пятница, 15 февраля 2019 г.

Divine Ratio - Unified by Division: Vault 13

Bitrate: 320K/s
Year: 2019
Time: 77:27
Size: 178,2 MB
Label: Schuyler Island Music
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Broken - 5:28
 2. Area 10 (Instrumental Version) - 6:37
 3. 30Mg - 6:59
 4. I Know (Live) - 5:05
 5. Open Up - 9:35
 6. Phidias - 3:54
 7. No Mans Land (Instrumental Version) - 5:16
 8. Smoke and Mirrors - 3:27
 9. New Zealand Sky - 6:18
10. Reflections - 6:39
11. Change of Fate - 5:44
12. Last Regret - 6:08
13. Too Eager to Learn - 6:11

13 various files from the vault (bryan knispel, charles r. gray, james roman, tripp jonhson, scott tipton)/ Melodic rock at its finest...at times Bryan is reminiscent of Maynard from A Perfect Circle & TOOL. This band covers all of the musical spectrum with hard driving riffs and beautiful interludes. An incredible musical journey/

Unified by Division: Vault 13

Rooster Davis - For Saints and Sinners

Bitrate: 320K/s
Year: 2015
Time: 34:36
Size: 79,3 MB
Label: Down Gravity Records
Styles: Blues/New Orleans Boogie Blues
Art: Front

Tracks Listing:
 1. You Lie Too Much - 3:16
 2. I'm in Love Again - 3:08
 3. High Blood Pressure - 2:48
 4. Junco Partner - 2:56
 5. St. James Infirmary Blues - 4:12
 6. Down By the Riverside - 3:58
 7. Mardi Gras in New Orleans - 3:21
 8. Iko Iko - 3:24
 9. Those Records (feat. Ann Vriend) - 3:32
10. Rooster Blues - 3:56

The Rooster Davis Group is all about delivering an exiting performance full of energy with a high level of musicianship and execution. The group is based around the driving, virtuosic piano that has principally developed in New Orleans, particularly starting with Professor Longhair, James Booker and Fats Domino, and continues today through the current masters such as Allen Toussaint, Dr. John and Jon Cleary. Rooster Davis is known primarily for the way he plays the blues, which most closely resembles the style of Dr. John (Mac Rebennack), although he does play some Dixie and Trad Jazz in his group, the blues can be heard in everything he does.
New Orleans boogie piano maestro Rooster Davis returns with 2015’s For Saints & Sinners. Presented as a high energy power piano trio, with trombone and drums playing some of the blues, funk, and boogie piano music from New Orleans, with Canada’s “songstress of soul”, Ann Vriend, singing on two songs and Rooster Davis’ gritty blues vocals on the rest.

For Saints and Sinners

четверг, 14 февраля 2019 г.

Tedeschi Trucks Band - Signs

Bitrate: 320K/s
Year: 2019
Time: 46:28
Size: 106,4 MB
Label: Fantasy
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Signs (High Times) - 3:51
 2. I’m Gonna be There - 5:48
 3. When Will I Begin - 4:17
 4. Walk Through This Life - 4:46
 5. Strengthen What Remains - 2:36
 6. Still Your Mind - 4:57
 7. Hard Case - 3:22
 8. Shame - 4:55
 9. All the World - 3:21
10. They Don’t Shine - 3:27
11. The Ending - 5:02

