Mel Melton & The Wicked Mojos - Swamp Slinger

Size: 114,8 MB
Time: 49:06
File: MP3 @ 320K/s
Released: 1997
Styles: Swamp Blues, Louisiana Blues
Art: Full

01. Cher Catin (3:22)
02. Opelousa's Blues (4:27)
03. French Quarter Rain (6:29)
04. Love Attack (4:39)
05. Devil Moon (6:11)
06. Two Lives (4:56)
07. Catahoula (4:30)
08. Chicago Train (4:51)
09. Backdoor Cajun Man (4:46)
10. Swamp Slinger (4:50)

This fine disc cooks and simmers with the flavors of the Louisiana swamps. Mel Melton has a slight rasp in his voice that adds that extra bit of spice that brings out the true flavors of this music. His voice isn't exceptional, but it is very well suited to the songs on the disc. The Wicked Mojos are a tight group that back him quite well, moving effortlessly from the slow blues of a song like "French Quarter Rain" through some real dust-ups like "Backdoor Cajun Man," making stops to go back to some Chicago blues and some fine zydeco raves. Melton's harmonica playing blends itself to fit the needs of the song, and the Wicked Mojos are given ample chances to display their licks. Used to seriously push the music to another level are slide guitar whiz Sonny Landreth and zydeco accordionist C.J. Chenier, both of whom Melton had once played with in a band called Bayou Rhythm. The multi-talented Melton has written eight of the 11 songs here, reflecting the variety of his musical influences. Two of the other songs are traditional, and the remaining song is the wonderful "Devil Moon," written by Randy Friel, who contributed production and some welcome organ, accordion, and clavinet playing. This is a disc to bring back (if you've been there) or to introduce you to the rhythms of the swamps of Louisiana. ~Bob Gottlieb

Swamp Slinger MP3
Swamp Slinger FLAC

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Femi Precious - Lockdown Blues Sessions

Size: 81,0 MB
Time: 34:32
File: MP3 @ 320K/s
Released: 2020
Styles: Acoustic Blues, Country Blues
Art: Front

01. Piano Rag (3:27)
02. Hill House Boogie (5:32)
03. Alberta (2:09)
04. I'm Goin Away (4:24)
05. Everyday I Have The Blues (Feat. Marco Ferris) (5:34)
06. Kansas City Blues (Feat. Marco Ferris) (3:23)
07. Goin' Down The Road Feelin' Bad (Feat. Anna Cardia & Marco Ferris) (3:15)
08. Hard Times Blues (2:37)
09. Everyday I Have The Blues (Alt. Take) (Bonus Track) (4:06)

Over in London, England, there is a budding new bluesman playing the old African American deep roots blues. He’s a Nigerian émigré who has lived in London since 2011, by way of Italy, where he got his first guitar and music lessons by his supportive Italian stepfather. His real name is Olorunfemi Precious Akinmayowa, his perfect stage name is Femi Precious, a cross-cultural musician if ever there was one. You gotta love it!

He started off learning on a nylon-stringed classical guitar in the music school his step-father encouraged him to attend in Italy. He then moved up to a Yamaha steel-string. Like many kids his age he got into hip-hop and rap, developed an infatuation for reggae and Bob Marley, all the while quietly digging into the 12-bar blues and slide guitar. His Italian family had drawers full of 1960s blues recording and so he connected with Albert Collins, B.B. King, Buddy Guy and John Lee Hooker. By now the lad can play and he has garnered international attention among blues fans through YouTube (Yes, social media is good for some things!). He is still working a day job, but things are looking bright for the young bard. He stated, “I believe that I am still a beginning artist. New to be known. Not yet a professional.”

Lockdown Blues Sessions MP3
Lockdown Blues Sessions FLAC

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Mick Clarke - Mo'Blues'n'Boogie Vol. 2

Size: 106 MB
Time: 15:30
File: FLAC
Released: 2020
Styles: Blues Rock
Art: Front

01. Ain't Beggin' Nobody (4:48)
02. Hip-Shakin' (2:56)
03. Tipitina (3:54)
04. One Mind (3:50)

Mick Clarke first attracted attention in 1968, playing guitar in the south London-based duo Killing Floor with Bill Thorndycraft (vocals/harmonica). They made two well-received albums, Killing Floor in 1969 and Out of Uranus the following year. Killing Floor played in London and elsewhere in the U.K., backing American bluesman Freddie King, and also jammed with other visitors, including Howlin' Wolf. In mid-1972 Killing Floor folded, but Clarke played with Daddy Longlegs before forming his own band, Salt, in the mid-'70s, recording the rare EP All Wired Up in 1978.
After a spell in the United States, Clarke returned to the U.K. at the start of the '80s to form the Mick Clarke Band. For the next two decades the band worked extensively, touring the U.K. and Europe, receiving critical acclaim for their live shows and albums. Critics and audiences in the U.S. also reacted very favorably to the band. In 2005 the band included drummer Chris Sharley (drums, ex-Sassafras), Dave Rea (bass), and Dave Lennox (keyboards). Among other musicians who have worked with Clarke over the years are keyboard player Peter Terry; bass players Mick Phillips, Len Davies, Ian Ellis, Eddie Masters, and Russell Prett; blues harpists Stevie Smith, Dave Newman and Mark Feltham; and drummers Ron Berg, Slash, Mike Hirsh, and Wilgar Campbell. An important part of the repertoire of Clarke's bands are his own compositions, which include "Murderers' Home," "Cheap," "Walking in the Dark," "The Killingest Place," "Second Hand Dream," and "New Star Over Texas."

Mo'Blues'n'Boogie Vol. 2

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Wily Bo Walker & Danny Flam - Ain't No Man A Good Man (Deluxe)

Size: 205 MB
Time: 85:00
File: MP3 @ 320K/s
Released: 2020
Styles: Contemporary Blues, Blues Rock
Art: Full (Regular Edition)

CD 1:
01. Ain't No Man A Good Man (4:21)
02. Fool For You (2020 Hindsight) (4:09)
03. Did I Forget (4:14)
04. Velvet Windows (Treme Trippin') (3:54)
05. Walking With The Devil (Blood On My Hands) (4:51)
06. Night Of The Hunter (4:30)
07. Ain't Hungry No More (4:40)
08. Time To Forget You (4:33)
09. St James Infirmary Blues (3:29)
10. Build My Gallows (Ain't No Return) (5:15)

CD 2:
01. I Want To Know (New York Funk Mix) (4:12)
02. Who Do You Love (New York Chiller Mix) (4:42)
03. Walk In Chinese Footsteps (4:32)
04. For The Children (5:02)
05. Drive (3:47)
06. Jawbreaker (3:46)
07. Moon Over Indigo (6:01)
08. When The Angels Call Your Time (4:43)
09. Long Way To Heaven (Chicago Gospel Mix) (4:13)

Expanding upon the success of their 2015 album “Moon Over Indigo,” Scottish blues and rock provocateur Wily Bo Walker and Grammy Award winning musician and arranger and leader of the New York Brass, Danny Flam, called in over thirty of the best U.S. & UK musicians and vocalists on a new volume of music that explores the genre twists that have come to be expected of a Wily Bo production. The session players included members of Walker’s acoustic and electric bands, a wide assortment of guitarists, drummers, keyboardists and of course the New York Brass with special appearances by The Brown Sisters of Chicago Gospel Choir and The Cenovia Cummins String Quartet.

“Ain’t No Man A Good Man” features ten tracks that take listeners on a swinging macabre jazz and blues funhouse ride of thrills and chills. The album opens with the supercharged Blood, Sweat and Tears inspired title track setting the stage for a passion play of furious horn driven theatrical soul music. Those horns are paramount in the successful rearrangement of the bump and grind blues ‘Fool For You (2020 Hindsight)’ bulking up the British Power Blues from 2016 into a full wall of sound sonic assault. Walker takes a page out of the Long John Baldry playbook on the hard swinging 12/8 blues ‘Did I Forget,’ confessing his love with a roaring baritone accented by sharp horn jabs and rambunctious baritone sax from Ron Bertolet.

The jagged boogaloo ‘Velvet Windows (Treme Trippin’)’ finds him playing the role of a man in turmoil with the complications of love. The confessional continues on the alluring ‘Walking With The Devil (Blood On My Hands),’ a slow burning blues samba featuring soaring lead guitar from Mike Ross. Songwriter E.D. Brayshaw, frequently the guitar playing sidekick of Wily Bo Walker, co-wrote ‘Night Of The Hunter’ that first appeared on the 2019 album “The Roads We Ride” billed as “Wily Bo & EDB’s blues-infused three penny Rock Opera,” that, with the addition of the stirring horn chart, achieves full film noir soundtrack status.

Walker packs up the crew for a trip down to the Caribbean to revisit the Voodoo Zombie Blues from the 2014 “Rattlin Bone's” collection, ‘Ain’t Hungry No More,’ rearranging it with a tasty reggae treatment. The late night blues ‘Time To Forget You,’ from Jimmy Dean Brooks was first recorded at Abbey Road Studios in 2010 for a collaboration with Wily Bo and UK vocal sensation Kareña K, while Danny Flam & The New York Brass and Brown Sisters step in to give it classic horn driven R&B pizzazz.

