понедельник, 26 июня 2017 г.

Lazy 50 - Lazy 50 Vol 1

Bitrate: 320K/s
Year: 2017
Time: 46:23
Size: 107,5 MB
Label: Self Released
Styles: Blues Rock
Art: Front

Tracks Listing:
 1. Autumn - 5:03
 2. Catch My Train - 3:24
 3. Fever - 5:56
 4. Hell Freezes Over - 4:17
 5. Lonely Man - 5:12
 6. Pretty As A Flower - 3:19
 7. Poor Boy Blues - 6:24
 8. Toko Way - 3:51
 9. Vigilante Blues - 5:11
10. Where Did I Go Wrong - 3:41

Blues/Rock debut by this Out East trio of seasoned muso's. When Pete Te Kani’s band The Timelords came to an end not long after, the scene was set for the combining of two massive talents of the Gisborne music scene and the formation of  Lazy   50 .
Pete is well known for his rhythmic bass guitar and soulful singing. He’s also a master at musical arrangement which shows in the tight and funky sound coming out of  Lazy   50 .
Lazy   50 ’s music harks back to the original blues rock of the 70s along the lines of Cream and early Rolling Stones, enhanced with a healthy dose of East Coast funk in the bass lines, rocking rhythm drumbeats and screaming guitar leads that are guaranteed to have the dancefloor humming.

Lazy 50 Vol 1

Paranoise - Private Power

Bitrate: 320K/s
Year: 2000
Time: 65:11
Size: 149,5 MB
Label: Ancient Records
Styles: Progressive Rock/Jazz Rock Fusion
Art: Full

Tracks Listing:
 1. Evil Vs. Evil - 3:15
 2. Instability, Containment, Rollback - 5:00
 3. Tetrahedral Metaphor - 6:27
 4. Mechanical World - 4:58
 5. International Monetary Fun - 4:59
 6. Constant Fear - 4:45
 7. Structural Adjustment - 8:44
 8. Private Power - 6:10
 9. Tarana - 3:52
10. Not There - 5:11
11. Centerless Grinding - 2:39
12. Monuments - 9:05

The music on this record in some abstract way represents in my mind a model for interaction and third world indigenous people. By preserving the culture and extracting samples we can study it. Instead of changing and dominating their systems of order we can adjoin and build onto them and create a new civilization using the best from each. Hopefully the music we've created here does something like that. It attempts to collaborate in new ways using technology (sampling) thereby keeping the original music intact. Starting from there we've reharmonized and rearranged the original without destroying it, and tried to create something new using western musical systems and high-powered aggressive timbres and rhythms. The result being the weaving of a musical/mathematical partnership. A vast geometry. Hyperdimensional, ancient geometry." - Jim Matus
As you can see from the above, this album has a political statement to get over and on listening to this album this comes over very clearly, one other thing that is evident right from the start is the third world influence within the music.

Private Power

Jason Ricci & The Bad Kind - Approved By Snakes

Bitrate: 320K/s
Year: 2017
Time: 75:43
Size: 173,5 MB
Label: Ellersoul Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. My True Love Is A Dope Whore -  8:17
 2. Something Just Arrived -  6:54
 3. Demon Lover -  9:15
 4. My Mom's Gonna Yell At You -  3:36
 5. Broken Toy-I Fink U Freaky -  9:12
 6. Listen Here - 10:02
 7. Terrors Of Nightlife -  7:16
 8. I Got Cleaned Up -  4:54
 9. I'm Too Strong For You -  4:02
10. Disconnect -  5:31
11. 515 -  6:39

Jason Ricci is an amazing song writer, entertainer and innovator of the blues harmonica (and beyond) but this CD is about Jason and his great New Orleans band, The Bad Kind. The new material further showcases the growth of their incredible talents. This new recording is going to smash any preconceived notions of genre boundaries. I don’t think they’ve come up with a name for the music these cats make. Just call it Jason Ricci & the Bad Kind.
This is Jason’s eighth release as a band leader first in seven years. Of course he’s been busy with other projects including special guest on the (late great) Johnny Winter’s Grammy winning CD, ‘Step Back’. His fantastic duo release of acoustic blues with J.J. Appleton, ‘Dirty Memory’ in 2015. And of course his knockout TV performance of the induction of the Paul Butterfield Blues Band into the Rock & Roll Hall of Fame, quite an honor indeed. He has also been nominated and won many awards including Blues Music Award for Best Harmonica 2010 and is nominated again this year (2017) He and his band still tour the world playing the biggest Festivals and concert venues.

Approved By Snakes

воскресенье, 25 июня 2017 г.

Willie Hooks - Friday The 13th

Bitrate: 320K/s
Year: 2000
Time: 35:58
Size: 82,6 MB
Label: Julet Records
Styles: Blues/Chacigo Blues/Jazzy Blues
Art: Front

Reacks Listing:
 1. Friday The 13th - 6:21
 2. A Little More Time - 3:16
 3. Walking On Thin Ice - 3:41
 4. Walking On Thin Ice - 3:28
 5. Soul Dripping (Instrumental) - 2:39
 6. Voodoo Woman (feat.Daved Cook) - 3:23
 7. Don't Cheat So Close To Home - 2:49
 8. Sunshine Follows The Storm - 4:54
 9. Take It Easy On Me - 2:38
10. Friday The 13th (Instrumental The Rnd) - 2:45

Full throttle West Coast blues, with a nod to that great Chicago style. Steamin' deep vocals give 'ya shivers.
Born on the 13th day of June in Columbus Mississippi, Willie Hooks wrote this song about his Birthday. Willie's father was a Preacher who also sing, his mother played piano. Willie's family is large with seven brothers and four sister's, four of the boys play guitar.
In 1969 Willie Hooks record "Follow Me Baby" for Soul World Records, that is now Soul World Enterprise the parent Company for Julet Records, Over the years Willie played different blues clubs. In 2000 Willie Hooks came to Julet Records with "Friday The 13th", So we went to the recording studio and began to add new sounds to old sounds, the CD "Friday The 13th" was born.
We feel that this music is like good food and fine wine add the right ingredients and spices, and you will create a tasteful feast, by adding the right sound we have create good blues, straight from the soul. We are trying be the best company for west coast blues. We hope you buy our CD "Friday the 13th". It will be the best music you have bought this year.
Thank You very much.

Friday The 13th

пятница, 23 июня 2017 г.

Amarok - Hunt

Bitrate: 320K/s
Year: 2017
Time: 61:48
Size: 142,7 MB
Label: Musicom
Styles: Progressive Rock/Eclectic Prog
Art: Front

Tracks Listing:
 1. Anonymous -  6:41
 2. Idyll -  5:40
 3. Distorted Sould -  5:32
 4. Two Sides -  5:09
 5. Winding Stairs -  4:34
 6. In Closeness -  5:51
 7. Unreal -  4:39
 8. Nuke -  5:47
 9. Hunt - 17:51

Musicians:
Michał Wojtas (wokal, tracks; 1, 3, 5, 6, 9/ gitary/ fisharmonia/ theremin/ instr. klawiszowe/ instr. perkusyjne/ perkusja elektroniczna/ sample)
Paweł Kowalski (perkusja, tracks: 1-3, 5, 6, 8/ bas, track 2)
Marta Wojtas (wavedrum, tracks: 1, 2, 6, 9)
Colin Bass (wokal, track 8)
Mariusz Duda (wokal, track 2)
Michał Ściwiarski (instr. klawiszowe, track 7)
Konrad Pajek (wokal, track 2)
John England (lektor, track 9)
Sebastian Wielądek (duduk, track 4)
 
