Baskerville Jones 2016 So Right

Born in Nashville, Tennessee, soul-singing Baskerville Jones left her hometown and moved to Los Angeles to pursue her musical aspirations. She began gaining attention doing background vocals for prominent artists and touring and performing with seven-member ensemble The Rebirth, all the while forming musical partnerships that landed her on stage and screen nationally and internationally.

In 2012 she was featured on the single "Born to Flow" from Morehouse Records recording artist Groove Junkies, which made the Top 20 on Soulful House Music Charts. As a lead vocalist of the soul, jazz & funk fusion band The Rebirth, Baskerville's vocal contributions are interwoven in the band's sophomore album "Being Thru the Eyes of a Child." Their single "This is Coming To?" landed in the top 5 of UK Soul Charts, which kicked off the success overseas of the album.

Performing on stages in Singapore, Central America and the UK as well as the United States, over time Baskerville Jones has developed a distinctive style and stage presence, and her high-energy performances are often remembered for her visual and vocal interpretations of song and lyric – not to mention she plays a mean tambourine. In 2015, radio personality and entertainer Cayman Kelly coined the phrase "tambourine twerking" to describe Baskerville Jones' performance at the Capital Jazz Fest in Washington D.C.

Over time, she has acquired a slew of credits, thanks to her work with an eclectic mix of artists on stage and in the studio such as R&B artists Heather Headley and Chrisette Michelle, gospel artists Dottie Peoples & Richard Smallwood, international acts Arman Hovhannisyan and Harout Balyan. In 2012, she had the honor of performing with one of her major musical influences, Sly Stone of the pioneering 70's funk ensemble, Sly and the Family Stone. Among Stone, Baskerville counts Aretha Franklin, Whitney Houston, Yolanda Adams, even the folk and country of her Music City roots among her immediate influences. Her voice evokes the pure soulful roots of early rock n' roll as well as the smooth sounds of R&B.

After more than a decade of singing to support projects of her friends and colleagues, her first solo project, the Mile 1 EP, is a vehicle to acquaint her audience with the artistry that truly is Baskerville Jones. This stripped, lyric driven introduction shows her range and versatility as a singer and depth as a solo artist – a softer, sweeter departure from the funky homage that is her band The Rebirth. Baskerville Jones' EP Mile 1 is slated for release May 3, 2016.



For more information visit:

http://baskervillejones.com/

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Clay Melton Band 2016 Stop & Listen

As live performances go the Clay Melton Band simply blows audiences away. Front man Clay Melton shreds away any doubt that this is anything less than a stellar performance. Just as the saying goes, “you either is or you ain’t” and the Clay Melton Band is. Clay and the band have performed at The House of Blues, Warehouse Live, Fitzgerald's, Dosey Doe, and the famous Continental Club. On the festival side they blew the audience away at the Dallas International Guitar Festival and have performed not once but three years in a row at the Conroe Cajun Crawfish Festival.

In fact they have captured their riveting live performance on their rocking new EP “Stop & Listen”. The new release reveals the many different shades of their unique style of guitar driven rock n roll. But it doesn't stop there as the band has just posted their latest music video "Tonight" on their website and it captures the high energy of seeing CMB perform one of their most rock n roll tunes on the EP.


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http://www.claymeltonband.com/

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Jas Patrick 2015 Inky Ovine

Here is the bluesy Americana magic of Nashville's Jas Patrick. Wholly authentic and stripped back to the core Jas Patrick has already been able to snag endorsements from a variety of gear companies. Bringing in touches of British rock to accentuate an already iconoclastic sound, his new record, Inky Ovine, is the product of years of hard work – marking Jas Patrick's greatest statement to date.

Having started playing drums when he was four years old, Jas Patrick was already on the road at the tender age of 18. Nowadays he runs his own label, Tiny Lion Records, with his wife. DIY to the core and wholly dedicated to an earthy rock sound Jas Patrick understands the spirit of the music and when he unleashes his potent sounds it is impossible to deny their sonic triumph.



artists:

Jas Patrick: guitar, drums, piano


http://www.jaspatrick.com/

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Dirk Hamilton 1978 Meet Me At The Crux

Genre: Rock
Rate: 160 kbps CBR / 44100
Time: 00:55:54
Size: 63,93 MB



Great lyrics - Jackson Browne with equal parts Dylan, Leonard Cohen, and early Springsteen. Rocking sound - think early Van Morrision crossed with John Prine and John Hiatt. I love all of these artists, but they still don't adequately describe Dirk's music.

