Jimmy Witherspoon - Blowin' In From Kansas City

Size: 126,8 MB
Time: 54:37
File: MP3 @ 320K/s
Released: 1991
Styles: Blues, jump blues
Art: Full

1. Love My Baby (2:42)
2. There Ain't Nothing Better (With His Gal Friday) (2:57)
3. Love And Friendship (3:09)
4. T.B. Blues (2:57)
5. Goin' Around In Circles (Alt. Take) (3:14)
6. Geneva Blues aka Evil Woman (Alt. Take) (2:26)
7. I'm Just A Country Boy (3:02)
8. Good Jumpin' aka Jump Children (Alt. Take) (2:46)
9. Slow Your Speed (Bonus) (3:00)
10. Blowing The Blues (2:26)
11. It's Raining Outside (3:13)
12. I'm Just A Lady's Man (2:26)
13. I'm Just Wandering Part 1 (2:37)
14. I'm Just Wandering Part 2 (2:27)
15. Who's Been Jivin' You (Alt. Take) (2:39)
16. Sweet Lovin' Baby (2:33)
17. Thelma Lee Blues (2:41)
18. The Dr Knows His Business aka Doctor Blues (Alt. Take) (Bonus) (2:11)
19. Rain Rain Rain (Alt. Take) (Bonus) (2:45)
20. Baby, Baby (Bonus) (2:15)

These 20 tunes pair the great Mr. Witherspoon with the finest jazz, jump, and blues talents around. Jay McShann, Maxwell Davis, Tiny Webb, and Chuck Norris are only a few of the first-rate sessionmen and arrangers who grace the tracks of this essential CD. A special mention must be made of tenor sax legend Ben Webster, whose solo on "I'm Going Around in Circles" is simply magnificent. This is quintessential Kansas City blues. Of all the shouters, Witherspoon is perhaps the greatest singer. /Larry Hoffman, AllMusic

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Steve Cohen - Duo Personality

Size: 114,2 MB
Time: 49:21
File: MP3 @ 320K/s
Released: 1997/2000
Styles: Blues, harmonica blues
Art: Front, tray

1. Stones In My Pathway (3:43)
2. Corrina (3:46)
3. Good Morning Miss Brown (3:49)
4. Blue Fog (4:15)
5. Walkin Blues (3:46)
6. Treated Wrong (4:08)
7. Hard Life (4:56)
8. Billy The Kid (4:11)
9. What Is It About Love (2:53)
10. Homeless Blues (5:22)
11. The Way I Feel (4:23)
12. Soon Gone (4:04)

Steve cohen works in duo format with three notable accompanists - Peter Roller (Yank Rachell), two songs with Paul Black (world class slide player, a rare performance) and Jim Liban. Strong performances, well recorded.

Steve Cohen, based in Milwaukee, Wisconsin, is a performing musician, an educator, and a booking agent. He has been sponsored by Hohner Inc., the world's largest maker of harmonicas, since 1986. He also plays the guitar and sings. Steve performs regularly in several of his own ensembles, and also performs as a sideman for several other groups. He has produced and published 9 recordings of his own, and his playing has appeared on dozens of other recordings, demos, and commercials.

Cohen has received public recognition, winning awards from several organizations, including WAMI, the Shepard/Express, and Milwaukee Magazine. He was a finalist at the 2010 International Blues Challenge in Memphis as a solo performer. Steve has taught at UW Milwaukee and also at the Wisconsin Conservatory Of Music, as well as privately. He has operated the Blues Central booking agency for over 35 years. He has also worked as a disc jockey, journalist, concert promoter and vinyl record dealer. He has written 5 harmonica instruction books published by Hal Leonard, and his playing appears in over a dozen other Hal Leonard books.

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Gary Moore - Blues For Greeny

Size: 150,8 MB
Time: 64:58
File: MP3 @ 320K/s
Released: 1995/2003
Styles: Electric blues
Art: Full

1. If You Be My Baby (6:40)
2. Long Grey Mare (2:04)
3. Merry Go Round (4:15)
4. I Loved Another Woman (3:09)
5. Need Your Love So Bad (7:55)
6. The Same Way (2:37)
7. The Supernatural (3:02)
8. Driftin' (8:33)
9. Showbiz Blues (4:09)
10. Love That Burns (6:31)
11. Looking For Somebody (7:25)
12. The World Keeps On Turning (Acoustic Version) (Bonus) (3:12)
13. The Same Way (Acoustic Version) (Bonus) (2:16)
14. Stop Messin' Around (Acoustic Version) (Bonus) (3:03)

Gary Moore's tribute to Fleetwood Mac guitarist Peter Green, Blues for Greeny, is more of a showcase for Moore's skills than Green's songwriting. After all, Green was more famous for his technique than his writing. Consequently, Moore uses Green's songs as a starting point, taking them into new territory with his own style. And Moore positively burns throughout Blues for Greeny, tearing off licks with ferocious intensity. If anything, the album proves that Moore is at his best when interpreting other people's material - it easily ranks as one of his finest albums. /Stephen Thomas Erlewine, AllMusic

(For personnel details, see artwork included.)

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Reverend John Wilkins - Trouble

Size: 98,5 MB
Time: 42:45
File: MP3 @ 320K/s
Released: 2020
Styles: Blues/Gospel
Art: Front

1. Trouble (5:27)
2. Down Home Church (3:32)
3. You Can't Hurry God (4:10)
4. Grandma's Hands (2:47)
5. Wade In The Water (3:38)
6. Walk With Me (3:50)
7. God Is Able (4:23)
8. Darkest Hour (2:47)
9. Found Love (3:11)
10. I've Got Something (3:23)
11. Storm And Rain (5:32)

Electric country gospel-blues might seem an esoteric genre, but every note on Rev. John Wilkins’ second album has raw appeal. Although his musical roots are in the driving, droning sound of North Mississippi, and in his blood — his father was gospel-bluesman Robert Wilkins, whose “Prodigal Son” was cut by the Stones — the Reverend recorded with local A-teamers at Willie Mitchell’s Royal Studios in Memphis and is backed on vocals by his three daughters. That, along with his strong-boned, spare, sometimes tremolo-ringing guitar, invites comparisons to the Staple Singers’ ascendant and funky music.

But the relentless energy of cuts like “Trouble,” driven by Wilkins’ grinding and slashing, captures the mesmeric stomp born in Magnolia State juke joints and churches. Fans of the Kimbrough and Burnside families will feel the connection. Lyrically, this is praise music, but appeals to anyone who believes in the power of spare 6-string perfection and unfiltered performances delivered straight from the heart.

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Junior Wells - Undisputed Godfather Of Blues

Size: 107,4 MB
Time: 46:28
File: MP3 @ 320K/s
Released: 1993
Styles: Chicago Blues
Art: Full

01. Junior's Nuts (4:40)
02. You Know What I Saw (6:26)
03. Sweet Home Chicago (5:21)
04. Don't Nobody Know (6:40)
05. Help Me (5:07)
06. What My Mamma Told Me (3:26)
07. When Things Go Wrong (5:20)
08. Little Red Rooster (9:24)

After a long hiatus, Chicago blues harpist Junior Wells has recorded two studio albums in rapid succession-and, if not for the inclusion of three painfully overworked standards, this Japanese import might earn a marginal nod over Wells' slicker recent album for Telarc. Certainly this set, cut with Wells' own band, better captures his irrepressible persona. The storming "What My Ma Told Me" and a downbeat "Don't Nobody Know" (with Wells on chromatic harp) are offset by pointless marathon revivals of "Sweet Home Chicago," "Help Me," and "Little Red Rooster" that would try the patience of the staunchest clubgoer. But an intimate rendition of Tampa Red's "When Things Go Wrong," with only pianist John Kattke in supple support, is one of the best things the harpist has done in ages. ~Bill Dahl

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Jesse Belvin - Jesse Belvin On Dolphin Records

Size: 78,2 MB
Time: 33:22
File: MP3 @ 320K/s
Released: 2020
Styles: Blues, R&B, Rock & Roll
Art: Front

01. Blues Has Got Me (2:44)
02. Come Back (2:48)
03. Ding Dong Baby (2:54)
04. Don't Stop (Pretty Baby) (2:31)
05. Love Me (2:01)
06. Love Of My Life (2:36)
07. Puddin' 'n' Tane (3:22)
08. What's The Matter (3:10)
09. Let's Try Romance (2:14)
10. Open Up Your Heart (3:26)
11. (Jesse's Blues) Confusin' Blues (2:35)
12. Daddy Loves Baby (2:55)

Texas-born singer-songwriter Jesse Belvin moved to Los Angeles at the age five. He got his first break via John Dolphin’s independent Hollywood label. Using his own name or a variety of pseudonyms, he recorded prolifically for an array of local imprints. His signature song, ‘Goodnight My Love (Pleasant Dreams)’, was used as Alan Freed's radio sign-off. Aiming for quick money rather than royalties, his approach to songwriting was cavalier, exemplified by his song ‘Earth Angel’ being credited to the man who paid him off. 1958 saw him sign to RCA who recognised his crossover appeal and recorded albums and singles with him, but his career was tragically cut short by a car crash in 1960.

