VA - Blues Avalanche: Recorded Live At The Montreux Jazz Festival, Switzerland

Source: Vinyl
Size: 165.0 MB
Time: 70:35
File: MP3 @ 320K/s
Released: 1972
Styles: Chicago Blues
Art: Full

A1. Bo Diddley - Hear You Knoockin' (3:53)
A2. Bo Diddley - You Can't Judge A Book By The Cover (3:09)
A3. Bo Diddley - Diddley Daddy (2:18)
A4. The Aces & Lafayette Leake - Early In The Morning (5:07)
B1. The Aces & Lafayette Leake - Baby What You Want Me To Do (2:46)
B2. Koko Taylor With Muddy Waters - Wang Dang Doodle (7:10)
B3. Koko Taylor With Muddy Waters - I Got What It Takes (6:19)
C1. Lafayette Leake - Wrinkles (9:12)
C2. Lafayette Leake - Swiss Boogie (6:10)
C3. Muddy Waters - County Jail (6:06)
D1. Muddy Waters With T-Bone Walker - Trouble No More (2:32)
D2. Muddy Waters With T-Bone Walker - Got My Mojo Working (4:39)
D3. Muddy Waters With T-Bone Walker - (They Call It) Stormy Monday (6:45)
D4. Muddy Waters With T-Bone Walker - She Says She Loves Me (4:22)

Recorded live at the Montreux Jazz Festival, Montreux, Switzerland, June 16 & 17, 1972.

Blues Avalanche: Recorded Live At The Montreux Jazz Festival, Switzerland [Vinyl] MP3
Blues Avalanche: Recorded Live At The Montreux Jazz Festival, Switzerland [Vinyl] FLAC 24bit

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The Aces - The Aces & Their Guests

Year: 1976/2001
Bitrate: MP3@320K/s
Time: 64:05
Size: 149,2 MB
Styles: Electric blues, Chicago blues
Scans: Full

1. Rock Me Baby (4:28)
2. You're The One (3:11)
3. Baby What You Want Me To Do (4:07)
4. Someday Baby (3:44)
5. Off The Wall (4:24)
6. Worried About My Baby (4:33)
7. Bobby's Rock (4:19)
8. Kansas City (4:55)
9. Honky Tonk (4:54)
10. Don't Throw Your Love On Me So Strong (3:45)
11. C.C. Rider (4:11)
12. Sweet Home Chicago (2:52)
13. It's My Life Baby (3:16)
14. It Hurts Me Too (4:11)
15. Hide Away (5:10)
16. Tribute To Little Walter (1:58)

This CD was recorded live at Ma Bea's Club in Chicago in 1975. The nucleus of the band is the famous rhythm group known as The Aces (guitar, bass & drums) led by drummer Freddy Below. The musical style here is classic Chicago blues. The 16 tunes on this low-down, steamy live Chicago club session are "the real thing" - totally natural, heart-felt and deeply moving. Powered by the famous Chicago rhythm section, this session features som great guitar-playing and vocals by special guest Joe Carter - who plays a mean, yet touching, Elmore James-style guitar - and Bobby King.

(For personnel details, see artwork included.)

The Aces & Their Guests mc
The Aces & Their Guests zippy

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Junior Wells & The Aces - Live In Boston 1966

Year: 2010
Bitrate: MP3@320K/s
Time: 65:42
Size: 152,5 MB
Styles: Chicago blues, harmonica blues
Scans: Full

1. Feelin' Good (4:31)
2. Man Downstairs (3:15)
3. Talk (0:44)
4. Worried Life Blues (5:03)
5. Talk (0:51)
6. Junior's Whoop (7:44)
7. That's All Right (3:26)
8. Talk (0:54)
9. Look On Yonder's Wall (3:11)
10. Talk (0:45)
11. Messin' With The Kid (2:39)
12. Talk (1:04)
13. Hideaway (7:13)
14. If You Gonna Leave Me (4:31)
15. Talk (3:24)
16. I Don't Know (6:19)
17. Talk (0:56)
18. Got My Mojo Workin' (7:05)
19. Theme (1:57)

Feisty, full of street swagger, humor, and sweat, Live in Boston 1966 provides a side of Junior Wells' stage persona that few, if any, of his other albums revealed. This previously unreleased date features Wells with the Aces; the crack bar band that he began his solo recording career with in the early '50s for the States imprint. The Aces - guitarist Louis Myers, bassist Dave Myers, and drummer Fred Below - were playing juke joints and bars on the South and West sides of Chicago, their early, deserved reputation as one of Chicago's hardest swinging blues bands had, by the '60s, been all but eclipsed by Buddy Guy and Magic Sam.