They're only reference points for you - this is a wild ride thru some unique territory, from the opener "Mouth Full Of Suck" (about the vampire-like people we all know and hate), through the bite of "Tell-A-Vision Time" ("You don't really wanna talk, ya just want friendly monkey noise") and the insanity of the battle tune that is "How Do You Fight Fire" to the bliss of self-awareness in "Every Inch A Moon".

Check out the lyrics on Dirk's website http://www.dirkhamilton.com/04disc/t_crux.htm. But this album can only be properly experienced in its entirety, over time, as it grabs you with constantly unfolding new delights. Long unavailable on cd - grab it if you like Van or Bruce or great lyrics or ... pleasant surprises. You say there's no good music anymore? Hey, it all comes down to you! (Brickbats)



Tracklist:

01 - Mouth Full Of Suck 04:46

02 - Billboard On The Moon 04:50

03 - All In All 03:27

04 - Welcome To Toyland 03:18

05 - Tell A Vision Time 04:12

06 - Heroes Of The Night 03:20

07 - Meet Me At The Crux 05:19

08 - Do You Fight Fire 06:34

09 - Every Inch A Moon 05:52

10 - The Condo Rows 03:05

11 - Don't Laugh At Me Louse 06:13

12 - Santa Cruz Mountain Monologue 04:58





Dirk Hamilton here:



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Roxy Perry 2008 In My Sweet Time

Genre: Blues
Rate: 197 kbps VBR / 44100
Time: 00:51:16
Size: 70,82 MB



American music at it's best. Blues with a tasty array of Jump, Swing, Country, Rockabilly, Jazz, Funk, Latin, R&B, Delta and Rock. (cdbaby)


Tracklist:

01 - Bed Of Blues 05:07

02 - Easy For You 04:35

03 - Roadmaster 04:21

04 - I'm So Lonesome I Could Cry 04:09

05 - Blues Comes To Call 05:08

06 - Goodbye Honey 04:44

07 - Don't You Worry 05:06

08 - That Night In Memphis 03:48

09 - You Cried For Me 03:24

10 - Let Me Have My Rest 02:46

11 - In My Sweet Time 05:14

12 - Not Bad Enough 02:54





Roxy Perry here:



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Bob Brozman 1985 Hello Central ... Give Me Dr. Jazz

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 00:39:28
Size: 90,30 MB



To listen to the album in it's entirety is like hopping on a tram and taking a sonic tour of American music of the 1920's and 30's. "The Lonesome Road" is exceptional and this version of "Mysterious Mose" with it's Sleepy Hollow-esque backing vocals even comes as close to perfection as the R. Crumb and his Cheap Suit Serenaders version Brozman played on in the seventies. Possibly the most enjoyable album I have ever heard. (D. Christie)


Tracklist:

01 - Dr. Jazz Stomp 02:46

02 - Sister Kate Shimmy 01:54

03 - Mysterious Mose 03:02

04 - Hawaiian Heat Waves Medley 02:21

05 - Pretty Dimples Stomp 03:05

06 - Dog And Cat 02:22

07 - Love In Vain 04:06

08 - 12th Street Rag 02:58

09 - New Vine Street Blues 03:49

10 - Love My Stuff 03:39

11 - La Rosita 03:28

12 - Wipe 'em Off 02:13

13 - The Lonesome Road 03:45





Bob Brozman here:



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Albert Collins 1978 Ice Pickin'

Genre: Blues
Rate: 256 kbps CBR / 44100
Time: 00:38:10
Size: 69,97 MB



Prior to the release of this CD in 1978, Albert Collins had not recorded since 1975. This three year hiatus was due to some disappointing results with his prior, and sometimes obscure, recordings with Imperial records and Blue Thumb. But that all changed when he signed with Bruce Iglauer and Dick Shurman of Alligator records. From that point on, Albert began his quest to become the consummate showman and premier bluesman. The rest, as they say, is history.

