вторник, 24 мая 2016 г.

Dirty Basement Blues - Coming Clean


Bitrate: 320K/s
Year: 2014
Time: 55:50
Size: 129,0 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. When I'm Free - 5:29
 2. Coming Home - 6:17
 3. Get Up - 7:42
 4. You Cursed Me - 4:04
 5. Opinionated Blues - 5:29
 6. Nail Driver - 4:57
 7. Just Like Poison - 5:01
 8. Back of My Eyes - 5:33
 9. Blues to You - 5:04
10. Walk in My Shadow - 6:09

Musicians:
Frank Grimaldi – Vocals;
Joe Stanley – Guitar/Vocals;
Bryan Miller – Bass;
Pete Zajicek – Hammond organ/Vocals;
Mike Conley – Drums.

The band, which garnered a 2015 Detroit Music Awards nomination for best blues artist/group, doesn’t play straight blues.
The band’s album “Coming Clean,” which received a Detroit Music Awards nomination as best blues recording, incorporates rock, soul and other influences.
“The title speaks for us coming clean about all our musical influences and the things that inspired us to write music,” lead vocalist Frank Grimaldi said. “We’re all influenced by the blues cats, rock ’n’ roll, soul music, church music, anything with soul. We took our influences, put ‘em down, and made them our own.”
The album, which was recorded live with minimal overdubbing in March of 2014 at Josh Ford’s Sound Shop Studios in Macomb Township, has nine original songs and one cover, “Walk In My Shadow,” by Paul Rodgers.
It features the vocals of Grimaldi, who is only 24 but delivers with depth reminiscent of white blues/rock/soul singers from Southeast Michigan who made their mark in the 1960s and ’70s, such as Mitch Ryder, Mark Farner of Grand Funk, Scott Morgan of The Rationals, and the late Rob Tyner of the MC5.
“I’ve loved the MC5 since I was 12 years old,” Grimaldi said. “I love their live record ‘Kick Out the Jams.’ It is so sonically perfect. It feels like it’s going to fall apart at any moment and it doesn’t. That’s rock ’n’ roll.”
Grimaldi, whose first public performance was singing a Led Zeppelin song during an 8th grade talent show, used to hear vocal comparisons with Robert Plant. Recently, fans have been telling him he sounds like the late Steve Marriott from Humble Pie fame.
“That’s the highest compliment,” Grimaldi said. “He was one-of-a-kind.”
The group had its genesis as a power trio in early 2012 as two former Jam Samich band members — guitarist/vocalist Joe Stanley and drummer Mike Conley — joined forces with bassist Bryan “Bodi” Miller.
A search for a lead singer brought in Grimaldi, who had been singing and playing guitar with the group Counter Culture.
The band added keyboardist/vocalist Pete Zajicek from the Square Boys for the 2012 Detroit Blues Challenge and advanced to the final round, but could not compete in the finals because Stanley was on his honeymoon. Zajicek blended so well with the other musicians that he eventually joined the group as a band member.
In 2013, Dirty Basement Blues returned to the competition and won the Blues Challenge, which is hosted by the Detroit Blues Society. Earlier, Jam Samich had advanced to the finals, but did not win. That made the victory a little sweeter for the group.
“It was just solidifying, a very victorious moment for us,” Grimaldi said. “… As a group, it was like a ‘yeah’ moment.”
From there, the band went to Memphis to compete in the International Blues Challenge.
“Memphis was incredible,” Grimaldi said. “We stayed at the Weston, across the street from the Gibson factory. We were only a block from Beale Street.
“There was great music everywhere. To be around that many musicians was great. Everybody was real cool and by the end of the week people were recognizing us and saying ‘Hey, Detroit!’ It was neat.”
The members of Dirty Basement Blues are currently working on their second studio album.

Coming Clean

Wailin' Walker - Buzzsaw Boogie

Bitrate: 320K/s
Year: 1996
Time: 45:52
Size: 105,4 MB
Label: Peerless
Styles: Blues/Electric Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Tryin' to Find My Baby - 2:54
 2. I Feel Fine - 3:53
 3. Boogie With Ya' - 3:16
 4. Buzzsaw - 3:56
 5. While Your Down There - 4:25
 6. Down the Highway - 3:54
 7. Pretty Girls Everywhere - 3:47
 8. Gasoline Annie - 3:11
 9. Dawn 'til Dusk - 4:16
10. Outlaw Blues - 3:26
11. Let's Make It - 3:45
12. Devil Made Me Play It - 1:48
13. Boogie Baby (Reprise) - 3:17

The Wailin' Walker Band plays good-time boogie and they play it well. This Vancouver group's new CD rocks nonstop, with high energy and a clean, bright sound.  "Tryin' to Find my Baby," the opening track, shows Big Al Walker's band at their best. The singer/guitarist plays T-Bone Walker-style licks over a rolling groove, punctuated by simple but effective horn riffs. This is dance music, pure and simple. Walker wrote most of the tunes here and, when he hits on a good lyrical theme like "While You're Down There," the results are memorable. This slow burning blues has Hammond B-3 organ and electric guitar meshing to create a densely textured sound while the vocals are reminiscent of Stevie Ray Vaughan. An instrumental, "Dawn 'til Dusk," highlighted some nice jagged soloing by Big Al. Another guitar showcase, "Devil Made Me Play," is even hotter but, unfortunately, is less than two minutes long. Other than those two workouts, the band adheres rather slavishly to the boogie formula, which makes the disc sound repetitious. Songs like "Gasoline Alley" and "Down the Highway" lack anything special to elevate them above the routine. "Boogie with Ya," which appears in two different takes, is the type of live crowd-pleaser that sounds merely cliched on record (the lyrical hook is "I want to boogie with ya baby"). On the other hand, it might work as a beer commercial...

Buzzsaw Boogie

воскресенье, 22 мая 2016 г.

Big Eli B - 6 Foot 2 Wild And Blue

Size: 126,1 MB
Time: 54:03
File: MP3 @ 320K/s
Released: 2015
Styles: Blues Rock
Label: Self Released
Art: Front

Tracks Listing:
1. Bad Man Blues - 4:25
2. Both Hands On The Wheel - 4:37
3. Come Back Baby - 5:40
4. Funkenstein - 4:01
5. Legend Of The Blues Man - 6:31
6. Nice Guys Finish Last - 6:38
7. Play The Blues - 5:49
8. Russian Roulette With A Single Shot - 4:26
9. Treats Me Bad, Loves Me Good - 6:29
10. Tried And Troubled - 5:22

6 Foot 2 Wild And Blue

Andy Ross - Time To Fight

Bitrate: 320K/s
Year: 2016
Time: 36:39
Size: 98,7 MB
Label: Buck Shot Records
Styles: Country Rock/Southern Rock
Art: Front

Tracka Listing:
 1. Back on the Backroads (feat. Little Texas) - 3:44
 2. Like a Bullet from a Gun - 4:20
 3. My Father's Son - 3:27
 4. American Rebel - 3:54
 5. Heaven Got a Hell-Raiser - 3:58
 6. Playing in the Mud - 3:49
 7. I Wrote This One Myself - 4:06
 8. It's America, Son - 3:25
 9. Ain't Running Out of Ammo - 2:59
10. Big Bad Loud Fast - 2:53

The first two CDs have set the stage for us to take our time and dig deeper than before. Now with years of experience writing, recording, and touring the opportunity get back in the studio is finally here. The idea is not only to pick up where we left off with “Cold Dead Hand” but also to stretch out and make sure every song has meaning, hits a nerve, or pulls on a heartstring. Once again I have called on my good friend Porter Howell and he brought in songwriter Brady Seals. Other writers include Chris Janson, Ken Johnson, Jamie Lee Thurston, Rob Snyder, and Bobby Johnson. As an added bonus I will be recording two duets, one with Little Texas and one with Dede Day.

Time To Fight

среда, 18 мая 2016 г.

Scrounger - Snap

Bitrate: 320K/s
Year: 1976
Time: 38:12
Size: 87,8 MB
Label: Anchor Records
Styles: Soft Rock
Art: Front

Tracks Listing:
 1. Parisian Cafe Blue - 3:26
 2. Telephone Song - 2:20
 3. Our Love - 3:24
 4. So Here I Stay - 3:10
 5. Me, I'm Pretending - 5:20
 6. Platform "9" - 4:51
 7. Lady Fame - 3:21
 8. Smile - 4:03
 9. Magical - 2:51
10. Other Girls Don't Feel The Way You Do - 5:23

Musicians:
Paul Lewis - vocals;
Ian Curnow - keyboards, vocals;
Paul Keogh, Ray Russell - guitar;
Mo Foster - bass;
Frank McDonald - bass;
James Cameron - strings;
Peter Van Hooke, Mike Nicholls - drums.