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Othman Wahabi - Don't Let The Devil Ride / Deep Blues

Album: Don't Let The Devil Ride (Feat. Casablanca Kid)
Size: 97,8 MB
Time: 42:16
File: MP3 @ 320K/s
Released: 2020
Styles: Acoustic/Electric Blues
Art: Front

01. Have Mercy On Us (4:01)
02. Bluesin' For The Most High (4:56)
03. Don't Let The Devil Ride (5:03)
04. Mama (4:41)
05. At The Door (3:46)
06. Street Preacher Blues (4:59)
07. Catfish Blues (Quarantine Blues) (4:49)
08. Don't Let The Devil Ride (Stripped Version) (5:01)
09. Bluesin' For The Most High (Stripped Version) (4:56)

Don't Let The Devil Ride (Feat. Casablanca Kid) MP3
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Album: Deep Blues
Size: 98,0 MB
Time: 42:04
File: MP3 @ 320K/s
Released: 2020
Styles: Acoustic/Electric Blues
Art: Front

01. I'm Blue As A Man Can Be (3:48)
02. Bluesified (4:27)
03. Midnight Train (3:05)
04. Crazy Blues (4:01)
05. Crying All Night Long (3:22)
06. The Blues (4:00)
07. Rahma (4:38)
08. The Medicine Man (6:13)
09. Wounded Heart (Vortex Studio Session) (4:56)
10. I'm Blue As A Man Can Be (Acoustic) (Live) (3:31)

Othman Wahabi is a Moroccan-Canadian singer-songwriter, guitarist, multi-instrumentalist and music producer who has carved out his own niche in blues. He is best known for his slide guitar work, versatile vocals and eclectic records mixing blues with other formats of musical expression including reggae, jazz and world fusion sounds mostly from north and west Africa.

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Zanne Mack - Zanne

Size: 108,2 MB
Time: 46:15
File: MP3 @ 320K/s
Released: 2004
Styles: Electric Blues, Blues Rock
Art: Full

01. Home To Chicago (2:47)
02. Too High A Price To Pay (3:55)
03. Lost In Limbo (5:53)
04. Show Me (4:05)
05. Why I Sit Here & Drink (6:17)
06. Piece Of My Heart (4:14)
07. Tell Me Why (5:18)
08. Move Your Shoes (3:42)
09. St. Louis Blues (3:48)
10. Bye Bye (2:39)
11. Highway 75 (3:34)

San Francisco-based blues vocalist/guitarist Zanne Mack delivers high-powered, raw, from-the-gut music on her new self-titled CD "Zanne." Her life experiences are reflected in her performance of eleven songs included here, nine of which are original. Her support team consists of some of Chicago's most experienced and treasured musicians, including bassist Michael Morrison (who has performed with Willie Dixon, Luther Allison), drummer Brian Jones (James Cotton, Otis Rush), keyboardist John Chorney (Robert Covington, Big Time Sara) and guitarist Pistol Pete (Full Throttle Band, Savoy Brown). Zanne has opened for and/or performed with Koko Taylor, Hank Williams Jr., Marshall Tucker Band, Harvey Mandel and many others.

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Jimmy Regal & The Royals - Late Night Chicken

Size: 84,7 MB
Time: 36:09
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Front

01. Late Night Chicken (3:00)
02. Sun's Gonna Rise (2:36)
03. My Confession (3:05)
04. Going To The Fair (3:39)
05. Regal Alley (4:41)
06. That's All It Took (2:52)
07. Can't Cry No More (6:19)
08. All Night Long (4:11)
09. Commit A Crime (3:48)
10. Lights Out (1:53)

The title of Jimmy Regal & The Royals’ new album proclaims both the band’s love of the roots music culture of the southern United States, and their less salubrious relationship with the fast food of their native South London. To cement their standing in the fine tradition of Old Skool Thames Delta Rhythm & Blues – stretching from The Rolling Stones to Dr Feelgood – Late Night Chicken was produced by Simon Trought at Soup Studio, which is situated in a former lightship on the banks of the muddy Thames. Guitarist [Corin} CJ Williams notes – ”When the tide was down, we played on a slight slope; come evening time, the tide pops the boat back up and everything starts rocking.”

The band’s self-titled debut established them as a blazing, blues-infused trio, characterised by Joff Watkins’ dazzlingly powerful harmonica-playing, Williams’ versatile, mesmeric riffing – built on the unshakeable foundations of New Orleans and North Mississippi – and Sammy Samuels’ reverberant, in-the-pocket drums. Late Night Chicken exponentially expands their horizons, featuring song-writing skills which were only glimpsed on their first record.
The title track lays down an all-engines-gunning, statement of intent: Williams elucidates – “My theory is there are no bad chicken songs, from Best Dressed Chicken in Town to Ain’t Nobody Here But Us Chickens to Chicken Strut, Chickentown, C-H-I-C-K-E-N … etc. Chicken shops pretty much define South London. My favourite being the awful ‘Ferfect Fried Chicken’ in Forest Hill – they obviously got sued by Perfect Fried Chicken and very visibly stuck an F over the P.”

You’re unlikely to hear a better three-track opening salvo this year, as the alternately brooding and galloping, Sun’s Gonna Rise follows …Chicken; while on the swaggering, My Confession, Joff becomes an entire horn section.

Regal Alley, a huge instrumental, kicks off with massively distorted harmonica and then gives CJ and Sammy a chance to shine. Named after a cut-through in Bromley in deepest south-east London, the band explain – “We’ve got a picture of us under the Regal Alley sign. We now want snaps outside Regal Wines, Regal Launderette, Regal Cinema etc. A fight once broke out in front of us as we played the track at The Pelton in Greenwich, it gets the blood pumping.”

That’s All It Took is a groove-driven dancer which sounds like it could have been recorded at Cosimo Matassa’s New Orleans studio, or at Chicago’s Chess. It could have been an R&B hit in 1961 or become a roots-radio favourite in 2021.

The collection includes three covers – Junior Kimbrough’s All Night Long (another nod to the trance-blues vibe of the Mississippi Hill Country); Howlin’ Wolf’s Commit A Crime: and Lights Out, a slice of Louisiana rock ‘n’ roll co-written by Dr John. But the originals are where it’s at, and Can’t Cry No More is a key track, showing the true breadth of the band’s influences and capabilities. It features globally renowned kora player Diabel Cissokho. Watkins has played on Diabel’s albums and guested with him at BBC sessions for Cerys Matthews and Radio 3’s Music Planet. Now Cissokho returns the favour. “We recorded the basic track with Alan Hughes on djembe. He is a fantastic drummer, who played with Steve Morrison for years. We sent the track to Diabel’s home in Senegal and it came back brilliant.”

Despite that particularly international collaboration, the majority of what you hear is live in the studio with minimal overdubs. The band have the experience, skill and intensity to deliver under recording conditions and set a room on fire live. Scion of the premier North Mississippi blues dynasty, Cedric Burnside, is a big fan after they played a gig together, while Brit-blues guitar-wizard Ramon Goose is another champion, who also sits in with them on occasion. Gig and festival promoters were queuing to book the band before the current enforced hiatus. The band are raring to go, and with the release of Late Night Chicken, the future looks tasty. ~Andy Thorley

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Bette Smith - The Good The Bad The Bette

Size: 94,2 MB
Time: 40:02
File: MP3 @ 320K/s
Released: 2020
Styles: Blues Rock, Blues Soul
Art: Full

01. Fistful Of Dollars (5:11)
02. Whistle Stop (4:11)
03. I'm A Sinner (Feat. Jimbo Matthus) (4:09)
04. I Felt It Too (2:40)
05. Signs And Wonders (Feat. Luther Dickinson) (4:40)
06. Human (3:59)
07. Song For A Friend (3:07)
08. Pine Belt Blues (3:54)
09. Everybody Needs Love (Feat. Elliott McPherson) (3:44)
10. Don't Skip Out On Me (4:22)

Bette Smith’s previous release Jetlagger (2017) made a strong impression and the Brooklyn native has again ventured to Mississippi to record this follow-up. The Drive-By Truckers rhythm section (Matt Patton, bass, Bronson Tew, drums) provides a solid base and acted as producers of the album, with the intention of drawing out Bette’s rock side whilst retaining the blend of gospel and soul influences that were so apparent on Jetlagger. Musicians involved include no fewer than eight guitarists while multi-instrumentalist Henry Westmoreland plays all the horn parts as well as organ. The material comes from a number of sources, including three written by Bette and Matt Patton but the songs are linked to a theme of finding oneself, from childhood in a rough neighbourhood to understanding how to build solid relationships as an adult. Bette’s raspy, soulful voice delivers the songs well, bringing vintage Tina Turner to mind.

“Fistful Of Dollars” leads off, the title of Lonnie Shields’ song perhaps influencing the album title too. Over jagged guitars and a horn-drenched arrangement Bette sings a song clearly written from the man’s point of view, needing more money to keep up with his partner. The emotional “Whistle Stop” finds Bette singing about her mother’s passing on a quiet, lush ballad before we get two songs written by Vermont songwriter Tyler Dawson: the title “I’m A Sinner” suggests that we may be delving into Bette’s gospel roots but it’s actually a real rocker with pounding piano with Jimbo Matthus featured on guitar; the distorted guitar and ‘freaky’ solo make the short “I Felt It Too” a fairly uncomfortable listen. In complete contrast “Signs And Wonders” has a soulful feel with Luther Dickinson guesting on country-tinged guitar, the song credited to John St Mar Kveen about whom I could find no information at all.

