & the MGs, if they'd grown up on El West Side: an obscure Freddy King instrumental ("High Rise") here, Joe Zawinul there ("Mercy, Mercy, Mercy"), and like-sounding originals ("Hit' N the Jug") sprinkled in.
Thrice the formula is broken, when Morales vocalizes (quite well) in an earthy voice, recalling in verse and timbre the great Jimmy Reed, one of the first black bluesmen to find favor among white audiences in the south and Texas in the late Fifties and early Sixties (he influenced Delbert McClinton, Steve Miller, Augie Meyers, and Dusty Hill among others). Ever since he single-handedly revived the career of Freddy Fender with his searing solo on Sahm's version of "Wasted Days, Wasted Nights" more than 30 years ago, I've regarded Morales as the one of the best, if not my very favorite, horn player in the state. His sendup of Reed seals the deal, because he's got Jimmy, trashed-out and drawling, down cold.
Rocky Morales is beyond cool. Rocky is hep. But on this recording, he's only among equals, because he stands next to Spot Barnett, the house band leader at the Ebony Club on San Antonio's east side, and the object of admiration of all three horns in the West Side Horns as teenagers as well as Doug. ("I used to want to be a pimp like Spot," Sahm told me almost three decades back.) Barnett came out of retirement at Sir Doug's behest in the mid-Nineties and has stuck around, his seasoned honks providing the anchor for the horns in more ways than one. In that respect, San Quilmas is really a piece of history, a continuum of Doug, T-Bone, Gatemouth, Freddy, Clifford Scott, and all the other arbiters of Texas jump blues pumped into the corpuscles of SA vatos.
The breadth of their repertoire, always coolly danceable, and a pedigree of those they quote from underscore a greater, bittersweet truth that when the Horns finally hang it up, this kind of sound will be gone for good. Hear it while you can. It's the sound of roadhouses and jukes, dancing to the music so hard you can feel the whole joint shake. And while you're at it, you might want to work on those dance steps, too. (Joe Nick Patoski)
01 - Rainbow Riot 05:21
02 - (2027) 05:42
03 - Funky Mama 03:51
04 - Alligator Bogaloo 05:46
05 - You Got Me Dizzy 02:55
06 - High Rise 04:01
07 - You Don't Have To Go 03:31
08 - Sun Is Shining 03:58
09 - Hit'n The Jug 06:25
10 - Blue Greens 'n' Beans 04:28
11 - Mercy, Mercy, Mercy 03:40
Gamble for more West Side Horns
Friday, December 30, 2016
Rate: 235 kbps VBR / 44100 from lossless source!
Size: 162,38 MB
Recorded Live At The Bucsu Festival, Budapest, June 30, 1991. Frank Zappa & His "Gypsy Friends".
Tracks 5-11: Recorded Live In Prague, June 24, 1991, Commemorating The Withdrawal Of The Russian Troops In Prague.
01 - Morning Soundcheck 16:00
02 - One Of A Kind 14:28
03 - Glare Gypsies 13:40
04 - Farewell 00:52
05 - Spickova Kultura 06:58
06 - Improvizace V A Dur S Frank Zappa 05:28
07 - Snazivec 08:14
08 - Blaznivy Reggae 05:20
09 - Prazskej Buran 06:29
10 - Tatrman 03:59
11 - Proc Jen Ja 08:09
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Rate: 260 kbps VBR / 44100 from lossless source!