Gdybym o polskim projekcie Amarok napisał „znany”, to byłoby nadużycie. Tym bardziej, że po wydaniu w  latach 2002- 2004 trzech pełnowymiarowych albumów Michał Wojtas- bo to on wraz z Bartoszem Jackowskim projekt powołał do muzycznego życia, on jest autorem repertuaru, on prowadzi politykę wydawniczą, i jeszcze wiele, wiele rzeczy- zniknął z przestrzeni dźwięków na blisko ….trzynaście lat. Stąd wynika także informacja zamieszczona przeze mnie nieco wyżej, w pierwszym zdaniu. Przez trzynaście lat zmieniło się w znaczący sposób pokolenie słuchaczy, a niektórzy z tych, którzy dzisiaj mają okazję cieszyć się dźwiękami z albumu „Hunt”, w roku 2004, czyli w momencie edycji poprzedniej płyty biegali w krótkich gatkach i z pasją lepili piaskowe baby w osiedlowej piaskownicy. Ponad dekada to także spore przeobrażenia muzycznych realiów, choć obiektywnie oceniając, dźwięki potrafią być wyjątkowo oporne na upływ czasu, niekiedy starzejąc się pięknie. Ale odstawmy nostalgię do kąta, a skoncentrujmy się na bohaterze tekstu, formacji Amarok ( pewną ciekawostką jest fakt, że kapela o identycznej nazwie, poruszająca się także po szeroko rozumianym poletku rocka progresywnego, istnieje od roku 1993 w Hiszpanii, a w naszym kraju inny Amarok działa od kilkunastu lat na niwie black metalu). Już przy próbie „biograficznego” oswojenia nazwy Amarok, napotykam kontrowersję. Niektóre źródła wskazują, że obiekt mojej recenzji powstał pod wpływem fascynacji twórczością Mike’a Oldfielda i jego muzyką z, w pewnym sensie kultowego albumu ”Amarok”, opublikowanego w roku 1990. A po wysłuchaniu zawartości dysku „Hunt” jestem przekonany, że Oldfieldowe pomysły i brzmienia nadal należą do katalogu ulubionych inspiracji muzycznych Michała Wojtasa. A oczarowany urodą suity „Hunt” dorzuciłbym do tych sugestii jeszcze dokonania pionierów rocka elektronicznego ze „Szkoły Berlińskiej”, Tangerine Dream, ze szczególnym wskazaniem na płyty z okresów Jive- Electro- Years (1983- 1987)  i Melrose Years (1988- 1990). A żeńskie wokalizy w środkowej części „Hunt” kojarzą mi się jednoznacznie z niedocenianym acz pięknym albumem poezji Williama Blake’a „Tyger” (1987). Ale moim zamiarem nie jest w żadnym wypadku tworzenie sugestii, że Amarok próbuje kopiować wspaniałe wzorce. Tak nie jest, ponieważ w strukturze ponad 17- minutowej kompozycji „Hunt” jest multum innych pomysłów, koncepcji brzmieniowych, które  „urodziły” się w głowie głównego architekta Amarok, Michała Wojtasa. Ale wracając na moment do kwestii nazwy projektu, chciałbym także zasygnalizować, że istnieje opcja z numerem dwa, interpretacji pochodzenia miana Amarok, która nawiązuje do mitologii Inuitów (rdzenne ludy obszarów arktycznych, m.in. Grenlandii, Alaski), w której Amarok przedstawiany jest jako gigantyczny wilk samotnik, atakujący tych, którzy wyruszyli samotnie na nocne łowy.
Trochę niespodziewanie, także dla siebie, zacząłem analizę od finału, od korony albumu, bo takim atrybutem można, moim zdaniem obdarzyć epicki utwór tytułowy. W ogóle mam nieodparte wrażenie, że cały album podzielić można nieformalnie na dwa rozdziały, pierwszy obejmuje pokrewne stylistycznie utwory z pozycji 1-8, a drugi to klimatyczny, pełen tajemniczości i wciągający swoim urokiem „Hunt”. Dostrzegam także istotne różnice pomiędzy tymi rozdziałami polegające głównie na zakresie wykorzystanej elektroniki, która w ostatnim akapicie albumu zdecydowanie dominuje, natomiast w pierwszych ośmiu punktach programu jest równoważnym partnerem tradycyjnego instrumentarium rockowego, ze szczególnym podkreśleniem roli gitar, pięknych, przestrzennych i niezwykle nastrojowych.
Do realizacji nagrań Michałowi Wojtasowi udało się namówić dwóch niezwykle charyzmatycznych i szanowanych rockowych twórców, mianowicie Mariusza Dudę z Riverside oraz „Pół- Polaka” (trudno zliczyć ilu polskich wykonawców wsparł swoimi umiejętnościami, wzmiankując tak „na szybko” tylko Józefa Skrzeka, czy Quidam) Colina Bassa.  Zresztą z Amarokiem Colin współpracował już przy nagrywaniu poprzedniego longplaya studyjnego „Neo Way” (2002). Zwracam uwagę na fakt zaangażowania w realizację nagrań wielu innych osób, które pojawiają się w przestrzeni jednej kompozycji, ich udział bywa najczęściej epizodyczny, ale niezwykle istotny z punktu widzenia charakterystyki utworu. Ponieważ autor koncepcji Michał Wojtas bardzo starannie zajął się warstwą brzmieniową, w której pozornie drobiazgi ułożone zostają jak puzzle, bez których faktura poszczególnych akapitów byłaby zdecydowanie uboższa i nie nadawałaby utworom specyficznego, ambientowego, niekiedy folkowego, a innym razem egzotycznego kolorytu. W przypadku każdej części programu albumu doskonale sprawdza się powiedzenie „diabeł tkwi w szczegółach”, gdyż to one wyróżniają kolejne odsłony tego konceptu. Bo słowa wypełniające treść songów, autorstwa Marty Wojtas, tematycznie posiadają wspólny mianownik i odnoszą się do negatywnych aspektów wynikających z postępu współczesnych technologii i miejsca człowieka w tym stechnicyzowanym świecie.
Już w pierwszym akcie spektaklu, nieprzypadkowo wykorzystałem terminologię teatralną, „akt” i „spektakl”, gdyż uważam, że wszystkie utwory układają się w pewną sekwencję scen, mogących stanowić inscenizację teatralną. Być może to zbyt daleko idące porównanie, ale muzyka Amaroka emanuje silnie wyeksponowanymi emocjami, oddziaływując na wyobraźnię. Gdy tylko słuchacz zapewni sobie odpowiednie warunki odbioru tej muzyki, czyli wyeliminuje zakłócenia zewnętrzne, koncentrując się wyłącznie na dźwiękach, słowach, pasażach instrumentalnych, stworzy sobie własny spektakl, w którym widownię stanowić będą własne zmysły. Od samego początku przekonałem się, że muzyki z dysku ”Hunt”, słuchać należy blisko, najlepiej wykorzystując słuchawki, bo tylko w takich warunkach mamy gwarancję, że pewne, wręcz chwilami nieuchwytne detale nam nie uciekną, a bez nich powstanie wrażenie pewnej powierzchowności odbioru, kompozycje stracą swoją głębię i długimi momentami magiczną aurę. Bo ta muzyka działa jak pejzaż, subtelna ilustracja , z tym, że rolę obrazów graficznych przejęły dźwięki. Słuchając tych dziewięciu odsłon raczej znajdujemy się o krok od medytacji, zagłębiania się w myślach, aniżeli od rockowego poweru, gitarowych szarpnięć, błyskotliwych riffów. Na ścieżkach wydawnictwa „Hunt” króluje spokój, delikatność, intymność, „ubrane” w urozmaicone i bogate dźwięki. I jeszcze refleksja natury ogólnej. Z premierowymi publikacjami fonograficznymi bywa, przynajmniej w moim odczuciu, tak: są wśród nich takie, które anonsowane jako spektakularne wydarzenia i gdy trafią do moich rąk, zawsze z ekscytacją otwieram pudełko, dysk do odtwarzacza i pierwsze przesłuchanie. Dopiero po pewnym czasie wywołują albo zachwyt albo kwaśną minę niezadowolenia. Inny przypadek, to płyty wykonawców, którzy nie mają tyle szczęścia do zorganizowanej akcji medialnej, niekiedy mniej znanych, obecnych, ale nie dostrzeganych. Ich albumy wywołują reakcje dwojakiego rodzaju (ciągle nieco egoistycznie mówię o sobie), albo pierwszy kontakt z muzyką to euforia, która jednak po pewnym okresie mija a fascynacja blednie, albo kategoria muzycznych albumów, które po inauguracyjnej konsumpcji podobają się najwyżej średnio, a w miarę upływu czasu i kolejnych przesłuchań zyskują na uznaniu, wywołują nowe impulsy, pozwalają odkrywać zakątki zamknięte początkowo dla receptorów. I do tej ostatniej grupy należy ostatnia płyta Amarok, im dłużej jej słucham, tym bardziej się dziwię, w jaki sposób na początkowym etapie umknęły mojej uwadze tak piękne i wyrafinowane akcenty instrumentalne kształtujące brzmienie. A takie zdziwienie własnym gapiostwem ogarnia mnie już przy pierwszej kompozycji „Anonymus”. Najpierw jest cisza zwiastująca nadejście „czegoś” nieznanego, kilkanaście sekund później z tej ciszy wyłania się elektroniczny, narastający szum i jednostajny rytm. Coraz intensywniejszy. Na granicy pierwszej minuty pojawia się słowo (Michał Wojtas debiutuje w roli wokalisty), kontury tematu melodycznego, a dopiero po drugiej minucie „odzywa” się pięknie brzmiąca gitara. I w zasadzie od tego punktu rozpoczyna się rockowy puls z perkusją, gitarą, klawiszami. Jest taki post- rockowy  band japoński Mono i w ich muzyce dzieje się dokładnie tak samo, jeśli chodzi o partię gitary, której intensywność  sukcesywnie narasta, kreśląc na perkusyjno- klawiszowym fundamencie zróżnicowane figury. Im bliżej końca, tym więcej dynamiki, tym bardziej drapieżne, transowe,  brzmienie gitar, dla których aktywne tło stanowią dźwięki emitowane przez syntezatory. Ostatnie kilkadziesiąt sekund to powrót do motywu z początku utworu aż do całkowitej ciszy. Muzyka wytwarza specyficzną atmosferę, trudno ją określić słowami, ale dominuje w niej niepokój, mrok, hipnotyczny puls. Sam autor podkreśla, że w tym utworze wykorzystał indyjski instrument klawiszowy harmonium, nadając kompozycji odrobinę egzotyki. W piosence „Idyll” wystąpił  Mariusz Duda z Riverside, twórca melodii wokalu, który doskonale wpasował się w atmosferę muzyki, ale fakt ten nie powinien dziwić, gdyż ostatni album Riverside „Eye Of Soundscape” (2016) oraz poprzednie dokonania Mariusza Dudy w ramach projektu Lunatic Soul posiadają wiele punktów stycznych z muzyką zaprezentowaną przez Amarok. Piękny to fragment albumu „Hunt”, delikatny, subtelny, ze ślicznymi partiami klawiszy, pianina, nastrojowej, „łkającej” gitary. Magia tej kameralnej pieśni porywa słuchacza natychmiast od pierwszych dźwięków, także wspaniałą linią melodyczną. Każdy, kto usłyszy „Idyll” stwierdzi, że od pierwszej sekundy drzemie w nim niekiełznana i romantyczna siła prawdziwego „heartbreakera”, który wkrada się w nasze uczucia i demoluje swoim pięknem. Pierwszy komponent kompozycji „Distorted Soul”, który wbija się w świadomość słuchacza to pianino, pojawiające się w kilkusekundowych odstępach jednostajne uderzenia w klawiaturę. Obok perkusyjny beat, elektronicznie przesterowany, a na pierwszym planie zachwyca rzewna gitara. Po 45 sekundach brzmienie staje się wręcz minimalistyczne z głosem i powtarzanym jak mantra motywem na pianinie, jedynie gdzieś tam daleko w tle docierają wytłumione bębny. Czaruje główny temat melodyczny, sporo efektów elektroniki, delikatnie zaznaczony flet typu low whistle (instrumentalny debiut Michała Wojtasa), jest także solo na thereminie z egzotycznym brzmieniem tego instrumentu. Temat utworu koncentruje się na jasnych i ciemnych stronach ciała, umysłu i duszy człowieka, czyli sferach naszego życia, które nie zostały jeszcze do końca naukowo poznane. „Two Sides” posiada od pierwszych dźwięków orientalną charakterystykę, a to za sprawą ormiańskiego duduka (partie wykonuje Sebastian Wielądek). Ta instrumentalna impresja to gra nastrojami, w której trudno wyodrębnić melodię, tło stanowią elektroniczne „szumy”, a na scenie aktor główny, theremin, oraz akompaniujący fortepian, skromnie akcentujący swoją obecność. „Winding Stairs”, tytułowe  „Kręte schody” istnieją w rzeczywistości w jednym z pensjonatów Gór Izerskich. Muzyka to udany, zgrabnie zaprojektowany kolaż dźwiękowy brzmienia instrumentów ludowych, elektroniki oraz przestrzennych gitar. „In Closeness”, na wstępie dosyć kakofoniczny zbiór tonów elektrycznych (dosyć ostra gitara),  jednak po kilkudziesięciu sekundach z tej zawiesiny różnorodnych tonów wyłania się zaskakująco łagodny wokal i melodyjny motyw oparty na pianinie, klawiszowych smugach, z motorycznie dyktowanym przez perkusję rytmem,  przełamywany soczystymi, króciutkimi wejściami elektryki gitarowej. „Unreal” to fragment gitarowo- klawiszowy, bez słów, przestrzenny, z pięknie prowadzoną przez gitarę melodią, a uciekając się do porównań wskazałbym styl Andy Latimera z Camel. „Nuke” to utwór, w powstanie którego swój wkład wniósł kolejny gość, Colin Bass, monumentalny, z partiami wielogłosowymi w drugiej części. Od startu piosenka „rozkręca” się bardzo powoli, wręcz leniwie, dopiero krótko przed trzecią minutą nabiera rozpędu, melodyka staje się bardziej wyrazista, pojawiają się wokalne pogłosy, od 4:30 kapitalna partia solowa gitary, chórki w finale. Wszystkie te elementy pozwalają na użycie słowa „rockowy hymn”. Ostatnim aktem albumu jest tytułowa suita, o której kilka uwag umieściłem już wyżej. To kompozycja z dominacją elektroniki, wieloma składnikami jak theremin, odgłosy wilków, pojawia się akcent etniczny w postaci gry na instrumencie dętym australijskich aborygenów, didgeridoo. Moje skojarzenia biegną w kierunku Tangerine Dream, łącznie z wejściami gitary, tak jak potrafił to robić Edgar Froese w późnych latach 70 i w epoce lat 80-tych. Odkryć można także pewne nawiązania do „szkoły” Mike’a Oldfielda. Jednym słowem mamy do czynienia z klasycznym monumentem rocka elektronicznego, blisko 18- minutowym, wielowątkowym, w którym dzieje się sporo na różnych płaszczyznach, od wokali, przez syntezatory, po gitarę elektryczną, z urokliwą partią śpiewaną Marty Wojtas.
Reasumując, album  „Hunt” formacji Amarok , wydany po wielu latach milczenia, ocenić należy jako bardzo udany comeback. Klimatyczna muzyka wypełniona licznymi pasażami nie potrzebuje adwokatów i doskonale broni się sama już po pierwszym przesłuchaniu. Nie można jej odmówić finezji, wciągającej, momentami mrocznej atmosfery, sporo w niej akcentów lirycznych, z całą paletą dźwiękowych przestrzeni, sporo fragmentów skłaniających do refleksji. Ta muzyka wymaga także czasu, żeby się z nią oswoić, odkryć detale, dać się porwać jej transowości i niekiedy hipnotycznej sile.