The final act of the album is journey “de Londres à la New Orléans” - from London to New Orleans - beginning with a vaudeville romp through the oft recorded standard ‘St James Infirmary Blues’ with Wily Bo playing the role of the ringmaster in a swirling three circus spectacular. He then doffs his cap in tribute to British Blues Royalty by evoking the Led Zeppelin aesthetic for the incendiary finale ‘Build My Gallows (Ain't No Return),’ casting Troy Redfern to emulate Page’s legendary slide work on the Silvertone, while the Cenovia Cummins String Quartet supplies the Kashmir flavor, referencing the album title in the pleas of a man fated to pay the ultimate price for his forbidden desires.

Once again Wily Bo Walker defies the conventional blues paradigm, engaging in a diabolical collaboration with Danny Flam for “Ain’t No Man A Good Man,” creating another fine addition to his over two dozen releases in his illustrious 40-year career. ~Rick J Bowen

Ain't No Man A Good Man (Deluxe) MP3
Ain't No Man A Good Man (Deluxe) FLAC

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Tenry Johns 'The King Kong Rocker' - Moving On

Size: 115,2 MB
Time: 49:13
File: MP3 @ 320K/s
Released: 2008
Styles: Funky Blues, Blues Soul
Art: Full

01. Move On..Don't Stop (3:36)
02. You' Allright (4:15)
03. What's Wrong (4:32)
04. I Ain't Gonna Cheat (3:57)
05. You' All I Need (4:28)
06. I Ain't Coming Back (4:04)
07. Get Out Of That Mess (4:30)
08. I'm In Love (3:59)
09. Live Your Life (3:59)
10. You Got The Blues (3:48)
11. Just Like You (4:15)
12. Rockin' In America (3:44)

Maybe starting a review off by comparing the subject of the review to other musicians is somehow not proper it will not stop me here. Two of my favorite Blues singers are Phillip Walker and Grady Champion and Tenry Johns compares very favorable with those two magnificent blues torchbearers. On his latest he starts with the tittle song "Move On" which is not blues but sounds kinda like a George McCrae, Gwen McCrae type of TK records uptempo "Rock Your Baby" type joint that sets this record off perfect.

Then comes "You Alright" with a perfect blues guitar intro (Yes there is that P word again") this song gives volume to the comparison with Walker and Champion also the late Johnny Guitar Watson. All of these men have and had singing styles and voices which set them apart from the others and the average.

Tenry Johns writes and finds strong vehicles for his strenghs which are his sense of irony and humor. Being in the Chicago land area there is also no shortage of some of the best players in the blues world and you can hear the quality in every lick, pick, and snare strike.

You feel all of that on "What's Wrong", "I ain't gonna cheat on you" and the chant of You gotta trust me baby is rhythmic charisma that will have you doing what good music make one do when it's hitting all cylinders.Trust me baby!

"Get out of that mess" is my temporary theme song because seems like something is always going on that ain't as bad as we make it, and we need a pep talk. This is that pep talk (thanks Tenry).

In the past TJ has give us some great music that you should be aware of, and my favorite is a CD called "So What" which after you rush out and get "Move On" you will be compelled to go out and grab along with "Need your Love" another very good offering by the former bass player for the The Notations.

Tenry will tell you himself that he is no great vocalist, but he is a great composer of the songs he sings. His feel for what he does is one of comfortable confidence which is clear in his music. So if you think you are stuck with music that does not meet your musical standards cause that is what they play on the radio, then get yourself some real music from a real artist played with real instruments.

I guess I'm telling you to "Move On". ~Review by Enorman Harris

Moving On MP3
Moving On FLAC

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Mojo Buford - Mojo Workin'

Size: 76,0 MB
Time: 32:41
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock, Harmonica Blues
Art: Front

01. Help Me (4:40)
02. Blues Is A Botheration (4:54)
03. Lost Love (3:59)
04. Deep Sea Diver (5:22)
05. Love Without Jealousy (2:51)
06. Rag Picker's Blues (4:19)
07. Got My Mojo Working (4:13)
08. Stingin' Bee Blues (2:18)

A lost studio recording from a legendary blues man!

Recorded in 1969, legitimately available for the first time ever!
The bluesman's best, captured in the studio!
Buford originals and tried-and-true tunes!

Bluesman George “Mojo” Buford started blowing the harmonica in his teens, eventually linking up to tour with fellow Mississippian Muddy Waters. Adopting his nickname from ravenous crowds requesting Muddy’s “Got My Mojo Working,” Buford gained the attention of some gifted young rockers (including lead guitarist of The Trashmen!), who steered him into the studio for three smokin’ ‘69 sessions–the results of which we’re finally hearing for the first time!

The songs here mostly came out of Buford’s live repertoire at the time, including (of course) “Got My Mojo Working” as well as “Love Without Jealousy,” a song Buford co-wrote that would appear on Waters’ 1973 album Mud In Your Ear. Several others in the sessions were Buford originals: the 12-bar nugget “Deep Sea Diver” and the funkier workouts “Lost Love” and “Stingin’ Bee Blues.” He also covered his pal Otis Spann’s “Blues Is a Botheration” and Sonny Boy Williamson II’s “Help Me,” co-written by Willie Dixon.

Mojo Workin' MP3
Mojo Workin' FLAC

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Leslie 'Star Drums' Milton - The Voyage

Size: 99,1 MB
Time: 42:39
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues
Art: Front

01. Mother Nature (4:09)
02. What Would Muddy Say (4:50)
03. Mt. Saint Helens Blues (4:01)
04. I Can't Do Without You (2:51)
05. Tiny Little Thing (3:25)
06. Gator Joe (4:23)
07. Swamp Crab (3:52)
08. Mama Wants To Know (4:08)
09. Caravan (5:12)
10. Somebody Make It Right (5:44)

Born into a loving family on July 20, 1938, the legend began. From his crib, Leslie started bringing rhythms to life by tapping his hands and fingers on everything in sight. As a little boy he beat on pots and pans, tables, tin garbage cans, you name it, since nothing in his fertile imagination went unnoticed. Leslie’s finely tuned ears became his radar antennae, as he grooved to rhythms of the rain and beams of sunshine, gravel crunching beneath his fast-running feet; water running from the tap, rustling of leaves, and cars driving down the street. Every sound in nature became melodies to him. Leslie’s driving passion in life always has been, and forever will be, his music.

At the tender age of 10, Leslie’s parents encouraged his vision and destiny by giving him his first set of drums, and he has never stopped kickin’ and stickin’ it since. His Uncle Ernest ‘The Kid’ Milton, a famous show drummer in his own right, took Leslie under his wing and taught him the fine art of show drumming and showmanship in all genres of music. By age 12, he was playing drums professionally in the famed French Quarter of New Orleans, music capital of the world.
At only 14, he was selected to attend the elite Gateway School of Music. Leslie has traveled far and wide to nuture his destiny…from street corner musician, burlesque halls and night clubs in his native New Orleans, and the juke joints on the Chitlun’ circuit of the south, to the Apollo Theatre in New York (where his signature lives on that famous wall), and the great concert halls of America and Europe. From solo performances to big band orchestras, Leslie has done it all; enhancing and perfecting his craft along the way in his inimitable and dynamic style. To quote one of his favorite mottos…’how do you get to Carnegie Hall?’…practice, practice, practice!
In the early 60’s, Leslie moved to Los Angeles. He sparked an active career in both live gigs and recording sessions with the best in the business…Johnny Otis, Etta James, Ray Charles, Little Richard, Roy Brown, Ike & Tina Turner, Sonny & Cher, Bill Cosby, and others. He worked with Quincy Jones and ‘Bumps’ Blackwell with Mercury Records and played on several national hits, such as The Rivington’s (Papa Ouh Mau Mau), Watt’s 103rd St. Rhythm Band (Spreadin’ Honey), Jackie DeShannon (Put a Little Love in Your Heart), and the beat goes on. Leslie appeared on many T-V shows, including the Tonight Show with Johnny Carson, the Ed Sullivan Show, and Johnny Otis’ Big Band Show on Saturday morning.

The Voyage

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John Fusco & X-Road Riders - John The Revelator

Size: 214,6 MB
Time: 91:24
File: MP3 @ 320K/s
Released: 2020
Styles: Blues Rock
Art: Front

01. John The Revelator ( 4:46)
02. Baker Man ( 3:00)
03. Bone Deep ( 4:59)
04. It Takes A Man ( 3:19)
05. Ophelia ( 2:00)
06. Don't Mess Up A Good Thing ( 4:12)
07. Applejack Brandy ( 4:25)
08. Why You Choose Me ( 4:16)
09. Bad Dog (10:18)
10. Snake Oil Man ( 3:06)
11. Song For Peter ( 6:23)
12. Jacqueline ( 3:51)
13. Hottest Part Of The Flame ( 4:17)
14. Language Of Angels ( 3:49)
15. Fools Fire ( 5:30)
16. Baby Let's Not Borrow ( 4:10)
17. Moonstone Lady ( 4:26)
18. Motel Laws Of Arizona ( 5:30)
19. Good Money ( 4:33)
20. The Sun Also Rises ( 4:25)