Released on the same label that brought you the evergreen classic 'How Long' by Ace, Scrounger's 'Snap' was just one of a handful of noteworthy albums put out by Anchor Records including the pre-Motorhead band Blue Goose featuring 'Fast' Eddie Clarke, Moonrider (Gulliver connection in case you were wondering) and Cado Belle with powerhouse vocalist Maggie Reilly as well as becoming Alice Cooper's British label for a short time. A very impressive roster indeed, but for my money 'Snap' is the best album the label slapped their logo onto and is well worth the attention for fans of classic 70's English pop.
This is sophisticated pop music in the style of 10cc, Caf‚ Jacques, Blue Max, Nasty Pop, Jigsaw, Brian Protheroe, Pilot, Queen and well.. you see where I am going? Now you have to understand, this is probably my favourite style and era of music so when I gush superlatives, heaping praise on an album like this, consider the source. Having said this, there is plenty here for even the most casual fan of 70's art pop to enjoy. Opening cut 'Parisian Cafe Blue' sounds like a brilliant mixture of Sailor, 10cc, and Pilot and I am in heaven! 'Telephone Song' borrows the best of Gilbert O'Sullivan and Paul McCartney while 'So Here I Stay' and 'Me, I'm Pretending (Jimmy Dean)' both owe a huge debt to Queen and ELO, but the songs are so good, it doesn't matter and I just shake my head how an album of this caliber flew under everyone's radar for so long?
Vocalist Paul Lewis seems to have disappeared, but keyboardist Ian Curnow has made a name for himself as a producer and arranger for people like Boyzone and Rick Astley. Not exactly up to the creative level of Scrounger, but the guy has to make a living I guess. I have hoped for a CD reissue of 'Snap', but it hasn't happened yet and as time goes by the possibility of seeing the record in digital form grows dimmer with each passing year. Still, I have my trusty vinyl and for those interested, copies of this classic shouldn't be too difficult to track down. What are you waiting for?

Snap

Bill Durst - Good Good Lovin

Bitrate: 320K/s
Year: 2015
Time: 33:18
Size: 76,4 MB
Label: Durstwerks
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Good Good Lovin - 2:42
 2. Got Love - 3:36
 3. 21st Century Blues - 4:51
 4. I'm Alright - 4:17
 5. Heaven Heaven - 4:44
 6. King Snake Prowl - 3:54
 7. What Could Have Been Love - 3:04
 8. Northern Electric - 3:09
 9. I Regret to Say - 2:58

This is blues but it rocks like a Mo-Fo, it is turbo charged Texas blues with British blues influence, like Stevie Ray and Billy Gibbons had a love-child, Durst is a genuine blues rock star.
Sweet Mother of God, what have I just heard?!? This is the 5th solo album by former Thundermug guitarist Bill Durst from Stratford, Ontario, and it’s one of the most exciting records I have heard in a very long time. “Every once in awhile in the life of an artist the gods do smile” Durst says in the bio, “and you are helped by unseen hands. After experimenting for a few years, we have found our musical sweet spot.”
Good, Good Lovin’ is the blues alright, but it also rocks like a motherf**ker, and the comparison that immediately comes to mind is if Stevie Ray and Billy Gibbons had a love child. Written by Durst and bassist Joe DeAngelis (also Thundermug’s original vocalist) and driven by the insistent pounding of drummer Corey Thompson, the performance of each of the 9 songs on this album are absolutely fearless. I love how it feels like the band is just leaning into it and going for broke at every possible turn.
They say you can judge people by the company they keep, and Bill Durst has opened for the likes of Aerosmith, The Yardbirds, Little Feat, Johnny Winter and Bad Company, and no doubt terrified them in doing so. This set is very physical, it feels like turbo charged Texas blues, it’s like a big, nasty muscle car smokin’ the tires and daring anyone to take them on. Bill Durst is an incredible guitarist- not in the “weedly-weedly, look how fast I can play” sense, but in the way each chord and every note he plays is drenched in soul and sweat- I’ll take that over the lightning ANY day.
Good, Good Lovin’ is a rockin’ blues record, with muscle, soul and vitality to spare. Some albums are good, some even great- this one is SPECTACULAR.

Good Good Lovin

Sofakats - Back to the Blues

Bitrate: 320K/s
Year: 2011
Time: 38:00
Size: 87,2 MB
Label: Uncle Myro Music
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Back to the Blues - 3:07
 2. Empty Room - 5:06
 3. Bye Bye Baby - 3:26
 4. Born to Sing the Blues - 3:05
 5. I'll Be Gone - 4:03
 6. Lovin' You Is Killin' Me - 3:55
 7. Old Car - 3:28
 8. Saint Louie Blue - 3:24
 9. All Wrong For Me - 2:37
10. Lil Red Rooster - 5:45

After a 5 year layoff, the Sofakats are back ! All original members have got together to pump out this great set of new tunes , Hope you love it!
Mario Massi and Norman D together again,Great voacls and great guitar playing are what you get here, 9 new original tunes plus a Willie Dixons Lil Red Rooster

Back to the Blues

вторник, 17 мая 2016 г.

Trey Anastasio - Shine

Bitrate: 320K/s
Year: 2005
Time: 50:40
Size: 116,5 MB
Label: Elektra/Columbia
Styles: Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Shine - 3:08
 2. Tuesday - 3:42
 3. Invisible - 3:52
 4. Come As Melody - 4:27
 5. Air Said To Me - 3:50
 6. Wherever You Find It - 5:54
 7. Sweet Dreams Melinda - 3:35
 8. Love Is Freedom - 3:54
 9. Sleep Again - 5:00
10. Spin - 4:51
11. Black - 4:32
12. Love That Breaks All Lines - 3:49

Shine is Trey’s Columbia Records debut; his first collaboration with producer Brendan O’Brien (Bruce Springsteen, Pearl Jam); and his first full-length song-driven album after Phish’s last shows in 2004. Both Trey and Brendan, who play most of the album’s instruments, were able to draw upon a shared set of musical references, and elements of classic rock– catchy choruses; lean guitar solos; and brisk arrangements–course through these dozen songs.

Shine

Bill Durst - The Great Willy Mammoth

Bitrate: 320K/s
Year: 2009
Time: 42:24
Size: 98,8 MB
Label: Durstwerks
Styles: Blues/Blues-Rock
Art: Front

Tracks Listing:
 1. River - 4:27
 2. Cafe On the Gaspe - 2:59
 3. Beautiful - 4:41
 4. The Great Willy Mammoth - 3:38
 5. Flower Song - 4:14
 6. Wandering Blues - 5:29
 7. Radio: Soul Survivor - 2:56
 8. Homeless - 4:30
 9. 39 Days - 3:17
10. All the Blues in the World - 6:09

Up Lifting Songs of Blues Rock Roots, World Class Guitarist, Singer, Songwriter, Entertainer, Award Winner, Burning Blues Slide Guitar, Voice Soul-Deep, Big Fat Tone, Fuzz Thumping Beat so get some of this audience favorite treat. Bill Durst is a Canadian Blues- Rock- Roots guitarist, singer, songwriter, entertainer who has written and recorded over 115 songs on 11 albums with 7 national radio chart hits. Bill has opened for or shared the stage with Areosmith, Rush, BTO, Yardbirds, John Mayall, Savoy Brown, Bobby Rush, Little Feat, George Thorogood, Bad Company, Edgar Winter Group, Rick Derringer, Jeff Healey, Steve Strongman, Jack de Keyser, Monkey Junk, David Wilcox, Bob Seger, Downchild, Sly And The Family Stone, Slade, David Clayton Thomas, L.A. Guns, Johnny winter and many more. Mr. Durst has toured across North America and in Europe and tours extensively in Canada. As a kid growing up in Wingham and then London, Ontario (which is halfway between Toronto and Detroit), Bill was heavily influenced by Motown R&B and Toronto Psychedelic Soul music as well as the British Blues Invasion and Jimi Hendrix. Bill’s entrance onto the national/international stage was his classic rock band Thundermug formed from London R&B bands in 1969. By the summer of 1972 they had a number one hit and a fan following in Eastern Canada. The band went on to record a total of 5 albums, (3 albums in the early/mid 1970s and two CDs in the mid 1990s) releasing records in the US and Europe. Bill put out his first two solo releases in the mid eighties but it wasn’t until the early 2000s that Bill got some real career momentum.
In 2004 Durst proclaimed his intention to start up a “little, fuzzy, psychedelic blues band”
and since then Bill and his co-writer Joe DeAngelis have produced 4 full length CDs.
The Wharncliffe Sessions (’05), The Great Willy Mammoth (’09), Live (‘12) and
Hard And Heavy (’13).

The Great Willy Mammoth

Mr. Stress Blues Band - Live at the Brick Cottage 1972-1973

Bitrate: 320K/s
Year: 2016
Time: 75:12
Size: 172,8 MB
Label: Smog Veil Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. How Many More Years -  9:34
 2. Walkin' Through The Park -  4:11
 3. Good Time Charlie -  3:48
 4. Scratch My Back -  5:15
 5. Break Song 1 -  1:53
 6. Get Out Of My Life Woman -  7:05
 7. Big Boss Man -  3:16
 8. I Feel So Bad -  4:21
 9. Sweet Little Angel - 10:01
10. Rock Me Baby -  4:43
11. Crosscut Saw -  5:03
12. Help Me -  5:59
13. Black Night -  8:30
14. Break Song 2 -  1:27