Hunt

четверг, 22 июня 2017 г.

Milky Whites and the Bluesmen - Texas Drivin' Blues

Bitrate: 320K/s
Year: 2016
Time: 50:41
Size: 116,2 MB
Label: Riff Productions
Styles: Texas blues
Art: Front

 1. It's Me...No It's You..., Pt. 1- 0:59
 2. Bluesday- 4:41
 3. Billy and Those Blue Dress Blu - 4:51
 4. Texas Drivin' Blues - 4:29
 5. When I Dance With You Baby - 9:43
 6. It's Me...No It's You..., Pt. - 0:33
 7. Strange Emotions - 4:48
 8. I'm Tired of People Dying - 4:22
 9. Tomfoolery - 4:41
10. Funk U - 6:52
11. I Told Him Not to Take the Tur - 3:34
12. It's Me...No It's You...,Pt. 3 - 1:05

Fun Highway Driving Southern Blues/Rock with some Delta Blues and Funk thrown in.If you like to get in your car, start it, throw in a CD and drive while taking a "trip" musically then this is your music! Great guitar feel derived from the styles of Stevie Ray Vaughan / ZZ Top and spiced up with some sexy Blues in the likes of Eric Clapton.
Add a little sad "Delta Blues" and garnish it with some "Funk" and you've got what this Album is about. It will make you catch your foot on the gas pedal, have a laugh at the lyrical content, then move you into a dusty old "Mexican Style" bar on a blistering hot day....tangled on the dance floor for 10 minutes of intense intimacy. Following songs deal with the reality of life and dying and the silliness of "getting down" to kick ass beats. This is an album of interesting varieties of music to keep you entertained as you cruise the highway.

Texas Drivin' Blues

Broselmaschine - Indian Camel

Bitrate: 320K/s
Year: 2017
Time: 41:29
Size: 96,0 MB
Label: M.i.G.-Music/Indigo
Styles: Progressive Rock/Prog Folk
Art: Front

Tracks Listing:
 1. I Was Angry -  4:24
 2. Fall Into The Sky -  5:41
 3. Peace Of Heaven -  5:39
 4. Don't Cross My Way -  4:04
 5. Indian Camel - 12:05
 6. Stacey -  3:30
 7. Children Of The Revolution -  2:43
 8. Daydreaming -  3:20

Nach 32 Jahren wirft die krautrockige BRÖSELMASCHINE urplötzlich wieder ihren Musik-Motor an und tuckert nicht etwa behäbig und altersweise durch die Musiklandschaft, sondern kommt auf einem riesigen Wüstenschiff, dem „Indian Camel“, angeritten, das sich als kunterbunte Wüsten-Oase aus indischen Klängen, Folk und Jazz präsentiert und mit LIZ BLUE zugleich eine Sängerin zwischen den Höckern sitzen hat, die mit ihrer souligen Stimme der instrumentalen Schönheit des Albums zugleich noch das vokale Sahnehäubchen aufsetzt. Aber auch ihr ehemaliges Bandmitglied der 79er-Formation, das heute zu einem der umtriebigsten deutschen Musiker und Jazz-Clowns (ausschließlich im positiven Sinne gemeint) zählt, HELGE SCHNEIDER, ist bei „Fall Into The Sky“ wieder mit dabei, aber nicht als Sänger und Organist wie damals, sondern als Saxofonist!
Vielleicht sollte im Vorfeld noch kurz etwas zu der Band gesagt werden, die sich bei ihrer Gründung im Jahr 1968 nach einer Haschisch-Zerkleinerungsmaschine benannte, welche die gewünschten Krümel in den drehbereiten Joint bröseln ließ, und deren gleichnamiges Debüt 1971 erschien, bis sie 1985 recht sang- und klanglos von der musikalischen Bildfläche verschwanden.
Ein Zufall weckte ihre berauschenden Lebenssäfte wieder. Dieser Zufall hieß Rockpalast und kam in Form eines Anrufs anfang des neuen Jahrtausends, mit der Absicht, ein „Krautrock Special“ zu produzieren. Das war Öl genug auf die Kolben der BRÖSELMASCHINE, um wieder durchzustarten, wozu der Gitarrist und Sitar-Spieler PETER BURSCH begeistert feststellt: „Rockpalast wollte, dass wir unsere Musik der 70er wieder aufleben lassen. Ich habe dann die alten Bandmitglieder zusammengetrommelt. Die Magie war sofort wieder da!“
Nun also liegt anno 2017 das erste Studio-Alben als Ergebnis dieser Reunion vor und es ist ein großartiges, musikalisches Zeitzeugnis geworden, welches ihre Einflüsse der Siebziger mit indischer Weltmusik, zartem Jazz und progressiven Kompositionen vereint, dass es eine wahre Freude ist, auch ohne jegliche Joints diesem hochwertigen Musikstoff zu verfallen.
Im Zentrum steht dabei tatsächlich das gut 12minutige Instrumental, welches dem Album seinen Titel verlieh und eine wahre weltmusikalische Klangreise, beginnend mit einer akustischen Gitarre und endend in einem regelrechten Weltmusik-Inferno ist, das sich mit psychedelischer Raffinesse nach und nach zu einem riesigen Ethno-Trip entwickelt. Bewusst hatten sich die Musiker gerade für diesen Song als Albumtitel entschieden, da er sehr viele Klangfarben aufweist, Sitar und Tablas ertönen, die Gitarre sogar ein wenig RAVELs „Bolero“ zitiert, während sich ein paar Club-Sounds wie in einer Disco auf Ibiza einschleichen: „‘Indian Camel‘ ist unser wichtigstes Stück der Platte, wir haben es im Studio nur einmal gespielt. Ich hatte diese Sitar-Melodie und den Rhythmus im Kopf, die habe ich den anderen Mitgliedern vorgespielt. Sie stiegen ein, die Bandmaschine lief und nach 12 Minuten war das Stück zu Ende. Das war der Hammer. Wir hatten alle Gänsehaut!“
Mit „Children Of The Revolution“ gibt es den T.REX-Klassiker außerdem als eine Coverversion geboten, die deutlich vom Original abweicht, noch rockiger geworden ist und sich durch ein fettes E-Gitarren-Solo hervortut. Auch die Geschichte dahinter ist sehr interessant, denn diese Coverversion entstand auf Bitte des Eclipsed-Magazins hin, wie sich PETER BURSCH erinnert: „Im Proberaum haben wir dann herumgedudelt und plötzlich waren wir bei ‚Children Of The Revolution‘. Darauf habe ich noch eine Sitar hinzugefügt, damit das den typischen BRÖSELMASCHINE-Touch bekommt. In den 70ern hatten wir mal einen Auftritt mit T.REX in München. Deren Sänger MARC BOLAN stürmte auf die Bühne und wollte bei uns mitspielen. Er war allerdings ziemlich stoned, ein paar Roadies haben ihn dann beiseite geschoben...“
Zuvor aber startet das „Indian Camel“ mit „I Was Angry“ ähnlich druckvoll wie die Revolutionskinder durch, mit Soul- und Blues-Rhythmen, aber auch einer Kombination aus Bass-, Schalgzeug- und Orgel-Solo. Eine ideale Einstimmung auf das Album, welches leider mit gut 40 Minuten Spielzeit – die wohl dem LP-Format (in farbigem Vinyl) geschuldet ist – ziemlich kurz geraten ist. Schade, dass bei der CD-Variante, die in einem sehr schönen dreifaltigen Digipak mit 16seitigem Booklet daherkommt, nicht auf einen Bonus zurückgegriffen wurde, wie beispielsweise ein paar Aufnahmen vom Burg-Herzberg-Festival.
Mit einem wunderschönen akustischen Gitarrenstück, das genauso klingt, wie es einem der Titel „Daydreaming“ verheißt, verabschieden sich BRÖSELMASCHINE aus ihrem Album, das genauso überraschend wie es erschien mindestens genauso überraschend gut ist. Ein echtes Musik-Highlight des Jahres 2017, welches den puren Freigeist der Musiker sofort auf den sich vom Radio-Mainstrem befreiten, freigeistigen und offenohrigen Zuhörer überträgt.
FAZIT: BRÖSELMASCHINE sind auf einem „Indian Camel“ zurück – und beim Hören des Albums wird einem sofort bewusst, wie sehr doch gerade dieser außergewöhnliche, weltmusikalische Krautrock auf unserer aktuellen Musik-Landkarte fehlte. Ein echtes Hörerlebnis, gerade auch wegen des ausgiebigen Einsatzes einer Sitar.