More than three decades after a teenaged Fusco ran away from his New England home to Louisiana and the Mississippi Delta — returning with a semi-autobiographical screenplay called Crossroads (and an unlikely discovery as a Hollywood screenwriter) — the writer-musician returned to his old Southern stomping grounds. He was back in the Delta to film his Netflix hit The Highwaymen, but a series of impromptu jam sessions with Cody Dickinson, whose father Jim had been a music advisor on Crossroads, turned into an album of Fusco’s original blues.
For John the Revelator, Fusco has assembled a cast of modern blues stars: Dickinson (the North Mississippi Allstars), who produced Fusco’s first, appears behind the board again and also contributes background vocals, drums, bass, guitars, dobro, piano, and electric washboard. Vocalist Risse Norman, who has toured and recorded with the North Mississippi Allstars and Samantha Fish, also returns. They are joined by new Fusco collaborator Sarah Morrow, former trombonist for Ray Charles and bandleader for Dr. John.
The big-name collaborations also extend to the album’s cover, which features artwork by Bobby Whitlock, best known as a keyboard player for Sam & Dave, Delaney & Bonnie, and Derek & the Dominoes, among others. Fusco also brings back his “northern chapter” of the X-Road Riders from his Vermont home.
John the Revelator was recorded at Dickinson’s tiny Checkerboard Lounge home studio outside of Memphis in Southaven, Mississippi, and at the more spacious Meadowlark Studio in Burlington, Vermont, with George Walker Petit (Boz Skaggs, Michael McDonald) producing and adding guitar and bass.
The contrast in creative circumstances spills over onto the record itself, which alternates between the raw, gutbucket feel Fusco explored on his first, Dickinson-produced album and the more ruminative, writer-centered approach of his new material.
“The first album was a loose, high-octane jam sesh, and Cody hit the record button. This next one digs into some deeper emotional clay as with ‘Language of Angels,’ ‘Applejack Brandy,’ and ‘Ophelia,'” says Fusco of the more subdued, gospel-laced material he cut at Meadowlark on the studio’s grand piano. “Braiding the more emotional ballads in with the raw blues rockers and traditional blues stuff, it makes the album a little more unexpected and mercurial.”
Over the decades Fusco let too many songs slip through his fingers, not having had the time to work on them (he has written more than 15 major movies and TV shows since Crossroads). Now he started to set them down, plumbing a lifetime of experiences and memories for a collection as sweeping in scope and heartfelt in detail as any of his screenplays or novels.
All the dichotomies at play — between Dickinson and Petit (a noted jazz guitarist and producer), Mississippi and Vermont, Checkerboard and Meadowlark, downhome blues and introspective songwriting — created a dizzyingly eclectic record. Bawdy rockers like “Bone Deep” rub up against tender love songs like “Applejack Brandy.” The gritty stripped-down sound of “Baker Man”, gives way to equally evocative mood pieces such as the title track, a cover of a blues standard made famous by Son House. The Randy Newman-esque satirical jab of “Snake Oil Man” stands in stark contrast to the achingly heartfelt “Language of Angels.”
Binding it all together is Fusco’s voice. Not just his distinctive Hammond B3 and piano or his gritty vocals, but his way with words and especially deep drawn, cinematic characters — the too familiar huckster in “Snake Oil Man,” the doomed lovers of “Hottest Part of the Flame” with Morrow’s trombone evoking the femme fatale, and the down-and-out drifters of “Motel Laws of Arizona.”
The record was so diverse Fusco and his team originally considered breaking it up into two albums or perhaps a series of EPs. It was Dickinson, exhibiting shades of his late father’s “throw it up on the wall” ethos, who said otherwise.
“He said, ‘Man, just pull the trigger. Release them all. This is all part of this one flow that represents your music at this time,'” Fusco recalls. “Early on in my writing career, the industry tried to pigeonhole me as the Western Americana guy. I learned, over time, to never let a story get trapped in a genre box as long as the DNA is rooted in your true voice. That’s how I feel about my music. It all comes out of blues and gospel, but some of the stories and themes find a style that even takes me by surprise; they find a music engine that crosses the borders and breaks out of any box. The story finds the right music to carry it. For me, story is always the compass.” ~Blues Rock Review

John The Revelator

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The Butterworth Blues Band - Mama's Full Stack

Size: 112,5 MB
Time: 48:25
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Front

01. My Mama's Blues (6:03)
02. The Tax Tune (4:06)
03. Good Shoulders (3:50)
04. Black Coffee Blues (6:04)
05. Black Eyed Blues (3:37)
06. Carroll County Picture Show (4:56)
07. Dirt (4:41)
08. Miles Of Craggy Road (4:10)
09. When You Least Expect It (5:30)
10. Sing Tonight! (5:23)

The Butterworth Blues Band has been rocking blues-loving audiences with a great mix of blues, rock, and a whole lotta soul for the over a decade. The sound is a rocking mix of original blues and rock and features Dave Knaub on percussion, Brian Rosen on guitar, Michael Thornton on bass, and singer songwriter Alexis M. La Salle on vocals and keys.

Mama's Full Stack

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Duster Bennett - Jumpin' At Shadows

Year: 1995
Bitrate: MP3@320K/s
Time: 61:25
Size: 142,0 MB
Styles: Blues, roots
Scans: Full

1. Morning Star (2:40)
2. I've Got To Be With You Tonight (5:15)
3. California Zephyr (2:40)
4. Blue River Rising (4:02)
5. Cold Chills (4:37)
6. I've Learnt To Love (Since I've Been With You) (3:21)
7. Bright Light Big City (2:59)
8. Worried Mind (2:45)
9. I Need A Little Sugar In My Bowl (3:48)
10. Georgina (2:38)
11. Ride With Your Daddy Tonight (2:43)
12. Jumpin' At Shadows (4:09)
13. Love Me Like You Can (3:45)
14. A Long Way To Go (2:56)
15. Lone Wolf Blues (4:03)
16. Fresh Country Jam (3:05)
17. Sweet Sympathy (2:49)
18. The Rolling Stone (3:01)

Though Duster Bennett recorded just four albums before his death in 1976, his entire career was spent in front of a microphone, either recording home demos for his own reference or going into the studio with various friends and admirers. The fruits of these sessions would then be taken home and added to a massive pile of unlabelled, undated tapes that his widow, Stella Bennett, finally turned over to the Indigo label in 1994. Over the next seven years, six full albums would be created from this treasure trove, between them documenting Bennett's creativity at every stage of its development.

The first in the series, Jumpin' at Shadows, admits without apology to the uncertainty of its contents. Certainly some songs date from Bennett's years of greatest popularity, the late '60s when he was signed to the so-influential Blue Horizon label - among the highlights is a lovely solo rendition of the title track, a song otherwise familiar from the electrifying rendition cut with Peter Green in 1968. Another song, "Morning Star," would develop into the 1969 single "If You Could Hang Your Washing Like You Could Hang Your Lines."

Other material can be traced to the early to mid-'70s, as Bennett concentrated more on live work than the studio. What is not in doubt is the sheer joy with which Bennett approached the blues. Whether accompanying himself on harp and guitar, or blasting with a band of super-sessionman friends, there is an honesty and a delight that words cannot express. As Stella's own contributions to the liner notes point out, "Duster was what he sang and played. His music says all there was to say about him - I'm so happy it's still saying it." /Dave Thompson, AllMusic

Jumpin' At Shadows mc
Jumpin' At Shadows zippy

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Little Victor - Let's Get High

Year: 2009
Bitrate: MP3@320K/s
Time: 43:54
Size: 102,2 MB
Styles: Electric blues
Scans: Full

1. Too Late Now (3:32)
2. You Don't Know My Mind (2:45)
3. Shakin' The Boogie (2:25)
4. Let's Get High (2:39)
5. Workin' On The Levee (3:16)
6. That M&O Train (3:12)
7. Cold Hearted Woman (2:58)
8. Goin' Away (3:37)
9. Gambler's Boogie (3:40)
10. When I'm Dead And Gone (2:38)
11. Two Days Ago (3:14)
12. Brownsville Blues (4:45)
13. Boogie All Nite Long (2:05)
14. Hidden Bonus Track (3:01)

Little Victor's one and only release on the infamous Wild Records out of Los Angeles. Little Victor is joined by some of Wild's best including Alex Vargas, Omar Romero, Luis Arriaga, Angel Hernandez and Ricky McCann, plus special guests. Plenty of blues boppers & rockers for your dancing feet on this wild-assed party platter.

(For personnel details, see artwork included.)

Let's Get High mc
Let's Get High zippy

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Various Artists - Ground-Breaking Blues

Year: 2009
Bitrate: MP3@320K/s
Time: 51:56
Size: 120,3 MB
Styles: Blues
Scans: Front

1. Fleetwood Mac - Dust My Broom (2:51)
2. Duster Bennett - It's A Man Down There (Single Version) (2:48)
3. Eddie Boyd - You Got To Reap (2:20)
4. Chicken Shack - San-Ho-Zay (3:05)
5. Champion Jack Dupree - Income Tax (4:50)
6. Gordon Smith - Pearlie Blues (2:59)
7. Otis Spann & Fleetwood Mac - My Love Depends On You (5:26)
8. Jellybread - I Pity The Fool (4:46)
9. Johnny Young - My Trainfare Out Of Town (3:46)
10. Christine Perfect - I'm Too Far Gone (To Turn Around) (Single Version) (3:17)
11. Johnny Shines - Last Night's Dream (3:48)
12. Top Topham - Hop House (3:38)
13. Bacon Fat - Telephone Blues (5:58)
14. Key Largo - Wrapped Up In Love Again (2:16)

"Ground-Breaking Blues" is designed as an introduction to Sony Music/Blue Horizon's ongoing "The Complete Blue Horizon" series. Label founder Mike Vernon provides the sleeve notes and describes the 14 tracks on this CD as his own personal favourites. He believes that they "give an excellent indication of what the would-be purchaser will find should he or she decide to delve further into the available catalogue".