This gig is as enjoyable a listening experience as it is an historical artifact, following as it does the previous year's classic Hoodoo Man Blues. Wells and the Aces are playing from the heart: they reach back to the gritty electric blues of the old-school Chicago ensemble sound - the postwar years - and they flaunt their panache with the funkier R&B grooves that the West Side blazed trails with in the early '6os, and they look to the future with the nastier, more improvisational electric blues that would come later in the decade.

How many blues recordings can you hear where the artist's stage banter is as fresh on the tenth listen as it was on the first? Even more importantly, one on which the banter is as enjoyable as the music itself? Wells raps plenty here. The album begins with the opener "Feelin' Good," and extends from between-song banter where he engages the audience, to his improvised originals such as the killer "Junior's Whoop," "I Don't Know," and "If You Gonna Leave Me." The way he and the Aces work together is seamless and instinctual; Wells can take chances with his lyrics and his harp phrasing because the band is on a roll; they are part and parcel of the groove; they push Wells further in a friendly, competitive way. The band just shines.

The standards here are completely reinvented. Dig the readings of standards such as "Man Downstairs," "That's All Right," "Look on Yonder's Wall," and "Mojo Workin'," they're uptempo, full of raucous exuberance and soul, while the reading of Sleepy John Estes "Worried Life Blues" is lowdown sad as the crying blues get. The sound on here is gritty, but very present. Live in Boston 1966 is the great blues surprise of 2010. /Thom Jurek, AllMusic

Live In Boston 1966 mc
Live In Boston 1966 zippy

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The Aces - Chicago Beat

Size: 142,0 MB
Time: 61:47
File: MP3 @ 320K/s
Released: 1976/1999
Styles: Chicago Blues
Art: Full

01. Tell Me Mama (2:50)
02. Hoo Doo Man (3:59)
03. Take A Little Walk With Me (3:17)
04. Whole Lot Of Lovin' (3:30)
05. Got My Mojo Workin' (3:40)
06. Ace's Shuffle (2:55)
07. Blues For Marcelle (5:17)
08. Kansas City (6:05)
09. Early In The Morning (4:10)
10. Money, Marbles And Chalk (4:15)
11. Route 66 (4:56)
12. Blue Shadows (3:38)
13. Wee Wee Baby (3:23)
14. Fannie Mae (2:44)
15. Ace's Shuffle (3:56)
16. Stop, Stop, Stop (3:02)

Personnel: Louis Myers (vocals, guitar, harmonica); Fred Below (vocals, drums); Eddie Taylor, Jimmy Rogers , Mickey Baker (guitar); Willie Mabon (piano).

Common wisdom says that Muddy Waters was the man responsible for turbo charging the Delta blues and creating what we now call Chicago blues. Waters' importance is inestimable, but to lay all the credit at his feet is to ignore the contributions of those who quite literally used Waters' music as a jumping-off point, and blazed historical trails of their own. Of all the great musicians who passed through Waters' bands, perhaps the most important of all was harmonica player and singer Little Walter Jacobs. Jacobs left Waters' band at the age of 22 already a seasoned veteran of the road and the recording studio. He quickly recruited his own superb band, and came very close to eclipsing his former boss' success during the heyday of Chicago blues in the '50s, with two number one hits among his ten appearances on the nationwide Billboard R&B charts; Waters himself had 12 songs reach the Billboard charts, but he never scored a number one hit. Much of Little Walter's success can be attributed to the fact that he was doing something new, different, and thoroughly urban; where Waters' appeal lay heavily with Southern emigres longing for familiar sounds, Walter's swinging, modern, jazz-inflected style found favor with a younger generation of city blues fans not so closely tied to the "down-home" sounds of the South.

But Little Walter couldn't have done it alone -- he needed accompanists who shared his desire to push the edge of the blues envelope, so he recruited his band from among the most accomplished and forward-thinking blues musicians available in Chicago. His first recording and touring band in 1952 was one that he'd sometimes sat in with while still with Waters -- The Aces, featuring brothers David and Louis Myers on guitars. The Myers brothers were born in Byhalia, MS, and had learned the rudiments of guitar from their father before the family relocated to Chicago in the early '40s while both brothers were still in their early teens. There their musical tastes were formed by equal doses of the big-band swing that was popular at the time, pop ballads they heard on the radio, and the blues that was being played all around their southside neighborhood. By the late '40s they had assumed the roles they'd play for much of their musical careers: older brother Dave providing basslines and chords into which Louis wove his tastefully jazzy blues riffing. Their rock-solid musical foundation provided the perfect base for the veteran bluesman they soon found themselves backing, but their musical precociousness drove them to eventually form the Aces, which incorporated some of the more modern and sophisticated influences that had raised eyebrows with the older blues crowd. The Aces were rounded out by schooled jazz drummer Fred Below, a Chicago native for whom the rough Southern blues rhythms were almost completely foreign; after his first gig with the group he was so musically disoriented that he decided to quit the band, but was persuaded to stick it out and adapt his jazz techniques to the blues, ultimately becoming the most in-demand blues drummer in Chicago (in addition to putting the beat to many of rock & roll pioneer Chuck Berry's early hits). Little Walter approached his harmonica like a jazz saxophone player, and the Aces provided the propulsive backing of a swinging big band. It would have been near impossible at the time to find three musicians who were better suited to providing the solid foundation for Walter's musical innovations than the Aces, who had the musical and dynamic range, swing sensibilities, and melding of individual strengths that made them the standard by which all of Little Walter's later ensembles -- and most harp-led blues bands since -- have been measured.