There used to be a band like the Mr. Stress Blues Band in every American city, after Paul Butterfield's mixed-race lineup exploded out of Chicago in '65 -- as world-historical an event as Dylan's "going electric" at that year's Newport Folk Festival (with backing by some Butterfield musos). The bands that followed in Butterfield's wake provided an opportunity for young musos and listeners who'd teethed on folk and rock to experience a taste of urban authenticity. In Ann Arbor, Michigan, the local simulacrum was the Prime Movers, whose drummer traveled to Chicago to sit at Butterfield drummer Sam Lay's feet before realizing he needed to make his own kind of blues, and reinventing himself as Iggy Pop. That's right: No Butterfield, no Stooges.Even before Chrissie Hynde -- who'd rehearsed with his band a couple of times -- namechecked Bill "Mr. Stress" Miller in a song on the first Pretenders album, I was aware of his status as a Cleveland institution. I'd worked in a Dallas record store with Guitar Player/Living Blues scribe Tim Schuller (RIP), an Ohio expat who'd regale us with memories of Miller's droll humor. (The phrase that pays was "The more you drink, the better we sound.") So when estimable indie Smog Veil announced last year that they were releasing a live Mr. Stress recording as part of their CLE-centric "Platters du Cuyahoga" series, it piqued my interest. Miller formed his band in the summer of '66, taking its name (which folks inevitably started applying to its leader-frontman) from a term used in psychiatric hospitals. Like those of Butterfield, Muddy Waters, and John Mayall, Miller's band served as a finishing school for local talent. Guitarist Glenn Schwartz (Pacific Gas & Electric), who held the chair in '67, brought along members of his "other" band, the James Gang, to jam. Following a brief hiatus in '71, Miller reformed the band with guitarist-singer Peter Laughner. It was Laughner who originally hustled the gig at the Brick Cottage, a rough-and-tumble joint where these recordings were made following his ouster from the band in the summer of '72. He'd go on to achieve proto-punk notoriety with Rocket From the Tombs and Pere Ubu. Another future Ubu-ite, drummer Anton Fier, was also a Stress alumnus.
Miller -- who died in 2015 as this release was being prepared -- was a workmanlike singer in the same vein as Butterfield or Charlie Musselwhite. His harp playing was modeled on Little Walter's and Sonny Boy Williamson's -- whose wasn't? -- and he could hold his own onstage with Robert Jr. Lockwood, a familiar of both his exemplars who'd settled in Cleveland in the '70s. Miller fronted a hard-gigging, four-sets-a-night unit whose character changed with the musicians that passed through. On this album, the guitar is ably handled by Chuck "Pontiac Slim" Drazdik, a skillful technician with a biting tone and fierce sustain that's reminiscent of Harvey Mandel. (Dig his solos on "How Many More Years" and "Sweet Little Angel.") Long-serving band member Mike Sands, who ultimately logged 26 years with Stress, tinkles the keys on the Wurlitzer electric piano deftly, while bassist Tom Rinda and drummer Pete Sinks provide solid, unobtrusive support. The material's drawn from the standard Chicago blues repertoire, occasionally leaning toward rock in the manner of the white blues bands of the time. The songs are associated with artists as diverse as Howlin' Wolf, Muddy Waters, Bobby Bland, Slim Harpo, Jimmy Reed, Little Milton, and B.B. King, but Miller and his crew tackle them in their own scrappy Midwestern style, rather than merely copying the originals. (The CD gives you 14 songs, the LP nine, plus a download card that lets you make up the difference.) Had they jumped on the offer of a Capitol contract that Miller declined in '69, they might have given the British blues imitators that were all the rage at the time a run for their money. For the Stress band played this music like they owned it, not as though they were borrowing it. The sound quality is exceptional for its time, capturing the ambiance of the room so well that you can practically smell the sweat, the cigarette smoke, and the spilled beer. Nick Blakey's detailed and informative liner notes represent a journalistic feat on a par with Tom Ellis III's multi-part Butterfield saga in Blues Access, or any number of epic band histories in Ugly Things. If you were there, this release will take you back. If you weren't, it'll give you an idea why you might have wanted to be.

Live

понедельник, 16 мая 2016 г.

Trey Anastasio - TAB at the TAB

Bitrate: 320K/s
Year: 2010
Time: 82:36
Size: 190,1 MB
Label: Self Released
Styles: Rock/JRF/American Trad Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Money, Love and Change - 10:35
 2. Words To Wanda -  5:02
 3. Alaska -  8:21
 4. Valentine -  7:05
 5. Sand - 12:01
 6. Windora Bug -  8:27
 7. Drifting -  7:33
 8. Goodbye Head -  6:55
 9. Show Of Life -  5:27
10. Black Dog -  6:07
11. Cayman Review -  4:59

TAB at the Tab, recorded live on February 27, 2010 by Trey Anastasio Band at the legendary Tabernacle in Atlanta, captures the band at the peak of its powers and includes live renditions of classic TAB songs and numerous new compositions.
Building on 2009's stripped-down four-piece lineup lead guitarist/vocalist Anastasio, Russ Lawton (drums), Tony Markellis (bass) and Ray Paczkowski (keyboards) TAB added horns back into the mix for its most recent foray. Longtime TAB members Russell Remington (tenor saxophone and flute) and Jennifer Hartswick (trumpet and vocals) were joined by newcomer Natalie Cressman (trombone and vocals), just 18 and on her first national tour.
The instrumentation, vocals and arrangements prove a formidable combination, from the scintillating opener 'Money, Love and Change' to the tender 'Words to Wanda' (marking the song's first appearance on record). TAB at the Tab also marks the recorded debuts of fan favorite 'Windora Bug,' and Led Zeppelin's 'Black Dog.'

TAB at the TAB

Trey Anastasio - Original Boardwalk Style

Bitrate: 320K/s
Year: 2008
Time: 86:53
Size: 199,5 MB
Label: Rubber Jungle Records
Styles: Rock/Jazz-Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Drifting -  7:11
 2. Plasma - 11:50
 3. Shine -  6:55
 4. Alive Again -  8:05
 5. Mud City -  7:42
 6. Simple Twist Up Dave -  8:12
 7. Tuesday -  5:33
 8. Money Love and Change - 13:59
 9. Mr Completely -  8:42
10. First Tube -  8:40

Musicians:
Trey Anastasio - guitar, vocals;
Tony Hall - bass, vocals;
Ray Paczkowski - keyboards;
Jeff Sipe - drums;
Christina Durfee - vocals, synthesizer;
Jennifer Hartswick - vocals, trumpet;
Peter Apfelbaum - saxophone, flute;
Russell Remington - saxophone, flute;
Jeff Cressman - trombone;
Dave Grippo - saxophone;
Cyro Baptista - percussion.

Original Boardwalk Style, a live album from Trey Anastasio and the Undectet, was released June 10th, 2008 on Trey’s own Rubber Jungle Records to benefit the Seven Below Arts Initiative, a program established by Trey in 2006 to foster artistic development and support arts education in the state of Vermont. The program invites artists to work on projects at The Barn, Trey’s former recording studio located outside of Burlington, Vermont. The residencies are designed to provide artists with a quiet, inspiring, and supportive environment for individual and/or collaborative work. Residents at The Barn will be asked to share their artistic process with the local community. This may involve a public talk, an educational activity for youth, or a professional workshop, to be determined by the resident and program coordinator. For more information on the Seven Below Arts Initiative, please visit the Non-Profit Page or visit Burlington City Arts.
The album was recorded at the House of Blues in Atlantic City, NJ on December 30th and 31st of 2006, coming at the end of the band’s holiday tour. The two shows marked the culmination of a long year of touring and growth as what began as a six-piece sextet in the beginning of the year had progressed into a full-force eleven member Undectet.
Original Boardwalk Style features over 75 minutes of music, remixed from the multitrack masters by Trey and Ben Collette at Rubber Jungle Studios and mastered by Fred Kevorkian at Kevorkian Mastering. In addition to CD and digital download formats, the album is available as a double-gatefold, audiophile grade 180-gram LP Vinyl pressing.

Original Boardwalk Style

суббота, 14 мая 2016 г.

The Jon Storey Band - Blues 'n' Rocket Fuel

Bitrate: 320K/s
Year: 2016
Time: 41:52
Size: 96,7 MB
Label: Bearmonkey
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Dirty Trix - 3:58
 2. The Blues - 3:16
 3. Let's Have a Party - 2:53
 4. Stumblin' blind - 3:32
 5. Good Situation - 4:26
 6. I'm Howlin' crazy - 4:02
 7. Angeline - 3:59
 8. You Wanted It - 4:17
 9. Push Me Around - 3:55
10. Rollin'  train ' 79 - 3:51
11. On Your Line - 3:38

Musicians:
Jon Storey - Vocals,Guitar;
Tutxi Rodriguez - Bass;
Miguel Angel Espana - Drums.

El grupo Jon Storey Band presentara su disco en Espana, Blues 'n' Rocket Fuel , que incluye 11 canciones de estilo blues-rock compuestas en Extremadura por Jon Storey, reputado gitarrista, vocalista y compositor de Reino Unido.

Blues 'n' Rocket Fuel

пятница, 13 мая 2016 г.

The Hitman Blues Band - The World Moves On

Bitrate: 320K/s
Year: 2016
Time: 63:35
Size: 146,0 MB
Label: Nerus Records
Styles: Blues/Blues Rock/New York Blues
Art: Front

Tracks Listing:
 1. Bad, Bad Man - 4:45
 2. That’s What It’s Like to Be a Man - 5:45
 3. Don’t You Tempt Me - 3:24
 4. Moving On - 5:27
 5. Two Minute Warning - 5:16
 6. The World Moves On - 4:44
 7. Hammer Down - 3:44
 8. Two Trains Running - 6:18
 9. Catch-22 Blues - 4:09
10. Angel in the Shadows - 4:36
11. Jenny Goodbye - 3:33
12. I'm All About You - 4:16
13. Hoochie Koochie Man - 7:32

A showcase for Modern Blues, which can be high energy, slow and soulful, or happy boogie. It’s modern blues - blues of the 21st century!
The World Moves On, performed by the New York based Hitman Blues Band, contains seven new original songs, one cover (done in the Hitman Blues Band style) and five reworked original songs. These reworked tunes have the Hitman Blues Band horn section added, and have been remixed and remastered.
The players feature such luminaries as Kevin Bents (Spin Doctors, Boz Scaggs, Phoebe Snow), Bernard “Pretty” Purdie (Aretha Franklin, Steely Dan, B.B. King, Joe Cocker – to name just a few), Bobby Forrester (Ruth Brown, Lena Horne), Ray Alexander (George Shearing, Stan Getz, Mel Torme), and Richard Crooks (Paul Simon, Bob Dylan, Leonard Cohen), to name a few.
The Hitman Blues Band plays modern blues, which can be high energy, slow and soulful, or happy boogie. It’s modern blues - blues of the 21st century.