The always formidable Tedeschi Trucks Band has scheduled a February 15th release date for their new and powerful 11-song collection, Signs on Fantasy Records. 
Singer/guitarist Susan Tedeschi teams up again with her guitarist husband, Derek Trucks and their entire supremely talented 12-piece band to deliver a timely state-of-the-union message on their fourth studio album, told in their hard-hitting style of Blues and Americana. This is a record that isn’t afraid to explore anxiety and loss while assuring everyone who listens that they, and we, still have plenty of fight left in us. As traditional as the sounds and song shapes might be, this is a band ready to speak honestly about where we are today, and unafraid to take Southern Rock wherever it needs to go next. 
Signs is a true band effort, with songwriting duties shared among the band members with additional contributions from Warren Haynes, Oliver Wood and Doyle Bramhall II. Derek Trucks, Jim Scott and Bobby Tis produced the album.
The sly chugging soul beat of “Signs, High Times” eases you into the album sonically but right out of the gate, the lyrics let you know this isn’t going to be an album full of party anthems. The band is going to be speaking from the heart and directly, in no uncertain terms, to the listener. “We been here before. We were just getting ready. No more fooling around.” It is a call to arms to all of us, if we’re ready. It’s a rocking, groove-based number with Susan’s voice soaring and souflul.
The message gets more personal, but no less intense on “I’m Gonna Be There.” Susan uses a smooth R&B slow jam to reassure a nervous lover, or country, that hope is always alive as long as we stick with each other. Heavier still are Susan’s vocals on the emotionally bare “When Will I Begin.” A torch song about more than just a love gone wrong, the arrangement swells and expands setting up a guitar break that packs as much emotion as Susan’s vocals.
A modern undertone runs through the horn-soaked soul groove of “Walk Through This Life,” another popping reminder that hope is always our most powerful and durable weapon. If I didn’t know better, I would swear the song is a cover of some timeless Stevie Wonder classic. The light and airy arrangement of “Strengthen What Remains” makes some of the album’s heaviest lyrics feel more contemplative than damning. Flute solos over cellos tends to do that, but there is no denying the power behind the message, nor the fearlessness of the band to drop this kind of tune in the middle of a collection of more tradition-bound sounds. With vocals like Susan’s, the message goes down easy. And it’s a toe-tapper of the best kind with beautiful chord changes, a short slide solo and guitar riffs by one of the most respected guitar players, Derek Trucks.
Speaking of breaking with tradition, “Still Your Mind” opens with a piano interlude before sliding into some of the most quirky tones and rhythms on the album. The music and lyrics, especially in the chorus, hum with the insistence of a good Liz Phair song and once again the emotionally unsettled lead guitar break captures the emotional tone of the song perfectly.
Doing an emotional 180 in an album themed by heaviness and loss, “Hard Case” positively bubbles with hope and reminders of what good times feel like. By the time the funky keyboard break bounces in like another Stevie Wonder cameo, you’ll discover your head was already bobbing. The band gets back to heavier subjects and sounds on the bluesy “Shame.” While Susan’s lyrics call down shame on those who are “poisoning the well” and “murdering the truth” the band unleashes some gut-punch funk in the bridges and choruses that sounds like a protest that is teetering on the edge of becoming a riot, and what could feel more timely than that?
On the wistful and swoony “All The World” Susan’s yearning and simply beautiful vocals lean into the sweet and simple groove guided by the horn section and filled out by some exceptional organ work. The band picks up the pace on the big sounds of “They Don’t Shine,” which finds every corner of the band playing hard, and with intent, on a traditional mid-tempo rocker, like they’re going to lift you out of your seats no matter how weird, or bad, the news night be.
This is an album clearly flavored by loss, angst, and apprehension, often on a big scale. Using their formidable chops and obvious chemistry, Tedeschi Trucks Band does a good job of capturing the overall vibe of the country here in 2019. We remember better times and know they can return, but we also know it ain’t gonna be easy. The collection, however, closes with the extremely personal. “The Ending” is a tribute song to Col. Bruce Hampton, a friend and mentor to many in the band, who died while playing on stage with Derek and Susan, during his 70th birthday celebration/concert. As always, when a song or story is this specific, it somehow manages to tap into something universal – about the nature of life, the

Signs

Katy Mitchell - Katy Sings the Blues

Bitrate: 320K/s
Year: 2019
Time: 32:31
Size: 76,4 MB
Label: Soundside
Styles: Blues
Art: Front

Tracks Listing:
 1. Stormy Monday - 3:52
 2. Buck - 3:56
 3. Go to Hell - 3:18
 4. Richland Woman's Blues - 2:34
 5. I Love the Life I Live - 3:26
 6. Spoonful - 3:06
 7. Messin' with the Kid - 3:16
 8. I Got My Mojo Workin' - 4:06
 9. Come on Around to my House - 2:01
10. Clam Rake - 2:53