Unfortunately this band was not to last; the Aces had been establishing their own name around town, but when their first records with Little Walter were released by the Chess Records subsidiary Checker as by "Little Walter and His Night Caps" or "...and His Jukes" (to capitalize on the popularity of his first hit "Juke," recorded during a session while he was still with Waters), there was dissension in the ranks. The first to leave was Louis, who was replaced by Robert Jr. Lockwood in 1954. Almost 40 years old at the time, Lockwood's roots were in the Delta; as Robert Johnson's stepson, he had a firm handle on the deepest of blues, but had been studying jazz guitarists since at least the '30s, and had been recording since before WWII. He proved to be an adept foil for Walter's harp excursions, and many of Walter's jazziest adventures were supported and driven by Lockwood's sophisticated guitar riffing.

Dave Myers was the next to leave, joining his brother Louis in 1955 in a re-formed Aces that featured Junior Wells (who had played with them pre-Walter) and later Otis Rush. Dave was replaced by 19-year-old guitar prodigy Luther Tucker, who had been hanging around the band and occasionally sitting in with them, as well as with other local blues acts. Although Tucker's role was initially the same as Dave's -- thumping out basslines on his guitar and providing chordal fills behind Lockwood -- he soon distinguished himself as one of the flashiest of the new breed of guitarists in Chicago. When given the chance to take the lead, Tucker's fleet-fingered bursts of nervous energy helped push Little Walter's music in new and exciting directions. The first wave of rock & roll was cresting, aggressively played electric guitar was moving to the forefront of popular music, and Luther Tucker was among the blues guitarists at the leading edge.

It was around this time that Fred Below vacated the drum seat, although as was the custom at Chess/Checker Records, he continued to be brought in for recording sessions for the next several years. Replacing him on the road for a time was his old drum school classmate Odie Payne, Jr., who had been playing and recording in Chicago since the late '40s with the likes of Tampa Red, Memphis Minnie, Memphis Slim and Elmore James, and later worked as the house drummer at Cobra Records, playing behind Buddy Guy, Magic Sam, Otis Rush and others. Payne's slightly more orthodox but still distinctly jazzy style was by all accounts ideally suited to Walter's music, although there's no documentation of him ever appearing on any of Walter's records.

After a short time with a still young and rambunctious Little Walter and the even younger Luther Tucker, Lockwood was began to tire of the grind, and he left Walter's band, although he continued to appear on records with him (and also notably with Sonny Boy Williamson) until the late '50s. In 1956 Jimmie Lee Robinson joined Little Walter's band, pushing Luther Tucker into the lead role that Lockwood had vacated. Robinson was another Chicago native, who had grown up around the blues-rich Maxwell Street Market area, and knew Walter from his escapades there during his earliest years in Chicago. Robinson's formative years included musical apprenticeship on Maxwell Street, followed by formal music lessons for a time, and then time spent with guitarists Freddie King, Elmore James, Eddie Taylor, and others in the early '50s. His guitar style had similarities to Tucker's, and eventually their roles carrying the top and bottom of the music melded to the point where they would trade back and forth even during songs. Unfortunately there are only a few examples of Jimmie Lee's years with Walter on record, due to the record label's insistence on not tampering with the successful studio formula that had been established by the Tucker/Lockwood/Below ensemble (usually augmented by Willie Dixon on string bass).