The World Moves On

Gary Eisenbraun - The Window

Bitrate: 320K/s
Year: 2016
Time: 74:29
Size: 170,8 MB
Label: Vison Childe
Styles: Blues Rock
Art: Front

Tracks Listing:
 1. Blinded By The Headlights - 5:37
 2. Outside Looking In - 5:30
 3. The Damage You Bring - 6:27
 4. Dirty Little Secret - 5:17
 5. Still It Remains - 6:25
 6. Turning A Blind Eye To Love - 7:56
 7. How Fast You Can Fall - 5:17
 8. I Can't Change You - 5:14
 9. Tripping On Your Wires - 4:31
10. One Day - 4:56
11. Sometimes The Devil Wins - 5:05
12. My Precious Time - 5:19
13. Searching For A Miracle - 6:49

The Window is a dirty pane of blues rock glass that looks inward, to a place where gut wrenching vocals and pulverizing guitar travel down train track riffs, driving straight into mystical textures.
"The Window" is a multi-faceted blues rock experience that never gets too comfortable in any one space, but keeps on twisting and turning through different areas of the blues rock genre. From the first notes of a very nasty groove ("Blinded By The Headlights"), it's clear that we're going to the dark side of town. This trip includes stops that are sometimes soulFULL ("Searching For A Miracle", "Still It Remains"), sometimes guitar powered ("The Damage You Bring", "Turning A Blind Eye To Love"), and others that step solidly into neighborhoods of dirty, pumping rock ("Dirty Little Secret", "Sometimes The Devil Wins")
with a few scattered halts through more reflective terrain ("Outside Looking In", "Tripping On Your Wires", "One Day"). Gary's the tour guide and he carries a guitar and vocalizes with a tongue-in-cheek wittiness.
"The Window" is a culmination of ideas begun on "One Foot Out The Door". Part I: "The Door" started out with snarky, lyric driven guitar songs. Part II: "One Foot Out The Door" headed straight out towards guitar-driven blues rock territory. Which brings us to, part III: "The window". An album that continues the journey with a guitar-driven vengeance. You could call these albums, ...almost... illegitimate brothers of each other.

The Window

Trampled by Turtles - Blue Sky and the Devil

Bitrate: 320K/s
Year: 2005
Time: 41:21
Size: 95,7 MB
Label: Banjodad Records
Styles: Indie folk/Progressive Bluegrass
Art: Front

Tracks Listing:
 1. I'm a Target Too - 3:02
 2. Nowhere to Hide - 3:04
 3. Codeine - 3:09
 4. Blue Sky and the Devil - 4:40
 5. Dog on a Leash - 2:42
 6. The One to Save - 4:27
 7. Written on the Wall - 2:28
 8. Jars at Home - 2:09
 9. Burn for Free - 3:30
10. Silver and Gold - 2:47
11. Dyin - 4:13
12. Chippin at my Jones - 1:46
13. Higher Calling - 3:17

Blue Sky and the Devil is the second studio release of Duluth, Minnesota group Trampled by Turtles.
Dave Simonett formed the band after a few entrepreneur thieves decided to acquire his previous bands equipment, and Simonett was left with an acoustic guitar. From that point he decided to form a new band that relied less on amplification to perform, and so formed Trampled by Turtles. A newcomer to the bluegrass genre he chose to fill out the rest of the band with similar people, with strong music backgrounds, like Ryan Young previously from a speed metal band, Tim Saxhaug a jam band bassist, added to that line up is mandolinist Erik Berry and banjo player Dave Carroll. From here on out the band started to create music with a fast and frantic style, with influences from the great Townes Van Zandt to Nirvana. There are some songs in this particular album where you can really hear the Townes references and styles, but also there is a lot of pop style in there, that does remind me of Mumford and Sons. I would say if you are a fan of Mumford then this would be a good start to a style thats a bit deeper into the folk ether. I feel though that this band has a bit more of a truth to them, maybe its because the subjects of the song are a bit closer to home, as the style holds a lot of past in America. The band formed in 2003, and this is the second release, after the 2004 Songs from a Ghost town. This album was released in 2005, and I think shows development, as the first album in places is mostly a slower album. In just a year you can hear the change in the play and speed, and I think a bit more depth to the songs and lyrics.
The track Codeine is probably my favoured track from the album its fast and full of feeling, and the want to numb those feelings, I find myself singing “Codeine, Codeine, your the nicest thing i’ve seen, for a while, for a while” every time I listen to the song, its quite the ear worm. There are other tracks on the album where I just want to lay down close my eyes and fall into the moment. There are a couple tracks on the album that are instrumentals, and its nice to imagine yourself in a small american bar, of some kind, or garden party, beers, and roaring laughter from a big chubby guy that everyone knows and loves. A strong album, both contemporary and in keeping with the traditional sounds and styles.

Blue Sky and the Devil

четверг, 12 мая 2016 г.

Dave Stryker Quartet - Blue Degrees

Bitrate: 320K/s
Year: 1993
Time: 67:07
Size: 153,8 MB
Label: SteepleChase
Styles: Jazz/Blues Guitar
Art: Front

Tracks Listing:
 1. Blue Degrees - 10:54
 2. Scorpian Dance -  8:17
 3. Alfie -  5:29
 4. Out Of Bounds -  7:56
 5. Spirit In The Wind -  9:40
 6. Talkin' About J.C. - 10:39
 7. Stella By Starlight -  7:12
 8. Blues For Brother Jack -  6:57

Whether he's leading his own group, Blue to the Bone, or playing as a sideman to great jazz musicians like vocalist Kevin Mahogany, guitarist Dave Stryker's style has strong blues and soul-drenched undercurrents. Stryker was raised in Omaha, NB, but has made New York City and suburban northern New Jersey his home since 1980. Stryker began playing guitar at age 10, and by the time he was 12, he'd discovered the blues. He learned to play from listening to records, and recalled the first record he bought as a youngster was Cream's Disraeli Gears. That legendary recording showcases the talents of a young Eric Clapton. Within months, Stryker was paying attention to Freddie King, Albert King, and B.B. King, and the innovative ways that all three guitar greats were making blues accessible to white audiences. (One could credit innovative promoters like Bill Graham, too, for Graham often paired blues musicians with rock acts in his '60s and '70s concerts in San Francisco and New York.) By the time Stryker was in high school, he began paying more attention to jazz, but, having been raised in the '60s, he paid as much attention to then evolving blues-rock guitarists like Johnny Winter as he did to serious jazz improvisers like Miles Davis. Brother Jack McDuff, the late Hammond B-3 organist, gave Stryker his first big break when he had the chance to go on the road with his group in 1984. He spent the next two years traveling all over the U.S., Canada, and Europe with McDuff's blues-heavy soul-jazz group. In 1986, he met saxophonist Stanley Turrentine at a club in Harlem. Stryker spent the next decade touring with Turrentine, where he really got his chops together, coming into his own as a unique guitar player with his own distinctive approach. Stryker has recorded more than a dozen releases under his own name. For blues fans, two for the Denmark-based SteepleChase Records are worth seeking out: Blue to the Bone a 1996 release, and Blue to the Bone III, a 2002 release. Both recordings showcase his playing, as well as that of his bandmates, in a variety of genres: blues guitar-based swing music, New Orleans funk, soul-jazz, and blues-rock. He pays homage to his guitar influences on both recordings, including Freddie King and legendary vocalist Chester Burnett, better known as Howlin' Wolf. Stryker credited his time on the road with two old school veteran musicians, McDuff and Turrentine, as being "the kind of education that's just not available anymore. A lot of guys never get that chance and it was a really good opportunity." Given his strong resume and abilities as a bandleader and composer, there's no reason to expect that Stryker will be slowing down his prolific pace of recording anytime soon. Fans of blues-based jazz can hear Stryker's playing on recordings by Kansas City-based vocalist Kevin Mahogany for Warner Bros., but they can also explore Stryker's jazzier dimensions with recordings like his tribute to trumpeter and composer Davis, Shades of Miles.

Blue Degrees

Trampled by Turtles - Songs from a Ghost Town

Bitrate: 320K/s
Year: 2004
Time: 34:11
Size: 79,1 MB
Label: SR
Styles: Indie Folk/Progressive Bluegrass
Art: Front

Tracks Listing:
 1. Ain't No Use in Tryin' - 3:15
 2. Wrong Way Street - 3:30
 3. Whiskey - 4:25
 4. My Brother Works for the CIA - 3:15
 5. Drinkin' in the Morning - 3:46
 6. At Your Window - 3:24
 7. The Outskirts - 5:53
 8. When I Come Back Again - 3:43
 9. School Bus Driver - 2:56

Songs From a Ghost Town is the debut release by Duluth, Minnesota group Trampled By Turtles.
Trampled by Turtles is a very nice, mellow band to throw on when you're cleaning the house and kicking up dust. My personal favorite track is "My Brother Works for the CIA." This is a good album to pick up, as it helps to round out a good bluegrass/string/indie collection (this band kind of escapes a genre).
Their earlier stuff, like this one, trends more towards a traditional bluegrass sound. I love to hear their older stuff not only because I love more traditional bluegrass, but because it's great to hear them at their rawest and get a clear idea of where they came from. These guys rock on all fronts and Songs from a Ghost Town is another great demonstration of why!