Bette’s “Human” is a centrepiece, a song of gratitude for learning how to love unconditionally, something Bette attributes to her dog who, she says, taught her trust and vulnerability; Jeremiah is also featured on the cover and gets his own ‘thank you’ in the sleevenotes! Played over a wash of wah guitar this one is a rocker with heart and is immediately followed by Bette’s third original, “Song For A Friend”, a gentle song of farewell with fine harmonies. “Pine Belt Blues” is a chugging rocker penned by Elliott McPherson of Alabama rock band The Dexateens which has an anthemic chorus with Bette well supported by the backing vocalists. Eddie Hinton is the source for “Everybody Needs Love” which may well be this reviewer’s favourite track on the album with its catchy tune, uplifting lyrics and powerful choral vocals on which Patterson Hood (another Drive By-Trucker) chips in. The album closes with “Don’t Skip Out On Me”, a song (and also a novel) written by Willy Vlautin, frontman of Richmond Fontaine, Bette accompanied by acoustic guitar and soaring pedal steel before multi-tracked trumpets come in half way through this tale of loneliness and despair.

This is an interesting album with songs that clearly resonate with Bette and bring out strong vocal performances. There is little actual blues here and it is arguably less of a soul album than Jetlagger was, but it is definitely worthy of your attention. ~John Mitchell

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Kurt Allen - Whiskey, Women & Trouble

Size: 105,7 MB
Time: 45:06
File: MP3 @ 320K/s
Released: 2020
Styles: Blues Rock, Funky Blues
Art: Full

01. Graveyard Blues (3:38)
02. Watch Yo Step (4:16)
03. How Long (6:34)
04. Whiskey, Women & Trouble (4:09)
05. Funkalicious (2:28)
06. Count On Me (5:12)
07. Roadrunner (4:32)
08. Cry Mercy (4:24)
09. Voodoo Queen (6:04)
10. Sweet T (3:46)

Kurt Allen is a high-quality and energetic blues guitarist. He delivers music with fire, passion and intensity. With grooves so deep and tight that you have no choice but to get up and dance. Hailing from the Midwest and traveling across the US and worldwide. With strong roots in Blues, Funk, Soul, Jazz and Rock. The infectious grooves and breathtaking Harmonies of the Kurt Allen deliver shows that you will not soon forget.

On his new album "Whiskey, Women & Trouble" he brings us 10 new originals. Songs that go from rousing blues like on the title track. He opens with some power, so "Graveyard Blues" will certainly appeal to our blues rockers. With the blues ballad "How Long" we are in the segment of the Tin Pan Alley blues.

With the funky "Funckalicious" Kurt wants to put his statement for the love for soul food in the spotlight. With "Count On Me" he takes us to the slow dances at school parties. Ol 'school soul and further away from the blues rock that is also present on this album. Partly due to the input of a horn section, he also makes it swing like on "Roadrunner".

With "Cry Mercy" he takes us to NOLA and with the following "Voodoo Queen" we keep getting lost in the swamps. As a bouncer we get a decent dose of rock 'n roll with "Sweet T", which this "Whiskey, Women & Trouble" is one with a lot of versatility.

Whiskey, Women & Trouble MP3
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Jackie Venson - Live In Texas

Size: 235 MB
Time: 100:19
File: MP3 @ 320K/s
Released: 2020
Styles: Texas Blues, Blues Rock
Art: Front

CD 1:
01. I Will Find A Way (Live) (6:41)
02. Lost In Time (Live) (6:26)
03. Fast (Live) (3:16)
04. Intro To Mysterious (Live) (1:19)
05. Mysterious (Live) (4:16)
06. Intro To Always Free (Live) (1:18)
07. Always Free (Live) (5:45)
08. Intro To Fear (Live) (1:21)
09. Fear (Live) (4:08)
10. Intro To Connection (Live) (1:22)
11. Connection (Live) (8:10)
12. Rollin And Tumblin (Live) (4:33)

CD 2:
01. Keep On (Live) (3:59)
02. Only Have You (Live) (4:18)
03. Destruct (Live) (5:37)
04. Fight (Live) (5:52)
05. Transcends (Live) (6:25)
06. Rollin' On (Live) (6:41)
07. Intro To Destruct (Live) (0:34)
08. Patience (Live) (3:54)
09. Down Dirty (Live) (6:46)
10. See What You Want (Live) (7:30)

Personnel:
Nick Clark: Bass
Jon Deas: Keys
Rodney Hyder: Drums
Jackie Venson: Guitar, Vocals

Obsessed with music from an early age, Jackie Venson immersed herself in its study, attending Berklee to study piano. But when she switched to guitar, her long-simmering passion for emotive live performance was realized. Abandoning the world of classical for the raw power of blues and soul, Venson has since been tirelessly honing her skills into creating intoxicating music with heartfelt lyrics.

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Johnny Jones - Doin' The Best I Can

Size: 372 MB
Time: 151:03
File: MP3 @ 320K/s
Released: 2015
Styles: Chicago Blues
Art: Full

CD A:
01. Sweet Little Woman (Little Johnny Jones) (3:05)
02. I May Be Wrong (Little Johnny Jones) (2:52)
03. Wait Baby (Little Johnny Jones) (3:11)
04. Hoy, Hoy (Little Johnny Jones) (2:40)
05. Chicago Blues (Little Johnny Jones) (3:13)
06. Doin' The Best I Can (Little Johnny Jones) (2:41)
07. Come On If You're Coming (Tampa Red) (2:53)
08. Please Try To See It My Way (Tampa Red) (3:06)
09. One Sunday Morning (Big Maceo) (2:50)
10. Just Tell Me Baby (Big Maceo) (2:31)
11. Do You Remember (Big Maceo) (2:27)
12. Big City Blues (Big Maceo) (2:33)
13. It's Too Late Now (Tampa Red) (2:58)
14. I'll Find My Way (Tampa Red) (2:38)
15. Midnight Boogie (Tampa Red) (2:47)
16. I Miss My Lovin' Blues (Tampa Red) (2:56)
17. Since My Baby's Been Gone (Tampa Red) (2:49)
18. She's A Cool Operator (Tampa Red) (3:04)
19. Look A-There, Look A-There (Tampa Red) (2:44)
20. True Love (Tampa Red) (2:45)
21. All Mixed Up Over You (Tampa Red) (2:49)
22. So Much Trouble (Tampa Red) (3:02)
23. Ti-Ri-Lee (Big Joe Turner) (2:56)
24. Oke-She-Moke-She-Pop (Big Joe Turner) (2:47)
25. TV Mama (Big Joe Turner) (2:48)

CD B:
01. Baby What's Wrong (Elmore James) (2:56)
02. I Believe (Elmore James) (3:17)
03. Sinful Woman (Elmore James) (2:54)
04. I Held My Baby Last Night (Elmore James) (3:25)
05. Round House Boogie (J.T. Brown) (2:49)
06. Kickin' The Blues Around (J.T. Brown) (3:00)
07. Saxony Boogie (J.T. Brown) (2:39)
08. Dumb Woman Blues (J.T. Brown) (3:16)
09. Early In The Morning (Elmore James) (2:50)
10. Hawaiian Boogie (Elmore James) (2:21)
11. Can't Stop Lovin' (Elmore James) (2:26)
12. Make A Little Love (Elmore James) (2:51)
13. Make My Dreams Come True (Elmore James) (2:43)
14. Strange Kinda Feelin' (Elmore James) (2:33)
15. Dark And Dreary (Elmore James) (2:48)
16. Sho' Nuff I Do (Elmore James) (2:54)
17. 1839 Blues (Elmore James) (3:16)
18. Cut That Out (Junior Wells) (2:52)
19. Ways Like An Angel (Junior Wells) (3:17)
20. Hoodoo Man (Junior Wells) (3:06)
21. Tomorrow Night (Junior Wells) (2:28)
22. Eagle Rock (Junior Wells) (2:22)
23. Junior's Wail (Junior Wells) (2:55)
24. The Twelve Year Old Boy (Elmore James) (3:05)
25. Coming Home (Elmore James) (2:27)
26. It Hurts Me Too (Elmore James) (3:05)
27. Knocking At Your Door (Elmore James) (2:38)
28. Elmore's Contribution To Jazz (Elmore James) (2:19)

In 40 short years on earth, Johnny Jones established himself as one of the greatest piano players ever to inhabit the Chicago blues scene. Best known for his rock-solid accompaniment to slide guitarist Elmore James both in the studio and as an onstage member of James' Broomdusters, "Little Johnny" also waxed a handful of terrific sides as a leader.