By the end of the '50s, Little Walter's hit-making days were behind him, and his bands soon became a revolving door through which a number of local musicians passed. In 1959 guitarist Freddie Robinson joined the band for a time (replacing Jimmie Lee Robinson, a move that has caused much confusion among discographers over the years), during which he sometimes played electric bass. Odie Payne left the band after a short time to be replaced by the solid if less musically adventurous George Hunter. During sessions over the next few years the drum throne (on sessions, at least) was also occupied by Billy Stepney, session ace Al Duncan, and even the return of Fred Below for a 1960 session. But blues tastes were changing, and his great ensembles of the past had all scattered and moved on to other pursuits with varying degrees of success. ~by Scott Dirks

Chicago Beat

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VA - The Chicago Blues Box 2

Size: 157,5+148,5+153,5+155,7+149,8+140,2+147,3+128,0 MB
Time: 67:44+64:01+66:16+67:09+64:36+60;28+63:18+55:07
File: MP3 @ 320K/s
Released: 2017
Styles: Chicago Blues
Art: Front

CD 1:
01. Eddie Taylor - Opening (2:58)
02. Eddie Taylor - Red Light (4:30)
03. Eddie Taylor - Big Town Playboy (3:23)
04. Eddie Taylor - Blow Wind Blow (4:04)
05. Eddie Taylor - Down In Virginia (2:53)
06. Eddie Taylor - Lucky Lou (4:37)
07. Eddie Taylor - Tell Me Mama (4:53)
08. Big Mojo Elem - Talk To Your Daughter (2:53)
09. Big Mojo Elem - Hide Away (4:49)
10. Big Mojo Elem - Be My Little Girl (2:28)
11. Andrew Blueblood McMahon - Red Light, Pt. 2 (3:56)
12. Andrew Blueblood McMahon - Mojo Hand (4:44)
13. Big Voice Odom - Mojo Working (2:44)
14. Big Mojo Elem - Dry Land, Pt. 2 (5:53)
15. Big Voice Odom - Where Are You Goin' (8:38)
16. Big Voice Odom - Thrill Is Gone (4:15)

CD 2:
01. Hip Lankchan - You Left Me With A Broken Heart (5:12)
02. Hip Lankchan - I'm On My Way (5:20)
03. Hip Lankchan - Last Night (4:58)
04. Hip Lankchan - All Your Love (4:47)
05. Hip Lankchan - I Don't Want No Woman (4:27)
06. Hip Lankchan - Black Nights (5:24)
07. Hip Lankchan - Somebody Loan Me A Dime (4:43)
08. Hip Lankchan - Same Old Blues (3:27)
09. Hip Lankchan - Why I Sing The Blues (5:50)
10. Eddie Clearwater - Everyday I Have The Blues (4:25)
11. Eddie Clearwater - You Don't Have To Go (4:57)
12. Eddie Clearwater - Poison Ivy (3:39)
13. Eddie Clearwater - My Babe (6:47)

CD 3:
01. Jimmy Dawkins - Way She Walks (4:27)
02. Jimmy Dawkins - Rock Me Baby (5:08)
03. Jimmy Dawkins - I Wonder Why (4:46)
04. Jimmy Dawkins - Cold Sweet Blues (7:14)
05. Jimmy Dawkins - Driving Wheel (5:39)
06. Jimmy Dawkins - Will My Baby Home Tonight (5:44)
07. Jimmy Dawkins - Big Duke's (4:40)
08. Jimmy Dawkins - Hard Road To Travel (6:54)
09. Jimmy Dawkins - J.D's Jam (3:31)
10. Jimmy Dawkins - Nature Ball (5:41)
11. Jimmy Dawkins - Pretty Woman (4:42)
12. Jimmy Dawkins - Ode To Billy Joe (7:44)

CD 4:
01. Jimmy Johnson - Long About Midnight (7:06)
02. Jimmy Johnson - Strange Thing Happening (5:29)
03. Jimmy Johnson - Look On Yonder Wall (3:34)
04. Jimmy Johnson - I'm Crazy About You Baby (4:28)
05. Jimmy Johnson - Breaking Up Somebody's Home (5:01)
06. Jimmy Johnson - Sweet Little Angel (5:22)
07. Jimmy Johnson - Three Times Chicago (4:42)
08. Jimmy Johnson - Midnight Hour (4:08)
09. Jimmy Johnson - My Own Fault (5:26)
10. Jimmy Johnson - Get Ready Here I Come (3:51)
11. Jimmy Johnson - Same Old Blues (4:09)
12. Jimmy Johnson - So Many Roads (6:45)
13. Jimmy Johnson - As The Years Go Passing By (7:02)

CD 5:
01. John Littlejohn - Dust My Broom (4:31)
02. John Littlejohn - Rob And Steal (3:39)
03. John Littlejohn - Five Long Years (3:21)
04. John Littlejohn - Kiddeo (2:44)
05. John Littlejohn - That's All Right (7:17)
06. John Littlejohn - I Can't Stay Here (5:10)
07. John Littlejohn - Bobby's Rock (3:43)
08. John Littlejohn - Twenty Nine Ways (6:13)
09. John Littlejohn - So Glad You're Mine (4:13)
10. John Littlejohn - All I Want (2:48)
11. John Littlejohn - Dream, Pt. 2 (6:39)
12. John Littlejohn - All Your Love (6:26)
13. John Littlejohn - Sunny Road (7:46)