Songs from a Ghost Town

The Magic Lightnin' Boys - Stealin' Thunder

Bitrate: 320K/s
Year: 2016
Time: 39:46
Size: 92,8 MB
Label: Bottled Lightnin’ Records
Styles: Rock/Blues/Southern Rock/Garage Rock
Art: Front

Tracks Listing:
 1. Nan's Poem - 0:40
 2. Bones - 3:58
 3. Before The Storm - 2:17
 4. April Rain - 3:48
 5. Fear & Freedom - 5:30
 6. Roll - 3:38
 7. The Cleansing - 2:39
 8. The Ride - 4:12
 9. Spaceship Blues - 1:37
10. Mojo - 2:58
11. Rubber Side Down - 3:18
12. Bondo's Ballad - 0:57
13. N2u - 4:08

Hailing from Cincinnati, Ohio, The Magic Lightnin’ Boys are getting ready to release a new album, Stealin’ Thunder. The record is a gritty mix of garage & Southern rock, and the blues—a rawer take on the sound exemplified by acts like The Black Keys. Replete with distorted vocals, screaming slide guitar, and howling harmonica, the band comes across as purer and more authentic than the hoards of other bands that try to replicate this sound and fail. Whereas many acts sound more modern and punk, songs like “April Rain” are distinctly 70’s inspired.
This isn’t straightforward Southern rock, however, because there are influences of soul, jazz, and even touches of psychedelica on songs including “Fear & Freedom” and “Roll;” giving the whole album an extremely eclectic feel. A handful of instrumentals—“The Cleansing” and “Before The Storm” to name two—round out the album concisely, instead of coming across as padded filler. Rather than ending quietly with an acoustic whimper, the band goes out with a bang on “N2U,” arguably one of the hardest and toughest songs on the album. It’s pure, unadulterated blues. Stealin’ Thunder is out May 6th on Bottled Lightnin’ Records.

Stealin' Thunder

среда, 11 мая 2016 г.

Erick Hovey - Recycled Souls

Bitrate: 320K/s
Year: 2009
Time: 50:50
Size: 117,2 MB
Label: Self Released
Styles: Blues/Rock/Roots Rock
Art: Front

Tracks Listing:
 1. When Will I See You Again - 4:45
 2. Hazy - 3:25
 3. Half Dead - 3:18
 4. What You Doin' Here - 3:02
 5. Ain't Done With You - 3:38
 6. Could Have Told Me - 4:17
 7. Here Again - 4:03
 8. Didn't I Pray - 3:50
 9. Sweet Fire Rain - 2:57
10. Can't See The Page - 3:20
11. Thousand Times - 4:08
12. Whatever It Is - 3:43
13. Feels So Good Hurts So Bad - 3:36
14. Ask The Stars - 2:43

Musicians:
Erick Hovey - Guitars, Vocals
Heather Kelly - Vocals
Tom Gary - Keys
Jeff Foreman - Drums
Guests:
Dan Lodden - Bass, Drums on tracks 2& 9
Reason on tracks 8,11,&12
Andy Schneider - Bass on track 9
Scott Dahl, Trevor Gould, Cole Harklau, Sammi Johnson,
Sara Main, Jessica Webb - Backing vocalists.

Erick Hovey has a double release on the market with the discs Blues Farm and Recycled Souls.
I am curious as to how in his daily life as a farmer he is able to find time at night to make masterpieces.
These CDs take you on a trip through a landscape of music: blues, folk, jazz, pop, latin, and reggae.
On the Blues Farm CD, you’ll be tossed from the JJ Cale-like Know Who You Are to the Jazzy Soda Pop Girl to the bluesy song Patchouli to the laid back jazzy tearjerker Missing Part, then to a jump-blues tune I’m Through, followed with ease by the reggae styled Talkin Bout Love.
The same variation also appears on Recycled Souls which is on a whole of a more robust nature.
These CDs I can play at a higher volume at home because my better half appreciates Erick’s music greatly.
It’s unbelievable that this artist is still unknown in the Netherlands. He would not go amiss in many theaters.

Recycled Souls

Perpetual Groove - Heal

Bitrate: 320K/s
Year: 2009
Time: 54:07
Size: 125,9 MB
Label: Self Released
Styles: Jam Band
Art: Front

Tracks Listing:
 1. No Decorations - 3:46
 2. Downside - 7:11
 3. A Day the Way - 7:51
 4. Under Lock and Key - 6:27
 5. Honey Cut - 3:33
 6. 40 Roses - 4:13
 7. Up Again - 6:51
 8. Too Close to the Sun - 6:05
 9. Lost Connection - 8:06

The first studio album with new keyboardist John Hruby couldnt come at a better time. This album really illustrates Pgroove's song writing and lyrical abilities. Not many "jam bands" have the ability to write such emotionally charged songs. You can tell that the band put their heart and soul into each song. No Decorations is a great opener for the album and is often used to open shows. A Day the Way showcases Hruby's abilities as well as Brocks vocals. Honey Cut is a diverse instrumental in which Brock Butler uses the mandolin. 40 Roses is the most radio friendly tune and John Hruby takes lead vocals on this track. Up Again builds up nicely to a sick jam in the end. Too Close to the Sun is my favorite track on the album. And lastly Lost Connection is a deep and emotional brilliant lyrical tune. Personally I think that Albert Suttle (drummer) and Adam Perry (Bassist) consistently are on point throughout the entire album. Although this album is a departure from previous albums I think that with time this might be considered the turning point for this band as far as studio albums go. In the meantime catch a Pgroove live show and you wont be dissapointed.

Heal

Perpetual Groove - Sweet Oblivious Antidote

Bitrate: 256K/s
Year: 2003
Time: 66:43
Size: 123,3 MB
Label: Harmonized
Styles: Jam Band
Art: Front

Tracks Listing:
 1. Three Weeks - 9:16
 2. Perihelion - 6:28
 3. Sun Dog - 7:28
 4. TSM2 - 6:32
 5. Teakwood Betz - 7:33
 6. Astro Monkey - 4:37
 7. Robot Waltz - 5:42
 8. Walking In Place - 6:15
 9. Playground - 7:46
10. Sweet Oblivious Antidote - 5:01

Perpetual Groove released this album unaware of how it would catch on so quickly. The Savannah based group has been touring like mad in support of this album and for the love of the music in general. Touring very consistently in the southeast and slowly making it's way around the rest of the country, Perpetual Groove has captivated audiences everywhere. They just finished up a tour out west including a stop at High Sierra Music Festival. This band is top notch and I really recommend seeing them in the live setting, but the album also deserves mention.
Three Weeks, which is probably the tune dubbed fan favorite off the album is a wonderful beginning. Brock Butler (guitar) is a surprising vocal talent. At first listen you're surprised to hear a band of this nature with a vocalist who actually knows how to sing, and has a very obvious passion in his voice. In Three Weeks you can sense the desperation. Other highlights on the album include Sundog (which is unbelievable live) that is broken down into a few different sections including a very fun bluegrassy section that can only bring movement to your feet.
It's difficult to place a label on the band or to define their sound. Once you do that, the band plays something that defies the sound you cornered them into. They do have a very fluid sounding electronic thing going. If you are looking for acoustic music, this is probably not the place for you. Great vocals, thought provoking lyrics (vocals only on a few tracks, and sparse at that), a band that plays together and sounds like a unit more than one man showcasing his talents. To top it off, the members of the band (Adam, Brock, Matt, Albert) are great guys and they have a wonderful group of fans following them

Sweet Oblivious Antidote

Naked Truth - Avian Thug

Bitrate: 320K/s
Year: 2015
Time: 48:05
Size: 110,5 MB
Label: RareNoise Records
Styles: Jazz/Jazz Rock/Progressive Rock
Art: Full

Tracks Listing:
 1. Rapid Fire -  3:46
 2. Lazy Elephant -  4:56
 3. Trap Door -  4:14
 4. Tense Shaman -  9:21
 5. Avian Thug -  6:15
 6. Day Two at Bedlam -  6:27
 7. Moon At Noon - 13:02