As well as acting as a fine sampler for the series, it works as a terrific blues collection in its own right, with key names like Fleetwood Mac, Chicken Shack and Champion Jack Dupree nestling alongside lesser-known acts such as Gordon Smith, Johnny Shines and Key Largo. /Amazon

Ground-Breaking Blues mc
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MFC Chicken - It's... MFC Chicken Time!

Year: 2015
Bitrate: MP3@320K/s
Time: 34:40
Size: 80,6 MB
Styles: R&B, rock & roll
Scans: Front

1. Study Hall (2:37)
2. Gross People (2:26)
3. 14 Girls (2:13)
4. All Afternoon (2:57)
5. Bad News From The Clinic (2:31)
6. Uncle Willy (2:30)
7. Rumble Strip (2:14)
8. Sit Down Mess Around (3:13)
9. 29 Bus (2:07)
10. I Can't Feel My Leg (1:55)
11. Kahuna Hoodoo Hoochie Coo Flu Blues (2:58)
12. Tennessee Girl (2:12)
13. Colonel Sanders' Bastard Son (2:29)
14. Where Is The Meat (2:11)

It's been six years since Spencer Evoy arrived in London and convened a group of frantic, hungry musicians on top of a dirty Holloway Road chicken shack to take part in a sacred mission to bring Pacific Northwest style rock'n'roll to the British public. In that time, MFC Chicken have unleashed two LPs, three singles and whole lot of mayhem on thrilled and unsuspecting audiences across Europe and beyond. The poultry-loving group have made a name for themselves, becoming one of the hottest garage rock'n'roll acts in the UK, and have thrilled sweaty crowds all across Europe with with their own red hot take on what's been described as 'the music the Sonics were listening to'.

As one reviewer wrote, the band features 'sax so oily it should be scooped up, whacked on yer barnet and fashioned into a DA'. After spending a good year or more honing their set and finding out which songs make the girls dance (i.e. all of them!), their debut album Music for Chicken cemented the globe-spanning gang as the finest purveyors of this style of rockin' and rollin' rhythm'n'blues in the land. Next came the even-better sophomore album Solid Gravy! in 2014. And now the chicken loving public can brace themselves for the third, even more thrilling long player, because once again It's...MFC Chicken Time!

This time around the boys have once more made sure to capture the raw live sound that has driven audiences wild time and time again. They've chosen tracks that get folks twistin', stompin' and shoutin' and laid them down to tape with plenty of their special seasoning. It's guaranteed to get any public, private or personal party cookin'. So do you love dancing but hate contemporary music? Are you desperate to hear garage rock'n'roll really taken back to its roots? If so, then you most definitely ready for that indescribable, unstoppable Chicken sound: the latest and greatest item on the rock'n'roll dance menu.

Personnel: Spencer Evoy (vocals, saxophone); Alberto Zioli (guitar); Bret Bolton (bass); Ravi Low-Beer (drums); Reverend Parsley (keyboards).

It's... MFC Chicken Time! mc
It's... MFC Chicken Time! zippy

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Big Jay McNeely - Blues & Rhythm Series 5170: The Chronological Big Jay McNeely 1953-1955

Size: 262 MB
Time: 50:05
File: FLAC
Released: 2006
Styles: Blues, R&B, Jazz
Art: Full

01. 3-D (2:45)
02. Nervous Man Nervous (2:35)
03. Rock Candy (2:40)
04. Texas Turkey (3:04)
05. She Don't Work (2:16)
06. Hot Cinders (2:37)
07. Mule Milk (3:12)
08. Ice Water (2:17)
09. Whipped Cream (2:55)
10. Beachcomber (2:12)
11. Let's Work (2:10)
12. Strip Tease Swing (2:44)
13. Hardtack (2:24)
14. Hometown Jamboree (2:05)
15. Teen Age Hop (2:11)
16. Catastrophe (2:02)
17. Calamity (1:47)
18. Jay's Rock (2:37)
19. Big Jay's Hop (2:53)
20. Three Blind Mice (2:30)

Though Big Jay McNeely is one of the lesser-known 1950s R&B saxophonists, his outsized, crowd-pleasing style, which incorporated long, swooping notes and blustering honks set against a raw, swinging backbeat, is still immensely appealing. The second volume of the French Classics R&B label's McNeely retrospective includes cuts like "Nervous Man Nervous," for which a pre-"Smoke Gets in Your Eyes" Platters supplied background vocals, as well as several previously released sides with overdubbed crowd noise added to simulate a live performance. ~AMG

The Chronological Big Jay McNeely 1953-1955

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Lloyd Price - Blues & Rhythm Series 5100: The Chronological Lloyd Price 1952-1953

Size: 186 MB
Time: 62:54
File: FLAC
Released: 2004
Styles: Blues, R&B
Art: Full

01. Barnyard Rock (2:14)
02. Lawdy Miss Clawdy (2:33)
03. Mailman Blues (2:12)
04. Chee Koo Baby (2:13)
05. Oo-Ee Baby (2:31)
06. Mailman Boogie (2:32)
07. Oooh Oooh Oooh (2:39)
08. Restless Heart (2:37)
09. Tell Me, Pretty Baby (2:18)
10. So Long (2:31)
11. They Say (2:44)
12. I'm Too Young (2:43)
13. Laurelle (2:46)
14. Operator (2:23)
15. Ain't It A Shame (2:43)
16. What's The Matter Now (2:58)
17. Jimmie Lee (2:16)
18. If Crying Was Murder (2:46)
19. Baby Don't Turn Your Back On Me (2:33)
20. Walkin' The Track (2:29)
21. Lloyd's Lament (Old Echo Song) (2:54)
22. Where You At (2:05)
23. Too Late For Tears (2:26)
24. Lord, Lord, Amen (2:21)
25. Carry Me Home (2:15)

This amazing compilation assembles all of Lloyd Price's hit recordings made in New Orleans and Los Angeles in 1952 and 1953. Price grew up in New Orleans and got his first break in 1952 at the age of 20 when trumpeter Dave Bartholomew lined him up with the Specialty record company. Price's very first recording was the Louis Jordan-inspired "Barnyard Rock," but what put him across very quickly was "Lawdy Miss Clawdy," a handsome bit of R&B that hit the Billboard R&B chart at once and stayed there for six months. Backed by seven mighty masters of New Orleans dance music including Bartholomew and pianist Fats Domino, Price belted out half a dozen tasty tunes including the catchy "Chee Koo Baby," a New Orleans rhumba closely resembling the music of Dave Bartholomew's rival, Professor Longhair. The background vocals by the band during "Oo-Ee Baby" make Price's act sound a little like Hank Ballard & the Midnighters. His rocking & rolling "Mailman Boogie" almost certainly helped to ignite a trend in popular music that is still commonly associated with Bill Haley and Elvis Presley. Each Lloyd Price recording is an exercise in soulful finesse, be it slow dance, R&B, rocking boogie, or a little more of that perpetually rolling Crescent City rhumba. He generally liked to work with a gutsy sax soloist backed by another load of saxes and a good solid rhythm section. Price reached a new level of expressivity when he sang "If crying was murder, baby, you'd have been dead long ago." Some of these grooves are difficult to sit still to. "Walkin' the Track" has a twist component that won't let go. "Lloyd's Lament (Old Echo Song)" introduces a more unusual formula as Price sings the wordless melody off mike like a background singer and speaks over the band during the bridge like one of the Ink Spots. The pianist on the session of April 16, 1953, is believed to have been Huey Smith, and it sure does sound like him, especially given the smoking hot "Where You At," the beautiful resonance of Smith's "Too Late for Tears" and "Lord, Lord, Amen!," and Price's own "Carry Me Home." ~arwulf arwulf

The Chronological Lloyd Price 1952-1953

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Lil Green - Blues & Rhythm Series 5099: The Chronological Lil Green 1942-1946

Size: 139 MB
Time: 53:28
File: FLAC
Released: 2004
Styles: Blues, R&B
Art: Full

01. 99 Blues (3:08)
02. Don't Know What I Wil Do (2:40)
03. You Got Me To The Place (2:55)
04. Keep Your Hand On Your Heart (3:00)
05. I Have A Place To Go (2:50)
06. If You Want To Share Your Love (2:49)
07. If I'm A Fool (2:32)
08. I'm Wasting My Time On You (3:03)
09. I'm Wasting My Time On You (Faster Version) (2:49)
10. No, Baby, Nobody But You (2:54)
11. Boy Friend (2:34)
12. Now What Do You Think (2:32)
13. Mr. Jackson From Jacksonville (2:34)
14. It's Bad With My Man And Me (2:55)
15. Blowtop Blues (2:50)
16. Ho Come You Do Me Like You Do (2:47)
17. That Old Feeling (2:51)
18. Last Go Round Blues (2:59)
19. No Good Man (2:38)

Lil Green was known as the Queen of the Blues in the early 1940s when her distinctive, seductive voice was highlighted on “Romance in the Dark,” “Why Don’t You Do Right?” and other blues and pop songs recorded for the Bluebird label. Born Lillie Mae Johnson in or near Port Gibson in 1901, she lived with her family in the College Street area as a child. She began her professional career in Chicago and later toured the country as a top attraction. She died in Chicago in 1954.