When Katy Mitchell was 15, she entered Ocracoke’s Soundside Studios to record her first album, “Baby It’s You,” which was released at the ripe-old age of 16. By most accounts, her first recording is a fantastic album featuring songs many of which harken back to the 60s and 70s (“The Letter,” “Big Yellow Taxi,” “Ode to Billie Jo” and “The Times They Are a-Chan¬gin”). Her rendition of George Gershwin’s stirring “Summertime” is one of my all-time favorites. So it has been with high expectations that many of us have waited about nine years for her next album which was released the week of this year’s Ocrafolk Festival. The verdict: “Katy Sings the Blues” is well-worth the long wait. Starting with the T-Bone Walker classic, “Stormy Monday,” her sultry, slow bluesy voice does justice to all of the songs on the album. As the album title suggests, there are plenty of blues classics including Willie Dixon’s “Spoonful” and “Got My Mojo Working” by Preston Foster. In addi¬tion to Katy’s great singing, both the arrangements of the songs and the musicians’ performances are first rate. “Lou Castro in particular, should be noted for his great guitar w o r k – b o t h rhythms and leads – on this album,” noted Gary Mitchell who, with Matt Mitchell, co-produced the album and also performed. Fiddler Dave Tweedie and even Katy’s mother, Kitty Mitchell, can be heard on the album.
Here are the other musicians: Michael O’Neal and Matt Mitchell on guitar, Robbie Link plays upright Bass, Jubal Creech handles the percussions and Joe Littell plays Dobro guitar and harmonica.
The album concludes with Russell Newell’s “Clamrake,” a song Katy has frequently performed over the years at the Deep Water Theater and more recently in the Ocrachicks concert at this year’s Ocrafolk Festival. ~Peter Vankevich

Katy Sings the Blues

Approaching the Silence - On These Shores

Bitrate: 320K/s
Year: 2019
Time: 67:36
Size: 155,1 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Onward Toward Morning -  9:11
 2. The Justin Traveler -  6:54
 3. Approaching the Silence -  7:14
 4. On These Shores -  9:39
 5. Angel Terrain - 10:07
 6. The Beggar and i -  9:23
 7. Crimson Sky -  7:47
 8. Chantings From The Hollow -  7:18

Remember 35 years ago when prog-rock music was crushed into submission by the forces of Punk/Nu-Wave/Hair Metal/Rap and MTV? This is what happens when you force something to go underground to survive.

On These Shores

среда, 13 февраля 2019 г.

Willie Buck - Willie Buck Way

Bitrate: 320K/s
Year: 2019
Time: 69:08
Size: 158,5 MB
Label: Delmark Records
Styles: Blues/Chicago Blues
Art: Full

Tracks Listing:
 1. You Want Me to Trust You - 3:58
 2. (All I'm Doin' is) Thinking of You - 2:41
 3. Bottom of the Hill - 3:53
 4. I Got You (and You Got Me) - 3:10
 5. Can't Say Something Good About Me - 4:32
 6. There's a Woman - 4:23
 7. My Mind Might Freeze Up - 4:09
 8. Crawlin' King Snake - 3:38
 9. I Give So Much to You - 3:55
10. Heck of a Time - 4:30
11. The Men Ought to Learn (To Treat the Women Right) - 5:02
12. Please Have Mercy - 4:32
13. How Deep is the Ocean - 2:45
14. Willie Buck Way - 3:52
15. Twenty-Four Seven - 3:34
16. Blues Before Sunrise - 6:05
17. I'd Rather Leave You - 4:22

Willie Buck Way is the name of an honorary street named after Willie Buck in his hometown, Chicago AND it’s the name of his new album on Delmark Records. Accompanied by Billy Flynn, Thaddeus Krolicki, guitars; Scott Dirks, Harmonica Hinds, harmonica; Johnny Iguana, piano; Bob Stroger, bass and Jimmi Mayes, drums Buck delivers twelve new original songs along and five covers.
Buck’s previous Delmark album, Cell Phone Man, debuted on Living Blues Radio Chart in the #1 position in the December, 2012 issue along with an 8-page feature story and a glowing album review.
“His vocals are sinewy and expressive (he demonstrates a powerful upper range that even a lot of his longtime fans will find surprising)…postwar Chicago blues have long been, and remain, a contemporary music to him, and he delivers them with both urgency and elan.”
Willie Buck Way also features notes and original artwork by Plastic Crimewave (Steve Krakow) from the Secret History of Chicago Music series.