CD 6:
01. Magic Slim - Buddy Buddy Friend (4:25)
02. Magic Slim - You Upset Me Baby (3:45)
03. Magic Slim - Born Down The Bridge (6:30)
04. Magic Slim - Rock Me Baby (5:02)
05. Magic Slim - Tell Me Baby (2:52)
06. Magic Slim - Jumpin' At Ma Bea's (4:56)
07. Magic Slim - I Don't Got Over (5:22)
08. Magic Slim - Tramp (6:04)
09. Magic Slim - Josephine's (4:49)
10. Magic Slim - As The Years Go Passing By (6:04)
11. Magic Slim - Everything Gonna Be Alright (5:02)
12. Magic Slim - Mary Lou (5:31)

CD 7:
01. The Aces - Rock Me Baby (4:25)
02. The Aces - You're The One (3:08)
03. The Aces - Baby What You Want Me To Do (4:04)
04. The Aces - Someday Baby (3:41)
05. The Aces - Off The Wall (4:24)
06. The Aces - Bobby's Rock (4:16)
07. The Aces - Kansas City (4:51)
08. The Aces - Honky Tonk (4:50)
09. The Aces - Don't Throw Your Love On Me (3:45)
10. The Aces - C.C. Rider (4:07)
11. The Aces - Sweet Home Chicago (2:49)
12. The Aces - Hide Away (5:05)
13. The Aces - Tribute To Little Walter (1:54)
14. The Aces - The Ace's Shuffle (3:09)
15. The Aces - Blues With A Feeling (3:42)
16. The Aces - Honky Tonk, Pt. 2 (5:01)

CD 8:
01. Willie Kent - I'm Not The Same Person (5:42)
02. Willie Kent - Ghetto (7:43)
03. Willie Kent - Dust My Broom (3:55)
04. Willie Kent - Chili Con Carne (3:08)
05. Willie Kent - Blue Guitar (5:26)
06. Willie Kent - Bobby's Rock (4:06)
07. Willie Kent - Sweet Home Chicago (2:54)
08. Willie Kent - Tell Him He Got To Go (4:17)
09. Willie Kent - Chicken Shack (4:10)
10. Willie Kent - 19 Years Old, Pt. 2 (3:44)
11. Willie Kent - I Love The Woman (4:44)
12. Willie Kent - You Know I Love You (5:13)

After the popularity of Storyville’s first best-selling boxed set of Chicago blues recordings, we’re delighted to present another outstanding 8 CD collection from the vaults of MCM Records. As in the first boxed set, the live atmosphere of these unedited performances shines through, revealing the true ambiance of the Chicago Blues club scene in the mid-1970s, as well as the individuals whose talents MCM Records would preserve. They captured an authenticity that rarely surfaced on the major label recordings that some of these artists made.

MCM was a labour of love by a young French woman, Marcelle Chailleux, and her future husband Jacques Morgantini. In the 1950's Jacques had brought the likes of Big Bill Broonzy, Muddy Waters and John Lee Hooker to Europe to appear at his French hometown event - a dedicated Chicago blues festival - but it was recent blues convert Marcelle who travelled to Chicago in the mid-1970s to record a unique collection of live performances.

Some of the performances presented here were by men who would become giants of the blues; others were by talented artists who never found wider fame and whose MCM recordings remain the only surviving evidence of their talent.

In this superb collection, you will find rare tracks by Eddie Taylor, Big Mojo Elem, Andrew “Blueblood” McMahon, Big Voice Odom, Hip Lankchan, Eddie Clearwater, Jimmy Dawkins, Jimmy Johnson, Magic Slim, John Littlejohn, Bobby King and The Aces. The recordings stem from famous Chicago blues venues Ma Bea’s, the Golden Slipper and Big Duke’s. Marcelle was only just in time to capture the genuine feel and sound of those old-time clubs before they disappeared. Jimmy Dawkins, bluesman par excellence, was her guide to the 1975 Chicago blues scene, and has said: “It was natural and ‘for real’ without over-preparation. You get the feeling of the room, the music, the audience, and the blues. It was the real thing. Places like Ma Bea’s and the old Golden Slipper are all gone now.” Jacques Morgantini writes in the liner notes: “These records capture the music that was played in the clubs at that time, the real Chicago blues sound! And that was exactly what Marcelle wanted: to give those musicians a chance to get themselves better known”.