Lil Green was one of the nation’s best-loved African-American singers of her era, hailed in an Apollo Theater ad as “the greatest of all blues singers” when she appeared in Harlem in 1943. Her unique blues style and repertoire, incorporating jazz, gospel and pop, engendered widespread appeal, and she attained heights reached only by an elite number of blues singers of the 1940s. Green exuded youthful sweetness and charm yet retained a sultry, streetwise allure in her high-pitched delivery. Upon meeting her one writer described her as “disarmingly down to earth.”

Green and several siblings left Port Gibson at a young age after the deaths of their parents, Elias Johnson and Ida Crockett. In Chicago, by various accounts, she was discovered singing at a revival meeting, sang along to records at her job in a department store, worked as a singing waitress, and got her first break when friends convinced a bandleader to let her do a number at a South Side club. Her biggest hit, “Romance in the Dark,” cowritten by Green and Big Bill Broonzy, came from her first recording session in 1940 for the Bluebird label, a subsidiary of RCA Victor. By 1941 Green was out on tour and on her way to stardom, already billed as the “Queen of the Blues” and the “In the Dark Mama.” Her recording of “Why Don’t You Do Right?” (written by Joe McCoy from Raymond, Mississippi) also earned classic status and was a smash hit for Peggy Lee, vocalist with the Benny Goodman band, in 1943. Broonzy, Simeon Henry and Vicksburg native Ransom Knowling played on Green’s first five sessions. They also made some early Southern tours with her, according to Broonzy, but once Green graduated to the upper echelons of black entertainment, her booking agency teamed her with the big bands of Tiny Bradshaw, Milt Larkin, and Luis Russell for shows at the country’s top African-American theaters including the Regal in Chicago, Howard in Washington, D.C., Royal in Baltimore, Paradise (one in Detroit and another in Nashville), and Apollo in New York. She also performed for whites at Café Society and the Blue Angel in New York, the Downtown Theater in Chicago and many segregated venues in the South where special seating was reserved for whites.

In the late 1940s Green partnered, on and offstage, with trumpeter Howard Callender, who played on several of her last RCA Victor records. Green continued to tour even as her record sales were declining, but uterine cancer began to take its toll. She recorded for the Aladdin label in 1949 and Atlantic in 1951 and was still able to play at the Regal and smaller Chicago venues, Detroit’s Flame Show Bar and other spots in the 1950s. She died in Chicago on April 14, 1954, of bronchopneumonia and was buried in Gary, Indiana, where her older brother Scott Johnson worked in a steel mill. She was only 34, according to published accounts based on her press biography and her death certificate, which listed her birthdate as December 22, 1919. But her girlish looks had enabled her to hide her true age. Her headstone bears a 1905 date of birth and she cited 1910 on her Social Security application. But her 1910 census entry points to a 1901 birth date, if she was born in December; hence, she would have been 52 when she died.

The Chronological Lil Green 1942-1946

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Howlin' Wolf - Blues & Rhythm Series 5098: The Chronological Howlin' Wolf 1952-1953

Size: 303 MB
Time: 68:37
File: FLAC
Released: 2004
Styles: Blues
Art: Full

01. Worried About My Baby (3:00)
02. Brown Skin Woman (2:42)
03. Driving This Highway (2:54)
04. The Sun Is Rising (2:42)
05. My Friends (Stealing My Clothes) (3:02)
06. I'm The Wolf (3:07)
07. Everybody's In The Mood (3:00)
08. Bluebird (2:48)
09. Saddle My Pony (2:34)
10. Dorothy Mae (2:41)
11. Worried All The Time (3:10)
12. Sweet Woman (3:23)
13. Well That's All Right (2:56)
14. Decoration Day (3:11)
15. Oh, Red!! (2:39)
16. My Last Affair (2:58)
17. Come Back Home (2:14)
18. I've Got A Woman (2:54)
19. Just My Kind (2:51)
20. Work For Your Money (2:11)
21. I'm Not Joking (2:59)
22. Mamma Died And Left Me (3:17)
23. All Night Boogie (All Night Long) (2:17)
24. I Love My Baby (2:56)

With the two Bear Family volumes of Howlin' Wolf's Memphis-era recordings out of print, this disc and its companion volumes from Classics becomes the best way to hear the blues legend at his raw, original best, mostly accompanied by Willie Johnson's almost minimalist electric guitar. The sound is excellent and the annotation is okay, and the music is almost beyond words to convey its merits and uniqueness, even in the larger context of Wolf's entire career. ~Bruce Eder

The Chronological Howlin' Wolf 1952-1953

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Bill Doggett - Blues & Rhythm Series 5097: The Chronological Bill Doggett 1952-1953

Size: 175 MB
Time: 61:37
File: FLAC
Released: 2004
Styles: Blues, R&B, Jazz
Art: Full

01. Bird Dog (Part 1) (2:46)
02. Bird Dog (Part 2) (2:29)
03. Glo' Glug (2:29)
04. Please Don't Ever Let Me Go (2:32)
05. I'm Free (2:10)
06. Moondust (2:27)
07. Early Bird (2:48)
08. Mistreater (2:57)
09. Percy Speaks (2:41)
10. No More In Life (2:41)
11. Ready Mix (2:39)
12. Real Gone Mambo (Si Si Nova) (3:02)
13. It's A Dream (3:03)
14. You Ain't No Good (2:53)
15. Your Kind Of Woman (2:46)
16. Tailor Made ( Crackers) (2:48)
17. King Bee (2:40)
18. The Song Is Ended (2:20)
19. Eventide (Moonrise) (2:49)
20. And The Angels Sing (2:36)
21. Sweet Lorraine (2:29)
22. There's No You (2:56)
23. Easy (2:27)

This Classics CD spotlights bandleader and organist Bill Doggett's earliest sessions for King Records. Recorded in New York and Cincinnati between January 1952 and December 1953, Doggett is joined by tenor saxophonist Percy France and drummer Shep Shepherd, who form the nucleus of this tight R&B combo, supported by a revolving door of guitarists and bassists. The majority of these pre-"Honky Tonk" obscure instrumentals are upbeat, with only the occasional foray into light cocktail jazz and bluesy ballads. Of special interest are the four vocal cuts featuring the debut of the powerfully husky-voiced Mildred Anderson on "Mistreater," "You Ain't No Good," "Your Kind of Woman," and her first hit, "No More in Life." Even Doggett takes a rare stab at singing on the pleasant "Please Don't Ever Let Me Go." This is another enjoyable installment in Classics' Blues & Rhythm Series and is recommended to collectors and casual fans alike. ~Al Campbell

The Chronological Bill Doggett 1952-1953

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Annisteen Allen - Blues & Rhythm Series 5096: The Chronological Annisteen Allen 1945-1953

Size: 293 MB
Time: 62:19
File: FLAC
Released: 2004
Styles: Blues, R&B
Art: Full

01. Oo-Oo-Ee-Bob-A-Lee-Bob (2:18)
02. I Know How To Do It (2:35)
03. The Blues Done Got Me And Gone (2:49)
04. More More More (2:32)
05. I Want A Man (2:56)
06. I've Got Big Bulging Eyes (2:53)
07. Arkansas (2:48)
08. Give It Up (3:01)
09. She Lost Her Re-Bop (3:01)
10. Hard To Get Along (2:36)
11. Cloudy Day Blues (3:14)
12. Lies, Lies, Lies (2:29)
13. Too Long (3:11)
14. The Bittersweet (3:22)
15. The Bluest Blues (2:51)
16. Trying To Live Without You (2:37)
17. My Baby Keeps Rollin' (2:34)
18. Yes I Know (2:52)
19. Baby I'm Doin' It (2:30)
20. Wanted (2:21)
21. I Don't Want No Substitute (2:20)
22. Down By The River (2:09)
23. My Brand Of Loving (2:08)

While she's largely forgotten even by R&B historians, Annisteen Allen recorded quite a bit in the 1950s, though only one of her singles, "Baby, "I'm Doin' It!," was a big hit. That single -- a risque "answer" record to the Five Royales' "Baby Don't Do It" that made the R&B Top Ten in 1953 -- is here, along with 27 other tracks, mostly or wholly from the early- to mid-'50s from the sound of things (original release info, unfortunately, is not supplied). Allen's records are emblematic in many ways of both swing jazz's transition to R&B, and R&B's transition from rock & roll. Certainly the earliest sides are as much, or maybe even a bit more, swing than R&B -- a logical connection, since Allen had been a singer with Lucky Millinder. She found a yet more impressive groove, however, with later sides with more of a funky backbeat, the best of which, the outlandish "Fujiyama Mama," was famously covered yet more explosively for a rockabilly classic by Wanda Jackson. While nothing else here is quite on par with "Fujiyama Mama," it's fine '50s R&B-cum-rock& roll, Allen delivering the songs with a satisfyingly saucy style. Though not quite on the same level as somewhat similar fellow woman early rock pioneers Ruth Brown and LaVern Baker, Allen was almost as good, and the consistent material on this compilation serves as a reminder of how overlooked and underestimated her contributions were. The liner notes are good as well, making it more of a shame that the original release info is missing; that's all this CD would have needed to be definitive. ~Richie Unterberger

The Chronological Annisteen Allen 1945-1953

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Peter Green & Fleetwood Mac - Jumping At Shadows: The Blues Years (2 CD)

This British two-disc collection offers a rather unique look at the Peter Green-era Fleetwood Mac rather than just focusing on the band's output from 1967, immediately after leaving John Mayall's Bluesbreakers, to 1970 when Green left. The set is chock-full of fine studio material that documents the evolution of the band from a power trio to its Jeremy Spencer and Danny Kirwan incarnations. And while it's true that other collections have documented the band from this period very well, none of them has dug quite as deep into the live archives or revealed the subsequent Peter Green side projects of the time.