Jones arrived in Chicago from Mississippi in 1946 well-versed on the 88s. Influenced greatly by pianist Big Maceo Merriwether, Jones followed him into Tampa Red's band in 1947 after Maceo suffered a stroke. Johnny Jones's talents were soon in demand as a sideman -- in addition to rolling the ivories behind Tampa Red for RCA Victor from 1949 to 1953, he backed Muddy Waters on his 1949 classic "Screamin' and Cryin'" and later appeared on sides by Howlin' Wolf.

But it's Elmore James that he'll forever be associated with; the indispensable pianist played on James's halcyon 1952-56 Chicago sessions for the Bihari brothers' Meteor, Flair, and Modern logos, as well as dates for Checker, Chief, and Fire. The Broomdusters (rounded out by saxist J.T. Brown and drummer Odie Payne, Jr.) held down a regular berth at the West Side blues club Sylvio's for five years.

When he got the chance to sit behind a microphone, Jones's insinuating vocal delivery was equally enthralling. Muddy Waters, Jimmy Rogers, and Leroy Foster backed Jones on his 1949 Aristocrat label classic "Big Town Playboy" (later revived by Eddie Taylor, another unsung Chicago hero), while Elmore James and saxist J.T. Brown were on hand for Jones's 1953 Flair coupling "I May Be Wrong"/"Sweet Little Woman" (the latter a wonderfully risqué "dozens" number). The rocking "Hoy Hoy," his last commercial single, was done in 1953 for Atlantic and also featured James and his group in support. Jones continued to work in the clubs (with Wolf, Sonny Boy Williamson, Syl Johnson, Billy Boy Arnold, and Magic Sam, among others) prior to his 1964 death of lung cancer.

Ironically, Jones was reportedly the first cousin of another Chicago piano great, Otis Spann. ~Bill Dahl

Doin' The Best I Can MP3
Doin' The Best I Can FLAC

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Kirk Fletcher - My Blues Pathway

Size: 105,8 MB
Time: 45:35
File: MP3 @ 320K/s
Released: 2020
Styles: Blues/Soul
Art: Front

01. Ain't No Cure For The Downhearted (3:37)
02. No Place To Go (4:25)
03. Love Is More Than A Word (7:04)
04. Struggle For Grace (5:13)
05. I'd Rather Fight Than Switch (4:01)
06. Heart So Heavy (5:03)
07. Fattening Frogs For Snakes (3:53)
08. Place In This World (4:19)
09. D Is For Denny (2:53)
10. Life Gave Me A Dirty Deal (Feat. Charlie Musselwhite) (5:03)

The fun puzzle of singer/guitarist Kirk Fletcher’s My Blues Pathways is figuring out which is more soulful and emotive: his singing or his guitar playing. Because both are striking on this impressive collection of 10 soul-blues tracks, which has the fire of blues rock and the warmth of rhythm and blues.

Fletcher has spent times in bands, with the Fabulous Thunderbirds, and as a sideman, for Joe Bonamassa, and while he has a low-key energy, he authoritatively fronts his solo album, placing himself in the middle of every track, vocally and with his guitar playing. Fletcher has his own sound, but he pulls from the greats. His vocals have the depth of Muddy Waters. His guitar playing has B.B. King’s simplicity and a more controlled version of Albert King’s bends. His soul-influenced songs don’t sound especially like Robert Cray, but it’s tough to wade into soul blues without drawing the comparison. And it’s one Fletcher doesn’t try to evade, as he co-wrote two songs with Richard Cousins, Cray’s bass player.

“No Place to Go” is one of those co-writes, a slow groove lifted by horn and guitar stabs. The song is sparse, often just a drum beat and Fletcher’s voice, smoky and limber. And if the track were only this rickety soul beat paired with Fletcher’s vocals, you’d be pretty happy. But then, he brings in his guitar, which is bend after bend, exciting-yet-disciplined, and also mimicking the character of the human voice. It’s thoughtful and old school, driving home the beauty of the song. “The Struggle for Grace” is a straight-forward blues, reminiscent of B.B. King’s “The Thrill is Gone,” but with Fletcher’s own take. That includes his vocals, which are much less preacher-from-the-pulpit and more cool world-worn uncle. His guitar is the same dynamic, grabbing your attention not with fire and brimstone, but with interesting things to say.

Fletcher also puts his stamp on covers. He gives Sonny Boy Williamson’s “Fattening Frogs For Snakes” a slower groove and more of a Waters’-style vocal delivery. There’s no harmonica, but Fletcher’s guitar taps into classic blues lines, with some modern finesse thrown in to remind the listener of the year. Also helping is a slight update to the lyrics, which includes the all-too-relatable “It’s 2020 / Now I’ve got to correct all of my mistakes.” ~Steven Ovadia

My Blues Pathway MP3
My Blues Pathway FLAC

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Elvin Bishop & Charlie Musselwhite - 100 Years Of Blues

Size: 122,5 MB
Time: 51:55
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Harmonica Blues
Art: Front

01. Birds Of A Feather (3:21)
02. West Helena Blues (4:51)
03. What The Hell? (3:06)
04. Good Times (3:45)
05. Old School (4:58)
06. If I Should Have Bad Luck (4:00)
07. Midnight Hour Blues (4:12)
08. Blues, Why Do You Worry Me? (4:03)
09. South Side Slide (3:13)
10. Blues For Yesterday (5:53)
11. Help Me (5:15)
12. 100 Years Of Blues (5:10)

You can’t call this stuff unplugged. It’s stripped down, but there’s too much electricity crackling around the pairing of Elvin Bishop and Charlie Musselwhite to contain in an acoustic environment.

For 100 Years of Blues, their first studio pairing, Bishop and Musselwhite left the bulk of their musical accomplices behind, utilizing only the talents of Greaseland Studios’ owner/guitarist Kid Andersen (Rick Estrin and the Nightcats) on bass and Bob Welsh on guitar and piano. They’re calling it front-porch music, but cranking out this kind of stuff on your front porch would have the neighborhood in an uproar. Andersen has played and recorded in bands with both men over the years, and Welsh has appeared prominently on Bishop albums for the last decade and toured last year with Bishop and Musselwhite as a stripped-down trio. 100 Years of Blues was inspired by that tour.

Paul Butterfield, Muddy Waters, Hound Dog Taylor, and Junior Wells encouraged and welcomed Bishop and Musselwhite into their arena early on, and their influences still resonate in the music. Bishop’s joy in entertaining has always been infectious, his shows like a rowdy picnic with friends you just met and decided to throw down with. Musselwhite also brings added zest to any gathering, whether slinging gospel licks around with the Blind Boys of Alabama or back porchin’ with Hot Tuna.

Bishop’s overalls-wearing, good-ol’-boy persona shines through on “Birds of a Feather,” bopping along to a cool, high-steppin’ shuffle with a groove deep enough to get down and wallow in.

“South Side Slide” is a languid, laid-back instrumental stroll through the Chicago neighborhood where both picked up and honed their blues skills, Musselwhite soaring above the sidewalk so as not to slip in Bishop’s greasy slide tracks.

“What the Hell?” is the duo’s why-can’t-we-all-halfway-get-along plea voiced by Bishop and aimed at “the president who wants to be the king,” as Musselwhite’s mournful harp protests the current political goings-on.
Musselwhite channels his inner Slim Harpo on “If I Should Have Bad Luck.” It’s a real pleasure to hear the duo make misery such an art form.
Bishop narrates the couple’s pedigree on “100 Years of Blues”: Bishop’s Oklahoma roots and Musselwhite’s Tennessee raisin’ and their musical education in the streets of Chicago in the 1960s, name-checking some of the joints that schooled them, piling up 100 years of blues between the two.

100 Years of Blues is another solid effort from Bishop, sanctified by Musselwhite and blessed by Andersen and Welsh in a blues baptismal that may not save your soul, but will soothe it ’til they get around to you again. ~Grant Britt

100 Years Of Blues MP3
100 Years Of Blues FLAC

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Geoff Muldaur & Amos Garrett - Geoff Muldaur & Amos Garrett

Size: 81,9 MB
Time: 34:36
File: MP3 @ 320K/s
Released: 1978/2003
Styles: Blues Folk
Art: Front

01. My Tears Came Rolling Down (3:53)
02. River's Invitation (3:18)
03. Prelude In Em, No.4, Opus 28 (2:40)
04. Sloppy Drunk (3:22)
05. La Juanda (4:17)
06. Carolina Sunshine Girl (3:16)
07. Washboard Blues (3:23)
08. Dance Of The Sugar Plum Fairy (1:36)
09. Chicken Stew (Part 1) (3:48)
10. Dance Of The Coloured Elves (2:34)
11. Beatiful Isle Of Somewhere (2:24)

On this album, two artists who were prominent in folk music during the '60s sing and play a variety of lively material.

Geoff Muldaur & Amos Garrett MP3
Geoff Muldaur & Amos Garrett FLAC

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Mingo Balaguer - Blue Shadow

Size: 112,1 MB
Time: 48:30
File: MP3 @ 320K/s
Released: 2020
Styles: Blues
Art: Front

01. Toxic Woman (4:10)
02. My Little Girl (3:42)
03. Happy To Meet My Baby (2:59)
04. Keep On Knockin' (4:08)
05. You're Nearly Killing Me (6:30)
06. Unemployment Blues (4:02)
07. Early In The Morning (6:04)
08. Down To The Liquor Store (4:23)
09. Don't Let Me Fall Behind (4:29)
10. Party Animal (4:42)
11. Sputnik Boogie (3:16)

He was a member of the legendary «Caledonia Blues Band» for ten years, during which time he performed with outstanding musicians such as Hubert Sumlin, Johnny Winter, Charlie Musselwhite and Magic Slim among others.
Caledonia Blues Band played in such iconic venues as Chicago (July 1994), Hanover and Hamburg (November 1995).