On this CD, Collins is joined by Icebreakers, AC Reed on sax, Casey Jones on Drums, Aron Burton on bass and Allen Batts on keyboard. There is plenty of guitar solo's that are, well, down right chilling and the sax of Reed is sensational. While Albert would later develop a knack for some excellent and sometimes witty lyrics, here is best stuff is material written by others such as the slow burner "Cold, Cold Feeling", or the funky "Honey Hush". Hints of what would come later are contained in Collin's "Master Charge". Sit back, turn it up and enjoy it. You just don't find stuff like this anymore. (deepbluereview)


Tracklist:

01 - Honey, Hush! 04:29

02 - When The Welfare Turns Its Back On You 05:27

03 - Ice Pick 03:09

04 - Cold, Cold Feeling 05:20

05 - Too Tired 03:01

06 - Master Charge 05:12

07 - Conversation With Collins 08:52

08 - Avalanche 02:40





Albert Collins here:

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Guy Davis 2002 Give In Kind

Genre: Blues
Rate: 256 kbps CBR / 44100
Time: 00:58:43
Size: 107,48 MB



Although this New Yorker is the son of actors Ossie Davis and Ruby Dee, he sings as if he was not only born into a hard Mississippi life, but swallowed it piece by piece, each injury scarring his vocal cords on its way down. Add to that the buzzing acoustic slide tones he opens the disc with and the dark sentiments on the alcoholic's lament "Good Liquor" and the plea for remembrance "Six Feet of Cold Ground," and the result is Davis's most potent blues recording.

When Davis's harmonica makes occasional appearances, it's as rich in emotional resonance as his frayed voice. The solo that tags "Loneliest Road That I Know," a take on Fred McDowell's "61 Highway," is especially expressive, blowing short phrases of fragile melody over an already moody bed of Hammond B-3 organ. Davis augments his music with a full electric band here, but it's his musicianship that leads the arrangements--sometimes into unpredictable territory. The roadhouse love song "Layla, Layla" is colored by Davis's didgeridoo playing, and he picks five-string banjo on his original spiritual, "I Will Be Your Friend." Another surprise is the finger-picked guitar tune "Honeydew Melon Rag," the kind of instrumental that jug bands used to perform on Memphis's legendary Beale Street 70 years ago. Davis also makes room for his folk-music roots in his blues, offering "Grandma Is Dancing" as a warm-hearted tribute to a matriarch, complete with a shaky, home-spun group melody on its chorus. Altogether, this CD's 15 tunes offer a pleasing, well-rounded overview of Davis's art. (Ted Drozdowski)



Tracklist:

01 - Good Liquor 03:08

02 - Loneliest Road That I Know 04:18

03 - Lay Down By My Side 05:28

04 - I Will Be Your Friend 05:26

05 - (I Love My Job) 00:05

06 - Layla, Layla 04:09

07 - Honeydew Melon Rag 03:11

08 - Six Cold Feet Of Ground 04:40

09 - Grandma Is Dancing 03:20

10 - What You Doin' 03:01

11 - Watch Over Me 05:07

12 - I Don't Know 03:48

13 - Don't You Leave Me Here 04:14

14 - (Joppatowne Intro) 01:43

15 - Joppatowne 03:59

16 - God's Unchanging Hand 03:06





Guy Davis here:



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Dirk Hamilton 1977 Alias I

Genre: Rock
Rate: 253 kbps VBR / 44100
Time: 00:37:55
Size: 66,96 MB



Alias I, Dirk Hamilton's sophomore set, opens with a quite appalling scene -- "I saw a dog in a trash can chewin' on a cat" -- but worse is to come, as "In the Eyes of the Night"'s dystopian vision unfolds. It's a stunningly modern view of the world, seemingly ripped from the rhyme book of rappers or hardcore headbangers, but Alias I was originally released back in 1977, and musically it is a chasm away from the fury-firing punks across the sea. The album was Hamilton's follow-up to the previous year's You Can Sing on the Left or Bark on the Right, a deliriously derivative set that hit virtually every musical touchstone of '70s soft rock. Hamilton plundered freely from his idols musically, but his lyrics were breathtakingly unique, dizzying vignettes of poetic splendor. Alias I picks up where its predecessor left off, but this time the songs are not such obvious rips.