Size: 116,59 MB
Bluesman Linsey Alexander has this funky and witty blues album out called "Been There Done That." Alexander draws on some old blues themes but places them musically and lyrically firmly in the 21st century. Each song is carefully arranged to take best advantage of the entire band without any one of them taking precedence. Recordings like "Been There Done That" show how the blues have survived both the ups and downs of popular interest. When it's appropriate Linsey can be as serious as the next musician, but he also knows there's enough troubles in the world that sometimes even the blues has to have some laughs. A wonderful album deserving more attention. (http://dwmmusic.com/)
01 - Raffle Ticket 05:53
02 - Bad Man 03:47
03 - Been There Done That 04:36
04 - I Had A Dream 04:35
05 - Looks Like It's Going To Rain 05:45
06 - My Mama Gave Me The Blues 06:49
07 - Going Back To My Old Time Used To Be 05:12
08 - The Same Thing I Could Tell Myself 06:36
09 - Big Woman 04:32
10 - Going Up On The Roof 06:10
11 - I'm Moving 04:55
12 - Saving Robert Johnson 03:43
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Thursday, December 29, 2016
Rate: 272 kbps VBR / 44100 from lossless source!
Size: 140,87 MB
Review by Hal Horowitz
Europe's Ruf label has a history of packaging blues artists, especially women, together for tours, and this one, recorded live in Bonn, Germany in January, 2008, works especially well. Newcomer Dani Wilde joins veterans Candye Kane and Deborah Coleman (the latter had been part of the previous Ruf blues package) for a rousing performance of blues and soul that condenses and displays the finest attributes of each artist. The tour borrows its name from Kane's 2007 Guitar'd and Feathered album, but it's the U.K.'s Wilde who makes the strongest impression, perhaps because she's somewhat of an unknown entity (her debut was not available in America as of this album's appearance, yet had been released in Europe).
As in the past, the performers open and close the concert together, then concentrate on individual sets with a terrific road band backing up each one. The proceedings kick off in strong form with the trio's cover of Ray Charles' defiant "Won't Leave," trading off lead vocals. That drives the raw, party groove for the remainder of the show.
Wilde's opening four original songs feature her guitar, but it's her growling, insistent vocals, somewhat similar to those of Janis Joplin, that are such a revelation. She hisses, yowls, croons and snarls her way through a set that ends too soon with the nearly six-minute slow blues of "I Love You More Than I Hate Myself" an unanticipated highlight of the night.
Following that would be a challenged for anyone, yet Kane tries her hardest, strutting her way through typically sassy, double entendre jump blues-influenced music that reprises three songs from her recent disc and closes with the appropriately titled "Toughest Girl Alive." Fun and frisky.
Coleman appears next, churning out sharp guitar to Luther Allison's "Fight" and ZZ Top's "Jesus Just Left Chicago," some inspired, even unusual covers that she stamps with her unique voice and rugged solos.
The trio returns for raucous versions of "Something's Got a Hold of Me" and a rollicking ten-minute "Whole Lotta Love" that starts as a shuffle then shifts to Led Zeppelin's well-known arrangement to help close this high energy gig on an appropriately rowdy note.
01 - Won't Leave 03:06
02 - Bring Your Loving Home 03:47
03 - Heal My Blues 02:45
04 - Come Undone 03:26
05 - I Love You More Than I Hate Myself 05:44
06 - You Need A Great Big Woman 04:14
07 - My Country Man 02:49
08 - I'm Lucky 03:26
09 - Crazy Little Thing 02:50
10 - Toughest Girl Alive 02:41
11 - Bad Boy 04:02
12 - I Got To Know 04:19
13 - Fight 04:45
14 - Jesus Just Left Chicago 04:40
15 - Something's Got A Hold On Me 04:46
16 - Whole Lotta Love 10:59
17 - Rocking On The Blues Caravan 04:46
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Rate: 192 kbps CBR / 44100
Size: 197,08 MB
Diese Doppel-CD ist wieder ein gekonntes Live-Werk der Rodgau Monotones und dreier tot geglaubter Bands, Hob Goblin, Die Crackers und Flatsch, mit deren Mucke man im Großraum FFM so manche Party alleine bestreiten kann. Die Titelauswahl ist ein prima Mix der Hits dieser vier Bands, die auf den beiden Konzerten Anfang März 2003 mit Henning Nachtsheim (ex-Rodgau) und Gerd Knebel (ex-Flatsch) auf der Bühne alles gaben - und das kommt auf dieser CD auch so rüber. (Peter K.)