At the beginning of 2000, Mingo Balaguer founded The Blues Blasters, and a year later the Big Bang company from Granada, released their first CD «Keep The Blues Alive». With this band they had the great opportunity to do a two-week tour along the East Coast of the United States (Washington DC, Virginia, Maryland and Baltimore), highlighting the concerts at the Kennedy Center Millennium (Washington, D.C.) on July 25, 2002 and in 2002 Artscape (Baltimore) on July 27, 2002.

After his experience in bands like «Caledonia Blues Band», «Blues Machine» and «Blues Blasters», Mingo Balaguer made the decision to lead a quartet called «Mingo The Blues Intruders». His objective was to cover a wide range of styles within the field of blues, like the West Coast blues, Chicago electric blues, Jump – blues and Texas blues. In March 2008 the first CD and vinyl of “Mingo & The Blues Intruders” called «Goin’ West» was released, and later in November 2010, the Cambaya/Karonte companies released the second CD of the band, called «Fun To Visit», a CD recorded completely live at the Cambaya blues club. This CD has been produced by the legendary British producer “Mike Vernon”.

Mike Vernon has produced the vast majority of British blues bands and a large number of American blues artists such as The Bluesbreakers, David Bowie, Duster Bennett, Savoy Brown, Chicken Shack, Eric Clapton, Fleetwood Mac, Peter Green, John Mayall, Ten Years After, Freddie King, Lazy Lester, George Hca. Smith and many others in the 1960s.

The last CD of “Mingo & The Blues Intruders” called «Wild Wild Women» was released in February 2013. Mingo Balaguer has currently released 17 CDs throughout his musical career and has had the privilege of playing with international musicians such as Charlie Musselwhite, Carey Bell, Gary Primich, Sugar Ray Norcia, Kenny Neal, Jr. Mischo, Bruce Ewan, Miguel Rios, Raimundo Amador, Bobby Radcliff, Charlie Sayles, Paul Lamb, Jerry Portnoy, Sherman Robertson, Otis Grand and Lurrie Bell among others.

Mingo Balaguer has been working for many years as a freelance musician, alongside the most prestigious blues musicians on the national scene, which has allowed him to have the opportunity to play in blues festivals in many countries such as France, Germany, Indonesia, Georgia (Tbilisi) and Sofia (Bulgaria) to name but a few ,often with the backup of local blues bands in those countries.

Blue Shadow MP3
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Red's Blues - Broke Down In The Fast Lane

Size: 89,8 MB
Time: 38:00
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, West Coast Blues
Art: Front

01. Broke Down In The Fast Lane (3:25)
02. Flim Flam Man (3:23)
03. Road Scholar (4:35)
04. Howlin' Winds (3:10)
05. Jackknifed (2:54)
06. Sweet Karma (3:28)
07. 40 Years Of Trouble (3:43)
08. A Word About Gossip (3:16)
09. G.O.N.E. (3:18)
10. Hands Off (3:18)
11. Say What! (3:24)

Personnel:
Beth Reid-Grigsby, lead singer
Doug Crumpacker, guitar
RW Grigsby, bass
Tim Wilbur, drums

Award nominated members of: Sacramento Blues Society, Blues Foundation, Americana Music Association.

"Broke Down in The Fast Lane" is the third album by Red's Blues, a Californian group led by husbands Beth and RW Grisby. The album has 11 songs, of which 10 are original and the rest is a cover of a Big Joe Turner theme.
All the songs develop personal stories, full of a lot of poetry and smeared with a lot of reality, such as “Broke Down In The Fast Lane”, a song that baptizes this production and that gives it an opening, which talks about the current situation in the United States.
Another current song, which talks about what happens when someone very showbiz becomes president of a country, is “Flim Flam Man”, with a rock sound from the 60s.
With the same tone of the 60 comes “Road Scholar” while “Howlin 'Winds”, the only version of the album, handles a bit of the barrelhouse for a theme originally oriented to blues-jazz.
"Sweet Karma" is a song with a Stone touch, quite remarkable, by the way, but with a melodic and voice change, it immediately leads one to think of Dusty Sprinfield.
The taste for rock'n'roll is present in “Forty Years Of Trouble”, a song dedicated to married couples who have been together for many years, with that touch of the Farfisa organ that Sam The Sham did with “Wolly Bully”.
This Red's Blues album has a song dedicated to the late harmonica player Lazy Lester. This is "A Word About Gossip", based on "A Word About Woman" by Lester. Here we talk about how fake news and gossip have taken over social media, particularly in this time of pandemic.
Another tribute to a music glory is in “Hands Off,” a song with a nightclub atmosphere, which recalls the adored Peggy Lee. The ending is "Say What", an instrumental that sounds like a slow version of "Hideaway" by Freddie King.
Beth Grisby on vocals, RW Grisby on bass, Doug Crumpacker on guitar and Tim Wilbur on drums make up Red's Blues, accompanied on “Broke Down In The Fast Lane” by high-quality musicians friends like Johnny Burgin on guitar. , Rick Estrin on harmonica or Kid Andersen on keyboards and production.
Red's Blues makes very good music, always with a base of blues and rock'n'roll, which hits the mark for those who like this type of sound. "Broke Down In The Fast Lane" is an evocative album, which makes you think about hearing again that music that has inspired the band from California.

Broke Down In The Fast Lane MP3
Broke Down In The Fast Lane FLAC

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Guitar Johnny & The Rhythm Rockers - Guitar Johnny & The Rhythm Rockers

Size: 77,2 MB
Time: 32:52
File: MP3 @ 320K/s
Released: 1992
Styles: Electric Blues, Rockin' Blues
Art: Full

01. Too Many Bad Habits (2:39)
02. Good Rocking Mama (2:19)
03. Nip Sip (3:05)
04. Teardrops On My Window Pane (4:28)
05. As Long As I'm Moving (2:54)
06. Lost Time (3:48)
07. Two Bones & A Pick (2:57)
08. I Wish Your Picture Was You (2:25)
09. Froggy Bottom (4:06)
10. Memory Pain (4:07)

Guitar Johnny & the Rhythm Rockers was a group more famous for who was in their ranks than the scant bit of recorded music they made. Formed in Boston in the late 1970s, they were led by guitarist-singer John Nicholas, who would later spend several years working in Asleep at the Wheel. The bassist was Sarah Brown, now noted as perhaps the most in demand session bass player in the blues and roots music field and a songwriter of considerable note. The drummer was Fran Christina, who would move on to Roomful of Blues and eventually the Fabulous Thunderbirds in their hit making days. Blowing tenor was Mark "Kaz" Kazanoff, later going on to making a name for himself on the Austin, Texas music scene. The rhythm guitarist was none other than Ronnie Earl (Horvath), who later went on to a stint with Roomful before forming his own instrumental outfit, Ronnie Earl and the Broadcasters. Strictly a local phenomena in the Boston area, the group only left behind a four song 45 rpm EP on the now defunct Baron label that featured a couple of Nicholas originals and a vocal from Sarah Brown. They would all soon move on to bigger and better things. ~Cub Koda

Guitar Johnny & The Rhythm Rockers MP3
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Bobby Parker - Live In New York 1995 (Live)

Size: 84,7 MB
Time: 36:29
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues
Art: Front

01. Born Under A Bad Sign (Live) (6:49)
02. Everday I Have The Blues (Live) (7:03)
03. Bent Out Of Shape (Live) (5:31)
04. Break It Up (Live) (5:16)
05. I Call Her Baby (Live) (6:47)
06. Bobby A-Go-Go (Live) (5:00)

Guitarist, singer, and songwriter Bobby Parker was one of the most exciting performers in modern blues, and arguably should have inherited the top blues spots left open by the unfortunate early passings of people like Albert King, Johnny "Guitar" Watson, and others. That's because Parker could do it all: he wrote brilliant songs, he sang well, and he backed it all up with powerful, stinging guitar. The acclaim he received from fellow artists, critics, and fans was the result of years of hard work and struggling around the bars in Washington, D.C. and Virginia. Parker released two brilliant albums on the BlackTop label out of New Orleans (distributed by Rounder), Shine Me Up (1995) and Bent Out of Shape (1993).

He was born August 31, 1937 in Lafayette, Louisiana but raised in Southern California after his family moved to Los Angeles when he was six. Going to school in Hollywood, the young Parker was bitten by the scenery, and decided he wanted to be in show business. At the Million Dollar Theater, he saw big stage shows by Count Basie, Duke Ellington, Billy Eckstine, and Lionel Hampton. Although he had an early interest in jazz, the blues bit him when artists like T-Bone Walker, Lowell Fulson, Johnny "Guitar" Watson, and Pee Wee Crayton came to town.