The just-released Avian Thug is Act III of this progressive fusion supergroup Naked Truth, assembled by the sage electric bassist Lorenzo Feliciati, an act that isn’t in any danger of wearing thin. Still comprised also of co-founding members Pat Mastelotto on drums and percussion and Roy Powell on keys as well as Graham Haynes on cornet for his second go ’round with the band, Naked Truth continues its evolution through increased symmetry. Avian Thug, available through Rare Noise Records, also benefits from having Bill Laswell sharing in the production duties with Feliciati and overseeing the album’s final mix.
While Feliciati is the leader, there’s a lot a democracy happening on Avian Thug, and the record is better for it. The group composed all seven compositions together, and no one member dominates: it’s an ego-less undertaking among a collection of very strong musical personalities, a rare feat that makes possible a rare treat.
The sub-five minutes shorter songs are front-loaded. I would even assert that “Rapid Fire” is too short, because Rapid Fire is so damned smokin’ only to be extinguished before it reached the four minute mark. Powell’s opening fractured organ lines get increasingly agitated over Mastelotto’s swing-to-rock bash. Haynes enters just as things get funky to conjure up visions of Miles at the Fillmore.
As Feliciati’s electric bass is usually found at the core of each performance, his less-is-more approach ends up making his contribution more impactful because of the wide intervals he often allows between his figures; you tend to notice him more because he’s not present at every beat. That’s lent an diffused air to grooves like the one he creates with Mastelotto for “Lazy Elephant,” a lumbering beat and sticky bass working in a perfect communion for this groove construction. Powell occupies the other end of this sonic spectrum with his prepared piano and otherworldly sonorities, and Haynes’ cornet makes lonely stabs into the dark ambiance.
A blast kicks off a multi-rhythmic motion on “Trap Door,” which seems to pull in cultures from all corners of the world. Haynes’ overdubbed cornet evokes Decoy-era Miles and behind him things open up when Feliciati pulls out and Mastelotto attacks his cymbals. A distorted extreme bottom bass line crawls on the floor of “Tense Shaman” while Haynes floats way up high above it. Powell’s fragile electric piano dissolves into a void as the band collects itself and reboots the beat but with a different chord pattern. “Avian Thug” announces itself with a muscular rock beat, and Powell’s alien analog synth solo leads a ghoulish noise until Haynes’ subdued cornet arrives to keep the wickedness at bay.
Grooves get overtaken by arid sonic contours for the final two tracks, for the most part. An unsettled ambient mood pervades “Day Two At Bedlam,” set by sampled strings, a flowing prepared piano and murmuring bass over sometimes dissonant chords. Haynes’ electro-assisted horn harmonics over a spare piano on “Moon At Noon” is a nod to Jon Hassell and Nils Petter Molv?r. A start-stop thump enters around 5:45, Mastelotto closely following and accenting Feliciati’s shuffling bass line long after Feliciati bows out. Eventually, the groove dies out only to be resuscitated as the performance winds down.
I don’t know if it’s Bill Laswell’s involvement in this, or this is just a band of members getting more confident and more comfortable with each other, but Avian Thug sounds like the best thing they’ve made so far, and Naked Truth had already gotten off to a nice start with their first two projects. Now, they have reached cruising altitude.

Avian Thug

вторник, 10 мая 2016 г.

Bill Durst - Hard And Heavy

Bitrate: 320K/s
Year: 2013
Time: 39:29
Size: 90,6 MB
Label: Durstwerks
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Devil and the Deep - 3:59
 2. Your Love - 5:42
 3. I'm Your Man - 4:28
 4. Heartless Man - 3:47
 5. Kadia - 3:47
 6. Sally At the Door - 4:10
 7. Gimme That Something - 4:26
 8. Blue Rain - 3:03
 9. Angels Fly - 2:59
10. Fly Away Home - 3:04

"Hard And Heavy" marks the second album I have received from Canadian Blues Rocker Extraordinaire Bill Durst, of which his previous release "Live", I wrote, "I received Bill Durst's newest album "Live", a few weeks back and I must say that I really can't get enough of this great Blues Rockin' masterpiece. It is absolutely great from beginning to end and certainly one of the most entertaining Live albums I have listened to, so far, in 2012." This album impressed me enough, that I had no problem awarding it Best Canadian Live Blues Album in my 2012 Year End Review. After listening to "Hard And Heavy", just once, I must say that I already have the same level of excitement that listening to "Live" gave me, maybe even more. "Hard And Heavy" consists of 10 great Tracks, and since there is no credits to the contrary, I will go out on a limb and say that the songs are most likely all originals written and/or co-written by Bill Durst and Joe DeAngelis. Bill Durst is a very prolific writer having written and recorded over 100 songs on ten albums. Joining Bill Durst (Guitar/Lead Vocals) on "Hard And Heavy" is Joe DeAngelis (Bass/Backing Vocals), Sandesh John Fernandez (Drums), and Corey Thompson on Track 3 "I'm Your Man". Joe DeAngelis offers up his expertise as longtime co-writer with Bill Durst and longtime bandmate of previous incarnations, most notably "Thundermug, a hugely popular Canadian band that was active from 1970 to 1976 and from 1991 to 2001. They released two top 40 Canadian singles and five albums." Corey Thompson joined Thundermug in 1991 when it reunited. Taking a look at the cover photo of "Hard And Heavy", one cannot help but notice that Bill Durst has quite a beard, and here is a nice little tidbit of info that goes with why and when he started growing it. "In between a couple of albums, as a side gig, Bill played in “the biggest bar band in Canada” Tres Hombres, a ZZ Top clone band, and that’s how he got his beard started! " That little tidbit actually brings up what I get the most out of not only "Live", but also "Hard And Heavy", and that is the sound on these albums reminds me a lot of ZZ Top, the good early Bluesy Rock era. It is that sound that makes Bill Durst's music so unique, especially amongst Canadian Blues Rockers, for whom no one comes close. Also take the fact that Bill Durst, "has long been compared to the best guitar player/singer/entertainers anywhere in the world", and you have the perfect Trifecta needed for really great rockin' albums. Picking 3 favorites was not an easy task as "Hard And Heavy" hits you with one great tune after the other, but never the less, I chose the opener, "Devil And The Deep", Track 7 "Gimme That Something", and the closer, "Fly Away Home". Both "Devil And The Deep", and "Gimme That Something", were great ZZ Top style rockers, with laid back Vocals and up front Grinding Guitar. This is the kind of stuff I can listen to all day. "Fly Away Home" clocked in as the second shortest song on "Hard And Heavy", but it was packed with the most amount of lyrical and musical punch. Really loved that one...
For those of you whom like you Blues Rock in the styling of ZZ Top and beyond, "Hard And Heavy" is a must have beauty.

Hard And Heavy

The Vipers - Venom

Bitrate: 320K/s
Year: 1993
Time: 38:09
Size: 88,9 MB
Label: Vipertone
Styles: Blues
Art: Front

Tracks Listing:
 1. One More Dance - 4:13
 2. Dance With Me Baby - 2:46
 3. Such A Fool - 2:41
 4. Hey Pretty Baby - 3:11
 5. You Ran - 3:24
 6. Ain't No Tomorrow - 3:18
 7. Big Boss Man - 4:09
 8. One More Chance - 4:02
 9. If Your Love's Only A Dream - 6:45
10. Nobody But You - 3:35

The Vipers were an obscure '80s band that was transfixed with '60s garage/proto-punk, often drawing comparisons to such similarly styled outfits as the Chesterfield Kings, the Cynics, and the Lyres. Although the band received some favorable press and reviews during their tenure together, the Vipers failed to break through to a larger audience. Over a nine year period (between 1984 and 1993), the Vipers issued such albums as Outta the Nest, How About Somemore?, Not So Pretty...Not So New, Nest in Peace, and Venom. The Vipers' debut was reissued in 2000 via the Cavestomp label, which added several previously unreleased bonus tracks to the mix. ~ Greg Prato, Rovi

Venom

понедельник, 9 мая 2016 г.

Kappa Dario Cappanera - The Man I Want To Be

Bitrate: 320K/s
Year: 2016
Time: 41:12
Size: 94,7 MB
Label: Self Released
Styles: Blues Rock
Art: Front

Tracks Listing:
 1. Bad Boy Blues - 3:30
 2. Damn Broke Again - 3:35
 3. Love Me Huuhaa - 3:07
 4. The Eye Of God - 6:01
 5. Just Got Paid - 4:15
 6. Devil's In My Eyes - 5:03
 7. Mississippi Queen - 5:06
 8. The River - 4:25
 9. Your Own Way - 6:04

Musicians:
Dario Kappa Cappanera - Vocals, Guitars;
Ale Paolucci - Bass;
Alex Demonoid Lera - Drumsю
Alex Cole - Vocals, Guitars
Mattia Bigi - Bass