Indian Camel

понедельник, 19 июня 2017 г.

Comedy Of Errors - House Of The Mind

Bitrate: 320K/s
Year: 2017
Time: 41:41
Size: 96,0 MB
Label: Plane Groovy
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Tachyon -  6:15
 2. House Of The Mind - 14:48
 3. A Moment's Peace -  4:09
 4. One Fine Day -  2:48
 5. Song Of Wandering Jacomus - 13:39

The CD release features 5 new tracks/
Comedy Of Errors much anticipated fourth album House Of The Mind is an exploration of the Jungian unconscious and non linear time.At once a departure and development from 2015's Spirit, House Of The Mind combines soaring anthemic melodies, Classical influences and hard driven Progressive sequences to produce a Sublime Symphonic Rock music.

House Of The Mind

воскресенье, 18 июня 2017 г.

The Mikael Santana Band - Night Flight

Bitrate: 320K/s
Year: 2000
Time: 36:39
Size: 84,1 MB
Label: NM Music
Styles: Blues
Art: Front

Tracks Listing:
 1. Night Flight - 4:28
 2. Winner Take All - 3:49
 3. Jeannine - 3:40
 4. Sweet Temptation - 3:54
 5. Time to Play - 3:10
 6. Alexander St. Hop - 3:37
 7. Strawberry Blonde - 4:05
 8. 66 Mustang - 4:06
 9. Come on and Dance with Me, Camille - 2:38
10. Runway 6 - 3:07

Mikael Santana (born December 31, 1957) is an American blues harmonica player and singer-songwriter, who blends the Chicago blues style with jump blues and West Coast swing. He lives in Memphis, Tennessee.

Night Flight

JVT Band - Southern Comfort

Bitrate: 320K/s
Year: 2017
Time: 46:33
Size: 106,7 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Bad Ass Song (feat. Tommy Stillwell) - 7:22
 2. A Light in the Distance (feat. Tommy Stillwell) - 4:19
 3. Soco (feat. Tommy Stillwell) - 7:08
 4. What If - 4:22
 5. Blue Moon Shines (feat. Tommy Stillwell) - 3:52
 6. No Money No Honey (feat. Tommy Stillwell) - 4:45
 7. Stuck On You - 6:41
 8. Drifting Away - 8:00

Welcome to the JvT Band. Jeroen van Tuijl, the lead vocalist and guitarist, discovered his love for the guitar more then 30 years ago. After playing a lot of covers with various bands and being influenced by his favorite rock and blues music, Jeroen was inspired to compose his own music. In addition he also writes his own lyrics. This all resulted in forming the JvT band, together with Claudio on bass and Rene on drums. These 3 passionate musicians play Jeroens music with a heart, coming out of their souls. Recently the band released their 3th CD. Browse to discover more about these talented artists, listen to demos, order their CDs or book a gig.Keep on rockin' in a free world!!!

Southern Comfort

пятница, 16 июня 2017 г.

Bandera - Knights

Bitrate: 320K/s
Year: 1981
Time: 40:05
Size: 91,9 MB
Label: MCA Records
Styles: Rock/Southern Rock
Art: Full

Tracks Listing:
 1. Billy The Kid - 3:28
 2. Loaded Gun - 4:51
 3. Crazy You, Crazy Me - 4:41
 4. High Ridin' Mama - 2:14
 5. Memories Of Home - 4:32
 6. Hello Texas - 3:52
 7. Illegal - 4:08
 8. Now That It's Over - 3:20
 9. Old Rhymes And Photographs - 3:50
10. Blame It On The Full Moon - 5:05

Musicians:
Lore Orion - vocals, guitars;
Eric Butler - guitars, vocals;
Harry Robinson - guitars;
Paul Uhrig - bass, vocals;
Tom Jones - drums, percussion.

Led by the phenonemal talent of Lore Orion, this is a seemingly forgotten one off Southern Rock classic recorded in Nashville belying the albums title which is actually the hometown of Orion, down in Texas. Orion began his career as an artist, designing album covers for bands like New Riders Of The Purple Sage, The Grateful Dead and Jefferson Airplane, not to mention writing childrens books and writing movies. Somehow Orion found time to form Bandera, relocating to Nashville to record their lone album, the musicians playing here all local session musicians, and a list of whom I am unable to locate (it's ok Alun.. I found them for ya.. Ed). This is vintage Southern Rock and one of the best obscurities of the genre I've heard to date. It goes to show how strong the scene was that this passed the record buying public by without incident, it's that convincing and well played.
There's nothing here but good time rocking, with 'Billy The Kid' laying waste to the competition instantly, the punchy riffs made to dance to in some dilapidated bar in Tennessee amongst a group of good old Southern boys. 'Loaded Gun' has a moodier sense of urgency, and this is slightly more melodic rock inclined along the lines of 100% Whole Wheat's 'Heart Of The Mountain'. There's nothing but fun to be had with 'High Ridin' Mama', Texan boogie that blows ZZ Top away for effect, this being the genuine article. Ballads aren't out of the question, the stunning 'Memories Of Home' really capturing the essence of the Southern scene of the early 80's, great atmospheric power here in the guitar work. Laying it on even thicker is 'Hello Texas' which is another roll in the hay jaunt, full steam ahead boogie. The album takes an interesting turn with a trio of AOR flavoured tracks, the first 'Illegal' recalling the Atlanta Rhythm Section circa 'Quinella' and was also recorded by Tim McGraw (a.k.a Mr Faith Hill.. Ed) whom Orion penned a host of tracks for. Southern AOR never had it better than 'Now That It's Over', particularly the melodic riffs, and this is simply superb as a whole. Rounding this out is 'Old Rhymes And Photographs' which sounds like Alabama at their most commercial AOR peak, therefore ensuring the quality. Nothing more than a full tilt rocker would end this on a high note and 'Blame It On A Full Moon' delivers on a grand scale. Every track here works and this is a clear cut classic.
A shame this was destined to be Bandera's only shot, this being up there with the best of the best. For out and out hard rocking, it cannot be faulted in any capacity. Orion went on to return to Bandera itself and write songs for a host of Country artists, which ensured his success at making a living from rock despite 'Knights' going nowhere. Apparently Orion is a real Country boy with Texas in his blood and is the 'lifetime president' of 'Citizens For A Wilder West'. Just from an airing of 'Knights' and you'll know where Orion's heart lay. A man of many talents, but this is the way he should be remembered. Someone needs to issue this on CD, it deserves to be heard by anyone claiming to be fan of this type of rock. It's simply unbeatable.

Knights

Monnalisa - In Principio

Bitrate: 320K/s
Year: 2017
Time: 40:56
Size: 94,4 MB
Label: Andromeda Relix (AND059)
Styles: Progressive Rock/Rrogressive metal/RPI
Art: Front

Tracks Listing:
 1. Specchio - 5:39
 2. Il Segreto Dell'Alchimista - 6:00
 3. Catene Indivisibili - 3:48
 4. Infinite Possibilità - 6:53
 5. Oltre - 5:55
 6. Viaggio Di Un Sognatore - 7:12
 7. Ricordi - 5:26

Musicians:
Giovanni Olivieri - Vocals, Keyboards;
Filippo Romeo -  Guitar;
Manuele Pavoni - Bass;
Edoardo Pavoni - Drums.