Parker began playing in the late '50s as a guitarist with Otis Williams & the Charms after winning a talent contest sponsored by West Coast blues and R&B legend Johnny Otis. Later, he backed Bo Diddley, which included an appearance on The Ed Sullivan Show, before joining the touring big band of Paul "Hucklebuck" Williams. He settled in Washington, D.C. in the '60s, dropping out of Williams' band and making a go of it on his own.

He was perhaps best known for his 1961 song "Watch Your Step," a single for the V-Tone label that became a hit on British and U.S. R&B charts. Parker's song was later covered by several British blues groups, most prominent among them the Spencer Davis Group. And though Parker did not become a name as familiar to blues fans as say, Eric Clapton or B.B. King, he was been cited as a major musical influence by Davis, John Mayall, Robin Trower, Clapton, Jimmy Page, drummer Mick Fleetwood, John Lennon, and most importantly, Carlos Santana. Parker's style was described by his protégé Bobby Radcliff as Guitar Slim meets James Brown, and that's not too far off the mark. In the summer of 1994, Santana was so happy about Parker's comeback on the BlackTop/Rounder label that he took him on the road for some arena shows on the East and West Coasts.

"Carlos likes to tell people that he saw me playing in Mexico City when he was a kid, and that inspired him to pick up the guitar," Parker explained. Santana paid homage to Parker on his Havana Moon album, on which he covered "Watch Your Step." Dr. Feelgood also covered the tune in the '70s.

Parker remained an important player on the blues circuit for years, and was a regular performer in the Washington, D.C. area and at blues festivals in both the U.S. and Canada. Unlike so many other blues musicians, Parker's live shows were almost entirely his own songs. He did very few covers.

"Unless the music of the day has some kind of substance to it, the blues always comes back," Parker said, adding, "I think Stevie Ray Vaughan had a lot to do with bringing the blues to white audiences, and Z.Z. Hill helped bring the black audience back to the blues." Bobby Parker died of a heart attack on October 31, 2013; he was 76 years old. ~Richard Skelly

Live In New York 1995 (Live) MP3
Live In New York 1995 (Live) FLAC

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Bobby Radcliff - Hard Hitting

Size: 106,5 MB
Time: 45:08
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues
Art: ull

01. High Cost Of Living (4:29)
02. Why Baby (3:11)
03. Part Time Love (5:34)
04. Man Or Mouse (5:13)
05. In The Open (2:43)
06. Mardi Gras In New Orleans (2:33)
07. I'm Gonna Be A Wheel Someday (2:00)
08. I Wonder Why (4:08)
09. Since I Met You Baby (3:27)
10. Talkin' About My Friends (4:27)
11. Please Don't Leave Me (4:39)
12. Bobby's Rock (2:39)

The toast of the New York blues scene Bobby Radcliff has enlisted a choice group of musicians from Finland and Sweden to back him on his latest project. This effort was recorded at Suprovox Studios, Finland. The guitarist-singer offers up twelve diverse blues covers with just a two guitar, bass and drums line up. He shares lead guitar duties with Jonne Kulluvaara from Helsinki, Finland. The sound is ok except for the fact that the drums tend to be mixed a little low.

“High Cost Of Living” is a slow-ish blues with skittering guitars with Bobby’s matter-of-fact vocals that set fine here. He shows a more exuberant vocal performance on the lively “Why Baby”. The band chugs along nicely on “Man Or Mouse”. Freddie King’s instrumental “In The Open” gets it just deserves as the guys give it a run for its’ money.

Up next is a two song visit to the New Orleans music scene, leading off with Professor Longhair’s perennial “Mardi Gras In New Orleans” were the rhythmic guitars make up for the usual piano parts. “The Fat Man” Fats Domino gets the Bobby Radcliff treatment on his “I’m Gonna Be A Wheel Someday”. Fats’ warm vocal is missed, but Bobby does it proud.

Jimmy Dawkins’ “I Wonder Why” takes things back to the good old Chicago blues. This versatile guitar band shows its mellow side on the Ivory Joe Hunter classic “Since I Met You Baby” that finds Bobby in fine voice. “Sometimey” friends are the subject on the reality checking “Talkin’ About My Friends”. This time they cover a more obscure Fats Domino track in “Please Don’t Leave Me”. It’s another New Orleans Rhythm And Blues gem featuring vocal-guitar call and response. Shop closes up with Elmore James’ instrumental “Bobby’s Rock” to take things out in style.

Here with have another keeper of the traditional blues that keeps things fresh and up to date. A steady vocalist, two well versed guitarist and a crack rhythm section what self respecting blues fanatic could want more? In a perfect world I would of liked the drums a bit more up front, but that’s a minor quibble. This band rocks out the blues in grand fashion. ~Greg "Bluesdog" Szalony

Hard Hitting MP3
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Various Artists - Blues Singles Collection Vol. 13

Size: 257,6 MB
Time: 110:39
File: MP3 @ 320K/s
Released: 2020
Styles: Electric Blues, Blues Rock
Art: Front

01 Anthony Gomes - Hell And Half Of Georgia (3:11)
02 Robin Trower, Livingstone Brown & Maxi Priest - United State Of Mind (3:38)
03 Jesse Redwing - Buried At Sea (4:00)
04 Alastair Greene - Living Today (4:19)
05 Fred Chapellier - Beyond The Moon, Pt. 2 (4:06)
06 Lloyd Jones & Delbert McClinton - Everybody's Somebody's Fool (3:38)
07 Marc Amacher - Walking Blues (2Inch Session) (5:44)
08 Forrest Hill - Sacred Ground (4:04)
09 Ben Granfelt - Hey Stranger (4:32)
10 Patrik Jansson Band - She Ain´t Gonna Come Back Any More (5:00)
11 Medicine -Head - Warriors Of Love (3:56)
12 Anthony Gomes - Praying For Rain (3:25)
13 Whitesnake & Chris Collier - Is This Love (2020 Remix) (5:04)
14 The Cold Stares - Jailbreak (4:01)
15 Ariel Posen - Coming Back (2:58)
16 Randall Bramblett - I’ve Got Faith In You (4:09)
17 Samantha Martin & Delta Sugar - Don't Have To Be (2:56)
18 Rebecca Downes & Alan Nimmo - Wave Them Goodbye (4:12)
19 Mr. Sipp - Played Yourself (4:36)
20 Laura Rain & The Caesars - Different State Of Mind (3:58)
21 Dave Riley & Bob Corritore - I'm Not Your Junkman (4:13)
22 D.C. & Co. - In A Kayak (3:48)
23 Chris Smither - Let It Go (4:51)
24 Owen Campbell - I Wanna See Your Love (3:34)
25 Susan Santos - Somebody To Love (4:00)
26 Chris Kramer & Beatbox 'n' Blues - Voodoo Child (3:18)
27 Dave Specter - The Ballad Of George Floyd (5:14)

A collection of blues singles released in Sept 2020 compiled by myself.

Blues Singles Collection Vol. 13 MP3

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Spider John Koerner - Nobody Knows The Trouble I've Been

Bitrate: 320K/s
Time: 44:10
Size: 104,4 MB
Styles: Folk blues, Acoustic blues
Year: 1996
Art: Front & Back

[0:38] 1. Cotton Eyed Joe
[2:55] 2. Sail Away Ladies
[4:11] 3. Acres Of Clams
[3:29] 4. Black Dog
[4:15] 5. Froggie Went A-Courtin'
[3:22] 6. The Old Chisholm Trail
[2:14] 7. The Leather-Winged Bat
[3:11] 8. Red Apple Juice
[3:59] 9. Worried Rambler
[2:30] 10. What's A Matter With The Mill
[3:03] 11. Shenandoah
[2:40] 12. The Roving Gambler
[3:09] 13. St. James Infirmary
[3:00] 14. Irene
[0:44] 15. Cotton Eyed Joe (Reprise)

Nobody Knows the Trouble I've Been contains classics from the American Songbook like "Cotton-Eyed Joe," "The Leather-Winged Bat," "Froggy Went A-Courting" and "Shenandoah." Spider John Koerner sings and plays (12-string guitar) with a knowing but commanding casual authority that brings this material to life brilliantly. The music jumps out of the speaker so effortlessly you can appreciate the fun and dark side of these old songs. Nobody Knows the Trouble I've Been is an excellent example of contemporary interpretations that don't treat the songs like academic artifacts. "The Leather-Winged Bat," for example, is a courting song that sounds cute and innocent in most interpretations. Koerner brings out, and seems to delight in, the licentious innuendo as each verse leads to the advice that for a girl to catch the boy she should keep him up both day and night. Blood, love and murder are at the heart of many songs so familiar that we have forgotten to even listen anymore while we sing along. A record like this is a wake-up call to all interpreters. The fact that it was impeccably recorded live to two-track in one day with killer musicians only adds to its reputation. ~Richard Meyer

Originaly posted on 27 Aug 2014. Updated by Bluestender
Nobody Knows The Trouble I've Been MP3
Nobody Knows The Trouble I've Been FLAC

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Jimmy Witherspoon - Blues & Rhythm Series 5165: The Chronological Jimmy Witherspoon 1950-1951