Kappa starts playing guitar at age 8, influenced by his uncle Fabio Cappanera, guitarist of legendary italian metal band Strana Officina.
He starts playing simple 12 blues bar to get soon to power chords, scales and all rock guitar styling. As he was told he just learned by hear playing for years on records and tapes of all rock n roll kind, and then got closer to saxon, judas priest and all newwaveofbritishheavymetal style.
As long he graduate from highschool decides to move to the U.S to get more involved into the blues and rock music, so kappa moved to austin texas where he got the chance to jam in the Chealsea street Pub circuit.
That's where he learned the most and got the attitude to set the stage on fire; at that time his most important influencies were ZZTop, Stivie Ray Vaughan, Jimi Hendrix and all the classics.
Kappa got back to Italy in 1993, and that was the hardest moment in his life. Infact his uncle Fabio lost his life in a car accident. This experience made kappa moved to an insane faith about playing
rock and metal guitar, that was for his uncle who was a role model for all his life.
He got into Strana Officina and played for years a commemorative tour playing the parts and the role of his hero.
In 1996 made up Cappanera, his first metal band, kappa wrote, recorded and produced his debut album "Materializin' dream" for Lucretia Records International and played everywhere was required, from pubs to clubs to big Gods of Metal festival where he opened for Monster Magnet and Metallica in 1999; during the Cappanera years, kappa got a deal with Mogar Music for and artist endorsement for Gibson guitars.
In the same time he moved to Milan and starts doing session man for different italian rock and pop artists such as Francesco Renga , but that wasn't the way to follow. Kappa never considered himself as session player, but a strong rock and metal artist who wants to become a shredder and badass guitarist devote to the cause of rock n roll!!
That's why he took a time off from playing, kappa wanted to learn more about studio and touring life, so he started touring as guitar tech for italian biggest rock singer Vasco Rossi, a good way to improve his technical knoledge about guitars, wiring amps and audio stuff.
In 2006 Kappa was called to play in the Strana Officina reunion show, headlining the Gods of Metal festival in Milan; in 2007 the band starts the preproduction and the production at Larione10 Studio in Florence, of the new album titled "The faith" out on MygraveYard Productions on june 30th 2007. Strana Officina will tour the country for the whole summer to promote "the faith".
At the same time kappa started a new band called REBELDEVIL, and complete the lineup with singer from metaltrashers Extrema, GHELL Perotti, Ale Demonoid Lera on drums lately with Exilia and Ale Paolucci, legendary bassplayer of hardcore cult band RawPower.
RebelDevil is now at work to complete his debut album, and promoting it to the biggest metal labels across Europe and U.S.
On June '08 the band sign for u.k label Molten Metal Production and finish the mix of debut album at Larione multistudio with co-production of Paolo Favati. The album, titled "Against You", is released on october 15th '08 across europe and january 22nd '09 across U.s.a.
In july '08 Kappa signed an artist endorsement deal with Gibson Guitars receiving a Gibson Les Paul Standard 08 and a Flying V.
Drummer Cris Dalla Pellegrina, (past drummer of Extrema, now with italian rock band Negrita),
join Rebeldevil on May 08, replacing Demonoid Lera who decided to give his first priority to his first band Exilia. Rebeldevil starts the promotion for "Against you" playing an italian club tour, and follow with its first european tour.
In 2009 kappa joins Evan Senfield, bassist from hardcore legends Biohazard, spending 6 months in Los Angeles playing local gigs. Back from L.a, Strana Officina starts the production of new full lenght album "Rising to the call" released and presented at Italian Gods of Metal show at biggest italian venue Alcatraz, Milan. An italian tour follow the album launch.
At the same time Kappa is on tour with Vasco Rossi for his European Indoor tour 2009/2010 and then for his 2011 arena tour. In may '11 Kappa starts the production and shooting of his first movie, joining Carlo Virzi for his film "I piu grandi di tutti" in the role of Rino, the guitarist of a rock band. In 2012 Kappa releases his first solo album, titled “Code Of Discipline” published by Bagana Rock Agency Milan and tour Northen Italy with Rolando Cappanera on drums (Strana Officina) and Frankie LiCausi on bass (historic bass player from famous italian rock act Negrita)
2014 is a year dedicated for touring with Strana Officina after the release of the reprint 80’s album in Vinyl and Cd, and the band starts working on his first Official Biography Book, edited by Krack Edizioni and written by famous italian journalist Alex Ventriglia (Metal Hammer Italy, Metal Maniac, Rock Hard Magazine).
The book is released on december 3rd 2015 and the band is currently touring supporting the Biography Book Titled “Batti Il Martello”.
Right after Kappa gets an endorsement deal with Lengardo Guitars (CH) for the production of a special Kappa’s Model Lengardo Guitar....
During the Fall of 2015 Kappa set up his own recording studio in his historic HeadQuarter Warehouse in hometown Livorno and starts working and recording on his second solo album, titled “The Man I want to Be”
Kappa writes, arrange and records all songs, doing all the guitar parts, and Vocals, and producing, engineering and mixing the whole thing now in your hands.

The Man I Want To Be

The Soul Of John Black - Early In The Moanin'

Bitrate: 320K/s
Year: 2016
Time: 40:46
Size: 95,7 MB
Label: Cadabra Records
Styles: Blues/Funky Blues
Art: Front

Tracks Listing:
 1. Can't Be Helped - 4:25
 2. Early In The Moanin' - 4:05
 3. Chicago Blues - 4:33
 4. Crooked Leg - 2:57
 5. Cher - 3:47
 6. Thursday Morning - 4:25
 7. Daggers - 3:55
 8. I Wish I Was Makin' Love - 4:33
 9. Early Riser - 4:18
10. Sunset Drive - 3:43

The Soul Of John Black is the nom de musique of John Bigham, whose impressive resume includes a stint as percussionist with the Miles Davis band, eight years of guitar and keyboard work with the pioneering rock-funk-ska band Fishbone, and touring and session work with Dr. Dré, Eminem, Nikka Costa, Bruce Hornsby and Everlast, just to name a few.

Early In The Moanin'

четверг, 5 мая 2016 г.

The Aquarium Rescue Unit - Eeepeee

Bitrate: 320K/s
Year: 1994
Time: 17:04
Size: 39,3 MB
Label: Intersound Records
Styles: Jam Band
Art: Front

Tracks Listing:
 1. Satisfaction Guaranteed - 3:32
 2. How Tight's Your Drawers - 3:36
 3. Emotion Overload - 5:30
 4. Highly Overrated - 4:24

The Aquarium Rescue Unit is an experimental jazz rock group, originally founded as a backup band for Col. Bruce Hampton, consisting of, at various times, Oteil Burbridge, Jimmy Herring, Matt Mundy, Charles Williams, Kofi Burbridge, Jeff Sipe, Paul Henson, and Hampton himself. Formed in Atlanta, Georgia, the Aquarium Rescue Unit, with its constantly changing lineup, was a cornerstone member of the early jam band scene, with players that eventually became members of the Allman Brothers Band, Phil Lesh and Friends, Leftover Salmon, and Frogwings. Although the band was never commercially successful, the band's combination of bluegrass, rock, Latin, jazz, and impeccable chops are a template for bands in the genre.
The band originated from a weekly Atlanta jam session hosted by Hampton (from the Hampton Grease Band), playing in the same clubs night after night having a whole routine that the audience knew, and eventually toured around the Southeast United States, with a lineup including Jeff Mosier of the Blueground Undergrass, and Charles Williams of Chateau Debris and The Bonaventure Quartet, eventually settling on the lineup that produced their two albums released on Capricorn Records; Eeepee, in 1991, and In a Perfect World, in 1993.
During the summers of 1992 and 1993, the group joined on the H.O.R.D.E. tour, meeting like-minded bands such as Phish, the Spin Doctors, Blues Traveler, and Widespread Panic. Members of these bands would frequently tour, perform, and record with one another. John Popper did so several times, on several Aquarium Rescue Unit albums.
In 1993, Matt Mundy retired from music, and Hampton retired from touring due to health reasons (although he later toured with the Fiji Mariners and The Codetalkers. The band went on, first substituting Oteil Burbridge but eventually recruiting Paul Henson as frontman.
The band, without the leadership of Hampton, eventually fell apart, releasing two poorly-received albums. As they began to stop touring in 1996, Jeff Sipe joined with Jonas Hellborg and eventually with Leftover Salmon. In 1997, Oteil Burbridge replaced Allen Woody in the Allman Brothers Band. Jimmy Herring tours with Jazz is Dead.
In 2006 the band reunited with an almost complete original lineup including Col. Bruce Hampton, Oteil Burbrige, Jimmy Herring, Jeff Sipe aka Apt Q-258, and Bobby Lee Rodgers. They have resumed touring and have recently thrilled festival fans with their unique mix of technical skill and insightful combination of psychedelic jazz, trance, blues, rock and smiles.

Eeepeee

Trampled By Turtles - Wild Animals

Bitrate: 320K/s
Year: 2014
Time: 40:56
Size: 94,7 MB
Label: BanjoDad Records
Styles: Indie folk/Alternative country/Bluegrass
Art: Front

Tracks Listing:
 1. Wild Animals - 5:53
 2. Hollow - 3:25
 3. Repetition - 3:07
 4. Are You Behind The Shining Star? - 3:02
 5. Silver Light - 4:24
 6. Come Back Home - 2:40
 7. Ghosts - 3:47
 8. Lucy - 3:43
 9. Western World - 2:38
10. Nobody Knows - 2:58
11. Winners - 5:14

Trampled By Turtles is an American bluegrass/folk-rock band from Duluth, Minnesota. The band members have referenced inspirations such as Townes Van Zandt, Bob Dylan, Neil Young, The Rolling Stones, Nirvana and Ralph Stanley. They have released eight full albums, three of which have reached US Billboard chart number one spots. Their fifth release, Palomino, maintained a position in the Top 10 on the bluegrass charts for 52 straight weeks. Their latest album, Wild Animals, was released on July 15, 2014. They have played internationally and at many popular music festivals in the US, and as of July 29, 2015, they will have played live in every state except Hawaii.

Wild Animals

Aquarium Rescue Unit - Col. Bruce Hampton & the Aquarium Rescue Unit

Bitrate: 320K/s
Year: 1992
Time: 58:30
Size: 134,1 MB
Label: Capricorn Records
Styles: Jam Bands
Art: Full

Tracks Listing:
 1. Introduction - 1:28
 2. Fixin' To Die - 3:23
 3. Yield Not To Temptation - 4:01
 4. Working On A Building - 4:45
 5. Time Is Free - 6:47
 6. Basically Frightened - 4:18
 7. Compared To What - 5:03
 8. Time Flack - 4:46
 9. Davy Crockett - 5:07
10. A Walk With Peltor - 3:57
11. Jazz Bank - 3:50
12. Quinius Thoth - 6:46
13. Planet Earth - 4:14

Col. Bruce Hampton and the Aquarium Rescue Unit is an experimental rock group originally founded by Col. Bruce Hampton. The band gained popularity in the Atlanta club scene in the early 1990s and went on to tour with the first H.O.R.D.E. Tour. During the initial years, the band was composed of Bruce Hampton, Oteil Burbridge, Jimmy Herring, Jeff Sipe, Matt Mundy, and Count M'Butu. Jeff Mosier and Charlie Williams were both members of the band during the early years, but left to pursue other endeavors. Although the band was never commercially successful, their combination of bluegrass, rock, Latin, blues, jazz, funk, and impeccable chops became a template for future bands.