Sure "The Ballad of Dicky Pferd" pays tribute to Elton John's "Rocket Man," "The Classic Sweat Poze" tips a hat to Traffic, and "Joanna Ree" nods to the Rolling Stones, but there are unexpected stylings as well. "Los Gatos," for example, is Latin-tinged, while "The Light of Love" has a distinctly Spanish flavor. Elsewhere, bluesier elements come to the fore. The aforementioned "Night" defiantly crosses soul with rock, and tosses in some distinctly Stax-esque brass. "Joanna Ree," Stonesy as it is, is the Stones in their bluesiest mode, with wisps of gospel flicking through the gorgeous guitar work. "Big Boo Hoo" echoes the Stones circa Black and Blue, with its emphatic rhythm snapping around the sliding lead guitar. Even the Traffic-stopping "Sweat Poze" emphasizes that band's R&B roots. These numbers give the set a dirtier and darker sound than Bark, which dovetails nicely with a clutch of love-lost or world-gone-mad numbers. But salvation can be found, be it in the sweet pace of life in "Los Gatos," in the memories of young romance, or brought by the angel of the morning who hovers over "The Light of Love." And if Hamilton's own prayers are answered, he'll be living large as a rock star striking "The Classic Sweat Poze" on the album's most hilariously ironic song.

In an age of singer/songwriters, Hamilton should have seen that dream fulfilled, but his songs were too disconcerting -- so familiar yet lyrically so alien that only the critics sang his praises. Today, with a more modern soundtrack, these songs could rule the world, but for now he remains trapped in '70s nostalgia. (Jo-Ann Greene)


Tracklist:

01 - In The Eyes Of Night 05:50

02 - The Ballad Of Dicky Pferd 05:57

03 - For Diana 04:43

04 - Alias I 04:29

05 - Los Gatos 03:01

06 - Joanna Ree 05:58

07 - The Classic Sweat Poze 04:21

08 - The Light Of Love 03:36





Dirk Hamilton here:



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Roxy Perry 2005 Back In Bluesville

Genre: Blues
Rate: 192 kbps CBR / 44100
Time: 00:46:00
Size: 63,09 MB



Blues in various styles: Originals, Renditions of classics, Blues-Rock, Blues-Jazz, Delta, Vintage, Great Lyrics and Vocals, Harmonica, Great Band - Apart from the rest. (cdbaby)

This is a wonderful CD that I just love! After hearing Whole Dog on a music channel, I knew I had to hear more! Roxy beautifully sings with such emotion and feeling throughout the wide variety of styles of songs on this CD. I highly recommend this to anyone who wants to feel the music, not just listen! (Jessica)


Tracklist:

01 - Back In Bluesville 04:01

02 - Whole Dog 04:46

03 - Midnight Train 03:53

04 - Crooked Path 03:36

05 - Nothing Like You 04:07

06 - Two Left Feet 03:36

07 - Stone In The Sea 05:29

08 - Get It 03:11

09 - Forgive And Forget 03:25

10 - Do It 04:53

11 - House Of The Rising Sun 05:03





Roxy Perry here:



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Bob Brozman 1983 Snapping The Strings

Genre: Blues
Rate: 320 kbps CBR / 44100
Time: 00:40:43
Size: 93,14 MB





Tracklist:

01 - Big Thumb Strut 02:31

02 - Rocky Road 03:08

03 - All Night Walking 03:46

04 - I've Got That Thing 03:19

05 - Big Boy Stomp 02:59

06 - Live At Moraga Concert Hall, Santa Cruz, Ca : A) Patches, B) I Lost My Gal From Memphis 06:00

07 - Zonky 01:59

08 - Anniversary Waltz 02:22

09 - Hard Times Blues 03:19

10 - Maui Aloha Favorites 02:39

11 - One Steady Roll 03:25

12 - Sweet Georgia Brown 01:43

13 - If I Could Be With You 03:33





Bob Brozman here:

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Hill Country Revue 2010 Zebra Ranch

Genre: Rock
Rate: 320 kbps CBR / 44100
Time: 00:52:22
Size: 119,74 MB



The Cody Dickinson-led Hill Country Revue establishes itself as more than just a marking-time offshoot of Dickinson's more well-known North Mississippi Allstars with a strong second album for national indie Razor & Tie.