Sono passati circa otto anni dalla fondazione di questa band che risponde al nome di Monnalisa. E dopo svariati cambi di formazione arrivano finalmente alla stabilità tanto voluta, che gli ha permesso di tirar fuori un ottimo debutto discografico su lunga distanza. Il titolo di questo primo lavoro in studio è In Principio, dico incentrato su una sorta di heavy rock dalle colorate tinte più svariate, senza vincoli per essere più precisi. Brani che rispecchiano le volontà dei musicisti che stanno dentro questo interessante progetto. Hanno una loro personale concezione di fare musica. Pur non negando le influenze ricevute da band quali Deep Purple, Rainbow ,Dream Theater e altri i ragazzi della band riescono a emergere in modo del tutto personale, complice anche il fatto di usare il cantato in italiano che rende il tutto molto genuino. Si mischia facilmente anche il prog in molti punti con il metal più classico.
Un uso meticoloso ma mai opprimente e fino a se stesso viene fatto degli strumenti. Ci sono brani da dieci e lode come Catene Invisibili, in cui il tutto viene trainato dalle belle vocals di Giovanni Olivieri che tra l’altro suona anche le tastiere. Nella canzone Ricordi ad esempio si fonde alla perfezione il lato arioso di Ozzy Osbourne con il più classico prog italiano, infarcito da tastiere che ricordano vagamente i Deep Purple. Forse i brani in alcune occasioni possono sembrare un po’ malinconiche, ma nel contesto questa sensazione dona una luce oscura al punto giusto. Ogni brano ha qualcosa da raccontare, qualche emozione da tirare fuori. Questo disco ha solo bisogno di essere inserito nell’apposito vano e fatto partire, il resto verrà da se. Un plauso va anche alla sempre attenta Andromeda Relix che ha messo sotto le proprie ali protettrici questa interessantissima realtà italiana, di cui andare veramente fieri ed orgogliosi. Da tenere d’occhio perché sicuramente sentiremo parlare parecchio dei Monnalisa.

In Principio

четверг, 15 июня 2017 г.

Levitation - Need for Not

Bitrate: 320K/s
Year: 1992
Time: 46:02
Size: 107,6 MB
Label: Capitol
Styles: Alternative Rock
Art: Front

Tracks Listing:
 1. Against Nature - 4:31
 2. World Around - 3:27
 3. Hangnail - 3:04
 4. Resist - 4:02
 5. Arcs Of Light And Dew - 6:10
 6. Pieces Of Mary - 5:30
 7. Smile - 5:31
 8. Embedded - 5:15
 9. Coterie - 8:27

The first official record by Levitation, led by former House of Love member Terry Bickers, finds the guitarist pushing beyond the melodic pop of his past and into the territory of metal-influenced rock. The churning guitars of the opening track, "Against Nature," point the way to the album's sound, pop-like melodies combine with menacing guitars and a pounding rhythm section. Those expecting the airy pop of "I Don't Know Why I Love You" might be disappointed by the darker and heavier sound of Levitation, which bears more than some similarity to bands like Therapy? Only the dreamy "Arcs and Light and Dew" bears a similarity to the material of Bickers' previous group. As such, coming into this record with a knowledge of House of Love can lead to quite a surprise. Whether that surprise is a good or bad one depends on how affable one is to heavier material.
(http://www.allmusic.com/album/need-for-not-mw0000611782)

Need for Not

Wild 'T' and the Spirit - Love Crazy

Bitrate: 320K/s
Year: 1991
Time: 41:41
Size: 97,0 MB
Label: WEA
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Mean Mama Jam - 1:24
 2. Mean Mean Mama - 3:44
 3. Love Crazy - 3:45
 4. Yvonne - 4:26
 5. Can't Getcha (Outta My Mind) - 4:32
 6. Shotdown / Spellbound - 3:48
 7. Midnight Blues - 4:10
 8. Crash and Burn - 3:41
 9. Two of a Kind - 3:58
10. Betsy-Lu - 3:58
11. Life Goes On - 4:10

Tony "Wild T" Springer has hung with the best of them. David Bowie, Jeff Healey, Bon Jovi, Deep Purple, Jay Leno, David Letterman and Arsenio Hall are just some of the musical acts and personalities that have been blown away by Wild T's guitar.
Wild T is originally from Tunapuna, Trinidad. Though one may find similarities to Jimi Hendrix, ironically it was T's first exposure to Steve Howe and classic Yes that inspired him to take up guitar.
Moving to Toronto, Canada, T quickly gained a reputation on the local club circuit. Since then he has recorded two albums (Love Crazy 1991 and Givin' Blood 1995) with his own group, Wild T and the Spirit for Warner Brothers. He has also recorded an album (Black Tie, White Noise) with David Bowie and has appeared with Bowie on The Tonight Show with Jay Leno, Late Night with David Letterman and the Arsenio Hall Show.
He has toured with Bon Jovi and Deep Purple throughout North America and has performed thousands of club shows. In '99 he was asked to portray Jimi Hendrix in Daydream Believers - The Monkees Story because of his resemblance and showmanship.

Love Crazy

понедельник, 12 июня 2017 г.

Circusfolk - Making Faces

Bitrate: 320K/s
Year: 2007
Time: 37:40
Size: 87,1 MB
Label: PLH
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Submarina - 5:14
 2. If - 3:20
 3. Step Away - 4:30
 4. Fool - 6:22
 5. Where in the Inside Out - 3:19
 6. Haven - 4:49
 7. Rhubarbedwire - 6:17
 8. Strangers - 3:47

Musicians:
Eeverti Keittunen – guitars; vocals;
Ari Hinkanen – guitars; vocals;
Pekka Petarinen – bass;
Charlotta Falenius – violin, viola; back.vocals;
Daniel Porschen – drums; back/vocals.

Prolusion. CIRCUSFOLK is a young band from Finland presenting their first album “Making Faces”. Instant (unintentional!) association: “circus folk” plus “making faces” is equal to “clowns”.
Analysis. This offering seems to have an apt title indeed – at least in some ways as it comes across as if those behind it were indeed making faces at those to whom it is destined according to the press kit, where it is heralded as a progressive rock creation. Upon the first spin it may seem that the music almost wholly belongs to the Porcupine Tree / Tool / Radiohead ‘school’ of contemporary mainstream Prog, whereas in fact there are only elements of the style to be found and those elements only on four compositions. Much of the recording’s basic structures refer directly to so-called Alternative, two of its eight tracks, If and Haven, falling entirely into this idiom, both being vocal-heavy and repetitive alike. And if the last of these at least alternates atmospheric, seemingly fragile, arrangements with somewhat harder moves, being additionally ornamented with violin passages in places, the former is basically monothematic and so is overtly straightforward, no matter that the musicians succeed in avoiding the square, 4/4, measure, throughout. Being a kind of free-will ignoramus in Alternative, I can’t provide you, readers, with any reference points as I really have no idea whether there are any influences in the implied, predominant, part of this creation. The outfit manages without a keyboardist, but then there are two guitar players, Eeverti Keittunen and Ari Hinkanen, both handling lead vocals in addition and generally dominating in the arrangements everywhere on the recording. The standout compositions, Step Away, Where in the Outside in and The Fool, all portray the men as skilled instrumentalists, providing strong guitar riffs as well as flowery soloing patterns. Within the tracks’ vocal sections, however, their singing actually overshadows their playing, and then the music borders on the same unpretentious Alternative that typifies the two pieces described first. What these three are really notable for are their instrumental segments which are in most cases filled with fairly complex, edgy, electrified arrangements suggesting a cross between Tool and late Porcupine Tree, i.e. a modified, speeded up, progressive Doom Metal (whose godfathers are Black Sabbath, for sure). Two more tracks, Rhubarbed Wire and Strangers, reveal a similar, effective, maneuver, but only once each, briefly in both cases, the rest of the first of these displaying the same approach as the most simplistic piece, If, does throughout, while the latter, closing, piece is overall a mellow ballad that doesn’t change its initial pace even when changing its structural aspect. By the way, all that alternative circus begins with Submarina: this five-minute ‘opus’ only made up of (quite menacingly) gurgling sounds which make me imagine a submarine emerging on the surface before the amazed audience, preceding the show. Take note of the length of the entire CD: it barely requires the demands of a full-length album even without that makeweight which, moreover, is quite heavy in itself. Finally, the booklet hints that violinist Charlotta Falenius is a very significant, if not a primary, member of the band, whilst her contribution to the music is more or less notable only on The Fool and Haven, otherwise bearing mostly an accidental character, besides which she is altogether absent on a couple of tracks, at least.
Conclusion. Taken as it is, as a prog-tinged alternative rock creation, this EP succeeds as competent and well-performed musical material within its circumscribed limits. However, it will hardly have a strong appeal outside the implied circle. Those who clearly realize they’re progressive rock lovers should look elsewhere, to put it in a generalized way.