Size: 305 MB
Time: 69:51
File: FLAC
Released: 2005
Styles: Blues, R&B
Art: Full

01. Drinkin' Beer (Have A Ball) (2:13)
02. Better Love Next Time (Part 1) (2:14)
03. Better Love Next Time (Part 2) (2:29)
04. Don't Ever Move A Woman Into Your House (2:53)
05. Hard Workin' Blues (3:10)
06. Failing By Degrees (3:13)
07. New Orleans Woman (2:29)
08. I'm Goin' Around In Circles (3:08)
09. Just A Country Boy (3:04)
10. There Ain't Nothin' Better (2:58)
11. Love And Friendship (3:10)
12. Once There Lived A Fool (2:42)
13. I'm Just Wonderin' (Part 1) (2:35)
14. I'm Just Wonderin' (Part 2) (2:28)
15. I'm Just A Ladies Man (2:27)
16. You Can't Kiss A Dream Goodnight (2:24)
17. Practice What You Preach (2:48)
18. Blowing The Blues (2:27)
19. It's Raining Outside (3:14)
20. I Gotta Gal Lives Up On The Hill (2:19)
21. Ain't Nobody's Business (3:56)
22. Real Ugly Woman (2:49)
23. Give My Heart Another Break (3:03)
24. Would My Baby Make A Change (2:36)
25. The Wind Is Blowin' (2:51)

One of the great blues singers of the post-World War II period, Jimmy Witherspoon was also versatile enough to fit comfortably into the jazz world. Witherspoon was born on August 8, 1920, in Gurdon, AR. As a child, he sang in a church choir, and made his debut recordings with Jay McShann for Philo and Mercury in 1945 and 1946. His own first recordings, using McShann's band, resulted in a number one R&B hit in 1949 with "Ain't Nobody's Business, Pts. 1 & 2" on Supreme Records. Live performances of "No Rollin' Blues" and "Big Fine Girl" provided 'Spoon with two more hits in 1950.

The mid-'50s were a lean time, with his style of shouting blues temporarily out of fashion; singles were tried for Federal, Chess, Atco, Vee Jay, and others, with little success. Jimmy Witherspoon at the Monterey Jazz Festival (HiFi Jazz) from 1959 lifted him back into the limelight. Partnerships with Ben Webster or Groove Holmes were recorded, and he toured Europe in 1961 with Buck Clayton, performing overseas many more times in the decades to follow; some memorable music resulted, but Witherspoon's best 1960s album is Evening Blues (Prestige), which features T-Bone Walker on guitar and Clifford Scott on saxophone. As the '70s began, Witherspoon decided to take a short break from live performances, settled in Los Angeles, took a job as a disc jockey, and continued making records. In 1971 Witherspoon teamed up with former Animals vocalist Eric Burdon for the album Guilty. Unfortunately it sold poorly. By 1973 his short retirement from live performances was over. Witherspoon was ready to get back on the road and assembled an amazing band featuring a young Robben Ford on lead guitar. Those live shows had received positive reviews, rejuvenating Witherspoon's move toward a definite rock/soul sound. He traveled to London in 1974 to record Love Is a Five Letter Word with British blues producer Mike Vernon. Vernon had produced critically acclaimed British blues albums by John Mayall, Fleetwood Mac, and Ten Years After. By the early '80s, Witherspoon was diagnosed with throat cancer. Although he remained active and was a popular concert attraction, the effect of the disease on his vocals was obvious. Witherspoon passed away on September 18, 1997, at the age of 77. ~Bob Porter

The Chronological Jimmy Witherspoon 1950-1951

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Lowell Fulson - Blues & Rhythm Series 5164: The Chronological Lowell Fulson 1949-1951

Size: 242 MB
Time: 59:31
File: FLAC
Released: 2005
Styles: Blues, R&B
Art: Full

01. Cold Hearted Woman (2:57)
02. Mama Bring Your Clothes Back Home (2:37)
03. Jimmy's Blues (2:44)
04. Ain't Nobody's Business (2:43)
05. Low Society Blues (2:27)
06. Blue Shadows (2:50)
07. Back Home Blues (2:32)
08. Baby Won't You Jump With Me (2:38)
09. Come Back Baby (2:30)
10. Country Boy (3:01)
11. Rainy Day (2:56)
12. Miss Lillie Brown (2:57)
13. Sinner's Prayer (2:55)
14. Lonesome Christmas (Part 1) (2:30)
15. Lonesome Christmas (Part 2) (2:15)
16. I'm A Night Owl (Part 1) (2:35)
17. I'm A Night Owl (Part 2) (2:40)
18. Blues With A Feeling (2:31)
19. Let Me Ride Your Little Automobile (2:46)
20. Why Can't You Cry For Me (2:41)
21. Let's Live Right (2:50)
22. Guitar Shuffle (2:45)

Mixing blues with early R&B and what could pass for proto-rock & roll, and with just enough jazz touches thrown in, Lowell Fulson worked from a wider and more varied palette than the country bluesmen whose basic styles first influenced him. This fourth installment in Classics' chronological survey of Fulson's complete recorded work focuses on his Swing Time Records sessions between 1949 and 1951, a peak time for Fulson, who had hooked up with pianist and arranger Lloyd Glenn and alto saxophonist Earl Brown, both of whom would play large roles in giving Fulson's records versatility and vitality. Included here is "Blue Shadows" (a R&B chart-topper in 1950), the striking and somber "Ain't Nobody's Business," the two-part "Lonesome Christmas," and the bright and unassuming guitar instrumental called "Guitar Shuffle." Fulson was far from a one-dimensional blues player, and this fine set nicely shows off his range. ~Steve Leggett

The Chronological Lowell Fulson 1949-1951

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Johnny Sparrow - Blues & Rhythm Series 5163: The Chronological Johnny Sparrow 1949-1955

Size: 291 MB
Time: 70:16
File: MP3 @ 320K/s
Released: 2005
Styles: Blues, R&B
Art: Full

01. Sparrow's Flight (3:22)
02. Saratoga Rock (2:55)
03. Blue Sparrow (3:09)
04. Drumming Up The Works (3:01)
05. Michael's Cycle (2:53)
06. Serenade To Twins (2:51)
07. Word From Deacon Bird (2:41)
08. Who Owns The Joint (2:32)
09. When Your Lover Has Gone (2:57)
10. Sparrow In The Barrel (2:43)
11. Boudoir Boogie (3:03)
12. Sparrow's Flight - No. 2 (2:49)
13. Ami Blue (2:49)
14. Serenade To Satchmo (3:13)
15. Yesterdays (4:20)
16. Always (2:49)
17. Paradise Rock (2:37)
18. Lover, Come Back To Me (3:18)
19. I'll See You In My Dreams (2:43)
20. Jump Steady (2:43)
21. Indiana (2:15)
22. What's New (3:03)
23. Keyhole Special (2:45)
24. Sparrow's Nest (2:32)

This intriguing album contains essentially all of tenor saxophonist Johnny Sparrow's solo work, including sides he recorded with his group Johnny Sparrow & His Bows and Arrows between 1949 and 1955 for the Melford, National and Gotham record labels. Although he was essentially a trad jazz artist, Sparrow flirts dangerously close to bop on some of these cuts, and at other times he seems to be working in an instrumental jump blues direction, and he even hints at merging bop and R&B in a fascinating hybrid on the wonderful "Drumming Up the Works." Other highlights include the soothing "Sparrow's Flight" and the odd, discordant but fun "Serenade to Satchmo" (Sparrow played in Louis Armstrong's band for a time before departing to start his own recording career). It doesn't add up to a large legacy, but what's here shows a transitional musician who wasn't afraid to stretch jazz into some new places, and there's an obvious and endearing joy underlying the playing on all of these cuts. ~Steve Leggett

The Chronological Johnny Sparrow 1949-1955

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Johnny Otis - Blues & Rhythm Series 5162: The Chronological Johnny Otis 1951

Size: 241 MB
Time: 69:29
File: FLAC
Released: 2005
Styles: Blues, R&B
Art: Full

01. It Can Never Happen Again (2:38)
02. Gee Baby (3:16)
03. Fool's Gold (2:45)
04. Feel Like Cryin' Again (2:45)
05. Heartache Here I Come (2:38)
06. Turn The Lights Down Low (3:03)
07. Hold Me Close (2:40)
08. Gonna Take A Train (2:36)
09. Doggin' Blues (3:11)
10. Chittlin' Switch (2:36)
11. Warning Blues (3:03)
12. Living And Loving You (3:01)
13. Mambo Boogie (2:43)
14. New Love (3:05)
15. Just Another Flame (2:47)
16. I'll Ask My Heart (3:07)
17. It Ain't The Beauty (3:07)
18. All Night Long (2:37)
19. Help Me Blues (3:09)
20. Hand Me Down Blues (Walk My Blues Away) (2:35)
21. Honky Tonk Boogie (2:50)
22. Because I Love My Baby So (3:08)
23. Where's My Baby (2:51)
24. Three Magic Words (3:07)

Johnny Otis modeled an amazing number of contrasting musical hats over a career spanning more than half a century. Bandleader, record producer, talent scout, label owner, nightclub impresario, disc jockey, TV variety show host, author, R&B pioneer, rock & roll star -- Otis answered to all those descriptions and quite a few more. Not bad for a Greek-American who loved jazz and R&B so fervently that he adopted the African-American culture as his own.