Initially partnering with hill-country blues stalwart Garry Burnside and Beale Street hotshot Kirk Smithhart, the younger Dickinson's band began as something of an alternate take on the Allstars' sound. But then Burnside stepped back (he remains a non-touring member), Dickinson gave up the drums for guitar (and his trademark electric washboard), and Michigan-based singer Daniel Robert Coburn came aboard as lead singer.

These moves transformed Hill Country Revue into a heavier, more aggressive band, balancing the hill-country blues base with a stronger brand of Southern rock. And though the nimbleness of the elder Dickinson's guitar playing was sometimes missed, Coburn proved to be a stronger, more soulful singer on the band's debut, Make a Move.

Zebra Ranch, named after the Coldwater, Mississippi, recording studio of Dickinson's late father Jim Dickinson, where both of the band's albums have been crafted, pushes this evolution further. Where Burnside wrote or co-wrote seven of the first album's 10 songs, here he contributes to four of 14. Instead, Dickinson has taken the primary songwriting role, writing or co-writing half the songs, and both Coburn and Smithhart take on larger roles. The band also moves further away from the North Mississippi Allstars template with the departure of bassist Chris Chew, replaced by Doc Samba. (Young Memphis music veteran David Mason is also new on drums.)

The result is an expansion of the first album's classic-rock influence. The blues base is still there -- witness Smithhart weaving a hypnotic hill-country riff into the otherwise more straightforwardly rock "Bottom $" or the classic-sounding hill-country groove on the Burnside/Dickinson collaboration "My Baby Don't Know" or the genre-affirming anthem "Hill Country." But many of the album's strongest songs stray further afield from that style. "Chalk It Up," co-written by Coburn and Dickinson, sounds like it could be a soulful radio-rock hit from the early '70s. And "Idyll," Dickinson's tribute to his native Mississippi landscape, is not the most incisive lyric you'll ever hear but has an easygoing yet gritty quality. The band hammers home both the album's rock-oriented expansion and personal motivations with an album-closing cover of the Rolling Stones' "Wild Horses," the original of which featured Dickinson's dad. (Chris Herrington)


Tracklist:

01 - Raise Your Right Hand 03:14

02 - Chalk It Up 03:14

03 - Going Down 03:57

04 - Bottom $ 03:38

05 - Zebra Ranch 03:47

06 - Where You Belong 04:02

07 - You Hold My Woman 04:01

08 - My Baby Don't Know 03:57

09 - Hill Country 04:35

10 - Second Street 02:48

11 - Do Work 02:24

12 - Idyll 04:28

13 - I Don't Know About You 03:34

14 - Wild Horses 04:43





Hill Country Revue here:

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Gary B. B. Coleman 1991 Romance Without Finance Is A Nuisance

Genre: Blues
Rate: 247 kbps VBR / 44100
Time: 00:43:14
Size: 75,41 MB



Review by Alex Henderson

It was no coincidence that Gary Coleman had "BB" in his name. One of Coleman's main influences was B.B. King, and he was happy to acknowledge King's inspiration (although he's also learned a thing or two from Bobby "Blue" Bland, Jimmy Reed and the late Albert Collins). Romance Without Finance underscores the fact that while Coleman may not be the most original artist in the world, his Ichiban output has been consistent and enjoyable.

The singer/electric guitarist's sense of humor serves him quite well on such amusing cuts as "Food Stamp Annie," "If You See My One-Eyed Woman" and "She Ain't Ugly (She Just Don't Look Like Nobody Else)." But he's equally appealing when embracing a somber minor-key groove a la Bland, and "Dealing From the Bottom of the Deck" is a fine example of Coleman's brooding side. Whether Coleman is being remorseful or humorous, this CD was a welcome addition to his catalogue.



Tracklist:

01 - She Ain't Ugly (She Just Don't Look Like Nobody Else) 04:05

02 - Don't Give Away That Recipe 04:25

03 - If You See My One-Eyed Woman 04:30

04 - Dealin' From The Bottom Of The Deck 08:49

05 - Romance Without Finance Is A Nuisance 05:01

06 - Food Stamp Annie 04:56

07 - Mr. Chicken Stew 06:02

08 - Mr. B's Frosting (Instrumental) 05:26





Gary B. B.Coleman here:



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