Making Faces

The Dentists - Behind the Door I Keep the Universe

Bitrate: 320K/s
Year: 1994
Time: 44:23
Size: 102,9 MB
Label: EastWest Records America
Styles: Indie Rock/Indie Pop
Art: Front

Tracks Listing:
 1. This Is Not My Flag - 3:48
 2. Space Man - 2:42
 3. Sorry Is Not Enough - 3:56
 4. In Orbit - 4:26
 5. Faces on Stone - 2:44
 6. A Smile Like Oil on Water - 3:51
 7. Tremendous Many - 3:18
 8. Gas - 3:10
 9. Brittle Sin and Flowers - 4:39
10. Apple Beast - 3:12
11. Water For a Man on Fire - 3:21
12. The Waiter - 5:11

The   Dentists  on a major label? An American major label at that? Something not to be imagined, and yet such was the case when  Behind   the   Door  surfaced on EastWest in 1994. In some ways it's not so surprising -- after all,  the   Dentists ' core strength was always an instant, thoroughly catchy and captivating guitar pop sense, as commercial as one could ask for, one might think. None of that was lost along the way here, and if there's a subtle pushing up of some elements for even easier digestion -- Michael Murphy's voice is even more clear here than before, for instance -- the beauty and rush of the band isn't gone at all. Longtime fans will find no cause for complaint, and it's easy to imagine new ones picking up on the album's many joys. The changes and approaches on the album are but slight in comparison to the past, but sometimes totally effective -- whether it's the excellent interweaving of Bob Collins and Mark Matthews on backing vocals throughout, or the very sudden stop-start on the shimmering jump of "Space Man." Then there's the gentle but still good trancebeat on "In Orbit," the slow but sure build and surge of "Gas," and many other moments besides, all while retaining the sprightly, energetic feel that characterizes the band. Lyrically, the group's eye for life's seemingly smaller details and crises and how to make great music out of them remains unchanged. "Sorry Is Not Enough," on the surface, may just be about coming home too late, but the sweep of the music matches the perhaps surprising emotional heft of the words, especially in the surprisingly effective synth-tinged mid-song break. Add in an amusing cover with Grigg's bald head covered with little toys and trinkets, and  Behind   the   Door  is another fine  Dentists  album.

Behind the Door I Keep the Universe

The Tragically Hip - Phantom Power

Bitrate: 320K/s
Year: 1998
Time: 50:33
Size: 116,2 MB
Label: Universal Music Canada
Styles: Rock/Alternative Rock
Art: Front

Tracks Listing:
 1. Poets - 3:59
 2. Something On - 3:21
 3. Save the Planet - 3:38
 4. Bobcaygeon - 4:55
 5. Thompson Girl - 3:32
 6. Membership - 4:40
 7. Fireworks - 3:56
 8. Vapour Trails - 4:30
 9. The Rules - 3:46
10. Chagrin Falls - 4:10
11. Escape Is at Hand for the Travellin' Man - 5:53
12. Emperor Penguin - 4:08

Phantom Power, the 1998 release from the Tragically Hip, falls into that often tenuous moment in a band’s career, where they’re stuck in limbo between continuing to hit the notes that made them popular while also threatening to stagnate creatively. The Hip had cemented themselves as one of the biggest Canadian rock bands of all time, a consistent presence at clubs and stadiums alike across the country and the pride of Kingston, Ontario. 1991’s Road Apples and 1992’s Fully Completely were poetic and heartfelt, finding a balance between boisterous, hook-y singles and more abstract lyrical elements. Six years, two lackluster releases and one live album later, the band were still icons, but hadn’t produced a noteworthy record in some time.
Phantom Power may be the best example of what the Tragically Hip does so well and what has endeared them to Canadians for decades now. It’s perhaps the purest distillation of ‘The Hip’, where Gord Downie’s vivid and intangible imagery finds a home alongside the swampy grooves and always on-point pocket drumming. Few songs in the Hip’s discography exemplify this better than album lead-off “Poets,” a track that not only boasts a sing-along chorus and an earworm-y lead riff, but also sees Downie being purposely vague while vocally nimble. The interplay of muscular guitar riffs and Downie’s often-delicate vocal rhythm manages to downplay the band’s more anthemic elements, and it’s a sweet spot the band has hit for years.
Such a balance pervades the entire record, and it’s what separates the Hip from so many other staples of the Canadian music landscape. They’re not as technical as Rush, or as influenced by garage rock as Deep Purple, or as indebted to folk traditions as Gordon Lightfoot, but they have elements of each and deploy them near-perfectly throughout Phantom Power. There’s the mist of Canadian history that blankets “Bobcaygeon,” namechecking the small Ontario town while also making reference to the Horseshoe Tavern (“that night in Toronto/with its checkerboard floors/riding on horseback”) and the Christie Pits riot of 1933 (“and their voice rang/with that Aryan twang”), a result of xenophobic tension after a baseball game. There’s “Thompson Girl,” which has such a beautiful and confident sense of place and identity, an evocative tale of love and longing. “Escape is at Hand for the Travellin’ Man” is forever tied to the late Jim Ellison of Material Issue, a song about creative and personal struggle that’s bolstered by some of the most atmospheric and unstructured guitar work that Rob Baker ever put on record.
Phantom Power is at once familiar and determined. Downie captures the band’s early spirit, the leader setting the pace while shaping the tone and aesthetic that pervades the record. The whole album is about the search for balance, about finding a compromise when torn between two ideals or two different perspectives. Phantom Power is crisp and harsh, abstract and clear, nonchalant and achingly real.
Phantom Power

Awesome Color - Massa Hypnos

Bitrate: 320K/s
Year: 2010
Time: 36:27
Size: 83,6 MB
Label: Ecstatic Peace/Universal Records
Styles: Garage Rock
Art: Front

Tracks Listing:
 1. Transparent - 4:06
 2. Flying - 4:07
 3. Oaxaca - 6:47
 4. White Cloud - 2:29
 5. Vision - 3:18
 6. Zombie - 4:39
 7. Slaughterhouse - 4:24
 8. IOU - 6:32

Massa Hypnos is such a boring mess of an album that reviewing it presents certain challenges. How many times can I tell you that a song just bored me? Opener “Transparent” starts off promisingly enough with some energetic riffing on the electric guitar, but quickly settles into a steady beat and riff that doesn’t give them much room to grow. This already puts me in a bad mood. Their last album Electric Aborigines may not have been a wholly enjoyable listen, but at least opened with a kickass rock song, “Eyes of Light.” This time around, they don’t seem to have any of that energy. The following track, “Flying,” is even more of a downer. It may be faster, but it’s not louder. In fact, it barely even sounds like Awesome Color, it sounds like a song from the 90s that was best forgotten. It’s a pop-rock song with none of the bluesy riffs that made Awesome Color awesome in the first place.
And since this is an eight track album, we’re a fourth of the way through by the time we get to “Oxaca,” a song that may have been able to anchor a stronger album. It starts with a forceful drum beat, and is joined by the bass and guitar which bring the song into a nice little groove. Three-minutes in, a noisy electric guitar solo enters to finish out the entire second half of the song. I suspect they might have been onto something with this one if they had done more to push it into the red. But as the song exists, it only stands out because the rest of the album is so dull.
Halfway markers “White Cloud” and “Vision” may have more energy than “Flying,” but two boring pop-rock songs were already too many. “Vision” has some more exciting guitar playing, but you wouldn’t be able to tell given that it’s buried in the mix (a remarkable feat since there are only three instruments there in the first place). But slowing the pace does the band no favors on “Zombie,” a song that lives up to its title. Here, the band settles into a gloomy mid-tempo rut that sounds full of self pity.
We might finally have a genuine rock song on our hands with “Slaughterhouse,” which opens with the first honest-to-god rock riff I’ve heard in a while. And when the rhythm section joins in we get a bass and drum pattern that manages to continually lift the song up. It’s the first time the band sounds like their having fun on this album, and (not coincidentally) it’s also the first time there is any fun to be had listening to it. Unfortunately, at seven tracks in with one to go, it’s too little too late. By the time we reach their album closer, “IOU,” the band sounds spent. The song’s melody isn’t half bad, but its production falls flat, and at six minutes it feels unbearably long. I’ve seen Awesome Color live once, and it seemed like they very deliberately set out to be a kick-ass rock band. Unfortunately, killer riffs don’t come along every day, and these guys haven’t figured out what to do without them.

Massa Hypnos

среда, 7 июня 2017 г.

Dave Bainbridge - Veil Of Gossamer

Bitrate: 320K/s
Year: 2004
Time: 64:27
Size: 150,7 MB
Label: Open Sky
Styles: Progressive rock/Crossover prog
Art: Full

Tracks Listing:
 1. Chanting Waves - 2:17
 2. Over The Waters - 7:29
 3. Veil Of Gossamer - 4:55
 4. The Seen And The Unseen - 2:18
 5. The Everlasting Hills, Part 1 - 5:36
 6. The Everlasting Hills, Part 2 - 2:34
 7. The Everlasting Hills, Part 3 - 3:54
 8. The Everlasting Hills, Part 4 - 2:54
 9. The Everlasting Hills, Part 5 - 4:36
10. Seahouses - 3:06
11. Until The Tide Turns - 4:29
12. The Homeward Race - 5:25
13. Star-Filled Skies, Part 1 - 3:39
14. Star-Filled Skies, Part 2 - 2:40
15. Star-Filled Skies, Part 3 - 3:46
16. Star-Filled Skies, Part 4 - 4:41

Multi-instrumentalist and song-writer Dave BAINBRIDGE is co-founder of IONA. His solo material is more or less an extension/progression of the band's, combining progressive rock with traditional Celtic folk. On his only solo album to date, BAINBRIDGE himself plays over twelve instruments, aided by eleven musicians who share bass guitar, drums and percussion, violin, cello and vocal duties, including three impressive female vocalists who alternately sing in English and Gaelic.
The album "Veil of Gossamer" features some splendid guitar work over a tapestry of delicate folk melodies. Although this may sound borderline 'New Age', the reader shouldn't expect an easy listening here, as Bainbridge often breaks through the pastoral atmosphere with some highly progressive rockers - shades of CAMEL's "Harbour of Tears" and IRIS' "Crossing the Desert" come to mind. The compositions are rich and complex and the acoustic guitar tracks sit most comfortably between the electric guitar workouts and the splendid vocal and ethereal passages. The production is top notch and the album has an ebb and flow that holds the listener's attention throughout. Will please fans of the more contemplative form of prog as well as those who appreciate technical perfection of virtuoso guitar play.

Veil Of Gossamer

вторник, 6 июня 2017 г.

Tea Leaf Green - Radio Tragedy!