The Chicago Blues Box 2 Vol. 1
The Chicago Blues Box 2 Vol. 2
The Chicago Blues Box 2 Vol. 3
The Chicago Blues Box 2 Vol. 4
The Chicago Blues Box 2 Vol. 5
The Chicago Blues Box 2 Vol. 6
The Chicago Blues Box 2 Vol. 7
The Chicago Blues Box 2 Vol. 8

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Peps Persson - The Week Peps Came To Chicago (2 CD Edition)

Peps Persson was probably the most important artist in introducing blues to Sweden in the late '60s and early '70s. Since then he has had a reputation of being mainly a blues artist, but his discography shows a much wider range, including Afro-pop, reggae, R&B, and folk. Peps Persson is most easily recognized by his full and trembling voice, and his extreme deep south (Swedish) dialect that gives him a wide selection of words and rhymes. In a peculiar way it also helps him to adapt Swedish to blues music, a thing not many have mastered. In 1966, Peps Persson formed the group Downbeat Crowd and released a cover of Muddy Waters' "Got My Mojo Working" as a single.

The first LP, Blues Connection, was released 1968 on Gazell and the name of the band was now Linkin' Louisiana Peps. The coming few records were released on Sonet, a label he would keep to for most of his career, and followed a traditional blues and R&B formula. The Week Peps Came to Chicago was recorded in Chicago 1972 with Sunnyland Slim, Carey Bell, Mighty Joe Young, The Aces and Jimmy Dawkins.

Album: The Week Peps Came To Chicago
Year: 1972/2005
Bitrate: MP3@320K/s
Time: 52:25 + 50:38
Size: 120,8 + 116,8 MB
Styles: Chicago blues, harmonica blues
Scans: Full

CD 1:
1. Apollo 15 (2:30)
2. You're A Part Of It (3:11)
3. There's Tears In Your Eyes (4:49)
4. Your Loving Eases My Load (2:44)
5. Carey Bell's Blues (5:24)
6. There's Tears In Your Eyes (Alternate Take) (6:30)
7. Born In The Country (3:10)
8. Five O'Clock In The Morning (4:32)
9. Jump (2:49)
10. The War Is Over (3:51)
11. Mighty Joe (4:12)
12. Born In The Country (Alternate Take) (3:35)
13. Mighty Joe (Alternate Take) (5:02)

CD 1 tracks 1-6: With Sunnyland Slim & Carey Bell
CD 1 Tracks 7-13: With Mighty Joe Young's Band

CD 2:
1. The Way You Touch Me (3:03)
2. My Friend Needs A Shot (5:13)
3. Peps' Thing (3:14)
4. Gypsy Woman (3:02)
5. Slidin' To Sweden (3:50)
6. The Way You Touch Me (Alternate Take) (3:45)
7. Gypsy Woman (Alternate Take) (3:30)
8. If There's A Train (3:35)
9. Key To The Highway (3:00)
10. Last Night (4:58)
11. Going Back To The Country (3:37)
12. If There's A Train (Alternate Take) (3:27)
13. Key To The Highway (Alternate Take) (3:00)
14. Going Back To The Country (Alternate Take) (3:18)

CD 2 tracks 1-7: With The Aces
CD 2 tracks 8-14: With Jimmy "Fast Fingers" Dawkins And His Band

(For further information on the musicians playing, see the booklet liner notes.)

The Week Peps Came To Chicago (2 CD) mc
The Week Peps Came To Chicago (2 CD) zippy

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Various - Blues Society Of Central Pennsylvania: In Our Backyard

Bitrate: MP3@320K/s
Time: 65:50
Size: 150.7 MB
Styles: Electric blues
Year: 2005
Art: Front

[4:34] 1. Flatfoot Sam - Come On To My Place
[5:03] 2. Big Mitch Ivanoff - Goodbye Baby
[3:42] 3. Slaughterhouse Blues - One Too Many
[2:48] 4. Automatic Slim - John Hurt
[3:39] 5. Mark Santanna - Easier Way
[3:48] 6. Nate Myers & The Aces - Porch Light
[3:01] 7. Gary Harrington - The Girl Can Cook
[4:11] 8. Reggie Wayne Morris - Rocket Science
[2:33] 9. Mike Easton - Deep Water Stomp
[5:18] 10. Roger 'hurricane' Wilson - Tribute To Danny
[2:36] 11. Mark Santanna - Hey Baby
[4:30] 12. Blind Joe Death - Bricks In My Pillow
[4:08] 13. Automatic Slim - 3 Kings
[2:11] 14. Blind Joe Death - Sowing Wild Oats
[4:42] 15. B Block Blues Band - Journey's End
[6:59] 16. Roger 'hurricane' Wilson - Just One More White Boy Singing The Blues
[2:01] 17. Eli Charleston - Champagne Charlie Is My Name

Ask an old-time musician and he’ll likely tell you that the blues is a “feeling.” Ask a musicologist and you might hear something about the “12-bar” blues. Ask a contemporary blues performer and you might still hear about 12 bars, but now more in terms of where and how often they play in the span of a good week or two. This collection is a tribute to the working blues musicians of South Central Pennsylvania who crisscross the Mason-Dixon line on a regular basis playing the circuit of bars, hotels, clubs, and showrooms that run from Harrisburg to Philly, straight south to Baltimore, down to Washington, D.C., and back around again.