Einfach geile Mucke, von Leuten, die es können und wenn sie noch so regional sind!
01 - Hob Goblin - Brot Und Spiele 05:26
02 - Hob Goblin - Schon Lange Her 05:55
03 - Hob Goblin - Alles 05:19
04 - Hob Goblin - Erotisch 05:49
05 - Crackers - Beatkapelle Aus Dem Altersheim 03:40
06 - Crackers - Ich Kann Doch Nicht Schwimmen 03:00
07 - Crackers - Phonhaus 02:44
08 - Crackers - Das Sprechende Schlagzeug 01:29
09 - Crackers - Jetzt Geht's Los 03:31
10 - Crackers - Hätt' Ich Einen Hammer 03:25
11 - Crackers - Pornokino 03:37
12 - Crackers - Klassenfahrt Zum Titisee 02:48
13 - Flatsch - Männer Müssen Männer Sein 03:34
14 - Flatsch - Badekapp 03:29
15 - Flatsch - Tannenbaum P. S. 03:52
16 - Flatsch - Schwester, Schwester 05:31
17 - Flatsch - Gute Alte Zeit 07:49
01 - Rodgau Monotones - Sch Ascona 02:13
02 - Rodgau Monotones - Ei Gude Wie 04:29
03 - Rodgau Monotones - Besser 03:58
04 - Rodgau Monotones - Horschema 04:58
05 - Rodgau Monotones - Tabuloser Kuschelsex 03:16
06 - Rodgau Monotones - Hallo Ich Bin Hermann 07:10
07 - Rodgau Monotones - Zigeunerschnitzel 06:12
08 - Rodgau Monotones - Is' Nur Kino 05:55
09 - Rodgau Monotones - Der Kleine Pirat 04:06
10 - Rodgau Monotones - Mein Freund Harvey 03:59
11 - Rodgau Monotones - Keine Lust Zu Tanzen 04:35
12 - Rodgau Monotones - Frach Mich Net 05:11
13 - Rodgau Monotones - Silberhochzeit 05:02
14 - Rodgau Monotones - Die Hesse Komme 07:38
15 - Rodgau Monotones - Volle Lotte 04:01
Gamble for more Rodgau Monotones Und Gäste
Wednesday, December 28, 2016
Rate: 285 kbps VBR / 44100 from lossless source!
Size: 92,97 MB
In 1996 he entered the Guinness Book of Records by playing the fastest ever boogie-woogie. Since then he has regularly been celebrated in the media as the ‘King of Boogie’. He proves this again and again with his 100 performances per year – his motto being Let’s Boogie!
Brina’s unmistakable piano playing can be enjoyed on his new CD “Who Cares, Just Boogie”. His mastery of the art of singing and production is fully put to the test – with a great deal of variation. This album demonstrates the variety of this unique music and seduces the ears (and legs) with musical surprises.
The CD contains 18 songs, all of which are composed by Brina himself, playing solo on the piano or with his band. For one track on the album, he was also able to win over the Californian blues harmonica player Rod Piazza, a very big name in the blues scene. “I was especially pleased to be able to get Rod on board. He is by far and away my favourite blues harp player!” enthuses Brina.
01 - Two Rabbits On A Blind Date 02:27
02 - Who Cares, Just Boogie 02:35
03 - Don't Mess Around With A Pianoman 02:08
04 - Crying Cats And Dogs 01:54
05 - Jon King Tons Blue Boogie 02:46
06 - Rabbit's Blues 03:22
07 - Time To Boogie Woogie 02:47
08 - She Loves To Boogie 02:24
09 - Happy Ol' Boy 03:00
10 - Little Sugar Mouse 02:36
11 - Saturday Night Blues 03:29
12 - Hitchhike Boogie 02:17
13 - Jumpin' Chicks On A Washboard 01:52
14 - Boogie Woogie Power 03:09
15 - Cool Cat Blues 03:51
16 - Let The Cat Out Of The Bag 02:17
17 - Offhanded Boogie 02:35
18 - Charlie's Boogie 02:41
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Rate: 272 kbps VBR / 44100 from lossless source!