Bitrate: 320K/s
Year: 2011
Time: 47:31
Size: 109,1 MB
Label: Thirty Tigers
Styles: Rock/Jam Band
Art: Front

Tracks Listing:
 1. All Washed up - 5:06
 2. It's Easy to be Your Lover - 5:02
 3. You're My Star - 4:08
 4. My Oklahoma Home - 3:11
 5. Fallen Angel - 3:45
 6. Sleep Paralysis - 2:34
 7. Germinating Seed - 4:07
 8. Honey Bee - 2:57
 9. The Cottonwood Tree - 5:32
10. Arise - 4:56
11. Nothing Changes - 6:08

San Francisco quintet Tea Leaf Green has been one of this country’s finest groups of improv rock gypsies for more than 15 years, releasing numerous excellent studio recordings, several concert recordings, and even two DVDs. They have toured across the U.S. and the world, making stops at all the prominent music rooms and most premier festivals, performing in front of thousands of people. Yet mainstream recognition (i.e. having their songs played on radio) and financial rewards have been hard to come by. The band’s seventh studio recording, an adventurous and multi-influenced slab of psychedelic, improv and pop rock, should go a long way towards changing that.
Then again, more than likely, it won’t.
At least, that’s the loose theme of the aptly titled Radio Tragedy. Singer/guitarist Josh Clark has stated in a press release that the album “…is a reflection on the ups and downs on the road to radio gold…” and that with this release, the band focused on honest, heartfelt music that lingers in the shadows of “…auto-tuned rappers and inane teeny bob prop puppets…” that have choked the life from American Rock and Roll.
The key words there are “radio gold.” These 11 songs all sound like relics from a long by-gone era of pop and rock radio, when hit songs were figuratively melded into gold records. There are several familiar themes apparent on Radio Tragedy, such as on opener “All Washed Up”, which finds an old, haggard seaman drowning in the bottom of his bottle. Wah-wah guitar and a chantey whistle penetrate the dense, salty air that envelops the song’s protagonist as he waits for his ship to come in. “Easy To Be Your Lover” meanders and swirls its way through a multih-ued pastiche on vintage George Harrison calliope and Bee Gee’s layered falsetto harmonies. A thumping rhythm and more psychedelic guitar flourishes wail on the classic rock nugget “You’re My Star”, which has an air of the “don’t know what you’ve got till it’s gone” blues.
Yet Tea Leaf Green are more than classic rock revivalists, and Radio Tragedy is anything but lost in the ‘70s. Repeated listens reveal modern influences as well. Remember, the tragedy here is the demise of pure radio gold. “Fallen Angel” has a slight country lilt, relating the story of a wayward soul praying for absolution and to be allowed in at the golden gates. And the country lilt is taken up several notches with requisite twang git-tar and jubilant, Jerry Lee Lewis like piano on “Honey Bee,” an absolute slice of toe tapping, pure country pop perfection and easily the best song on the album.
The tone mellows on a few lovely songs. Bassist Mathis, an Oklahoma native and formerly of the Tulsa based Jacob Fred Jazz Odyssey, gets melancholy and reflective on the sweet ballad “My Oklahoma Home,” singing to his wife as they travel west towards Richmond, California, with its giant, guarding Redwoods and dense fog. And closer “Nothing Changes” is a solemn and quite depressing blues ballad that reflects on a life of despair from Murphy’s Law and gives the album its title:
“This bottle’s almost empty?; I cannot catch a buzz? / And the radio’s a tragedy of? country songs and fuzz? / In other words…?Nothing changes.”
By all accounts, Radio Tragedy is Tea Leaf Green’s finest studio platter yet, looking back on a time when the music on the radio was more pure and heartfelt. Furthering the point is the cover art and comic book-ish liner notes, illustrations all done by Clark that portray a noir-ish death of radio. America’s highways are littered with the wreckage of numerous fine rock bands that haven’t lasted as long as The Leaf Green has. They’ve made an excellent studio recording—with heartfelt songwriting and engaging performances. The true tragedy is that few are going to care.

Radio Tragedy!

Initiation - Initiation

Bitrate: 320K/s
Year: 2003
Time: 40:49
Size: 94,1 MB
Label: Globalony Music
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. Disigner Drugs -  5:21
 2. Seasons Change -  3:30
 3. Vultures -  3:46
 4. Hyperbaric Flames -  3:28
 5. Don't Go Near the Water -  8:07
 6. Crystal Beach - 12:36
 7. Lady of Whitehead -  3:56

The band’s demo CD contains three songs: ‘Designer Drugs’, ‘Vultures’ and ‘River Of Hope’. A full length CD is in the works, scheduled tentatively for release in the winter of 2004, to be comprised of some of the 17 songs already written and a few yet to be ‘born’. The band’s overall sound can be described as progressive rock, but also includes some modern day influences. The songs are an intricate balance of guitar, bass, keyboards, percussion and vocals; most also including sonic ‘snippets’ of real world sounds and sound FX that bring an extra-dimensional quality to the listening experience, both as recorded and as part of the live performance.
INITIATION has played various venues in the WNY area including CPG’s (Central Park Grill), The Backstage Pub, Broadway Joe’s, Nietzsche’s, Rock & Roll Heaven, and the festival grounds at the Pier, as well as opening for national recording artists Planet X at the Reservoir. The band is able to perform a full concert show (1 or 2 long sets) consisting of almost all original material, supplemented with a few ‘lost classic’ surprise covers, or a show more geared towards covering progressive bands such as Genesis, Rush, Marillion, Yes and Pink Floyd.
Mark Partyka has released 3 independent recordings of his own prior to the formation of INITIATION under the monikers TIDAL WAVE and DARK MARKUS. Having a great penchant for arranging, recording and playing various instruments, Mark crosses the lines between the depths of darkness and sheer beauty in his compositions.
John Gilbert has played keyboards and synthesizers in the bands AQUA MARIA, THE MOMENT and PLEAIDES (who released a CD in 1998). John likes to entice the listener and take them on a journey of discovery, joy and fun. Creativity and expression are a great outlet and with INITIATION this process is always a great ride for John.
Jeff Jankowski joined INITIATION as a mainstay after the band’s lineup had fluctuated with a few other drummers. Jeff has played with various bands, most notably MR. WONDERFUL SURPRISE; a ska driven band that performed mostly original material and released a full length CD in 1997. Jeff’s original and fresh approach to drums and percussion express a desire to make the ‘song’ the most important entity, and makes a perfect fit with the writing in INITIATION.
Recent addition Ric Stave has performed in original, cover and tribute bands around the WNY area since 1986, and is most well known as a founding member of wünderland (1990-2002). Returning to Buffalo after studying arranging, compostion and performance at Berklee College Of Music, Ric has lent his skills on bass, guitar, synthesizers and vocals not only as a ‘hired gun’ to bands in need of a temporary member, but also as a pit orchestra musician for many local theatrical productions. His songwriting and performance abilities bring an additional perspective to the complex musical style of INITIATION.

Initiation


понедельник, 5 июня 2017 г.

Antonio Alma - Personal Encounter

Bitrate: 320K/s
Year: 2013
Time: 34:06
Size: 78,6 MB
Label: Self Released
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Have a good trip - 4:20
 2. King David - 3:56
 3. Mr. sam - 4:04
 4. Jam in the Sky - 3:54
 5. The Water of the Life - 4:30
 6. Intus - 4:26
 7. Save japan - 4:18
 8. Song for My Rosy - 4:38

From the beautiful Mediterranean island of Sicily comes an exceptional album of real quality from composer/saxophonist Antonio Alma. Taormina, Italy is a charming, almost fairytale town providing a colorful environment for the artist to create PERSONAL ENCOUNTER, his latest recording. Mixed and mastered with the skill of a great artist, Antonio's sax sores majestically across a wealth of truly magnificent self-penned, passionate Smooth Jazz/Soul/Gospel songs, all with a sophisticated and unique sound, as unique as Taormina itself! ~STEWART COXHEAD

Personal Encounter

Shipp - Crow Loudly

Bitrate: 320K/s
Year: 2013
Time: 56:22
Size: 133,0 MB
Label: Self Released
Styles: Blues Rock/Southern Rock
Art: FFull

Tracks Listing:
 1. Something Bout You Baby - 3:27
 2. Meet Me In Austin - 5:31
 3. Voodoo In Tallulah - 5:05
 4. Kinky - 5:16
 5. Sure Got Cold After The Rain Fell - 6:05
 6. Razorback Boogie - 3:51
 7. Bring It On - 4:19
 8. Its Not My Cross To Bear - 4:55
 9. First Thing I See - 4:48
10. Crazy Mama - 3:39
11. Positively 4Th Street - 5:43
12. You That Makes Me Crazy - 3:38

Texas Lightning-Arkansas Hog Stompin' Thunder. Another rocking CD by this guitar slinging Roosterboy's powerful 3 pc . Featuring a who's who list of guest artists. For the first time, Shipp includes covers by ZZ Top, Allman Bros, and others! Tone! Tone!
Michael Shipp has a nice one out called Crow Loudly (Roosterboy Music) . Actually, it is billed as “Shipp,” kinda like Van Halen. You know, just a last name. I met Michael several years ago when he was playing in a band with his life long friend Billy Bob Thornton, and I have waited a long time for this record. Shipp, the band, consists of Mike on guitar and vocals, Jai Lambert on bass and special guests are peppered throughout the alum, including Billy Bob on drums and vocals, Dusty Hill (ZZ Top) on bass, Pat Travers on guitar, the late Stephen Bruton on guitar, Les Dudek on guitar, Rickey Medlocke (Lynyrd Skynyrd) on guitar, Teddy “Zig Zag” Andreadis (Guns n’ Roses) on keys, Brad Davis on acoustic and more. Lots of great songs, many written by Shipp, and including adapted covers like ZZ Top’s “Sure Got Cold After the Rain Fell,” The Allman Brothers’ “Its Not My Cross to Bear,” and Bob Dylan’s “Positively 4th Street.” This is a great CD. Outstanding playing and great to crank up in the car when you hit the open road. This Shipp boldly goes where no band has gone before. Fascinating.