Link

Leftover Salmon - Aquatic Hitchhiker

Bitrate: 320K/s
Year: 2012
Time: 46:41
Size: 107,9 MB
Label: Los Records
Styles: Bluegrass/Country/Jam Bands
Art: Front + Back

Tracks Listing:
 1. Gulf Of Mexico - 3:16
 2. Keep Driving - 3:59
 3. Liza - 2:40
 4. Aquatic Hitchhiker - 3:27
 5. Bayou Town - 3:45
 6. Sing Up To The Moon - 4:14
 7. Light Behind The Rain - 5:29
 8. Stop All Your Worrying - 3:23
 9. Walking Shoes - 3:01
10. Kentucky Skies - 3:14
11. Gone For Long - 4:12
12. Here Comes The Night - 5:56

Aquatic Hitchhiker, the first release of new studio material from Colorado-based jamband vets Leftover Salmon in eight plus years, kicks off promisingly with the Little Feat/Dr. John style swamp funk of “Gulf of Mexico.” The opening lyrics, “Way down in Mississippi by the Gulf of Mexico,” sets the tone for the album. The visual imagery of most of the songs varies between grand old times on the bayou and a tough but satisfying life in the Appalachian wilderness, but is pure Americana through and through.  Although Leftover Salmon have always been grouped in with other jam bands, their roots lay more with The Band and Bill Monroe than the Grateful Dead and Aquatic Hitchhiker delivers a solid set of bluegrass, country, folk, funk and R&B, with a smattering of jazz and psychedelia thrown in for good measure. The album’s heavy bluegrass influence, aided by the addition to the band of expert banjo picker Andy Thorn, becomes evident on the second number, “Keep Driving.” True to its name, the song is a short blast of bluegrass fury, with Thorn’s rapid-fire, complex picking moving things along at a fast pace, as the title song also features impressively fast and dexterous banjo runs from Thorn. Other songs with a strong bluegrass feel include the aptly named “Kentucky Skies,” which name-checks bluegrass festivals, moonshine and even the legendary Monroe himself. And “Bayou Town” is a straight country waltz that despite the title sounds like something that could have been heard playing on a wind-up Victrola in a shack in the Tennessee foothills in the 1930?s. Not every song on Aquatic Hitchhiker is pure bluegrass/country, however. The bouncy, breezy “Liza” is a party song that wouldn’t sound out of place in a Jimmy Buffett album (and echoes his who-gives-a-crap-lets-have-fun epic “Volcano”), and “Light Behind the Rain” features some great bluesy organ, plus a trippy instrumental interlude that is probably the most “jamband” moment on the album. The one song on Aquatic Hitchhiker that sharply deviates from the overall tone is the last tune, “Here Comes the Night,” where the boys exchange overalls for leisure suits. With its dreamy opening guitar chords, chugging bass and 70s AM radio-ready lyrics such as “darkness falls, the magic comes around” delivered smoothly by singer/multi-instrumentalist Drew Emmitt, this song is decidedly more modern (in a retro way) and forward than anything else on the album. It just proves that Leftover Salmon cannot be easily pigeonholed into one category, but combine numerous different styles extremely well and even after more than 20 years can still deliver a musical curveball or two.

Aquatic Hitchhiker

Muddy Brothers - Handmade

Bitrate: 320K/s
Year: 2013
Time: 42:54
Size: 99,8 MB
Label: Self Released
Styles: Rock/Blues
Art: Front + Back

Tracks Listing:
 1. Last Chance Trip - 4:45
 2. Woman For My Track - 3:14
 3. All Down The Line - 2:59
 4. Every Thing I've Got To Give - 4:47
 5. Ramblin Down My Soul - 3:26
 6. Twelve Bars Poem - 3:39
 7. Let My Hair Hang Down - 4:08
 8. Dell Vetts - 3:10
 9. Love Won't Bring You Down - 3:40
10. Ain't Lonely No More - 3:35
11. Wanna Love You All The Way - 2:28
12. High School Girl - 2:58

Recentemente evidenciado por conta de sua apresentacao no Planeta Terra 2013, o The Muddy Brothers e um grupo que desperta curiosidade e admiracao em medidas equivalentes tanto por sua qualidade sonora quanto por sua metodologia de trabalho independente. Surgido em meados de 2012 na cidade de Vila Velha, o trio capixaba ja atraiu o interesse do publico com sua mistura de Blues e Classic Rock, gerando tanto impressoes empolgadas quanto uma perigosa expectativa em torno de seu primeiro disco. Felizmente,  e possivel falar que nao ha razoes para temer, visto que a antecipacao se revela correspondida atraves desse trabalho de estreia, o otimo “Handmade“.
Gravado, produzido, mixado e masterizado de forma independente pelo trio, Handmade e, para todos os efeitos, uma apaixonada declaracao de amor aos estilos que servem de influencias para o grupo. Sem grandes invencionices, pretensoes megalomaniacas de reinventar a roda ou arroubos carregados, o disco impressiona pela coesao e pela forca cavalar que apresenta em seus quase 43 minutos de duracao, cumprindo com exito o proposito de empolgar o ouvinte e reiterar a ideia de que ha muito que pode ser feito com recursos minimos e uma perspectiva Do It Yourself.
Com 12 faixas (todas em ingles), Handmade e um trabalho que jamais tira o pe do acelerador, atacando desde sua abertura (a excelente sabbathesca “Last Chance Trip“) ate sua conclusao. Contando com passagens que misturam grooves dignos de Led Zeppelin com a crueza do blues rock visto em bandas como o Black Keys da fase Thickfreakness, passando pela psicodelia (ha um toque de Cream sob efeito de speed em “Love Won’t Bring You Down“, ouca atentamente) e pelo hard rock (a furiosa “Wanna Love You All The Way“), as composicoes aqui vistas se revelam uniformes em seu carater energetico, algumas com potencial para se tornarem hits (especialmente “Dell Vetts“). E embora o album certamente seja acometido por alguns problemas tecnicos pontuais (os quais, confesso, nao sou apto para julgar), estes se configuram como pecadilhos diante de um trabalho tao consistente.
Revelando o potencial de seus musicos, Handmade serve tambem como uma vitrine para as habilidades dos tres Muddy Brothers. Enquanto o vocalista Joao Lucas demonstra enorme seguranca em todo o disco (“Woman For My Track“), remetendo constantemente a Robert Plant, os irmaos Will (Guitarra) e Renato Just (Bateria) demonstram uma quimica invejavel tanto para a criacao de uma base sonora extremamente eficiente (vide a otima “Ramblin’ Down My Soul“) quanto demonstram talento insuspeito para a criacao de riffs potentes (“Everything I’ve Got to Give“) e linhas ritmicas precisas.
Adequadamente curto, extremamente veloz e inegavelmente divertido, Handmade e um trabalho de fas para fas. E embora o som possa, de fato, soar derivativo em certos momentos (talvez “reverente” seja o termo mais apropriado), o fato e que este e um detalhe irrelevante diante do conjunto da obra. Resta saber se o proximo album demonstrara o mesmo nivel de paixao, competencia e magnetismo visto aqui. Mas ate la, e seguro dizer que o Muddy Brothers comecou muito bem e merece ser acompanhado por isso.

Handmade

Trey Anastasio - Bar 17

Bitrate: 320K/s
Year: 2006
Time: 71:15
Size: 163,4 MB
Label: Rubber Jungle
Styles: American Trad Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Host Across The Potomac - 6:05
 2. If You're Walking - 5:46
 3. Dragonfly - 3:51
 4. Bar 17 - 8:52
 5. Mud City - 4:03
 6. Let Me Lie - 3:15
 7. What's Done - 5:43
 8. Goodbye Head - 7:04
 9. A Case Of Ice And Snow - 4:42
10. Empty House - 3:57
11. Gloomy Sky - 5:56
12. Shadow - 5:26
13. Cincinnati - 6:30

Trey Anastasio's Bar 17 is a return, while ever looking forward, to the adventurous pop sounds on his self-titled solo album issued in 2002 and Shine from 2005. This is an ambitious, wide-ranging recording, with over 40 session players (granted 14 of them are string players, but so what?) among them, members of Phish, John Medeski, Cyro Baptista, and Briggan Krauss. In addition, this is the kickoff effort from Anastasio's Rubber Jungle Records. Bar 17 was produced by Anastasio and Bryce Goggin and the artist's own Barn studio in Vermont and in New York City. The music on these 13 tracks ranges from balls-out rockers such as the album's first single "Dragonfly," and the aptly titled "Mud City." There are the funky, ambitious but accessibly knotty pieces such as the album's opener, "Host Across the Potomac," and gorgeously textured pop songs, such as "Shadow," and "Let Me Lie." There are shimmering acoustic pieces like "Empty House" and stretched-out rock tunes that allow for real improvisation in the title track and "Goodbye Head." There are also a few unclassifiable, numbers with lush strings, lots of space, and paces that move form slow to slower. The closer is a sprawling jazz-rock piece with horns and pumping pianos that becomes a rock & roll jam. The point is, this is one unfettered date. That said, however, it is utterly focused and there isn't anything extra here despite the fact that the album is over 70-minutes long. Apparently, there is a bunch of stuff left over from the session, as well: those who pre-ordered the set from Anastasio's website get those leftovers on a bonus CD as a thank you. Anastasio's work outside of Phish while they were together, and especially since the group disbanded, is utterly fresh, exciting, and full of surprises. While his records undeniably have a "sound" that belongs to him, they are so wide reaching yet utterly accessible that it may be difficult not to find something in here that's appealing. Another winner.

Bar 17