The blues started working its way out of the South in the 1920s riding on the backs of itinerant musicians and spreading even further via phonograph records and radio. Blues music that “began as an expression of African Americans’ rural southern experience,” writes the nation’s leading blues scholar, David Evans (who has, by the way, family ties in Harrisburg), “migrated to the urban north” and evolved in myriad directions, though always maintaining its essential character as an “intensely personal music.” As you listen to the tracks on this CD, you’ll experience blues across a range of eras and genres, a true reflection of the best players and the kinds of blues popular in Harrisburg’s own backyard. Acoustic ragtime, Piedmont and Mississippi Delta, Chicago blues, full-tilt boogie, soul and gospel blues, Texas jump, swamp blues '" it’s all here, ingredients in the quintessential South Central Pennsylvania blues mixture.

“The standard misconception about the blues is that it's sitting-around, crying-in-your-beer music," says Mitch Ivanoff of Krypton City Blues Revue. “It is quite the antithesis of that... It's about sharing in the human experience and the joy of knowing you're not alone in this world...Blues is about life, and we're all living it." So, with ace bass-player and producing whiz Harry Werner at the helm, drop this “coin” into the slot and take a ride on the South Central blues line. ~Jerry Zolten

Blues Society Of Central Pennsylvania: In Our Backyard mc
Blues Society Of Central Pennsylvania: In Our Backyard zippy

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Various - Ridin' Blues: 20 Rhythm & Blues To Ride Along With

Bitrate: MP3@320K/s
Time: 62:22
Size: 142.8 MB
Styles: Electric blues, Jump blues
Year: 2013
Art: Front

[4:24] 1. Mitch Woods, The Lazy Jumpers - Boom Boom
[2:19] 2. Little Rachel, The Lazy Jumpers - Keep On Movin'
[3:13] 3. The Lazy Jumpers - I'm Gonna Tell My Mamma
[2:43] 4. Gene Taylor - Rockin' Little Honey
[3:28] 5. T-Bear And The Dukes Of Rhythm - Please Love Me
[3:43] 6. The Aces - Need Your Lovin'
[2:43] 7. Laura B And The Moonlighters - Beer Bottle Boogie
[2:51] 8. The Slammers Maximum Jive Band - Boogie Woogie Country Girl
[4:22] 9. C.C. Jerome's Jetsetters - Sugarbee
[2:50] 10. The Hi-Tones - I'm Walkin' Out
[4:13] 11. Little Victor - Blind Man Boogie
[3:54] 12. The Wise Guyz - Moovin' & Groovin'
[2:40] 13. Mitch Woods, The Lazy Jumpers - Saturday Night Boogie Woogie Man
[2:44] 14. The Lazy Jumpers - Hand Shake Blues
[2:32] 15. Gene Taylor - Motorhead Baby
[2:21] 16. Laura B And The Moonlighters - Jump Jack Jump
[3:06] 17. Little Rachel - Take This Love And Bury It
[2:53] 18. C.C. Jerome's Jetsetters - I'm In Love With You
[1:48] 19. Help Me Devil, Mario Cobo - How Come
[3:26] 20. Little Victor - Goin' Back To Memphis

Ridin' Blues: 20 Rhythm & Blues To Ride Along With mc
Ridin' Blues: 20 Rhythm & Blues To Ride Along With zippy

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Lefthand Freddy & The Aces - Blue Tonight

Bitrate: 320K/s
Time: 59:07
Size: 135.4 MB
Styles: Electric blues
Year: 1994
Art: Front

[4:23] 1. Slidin' Turtle
[2:53] 2. Waisting Time
[5:15] 3. Tlc Blues
[3:52] 4. Keep My Cool
[3:36] 5. Blue Tonight
[5:20] 6. For So Long
[3:59] 7. Tell Me Woman
[2:44] 8. Too Much Preachin'
[3:08] 9. My Blues Keeps Rollin' On
[5:01] 10. Have A Right To Love
[2:51] 11. Blues For Nothing
[3:20] 12. Stumble And Fall
[5:02] 13. Blues In A Room
[4:03] 14. Oh Loretta!
[3:33] 15. Coldest Woman, Fastest Man In Town

Lefthand Freddy (vocals, guitar), André van der Werf (bass, vocals), Hans Waterman (drums), Berend "boogie B" Reining (guitar).

Lefthand Freddy has by now become an institute in Holland but also abroad considering the many international praises in the foreign media. With a record contract in hand the 3 piece band was formed in 1992.Their first cd “Buried in blues” met with good reviews right from the start.