Crow Loudly

Transport Aerian - Blessed

Bitrate: 320K/s
Year: 2009
Time: 44:42
Size: 102,5 MB
Label: Self Released
Styles: Crossover prog
Art: Front

Tracks Listing:
 1. Drown - 4:44
 2. Relaxation - 3:22
 3. Walking Through - 5:14
 4. Falling - 3:50
 5. Blind - 4:02
 6. No Right For Risk - 4:30
 7. Wrong - 4:48
 8. Autumntime - 4:36
 9. Radio Void - 5:29
10. Light Stays - 4:03

Musicians:
Hamlet - vocals, guitars, bass, keyboards, samples, programming/

Aus Belgien kommt das Projekt Transport Aerian. Die Grundlagen hierfür wurden von Gründer Hamlet (Gesang, Gitarre und Keyboards) bereits im Jahr 2003 gelegt, als er noch mit Dmitry Isaakin sowie weiteren Musikern das Projekt unter dem Namen Virtu aus der Taufe hob. Nach der Trennung von Dmitry im Jahr 2007 nahm Hamlet in seinem eigenen Studio das Album „The Dream“ auf, das er komplett allein einspielte und als Transport Aerian ein Jahr später herausbrachte. Um die Musik live spielen zu können, trommelte er das alte Virtu-LineUp wieder zusammen.
Im Sommer 2009 erscheint nun das zweite Album von Transport Aerian unter dem Titel „Blessed“. Zum derzeitigen Live-linup zählen außer Hamlet noch Stefan Boeykens (Lead-Gitarre), Cedric Votquenne (Bass) und Florian Delbecque (Schlagzeug), allerdings wurde das Album – wie schon das Erstlingswerk – komplett von Hamlet allein eingespielt, es klingt allerdings nach einer kompletten Band.
Das erste was bei den Stücken auffällt, die eine Mixtur aus verschiedenen Stilrichtungen darstellt wie zum Beispiel Progressive-Rock, Melodic-Rock, Artrock, Wave, Metal, Industrial und Avantgarde darstellen, ist der etwas gewöhnungsbedürftige Gesang von Hamlet. Seine Stimmlage ist recht avantgardistisch bzw. nach Wave.
Einzelne Songs sind recht ansprechend mit einer eingehenden Melodie versehen, doch trifft dieser Stilmix nicht meinen Nerv, was vor allem an Hamlets Gesangsstimme liegt, die mir oft zu schräg daherkommt.
Man sollte sich aber eine eigene Meinung bilden. Das kann man am besten, wenn man die Hörbeispiele, die Hamlet auf seiner Internetseite www.myspace.com/transportaerian zum Besten gibt, antestet. Ich für meinen Teil kann mit der Musik leider wenig anfangen ~  Stephan Schelle, August 2009

Blessed

Green - Life

Bitrate:320K/s
Year: 2003
Time: 54:08
Size: 124,8 MB
Label: Frontiers Records
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. The Wind Of Love - 2:23
 2. Mr. Kite - 5:08
 3. Conscience - 4:06
 4. I Gotta Run - 4:12
 5. The Work - 2:26
 6. Escape - 3:05
 7. Cycling In The Rain - 6:15
 8. Sometimes - 6:42
 9. All Is Ok - 4:22
10. The Storm Inside - 4:33
11. Can You Feel The World? - 5:52
12. I Still Love... - 4:01
13. The Wind Of Love - 0:55

This album could be considered to be a forgotten little pearl of the Italian crossover prog,well,let's say better- prog pop material-,very well done,with an excellent production and a superbe vocalis-FABRIZIO PIERACCINIt!I am happy about the fact that GREEN don't suffer of the DREAM THEATER syndrome-let's prove who's the most technical and who has the best duels guitar-keyboards,among others!NOT AT ALL!GREEN have choosed to make a very solid album,a conceptual one,and the high level of musicianship of the members of the band is simply astonishing!If I can make a comparison,I would say that GREEN are strongly influenced by RUSH,sometimes it reminds about STYX,but also they have strong AOR influences too!Musically and technically speaking,they are very ambitious,to make a musical debut with a conceptual album!That needs serious and strong musical skills,both componistic and interpretative!The guys know their instruments,as I've said,the production is excellent and sometimes I've got the feeling that all the music is based arround the superbe voice of FABRIZIO PIERACCINI-very,very good singer,with a very wide range of vocal tones in his wonderful voice!The other musicians are top class too,the guitar solos are well defined and compact,and the rrhythm section is solid too!Not a single minute of weak ideas,a clever and intelligent balance between the mid tempo songs and the-maybee -too numerous ballads! It's an album made with passion and having a strong and well defined musical direction!

Life

воскресенье, 4 июня 2017 г.

Martin Goyette - Big Beets

Bitrate: 320K/s
Year: 2017
Time: 49:15
Size: 112,9 MB
Label: Ad Litteram
Styles: Blues
Art: Front

Tracks Listing:
 1. St. John Morning Blues - 4:19
 2. Night Out - 3:48
 3. Mirza - 3:52
 4. Rolling - 5:41
 5. As Long As We're in Town - 4:34
 6. Bottle of Champagne - 4:25
 7. That's the Way She Does it - 4:06
 8. No More Room - 5:55
 9. Free Love - 4:41
10. Unwind - 7:50

A veteran bluesman that can hold his head high next to our neighbours to the south,  Martin   Goyette  made his bones with an undeniable, incredible voice. Powerful, whisky-throated and raw, it drives home the sound, twinned with his super-watt harmonica playing. The Montreal artist arrives with songs from a new album released in 2013, Sweet Warm Jelly, a sonic jam of blues, jazz and gospel guaranteed to warm the heart.
Born in St-Henri, he starts playing the harp at 18 years old listening to the Muddy Waters and Robert Johnson of this world. In 1997 he shook the Quebec blues scene winning Valleyfield en Blues with the Dirty Blues Band.
In 2002, he won Le Prix de la Relève at Festiblues International de Montréal leading the formation Riverside Blues. Then he toured France as an opening act for Mr. Bob Walsh.  Goyette  was invited to sub Guy Bélanger a couple of time with the band.
He came second in the Toronto Blues Talent Search in 2006 and the following year performed at the Toronto Blues Summit.
More recently,  Martin  played the Montreal International Jazz Festival, Sherblues Festival, au Tremblant International Blues Festival, Trois-Rivières en Blues, Joliette’s October Blues or as an opening act for the prince of soul and funk, Lee Fields. He is also often in show in Montreal at Divan Orange, Bistro à Jojo or at Upstairs.

Big Beets

Blackburn - Brotherhood

Bitrate: 320K/s
Year: 2009
Time: 66:01
Size: 151,4 MB
Label: Make It Real Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Movin' -  5:17
 2. Soul Searching -  4:31
 3. Fever -  5:28
 4. Four Brothers -  4:05
 5. Talk to Me -  6:08
 6. Further on up the Road -  3:00
 7. Hush -  5:24
 8. Sister Rosa -  5:53
 9. Back at the Zanzibar -  5:44
10. Survival -  3:37
11. The Thrill Is Gone -  5:54
12. Junker Blues - 10:54

Toronto's first family of funk and soul is Blackburn and "Brotherhood" is their first Blues recording - a CD celebrating the traces of traditional blues, R&B, soul, hard grooves and harmony that only siblings can create, all with an urban vibe.
Toronto’s first family of funk and soul is Blackburn. “Brotherhood” is their first Blues recording – a CD celebrating the traces of traditional blues, R&B, soul, hard grooves and harmony that only siblings can create.
The launch of “Brotherhood” returns the Blackburn brothers to the prominence they enjoyed when entertaining packed houses at their old stomping ground, the Bamboo Club. For 15 formidable years, they were part of Toronto’s street culture representing a lineage of unmistakable nocturnal hedonism.
New Orleans has the Neville Brothers; Toronto’s Blackburn similarly fires up live shows with scorching soul power. The brothers put on a show rich in the tradition of the blues, while inflected with an electric urban vibe.
Blackburn’s wickedly tight sound features lead singer, Duane Blackburn, playing a vintage Hammond B3 organ as if he was born on the bench. Duane has a sensuously smooth, yet powerful voice. Crack session guitarist Brooke and drummer Cory have played with many of Canada’s best blues and R&B artists, such as Shakura S’Aida and Liberty Silver. Bass player Mark Ayee has played with the brothers since childhood.
Well-known in Toronto’s African Canadian music scene, Duane, Brooke and Cory Blackburn follow a rich legacy, passed down from their father Bobby Dean Blackburn, that trails back to the Underground Railroad. Their dad led the band at the Zanzibar Tavern on Yonge Street during the 60s and 70s. Brooke carries on his father’s leadership as Artistic Director of Canada’s longest running summer festival in Owen Sound, The Emancipation Festival.
“ ... A stunning performance... simply magnificent.”
— John Valenteyn, Maple Blues Magazine

Brotherhood

Jamiah Rogers - Blues Superman

Bitrate: 320K/s
Year: 2017
Time: 35:59
Size: 82,6 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Blues Superman - 3:47
 2. Bourbon St. Bounce - 3:04
 3. Gone Too Long - 3:04
 4. Blues Mama - 3:41
 5. Fool Proof - 3:33
 6. Parental Advice - 3:51
 7. Work - 3:17
 8. Let the Tears Fall - 3:35
 9. The Boy Next Door - 3:59
10. Don't Make Me Famous - 4:02

An Up-to-date Blues Feel by 22 year old Blues Superman Jamiah Rogers mixed in with funk, soul, r&b, and a splash of Reggae.
Jamiah Rogers of Jamiah Rogers & The Red Machine turned 21 last April and has begun his musical journey as frontman of his new band, The Jamiah Rogers Band!
Whether you’ve been lucky enough to catch him in action in the past or not, do yourself a favor and bear witness to this extremely talented and gifted next generation Blues artist!

Blues Superman