Here are 36 tracks that offer stunning live renditions of Green's "Black Magic Woman," "Oh Well," the second part of the "Madge Sessions," and Spencer's "Stranger Blues," as well as an absolutely searing version of Kirwan's "Comin' Your Way." Given the budget price of this completely remastered set, these alone would have been worth the price, but in a sense it's only the beginning. There are numerous tracks of Green with musical running-mate Duster Bennett from the pre-Fleetwood Mac years, including a truly haunted version of the title track. Add to this four tracks of Green's work with Bob Brunning's Sunflower Blues Band, and you have an evocative and intense portrait of a band struggling to come to grips with a reluctant genius as a frontman, and the era.

What is most revealing is Green's focus on execution and mood. The music has a way of getting past him, not technically, but emotionally, on the live material - the title cut, "Rattlesnake Shake," "Lazy Poker Blues" - as well as on the instrumentals. Check the versions of Kirwan's "World in Harmony," and the extremities in this version of "Green Manalishi," for evidence. Neil Slaven assembled this comp. He also wrote its confounding and labyrinthine liner notes, which are full of information but light on continuity or style. Slaven's method of creating a musical portrait, however, is virtually unassailable.

The tracks wind in and out of one another, back and forth across time and partnerships as if telling a secret that can only be fully understood when the last sentence has been whispered. There is no secret in the fact that Green was a reluctant superstar, and that madness overwhelmed him at his playing peak. What isn't known, however, is the great vulnerability and tenderness he put into every performance. That side of Peter Green is well documented here, the terminally shy skinny kid who could rain down fire from the heavens and draw water from the wells of hell on a guitar. /Thom Jurek, AllMusic

Album: Jumping At Shadows: The Blues Years
Year: 2002
Bitrate: MP3@320K/s
Time: 70:31 + 71:21
Size: 162,9 + 164,8 MB
Styles: Electric blues
Scans: Full

CD 1:
1. Fleetwood Mac - Black Magic Woman (Live) (7:11)
2. Fleetwood Mac - Jumpin' At Shadows (Live) (5:23)
3. Fleetwood Mac - Oh Well (Live) (2:46)
4. Brunning Sunflower Blues Band - Ride With Your Daddy Tonight (3:30)
5. Fleetwood Mac - Do You Give A Damn For Me (3:41)
6. Fleetwood Mac - Love That Burns (4:15)
7. Fleetwood Mac - World In Harmony (3:26)
8. Fleetwood Mac - Long Grey Mare (2:00)
9. Fleetwood Mac - Talk To Me Baby (3:39)
10. Fleetwood Mac - Fast Talking Woman Blues (3:23)
11. Fleetwood Mac - Man Of The World (Early Version) (3:01)
12. Brunning Sunflower Blues Band - If You Let Me Love You (6:59)
13. Fleetwood Mac - My Baby's Sweeter (3:39)
14. Fleetwood Mac - Like It This Way (3:11)
15. Fleetwood Mac - The Madge Sessions No. 2 (2:43)
16. Fleetwood Mac - Lazy Poker Blues (3:24)
17. Fleetwood Mac - I Have To Laugh (3:28)
18. Fleetwood Mac - The Green Manalishi (4:44)

CD 2:
1. Fleetwood Mac - Man Of The World (Single Version) (2:52)
2. Fleetwood Mac - Showbiz Blues (4:04)
3. Fleetwood Mac - Buzz Me Baby (3:34)
4. Fleetwood Mac - Blues In B Flat Minor (3:03)
5. Brunning Sunflower Blues Band - It Takes Time (3:32)
6. Peter Green & Nick Pickett - Leaving Town Blues (3:50)
7. Fleetwood Mac - The Sun Is Shining (3:02)
8. Brunning Sunflower Blues Band - Uranus (3:22)
9. Fleetwood Mac - Mind Of My Own (3:01)
10. Fleetwood Mac - How Blue Can You Get (3:37)
11. Peter Green & Duster Bennett - Trying So Hard To Forget (5:14)
12. Peter Green & Duster Bennett - Two Harps (1:40)
13. Duster Bennett & Peter Green - Thinking About A Woman (6:18)
14. Peter Green & Duster Bennett - Kind Hearted Woman (2:30)
15. Peter Green & Duster Bennett - Coming, I'm Coming (1:42)
16. Fleetwood Mac - Stranger Blues (Live) (4:24)
17. Fleetwood Mac - Coming Your Way (Live) (7:40)
18. Fleetwood Mac - Rattlesnake Shake (Live) (7:49)

Jumping At Shadows: The Blues Years (2 CD) mc
Jumping At Shadows: The Blues Years (2 CD) gofile

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Johnny Moeller - Johnny's Blues Aggregation

Year: 2001
Bitrate: MP3@320K/s
Time: 40:33
Size: 93,8 MB
Styles: Electric blues
Scans: Full

1. Oh Baby Oh (2:22)
2. Mistreated (2:42)
3. Mama, The Way You Look Tonight (3:20)
4. Thinking (2:56)
5. Bak 'N' Forf (3:22)
6. Let's Get High (2:03)
7. Your Turn To Cry (3:25)
8. Stagger Lee (4:06)
9. You Got Me Crying (3:58)
10. Slingin' Hash (3:34)
11. Worried Life Blues (5:32)
12. J's Scratcher Intro (0:12)
13. J's Scratcher (2:55)

In 2000, many young blues artists issued retro-sounding recordings featuring analog production techniques and '50s-style instrumentation. For instance, CDs from Sean Costello, Kid Ramos and Rusty Zinn all sounded very pre-1960s. Now Texas guitar-slinger Johnny Moeller (Darrell Nulisch, Lou Ann Barton) also mines the past on his new release Johnny's Blues Aggregation, a soulful collection of groove-heavy roadhouse blues and rootsy R&B done up with a decidedly '50s feel.

Moeller is one of a handful of Texas guitarists often compared to the late Stevie Ray Vaughan. On his latest, Moeller's guitar work sounds closer to surviving Vaughan brother Jimmie, an equally worthy paragon. Some talented Austin-based players back Moeller, including brother Jason on drums and Matt Farrell, whose rollicking piano and soulful vocals help to propel many of these tracks.

From the catchy shuffle of "Oh Baby Oh" to the randy groove of "Mama, The Way You Look Tonight" to the wistul melody of the Doug Sahm-like ballad "Your Turn to Cry," the Texas roots run deep on this release. Rollicking numbers such as "Thinking" and "Let's Get High" are interspersed with danceable instrumentals "Bak 'N Forf" and "Slingin' Hash." Moellers' guitar playing is fiery but economical, and his band rocks out with a raw roadhouse sound characteristic of the best Texas blues.

Fans of Jimmie Vaughan and Lou Ann Barton will want to hear this latest from Johnny Moeller, a guitarist with a bright future. /Ed Kopp, All About Jazz

(For personnel details, see artwork included.)

Johnny's Blues Aggregation mc
Johnny's Blues Aggregation zippy

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Terry 'Big T' Williams - Jump Back, Big T's In The House

Year: 2010
Bitrate: MP3@320K/s
Time: 50:40
Size: 117,1 MB
Styles: Electric blues
Scans: Front, tray

1. The Night Doctor (5:38)
2. Bound For Clarksdale (3:37)
3. Booty Wild (4:48)
4. How I Got The Blues (4:23)
5. Change Must Come (4:22)
6. Dew Man (4:23)
7. Rollin' Stone/Catfish Blues (7:40)
8. Jump Back, Big T's In The House (4:03)
9. Riverside Hotel (4:41)
10. Devil In The Cottonfield (3:44)
11. Last Jelly Roll (3:16)

Terry “Big T” Williams has dedicated his life to his music. Born in Clarksdale in 1960, he spent his early years on a plantation in Farrell, Mississippi, hearing stories about Muddy Waters attending Sunday picnics in his grandmother’s yard. These influences, as well as the music he was hearing on the radio by Deltans such as B.B. King, had an impact on him at a very young age. At nine, Big T’s father gave him a guitar and so he took it upon himself to learn how to play. Eventually, Big T came under the tutelage of legendary blues educator Johnnie Billington

He was twelve years old when the Jelly Roll Kings (Big Jack Johnson, Frank Frost and Sam Carr) took him under their wing and eventually even took him on the road all over the world. But Big T knew he eventually wanted to front his own band, and over the years he has been with bands like The Creative Funk, The Stone Gas Band and Big T & The Family Band. Today, Big T and his Review Band play gigs all over, but he is especially fond of the ones in his own back yard. To him, Clarksdale is home. Williams' most recent recording is Meet Me in the Cotton Field, a collaboration with Clarksdale bassist and vocalist Wesley Jefferson, released in Spring 2007 on St. Louis-based Broke & Hungry Records.

(For personnel details, see artwork included.)