Size: 90,91 MB
Very few artists deliver their fifth album a couple of months after they turn 21. Even rarer is for that record to be the best of an already impressive career. That’s the formidable achievement of Toronto-based blues-rock singer/guitarist Jimmy Bowskill on his new album Back Number, set for release on Ruf Records in February, 2012.
Jimmy Bowskill’s prowess as a killer guitar player and convincingly soulful singer has long been established, and his evolution as a songwriter is now fully confirmed on the new record, marking him a genuine triple threat. Back Number is the most fully realized Jimmy Bowskill Band album to date. The trio features drummer Daniel Reiff and bassist Ian McKeown, and Back Number captures the sound of a band firing on all cylinders. Jimmy increasingly involved his bandmates in the writing process, with winning results. “Generally, we approach a song with a riff idea I may have and we’ll expand the song together from there. It’s a new experience for me, building a song that way, and it’s a lot of fun,” he explains.
Armed with a batch of killer new songs (some of them already road-tested at gigs), The Jimmy Bowskill Band headed into famed Toronto recording studio Metalworks. Jimmy had recorded his self-titled third album there in 2008, and felt very comfortable in that environment. On hand this time to co-produce the album with the band was Brian Moncarz (Dean Lickyer, Moneen). Described by superstar producer Bob Ezrin (Pink Floyd, Alice Cooper) as “one of the hottest young producer/engineers around,” Moncarz proved an inspired choice.
“We were all on the same page, and the recording went quickly and smoothly,” says Jimmy. “We did all the bed tracks live off the floor. We wanted to capture what we do live, without sugarcoating anything.”
The result on Back Number is an album that exhibits real dynamic range, while adhering to the classic sound of a blues-rock trio. Canadian blues great Colin Linden has already given his seal of approval to “Spirit Of the Town,” a powerful horn-fuelled ballad. In fact, Linden joined The Jimmy Bowskill Band in performing it a gala blues concert at The Glenn Gould Studio in Toronto in March 2010. That song has deep personal resonance for Jimmy. “I wrote it about my home town of Bailieboro [near Peterborough, Ontario]. I have a really strong connection to that town, and it’s about the changes I’ve seen there over the years.”
A notable songwriting peer who admires Jimmy’s work is Ron Sexsmith, and the two collaborated on Back Number’s “Little Bird.” “Ron has definitely been an influence on me over the years,” explains Bowskill. “For that song, he came up with a really cool melody and lyrics, and I gave him a riff idea I’d recorded. Sitting down together to write was a lot of fun.” Sexsmith also wrote the song “Least Of My Worries” specifically for Jimmy. That tune, a cool jazzy shuffle, features Bowskill playing some fluent barrelhouse piano.
Jimmy’s lyrical skills are also in full evidence on “Seasons Change,” an epic and soulful song featuring a vocal performance Paul Rodgers (a fan and friend of Bowskill) would be proud to call his own. The propulsive and catchy “Linger On Sweet Time” is another highlight of this consistently strong, filler-free album. (https://www.bluesmagazine.nl/)
01 - Take A Ride 04:31
02 - Linger On Sweet Time 03:50
03 - Salty Dog 04:35
04 - Little Bird 04:06
05 - Spirit Of The Town 05:32
06 - Sin's A Good Man's Brother 04:53
07 - Sinking Down 04:21
08 - Down The Road 04:07
09 - Seasons Change 04:57
10 - Broke Down Engine 03:34
11 - Least Of My Worries 03:00
Gamble for more The Jimmy Bowskill Band