California-born John Veliotes changed his name to the blacker-sounding Otis when he was in his teens. Drums were his first passion -- he spent time behind the traps with the Oakland-based orchestra of Count Otis Matthews and kept time for various Midwestern swing outfits before settling in Los Angeles during the mid-'40s and joining Harlan Leonard's Rockets, then resident at the Club Alabam.

It wasn't long before the Alabam's owner entreated Otis to assemble his own orchestra for house-band duties. The group's 1945 debut sides for Excelsior were solidly in the big-band jazz vein and included an arrangement of the moody "Harlem Nocturne" that sold well. Shouter Jimmy Rushing fronted the band for two tracks at the same date. Otis' rep as a drummer was growing; he backed both Wynonie Harris and Charles Brown (with Johnny Moore's Three Blazers) that same year.
The Otis outfit continued to record for Excelsior through 1947 (one date featured Big Jay McNeely on sax), but his influence on L.A.'s R&B scene soared exponentially when he and partner Bardu Ali opened the Barrelhouse Club in Watts. R&B replaced jazz in Otis' heart; he pared the big band down and discovered young talent such as the Robins, vocalists Mel Walker and Little Esther Phillips, and guitarist Pete Lewis that would serve him well in years to come.

Otis signed with Newark, New Jersey-based Savoy Records in 1949, and the R&B hits came in droves: "Double Crossing Blues," "Mistrustin' Blues," and "Cupid's Boogie" all hit number one that year (in all, Otis scored ten Top Ten smashes that year alone!); "Gee Baby," "Mambo Boogie," and "All Nite Long" lit the lamp in 1951; and "Sunset to Dawn" capped his amazing run in 1952 (vocals were shared by Esther, Walker, and other members of the group). By then, Otis had branched out to play vibes on many waxings.

In late 1951, Otis moved to Mercury, but apart from a Walker-led version of Floyd Dixon's "Call Operator 210," nothing found pronounced success with the public. A 1953-1955 contract with Don Robey's Peacock logo produced some nice jump blues sides but no hits (though the Otis orchestra backed one of his many discoveries, Big Mama Thornton, on her chart-topping "Hound Dog," as well as a young Little Richard while at Peacock). Otis was a masterful talent scout; among his platinum-edged discoveries were Jackie Wilson, Little Willie John, Hank Ballard, and Etta James (he produced her debut smash "Roll with Me Henry").

In 1955, Otis took studio matters into his own hands, starting up his own label, Dig Records, to showcase his own work as well as his latest discoveries (including Arthur Lee Maye & the Crowns, Tony Allen, and Mel Williams). Rock & roll was at its zenith in 1957 when the multi-instrumentalist signed on with Capitol Records; billed as the Johnny Otis Show, he set the R&B and pop charts ablaze in 1958 with his shave-and-a-haircut beat, "Willie and the Hand Jive," taking the vocal himself (other singers then with the Otis Show included Mel Williams and the gargantuan Marie Adams & the Three Tons of Joy). During the late '50s, Otis hosted his own variety program on L.A. television, starring his entire troupe (and on one episode, Lionel Hampton), and did a guest shot in a 1958 movie, Juke Box Rhythm.
After cutting some great rock & roll for Capitol from 1957 to 1959 with only one hit to show for it, Otis dropped anchor at King Records in 1961-1962 (in addition to his own output, Otis' band also backed Johnny "Guitar" Watson on several sides). Later in the decade, Otis recorded some ribald material for Kent and watched as his young son Shuggie built an enviable reputation as a blues guitarist while recording for Columbia. Father and son cut an album together for Alligator in 1982, accurately entitled The New Johnny Otis Show.

In later years, the multi-talented Otis added operating a California health-food emporium to his endless list of wide-ranging accomplishments. He was elected to the Rock and Roll Hall of Fame in 1994. Otis died at home in Altadena, California in January 2012 at the age of 90. If blues ever boasted a renaissance man among its ranks, Johnny Otis surely filled that bill. ~Bill Dahl

The Chronological Johnny Otis 1951

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Tommy Ridgley - Blues & Rhythm Series 5161: The Chronological Tommy Ridgley 1949-1954

Size: 262 MB
Time: 55:14
File: FLAC
Released: 2005
Styles: Blues, R&B
Art: Full

01. Boogie Woogie Mama (2:41)
02. Shrewsbury Blues (3:01)
03. Early Dawn Boogie (2:17)
04. Lonely Man Blues (2:36)
05. Anything But Love (2:42)
06. Once In A Lifetime (2:39)
07. Come Home Baby (2:31)
08. Tra La La (2:32)
09. Got You On My Mind (1:47)
10. Booted (1:47)
11. Lavinia (2:45)
12. I Live My Life (2:28)
13. Good Times (2:21)
14. A Day Is Coming (2:09)
15. Looped (2:22)
16. Junie Mae (2:24)
17. Monkey Man (2:19)
18. Nobody Cares (2:16)
19. Ooh Lawdy My Baby (2:51)
20. I'm Gonna Cross That River (3:00)
21. Wish I Had Never (2:51)
22. Jam Up (2:45)

Although Tommy Ridgley was a big star in his native New Orleans for close to half a century, he never really broke nationally with any of his blues-inflected R&B sides. This set includes his very earliest recordings, including sessions with Imperial (1949-1953), Decca (1951), and his two Atlantic releases from 1953 and 1954. Ridgley wasn't a particularly distinctive singer -- although he certainly got the job done -- and most of these sides are fairly generic R&B outings. When he dips into some of that Crescent City gumbo atmosphere like he does on the slow stroll "Got You on My Mind," the derivative but winning "Lavinia," or his version of Melvin Smith's "Looped" (which features some crisp drumming from the great Earl Palmer), things fare a good deal better. Ridgley's later Atlantic sides (not included here) are probably his best, although he released a pair of nice comeback albums in the mid-'90s. ~Steve Leggett

Blues & Rhythm Series 5161: The Chronological Tommy Ridgley 1949-1954

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J. Geils Band - The Morning After

Size: 80,2 MB
Time: 34:42
File: MP3 @ 320K/s
Released: 1971
Styles: Rock/Blues
Art: Full

1. I Don't Need You No More (2:36)
2. Whammer Jammer (2:37)
3. So Sharp (3:10)
4. The Usual Place (2:45)
5. Gotta Have Your Love (4:32)
6. Looking For A Love (3:47)
7. Gonna Find Me A New Love (3:24)
8. Cry One More Time (3:23)
9. Floyd's Hotel (3:11)
10. It Ain't What You Do (It's How You Do It!) (5:12)

The Morning After is a near perfect follow-up to the J. Geils Band's self-titled debut album. It's more of the same winning blend of rocked-out blues, jumped-up soul, and pure rock & roll wildness with enough attitude and energy to get a club full of people from zero to sweaty in less than 60 seconds. Featuring the original versions of songs that became radio staples in their live incarnations ("Looking for a Love," the Magic Dick showcase "Whammer Jammer"), a batch of covers of rare soul gems ("So Sharp," Don Covay's "The Usual Place," the aforementioned "Looking for a Love"), and some fine originals (the rip-roaring opener "I Don't Need You No More," the very funky "Gotta Have Your Love," and the heart-rending ballad "Cry One More Time," which was covered memorably by Gram Parsons on G.P.), The Morning After is definite proof that the J. Geils Band were well on their way to becoming one of the best rock & roll bands of any era. /Tim Sendra, AllMusic

(For personnel details, see artwork included.)

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R.L. Boyce - Ain't Gonna Play Too Long

Size: 137,9 MB
Time: 59:45
File: MP3 @ 320K/s
Released: 2018
Styles: Blues
Art: Front

1. Ain't It Alright (6:00)
2. I'm Goin' Upstairs (6:10)
3. Rooster Won't Crow (5:31)
4. Going Over The Hill (2:40)
5. Andria Is Coming (5:25)
6. Don't Worry My Mind No More (7:22)
7. How Many More Years (5:38)
8. Two White Horses (9:56)
9. Going Down South (3:18)
10. Ain't Gonna Play Too Long (7:40)

R. L. Boyce is a Grammy nominated American blues singer, songwriter, and guitarist born and raised in Como, Mississippi, United States. He is a protege of Hill country blues musicians including R.L. Burnside, and Mississippi Fred McDowell. Boyce began his career in the early 1960s playing drums for his uncle, the fife and drum performer Othar Turner. Later he was the drummer for Jessie Mae Hemphill and is heard on her 1990 album, Feelin' Good.

His debut full-length album, entitled Ain't the Man's Alright was released when he was 52 years old and featured musicians including Cedric Burnside, Luther Dickinson, and Calvin Jackson. His second album release, Roll and Tumble was released on September 8, 2017 on Waxploitation Records. The album included the father and son double drumming team of Cedric Burnside and Calvin Jackson. The album was produced by Luther Dickinson of The Black Crowes and North Mississippi Allstars fame, and David Katznelson. /Wikipedia

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