Jump Back, Big T's In The House mc
Jump Back, Big T's In The House zippy

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Cherry Casino & The Gamblers - Hi-No-Love

Year: 2014
Bitrate: MP3@320K/s
Time: 27:36
Size: 64,3 MB
Styles: R&B, rock & roll
Scans: Front

1. Let's Have A Crazy Ball (1:46)
2. A Kiss From You (2:14)
3. Breakfast (2:08)
4. Don't Let Them Know (2:24)
5. Big Wolf (2:00)
6. Hi-No-Love (2:35)
7. I'll Find A New Love (2:21)
8. Dream Boy (2:08)
9. Kiss Me (2:03)
10. Happy Daddy (2:26)
11. Just One Look (2:41)
12. Where Can I Put The Junk (2:44)

Cherry Casino and the Gamblers made their first public appeareance in august 2002 at the famous "Brandenburg-Weekender" in Werder/Berlin and went down very well. The boys have built up a huge following of fans all over Europe. Constant touring and their dynamic live stage show has won Cherry Casino a huge legion of devoted fans. Five funny faces break the ice in less than a second every time they appear with their well blended mix of early R&B and furious rock and roll. 2005 continued in the same vain with one little difference - after all the live shows they were preparing themselves to cut their first album "Let's Play Around". It was released in February 2006 followed by the album "Fat Mama's Daughter" in 2008.

It's a rather tough task to try and categorize the music of Cherry Casino and The Gamblers. It certainly is music to dance to and have fun with, but also music that features a heavy after-beat and a breathless singing style that listeners of all ages can enjoy. This is the mixture that has helped Cherry and the boys zoom to the top and gain their world-wide reputation as one of the hottest bands in the rock and roll genre.

What's so special about the sound of Cherry Casino? The key is that his recordings sound like a mirror image of his stage appearances. When you drop the needle on your Hi-Fi you could almost think Cherry and The Gamblers were performing right in your living room. These songs are as crisp and refreshing as a glass of ice-cold lemonade on a hot summer day. The band plays classic 1950's rock and roll with catchy lyrics and hard driving guitar/sax lead breaks and is trying to come as close as possible to the magic sounds of the era. Cherry loves T-Bone Walker, Wynonie Harris, Big Joe Turner and all kinds of mirrors.

Now Cherry is in the headlines again - this time not for another of his most exciting stage shows backed by his exuberant and talented group The Gamblers, but for the long awaited release of his brand-new long playing album. Teen-agers all around the world were fascinated and taken by the strength of his first two albums "Let's Play Around" and "Fat Mama's Daughter", both on Rhythm Bomb Records. Cherry's belting delivery not only stands out vividly on record but also with his personal appearances, which accounts for his universal popularity - especially with the teen-age contingency.

Hi-No-Love mc
Hi-No-Love zippy

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Ruby Hayes - Ruby's Blues

Size: 106,2 MB
Time: 46:24
File: MP3 @ 320K/s
Released: 2002
Styles: Electric Blues
Art: Full

01. Someone Else Is Stepping In (5:07)
02. The Little Red Rooster (3:22)
03. I Got My Mojo Working (4:44)
04. One Scotch, One Bourbon, One Beer (4:09)
05. At Last (5:45)
06. You’ve Been A Good Old Wagon (3:07)
07. Trouble In Mind (2:48)
08. St. Louis Blues (6:02)
09. Do Your Duty (4:08)
10. Stormy Monday (4:28)
11. Everyday I Have The Blues (2:40)

Ruby was all of 14 years of age when her voice was first noticed by the pianist of the Shady Grove Baptist Church in her hometown of Plumerville, Arkansas and she was selected to be lead singer of the gospel choir. That gave her the opportunity early in life to sing and tour numerous towns around Arkansas. At home, her parents played gospel, blues, and R&B music. They noticed her love for music and bought Ruby her first record player as a Christmas present. Ruby would spend hours studying the songs and learning how to put her own feelings and style into the lyrics. She moved to Washington, DC in the early 1970's and made her professional singing debut at the L'Enfant Plaza Hotel as part of the Al Martinez jazz combo.

Later she honed her skills in a rhythm and blues band called the Exclusives and performed in military officers clubs and major hotel ballrooms around the Washington, DC metropolitan area. 1975 was a turning point for Ruby when She met her friend and mentor Linda Hopkins during the time she was performing "Me and Bessie" at Ford's Theatre in Washington, DC. It was this relationship that inspired Ruby to start her own jazz and blues band, the Ruby and James Quartet.

She performed up and down the East Coast from New York to Florida and made television appearances on WJLA, Channel 7, and WDCA, Channel 20 in Washington, DC. In 1984, Ruby performed in Ms. Hopkins' show at Sweetwaters in New York City and again in 2001 at the MOCA Museum of Art in downtown Los Angeles, California. Her expanding repertoire included standard blues songs and Bessie Smith blues from the twenties. Although family commitments interrupted her singing career, she continued to have a passion for singing.

Ruby was known for her easy style and a comfortable ability to converse with her audiences as she told stories about the songs or just her life in general. And now she's back! That great voice has returned to us. We are thankful that Ruby has gotten her 'second wind'. Although, she is seen as cool, calm and reserved, when she takes the stage, she's hotter than the month of July. Watch for Ruby, the 'Princess of the Blues', to become a major force in the blues arena!

Ruby's Blues MP3
Ruby's Blues FLAC

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CD Woodbury - World's Gone Crazy

Size: 399 MB
Time: 60:42
File: FLAC
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Full

01. Follow The River Home (3:17)
02. Walk Around Music (2:41)
03. I Didn't Know (3:52)
04. Emerald City Blues (4:29)
05. Memphis Heat (3:27)
06. World's Gone Crazy (5:02)
07. South Of South Hill (5:27)
08. Can't Eat That Stuff No More (5:52)
09. Wang Dang Doodle (3:55)
10. Last Go Round (5:40)
11. Adeline (4:47)
12. Hey Joe (7:44)
13. Preacher And The President (4:22)

In 2014 guitarist CD Woodbury and his band were named “Kings of Beale Street“ at Jerry Lee Lewis’ café and honky-tonk during the group’s first appearance at the International Blues Challenge (IBC) in Memphis. The group has been a finalist in Best Self-Produced CD and twice a semifinalist band, while representing the South Sound Blues Assoc and the Seattle-based Washington Blues Society. Capitalizing on the momentum from their 2020 IBC appearance and a successful crowdfunding campaign Woodbury brought the band into the vaunted Robert Lang Studios in Seattle to record his sophomore release as a band leader. “World’s Gone Crazy” also marks a personal victory as his career was nearly cut short due to personal health issues and wrist surgery in 2018. The undaunted blues man returns with fire on a 13-track recording that is representative of the bands barnstorming live show.

The first half of World’s Gone Crazy is a set of eight well-crafted original songs followed by artful arrangements of select cover songs. Woodbury’s skills as a guitarist are not only on display, but also his sardonic wit and evocative storytelling. Each of the bandmembers has a moment to shine throughout the collection, with the muscular rhythm section of journeyman drummer Don Montana and explosive bass player Patrick McDanel laying a firm foundation, while multi-instrumentalist Mike Marinig colors the landscape on keyboards, saxophone and vocals. The quartet delivers a full dose of high energy blues, rock, and soul.

A striking four-part acapella chorus welcomes us into the opening track, ‘Follow The River Home,’ and flows into a rousing slide guitar fueled hill stomp. The slinky swinger, ‘Walk Around Music,’ has Woodbury pontificating on how sweet soul music inspired him to “move his big ol’ body around.” The rocking tango, ‘I Didn’t Know,’ finds him lamenting bitter betrayal with sharp saxophone jabs from Marinig emphasizing his points. The classic twelve bar form is stretched a bit on the sentimental ‘Emerald City Blues,’ while Woodbury recounts his escapades on Beale Street during ‘Memphis Heat,’ with each member getting a hot little solo over the Soul Stew rhythm. The title track eases in with spooky slide guitar howling before settling into a swampy groove and topical reflection on how a working man survives in these troubled times. Montana kicks off the rumbling boogie ‘South Of South Hill’ that features a tasty bass solo from McDanel. Woodbury does his best Fats Waller for the colorfully droll narrative on dieting ‘Can’t Eat That Stuff No More’ while the band plays the blues.

The party shifts to “give the drummer some” as Montana takes over lead vocals for a romp through Chess Records’ standard ‘Wang Dang Doodle,’ followed by a lazy Chicago shuffle ‘Last Go Round.’ Woodbury puts his own spin on the slinky tune ‘Adeline,’ written by fellow Northwest bluesman and IBC champion Kevin Andrew Sutton. Every guitarist who claims the Seattle area as home is only worth his salt if he learns a Jimi Hendrix tune or two. Woodbury puts his stamp on Jimi‘s first hit ‘Hey Joe’ and generously hands the first solo to Marinig and his saxophone before blazing his way out of the 7 & ½ minute epic. Joe Louis Walker wrote the political tirade ‘Preacher And The President’ during the 1998 impeachment proceedings and all CD Woodbury and his band had to do is pump up the volume and push the tempo for their rocking album closer, with lyrics that still ring true today.