Second cd “Blue Tonight ” was applauded even more, (leading music magazine) Oor dropped the following lines: This much praised band does not rehash worn out classics but write their own intimate songs. Songs in which they fuse, in a very personal style, the boogie spirit of John Lee Hooker with the lazy backbeat of Jimmy Reed .

Blue Tonight mc
Blue Tonight zippy

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The Aces - Chicago Beat 1970-1973

Bitrate: 320K/s
Time: 60:58
Size: 139.6 MB
Styles: Chicago blues
Year: 2008
Art: Front

[2:47] 1. Tell Me Mama
[3:56] 2. Hoo-Doo Man
[3:14] 3. Take A Little Walk With Me
[3:28] 4. Whole Lot Lovin'
[3:37] 5. Got My Mojo Working
[2:51] 6. Aces' Shuffle-Take 3
[5:15] 7. Blues For Marcelle-Take 2
[6:02] 8. Kansas City
[4:07] 9. Early In The Morning
[4:12] 10. Money, Marbles And Chalk
[4:53] 11. Route 66
[3:36] 12. Blue Shadows
[3:20] 13. Wee Wee Baby
[2:40] 14. Fannie Mae
[3:53] 15. Aces' Shuffle-Take 2
[3:00] 16. Stop, Stop, Stop

Recording information: Bordeaux, France (12/04/1970-12/15/1973); Condorcet Studio, Toulouse, France (12/04/1970-12/15/1973). Louis Myers (vocals, guitar, harmonica); Fred Below (vocals, drums); Eddie Taylor, Jimmy Rogers , Mickey Baker (guitar); Willie Mabon (piano).

The Aces were primarily a backing band for other Chicago blues heavyweights, so it's nice to get a collection of them playing by themselves. This is super-tight, expertly played Chicago blues that any fan of the genre will love.

Chicago Beat 1970-1973 mc
Chicago Beat 1970-1973 zippy

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The Aces - No One Rides For Free

Bitrate: 320K/s
Time: 44:11
Size: 101.1 MB
Styles: Electric blues
Year: 2009
Art: Full

[4:04] 1. You're Gonna Lose
[4:05] 2. Stole Something From Me
[2:49] 3. Shed Some Light On Me
[5:07] 4. Knee Deep In Mud
[6:06] 5. Drinkin' Song
[3:47] 6. Need Your Lovin'
[5:18] 7. Down In The Cave
[4:05] 8. Mr Highway Man
[4:15] 9. House On The Hill
[4:31] 10. Kanka Kanka

Formed in 2000, The Aces have attitude and a different idea of how to play Blues. They reduce the Blues to pounding riffs and a distorted wall of sound topped by wailing harp. They were among the first to absorb and recast the drone riff-based Hill Country Blues style, and The Aces do that their own way.

They write their own songs (they do very few covers). They have their own slicked back greased hair in a wind tunnel look attached to a permanent sneer and a pushy stage presence. Those that might think of punk trance blues as something endlessly repeating a melodic line are in for a rhythmic pounding when the Aces get on stage.

The Aces start with Mike "Junk Johnson" Gutsch on drums with a unique style of simple drumming. His drums are arranged differently than other drummers. The cymbals are way low. The result with the Aces is a relentless pounding style that very much works right on the basic riff being played--and right into your skull. The rhythm guitarist who really plays bass for the Aces --sort of like Brewer Phillips used to do for Hound Dog Taylor. He uses a low toned Telecaster for this like Brewer did.

Derek Irving had and has that slick guitar-star-on-stage-with-asharp-suit persona and a passel of custom guitars. Girls smile at Derek. Derek smiles back. Derek has the stage front of the guitar hero down pat. He actually plays a lot of very old time traditional blues licks in a slick lead guitar manner. He pounds you while looking like its sparkle show time.

Fronting all this is six foot two Sky O’Banion, with his out thrust jaw and slick blonde pompadour. Sky dares you not to like it. His tall massive stage presence is almost patented “chip on the shoulder” stuff. Sky writes or maybe improvises all the song lyrics. It’s hard to tell, as he more than most harp players prefers to sing a lot through his harp mic. Sometimes he’ll sing through both the harp mic and the house mic at the same time. When you do catch the words it’s a stream of consciousness about very bluesy topics like growing up poor and living out on farm roads and how bad women are and other fine stuff. Sometimes it seems to be Jack Kerouac poetry.

It’s really good to see The Aces in control of their own destiny. Nobody sounds like them, and nobody has their whole conception of the blues. It’s blues all the way; it just has an edge and focus that isn’t like bar bands. They aren’t generic. ~Rolf Olmsted, Sonoma Tunes

thank you mrwalker.
No One Rides For Free mc
No One Rides For Free zippy

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