Willie Buck Way

воскресенье, 10 февраля 2019 г.

Jeffrey P. Ross - My Pleasure

Bitrate: 320K/s
Year: 2002
Time: 52:52
Size: 121,3 MB
Label: Doc Blues
Styles: Blues/Texas Style
Art: Full

Tracks Listing:
 1. Muddy Waters - 2:39
 2. Blues Clair - 2:34
 3. I Thought I Heard the Angels Cryin' - 4:55
 4. Good Boy - 2:57
 5. Down in My Soul - 3:17
 6. Pay Attention Blues - 3:36
 7. Wah Wah Blues - 5:01
 8. J.R.Blues - 4:40
 9. Take it Easy Baby - 3:47
10. Blue Mood - 3:16
11. Flim Flam - 3:02
12. Backstroke - 3:36
13. Somebody Been Talkin' - 2:13
14. Left Eye Jump - 4:09
15. Make It Snappy - 3:02

Jeff Ross, a veteran of many bands in many styles, recorded a blues album, not a combo platter. Sure, there are tracks that offer varying shades, but if you bought this album, a) you?re probably wanting to hear some blues, and b) you?re into (and might even play) guitar. And so, a blues guitar album you shall get.
AUSTIN, TEXAS---The connection between classic cowpunk creators Rank & File and the cosmopolitan creativity of the Gypsy jazz unit Club Django is not an obvious one, unless, of course, you're familiar with guitarist JEFFREY P. ROSS, a veteran virtuoso who delivers all hues of blues on his debut disc as a leader.
Ross and his guitar have been involved in all manner of inventive and unusual musical situations but after a couple of decades of brightening up the sound of others he's finally stepping into the spotlight in his own right with a sparkling collection of enlightened blues.
Ross has recorded with California guitar-slingers the Hellecasters and Austin's eclectic roots aggregation the Asylum Street Spankers, as well as working with a trio of distinctive, if admittedly dissimilar, female vocalists; bawdy blues belter Candye Kane, rockabilly rebel Rosie Flores and alt-country angel Kelly Willis.
And, befitting a guitarist who chose the blues as the context for his first solo outing, Ross naturally has deep and diverse blues experience, including work with West Coast blues stalwarts such as hard-blowing James Harman and the late William Clarke.
But all those musical affiliations---and they're by no means the full extent of Ross's career accomplishments---serve merely as a provocative prelude for "My Pleasure", the first recording to feature Ross's guitar work under his own name in the service of his own tunes.
"My Pleasure" features an outstanding cast of Austin musicians, including multi-talented bluesman Guy Forsyth, string wizard Erik Hokkanen, T-Birds pianist Gene Taylor, and vocalist Major Burkes, for starters, but it is Ross who is---at long last---front and center throughout.
Much of the material comes from Ross and all of it is sonically tailored to his specifications, making the album's title a simple statement of fact. "It's exactly what I wanted to do," Ross explains. "I was allowed full freedom to please myself musically, so it's the tunes I wanted to do and they're done the way I wanted to play and record them."
What brought Ross his musical pleasure was playing the blues. His expansive definition of blues, however, takes the music in a multitude of musical directions. Each is intriguing and all are interlaced with uniformly excellent instrumental innovation but "My Pleasure" is not just a guitar showcase.
Ross has written and assembled solid songs and he and several guest vocalists, including Seth Walker, Mark Goodwin, Nick Curran and J. Jaye Smith, in addition to Forsyth and Burkes, meld them to the music with superlative results. It is undoubtedly blues straight from the heart but its stylistic range and deft delivery create new hues as enjoyable as they are exciting.
So, make "My Pleasure" your own. Give it a listen and the odds are good you'll give it another. And another.

My Pleasure