CD Woodbury and his “Kings of Beale Street” make a regal statement with the 2020 release, “World’s Gone Crazy,” delivering a tasty and fun set that takes us from Saturday night to Sunday morning. ~Rick J Bowen

World's Gone Crazy MP3
World's Gone Crazy FLAC

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Jared Deck - Bully Pulpit

Size: 100,0 MB
Time: 42:44
File: MP3 @ 320K/s
Released: 2019
Styles: Blues Rock
Art: Full

01. I Don't Know What You Come To Do (2:35)
02. Money Back (3:17)
03. Where I Fall (4:20)
04. Make Your Mama Proud (3:48)
05. Great American Breakdown (3:09)
06. In The Name (3:48)
07. Sometimes I Miss Being Lonely (4:52)
08. Tulsa Sound (4:59)
09. True Believer (2:47)
10. There's A Leak In This Old Building (4:45)
11. Over And Over (4:20)

The defiant, never quit attitude is a lifelong theme for blue-collar songwriter, Jared Deck, and dominates his new album, Bully Pulpit. Deck released his eponymous debut album in 2016 to critical acclaim from outlets such as Rolling Stone Country and American Songwriter. He won First Place in the Woody Guthrie Folk Festival Songwriting Contest for his song, The "American Dream." However, with his follow-up record, he wanted to unmask further, include more of his influences, and open up his voice. "After the debut, I still had more to say - more stories to tell. Additionally, I've often compartmentalized my different musical influences; I kept the gospel at church and the country at the honky-tonk. With Bully Pulpit, I tore down those walls to expose a more ruthless honesty about myself, my experiences, and my reflections on the world around me." From gospel shouts to country croons, Bully Pulpit showcases Deck's road-ripened voice. "From Where I Fall" - a heartbreaking country tale of how tragic loss can divide a home - to "True Believer" - a stern gospel-esque warning of false prophets and politicians, Jared's voice puts a shine to otherwise coarse subjects. While the folky "Make Your Mama Proud" provides a glimpse of tenderness, "Great American Breakdown" showcases Deck's gritty rock-n-roll side. A timeless ballad, "Sometimes I Miss Being Lonely" fetches a new perspective of holiday blues, and "Over and Over" finishes the album like a benedictory hymn. Jared returned to 115 Recording in Norman, OK to work with Grammy-nominated producer, Wes Sharon (John Fullbright, Parker Millsap, Turnpike Troubadors). "Wes has become a musical partner. We discuss how life affects what we create and share our favorite records with each other, simultaneously expanding our horizons and sharpening our connection." For Bully Pulpit, Sharon convened such accomplished musicians as Turnpike Troubadours' Gabe Pearson (drums) and Hank Early (pedal steel), along with Dan Walker (organ), who plays for Ann Wilson of Heart, and members of Deck's backing band, The Travelers. The background vocals of Oklahoma treasures Chanda Graham and Myra Beasley add the final Polish to this soulful album.

Bully Pulpit MP3
Bully Pulpit FLAC

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Peter Green - The Anthology

Size: 826 MB
Time: 4:31:21
File: MP3 @ 320K/s
Released: 2008
Styles: Blues Rock
Art: Full

CD 1:
01. Evil Woman Blues (4:04)
02. The Stumble (2:54)
03. Sitting In The Rain (2:58)
04. The World Keep On Turning (2:29)
05. The Supernatural (2:56)
06. Looking For Somebody (2:51)
07. Long Grey Mare (Feat. Bob Brunning) (2:15)
08. Stop Messin' Around (2:21)
09. Train Is Coming (4:29)
10. Greeny (3:55)
11. Soul Dressing (3:49)
12. I Loved Another Woman (2:56)
13. No Place To Go (3:21)
14. You Don't Love Me (2:49)
15. Lazy Poker Blues (2:35)
16. Merry Go Round (4:09)
17. Trying So Hard To Forget (4:48)
18. Ramblin' Pony (3:34)
19. Drifting (3:32)

CD 2:
01. Black Magic Woman ( 2:53)
02. Albatross ( 3:11)
03. Ain't Nobodys Business ( 5:13)
04. Someday Baby ( 3:03)
05. Watch Out ( 4:21)
06. Ooh Baby ( 4:08)
07. Hartun's Boogie Woogie (Take One) ( 3:39)
08. Love That Burns ( 5:03)
09. First Train Home ( 4:07)
10. Need Your Love So Bad ( 6:15)
11. Don't Goof With The Spook ( 7:23)
12. The Answer ( 5:27)
13. Homage To The God Of Light (13:34)
14. Oh Well (Part1 And Part 2) ( 9:05)

CD 3:
01. Man Of The World (2:53)
02. Before The Beginning (3:27)
03. Mamma Don'tcha Cry (3:21)
04. Underway (2:53)
05. Rattlesnake Shake (3:30)
06. It's Gonna Be Me (3:36)
07. White Sky (Love That Evil Woman) (8:49)
08. The Green Manalishi (With The Two Prong Crown) (4:35)
09. Show-Biz Blues (3:54)
10. In The Skies (3:48)
11. Like A Hot Tomato (3:07)
12. Whatcha Gonna Do (3:50)
13. Carry My Love (4:59)
14. Corners Of My Mind (3:46)
15. Hidden Depth (Feat. Zoot Money) (4:56)

CD 4:
01. Big Change Is Gonna Come (With Splinter Group) (5:05)
02. I'm A Steady Rollin' Man (Ft. Otis Rush With Nigel Watson & Splinter Group) (3:32)
03. It Takes Time (With Splinter Group) (5:09)
04. Don't Walk Away (With Splinter Group) (4:34)
05. Heart Of Stone (With Splinter Group) (4:43)
06. Love In Vain Blues (With Nigel Watson & Splinter Group) (4:46)
07. From Four Until Late Ft. Dr. John (With Nigel Watson & Splinter Group) (3:02)
08. I'm Ready For You (With Splinter Group) (4:41)
09. Cruel Contradictions (With Dick Heckstall-Smith) (6:47)
10. Me And The Devil Blues (With Nigel Watson & Splinter Group) (3:01)
11. Cross Road Blues Ft. Buddy Guy (With Nigel Watson & Splinter Group) (2:55)
12. Dead Shrimp Blues Ft. Hubert Sumlin (With Nigel Watson & Splinter Group) (2:50)
13. Travelling Riverside Blues (Ft. Joe Louis Walker & Honey Boy Edwards With Nigel Watson) (4:06)
14. Time Keeps Slippin' Away (With Splinter Group) (4:44)
15. Look Out For Yourself (With Splinter Group) (4:30)
16. Albatross (With Chris Coco) (5:27)

Some Peter Green fans might be put off by this 64-song/four-CD collection, owing to the fact that they are likely to already own a significant chunk of what's here (especially the Fleetwood Mac material). (And in fairness, there apparently isn't a lot of -- or any -- unreleased material to draw on from Green's classic period with the band). But this reviewer had to spring for this four-and-a-half hour showcase of his work, and for one major reason -- vitality. Green's virtuosity is a given, and his taste and his insights into blues and what can be done with it -- while still leaving it as blues -- are well known to anyone who's heard his work. But what the makers have done here is to truly assemble his finest, most energetic and inspired work across over 35 years and well over four hours' listening time, into a collection that's greater than the sum of its parts -- in that regard, this set rivals the Eric Clapton Crossroads retrospective, except that doing this set took a bit more courage, as Green hasn't gotten nearly the publicity for his musicianship that Clapton has for his across the last four decades. The first two discs and the first half of the third contain a track list that, distilled slightly more, could be a strong contender for a "best of Fleetwood Mac" in their pre-pop incarnation, 23 tracks that, thanks to some ambitious cross-licensing, combine the group's Blue Horizon and Reprise catalog material into a comprehensive whole, and the makers have even included one cut off of Green's post-Mac End of the Game solo album. Green's earlier work with John Mayall's Bluesbreakers is represented, if not quite so thoroughly, and his two distinct periods working with Pete Bardens, under his own name and earlier as part of Peter B's Looners, is offered, along with material done with Duster Bennett and Otis Spann. The quality of the playing (and singing) speaks for itself, but the producers have also assembled the material in not quite strict chronological order -- "Soul Dressing" with Peter B's Looners is right in the middle of a disc that includes work with Mayall, Duster Bennett, Otis Spann, and early Fleetwood Mac -- so that there's a lot of variety in the listening. The sounds range from Mississippi Delta and electric Chicago blues to prog rock-ish and psychedelic pieces, and into R&B-based material, acoustic tracks placed just right in the middle of electric sides, and all manner of variation. The fourth disc covers the highlights of Green's solo career, and while the tendency of some would be to dismiss it or, at least, regard it as more of an appendix to his classic years, it turns out to be as vital as the rest of the set -- whatever personal demons Green had to overcome to get to the point represented here, it will be plain to anyone that he brought as much energy and finely tuned musical insights to his post-1971 career as he did to his work with his early bands. In other words, for anyone who truly loves the blues, Green's solo work with the Splinter Group (and some other contexts), represented on Disc Four, is every bit as worthwhile as his early stuff. And that -- and the killer sound, and the excellent annotation -- more than makes up for any repetition that might be entailed in buying this set. For longtime fans it's still essential, and for anyone who's ever wondered what the big deal was about Peter Green, or the "other" Fleetwood Mac, or even British blues, it's a great place to start, and might just be a revelation. (And it will also be a good introduction to the work of Pete Bardens, Dick Heckstall-Smith, Zoot Money, et al.). ~Bruce Eder

The Anthology Part 1
The Anthology Part 2

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