Me & Willy - Going to Louisiana

File: MP3 @ 320K/s
Time: 54:58
Size: 125.8 MB
Released: 2006
Styles: Roots, Acoustic delta blues
Art: Front

1. Going to Louisiana (3:03)
2. Wasn’t Born in the Delta (5:44)
3. Rockin’ Blues (4:23)
4. Mississippi Mama (4:01)
5. Rock of Love (4:25)
6. Mudslide (4:41)
7. Like Muddy Waters (5:57)
8. Red Hot Mama (2:20)
9. Cat House Mama (5:25)
10. If That’s What Love Is (7:08)
11. Get Down Mama (4:08)
12. Spread the Word (3:37)

Cleveland recording artist Willy Earle is a singer and songwriter cut from the same cloth as the early delta blues players. Some of Willy's original recordings include Going to Louisiana, Mississippi Mama, and Blue Highway. Willy performs his compositions on a resonator guitar with a harmonica, borrowing heavily from the tradition of Son House, Charlie Patton and Robert Johnson. Pat Winfield joined 'Lonesome' Willy in 2000 with rhythm guitar, vocals, washtub bass and her own style of bluegrass and folk. This fun, eclectic duo became known as 'Me and Willy'. The two are frequently joined by ad hoc members adding harmonies, congas, bass and more.

Going to Louisiana

---

Markus James - Calabash Blues

File: MP3 @ 320K/s
Time: 44:48
Size: 102,6 MB
Released: 2005
Styles: Roots, Delta Blues
Art: Full

1. Come Around (3:28)
2. Need A Believer (4:28)
3. Other Side Of The World (3:56)
4. Jump Up And Fly - Mone (2:33)
5. Wakin Up At Midnight - Ebina (3:29)
6. One Drop (1:42)
7. Dream After Dream (For Skip James) (3:37)
8. Wabissimila (2:53)
9. Nightbird (5:39)
10. Far As I Can Run - Majirica Sambe (3:03)
11. In The Shadows (3:04)
12. Sun Is Rising (3:20)
13. Way To Go (3:29)

Calabash Blues features 7 new songs alongside 6 tracks from the Nightbird* and Timbuktoubab** albums: all original Blues-based songs, including tributes to Blues legends Skip James and Howlin Wolf, with each song featuring the traditional sound and rhythms of the calabash, recorded by Malian master musicians at the source of the ancient roots of Blues music.
Featuring Calabash master Hamma Sankare, who played Calabash on Grammy-winning Malian Bluesman ALI FARKA TOURE's legendary albums and tours.
* "A vital mix of the Mississippi Delta and Mali, a cultural exchange of haunting beauty and mystery." ---BLUES REVUE MAGAZINE
** "haunting music that conjures the very soul of the Sahara. James evokes the spirit of the blues in these tracks, connecting with a vibe that's as ancient as Timbuktu itself." ---BILLBOARD MAGAZINE

Calabash Blues

---

Geoff & Maria Muldaur - Sweet Potatoes

File: MP3 @ 320K/s
Time: 40:59
Size: 96.2 MB
Released: 1972, CD in 2008
Styles: Roots, Folk
Art: Front

1. Blue Railroad Train (3:01)
2. Havana Moon (4:52)
3. Lazybones (4:49)
4. Cordelia (3:57)
5. Dardanella (4:31)
6. I'm Rich (5:10)
7. Sweet Potatoes (2:07)
8. Kneein' Me (3:23)
9. Lover Man (4:07)
10. Hard Time Killin' Floor (4:57)

While at Cambridge, MA, Maria Muldaur joined the Jim Kweskin Jug Band and began an affair with singer Geoff Muldaur; the couple eventually married and had a daughter, Jenni, who would later become a singer in her own right. When the Kweskin band broke up in 1968, the couple stayed Amo with their label (Reprise) and began recording together as Geoff & Maria Muldaur. They moved to Woodstock, NY, to take advantage of the burgeoning music scene there and issued two albums -- 1970's Pottery Pie and 1971's Sweet Potatoes -- before Geoff departed in 1972 to form Better Days with Paul Butterfield, a move that signaled not only the end of the couple's musical partnership, but their marriage as well.

Geoff Muldaur (Vocals, Piano, Guitar, Luzan, Organ, Horns);
Maria Muldaur (Vocals, Tambourine);
Amos Garrett (Electric Guitar, Trombone, Vocal on track 3);
Bill Keith (Pedal Steel);
Billy Mundi (Drums, Luzan, Percussions);
John Kahn (Bass);
GUESTS
Paul Butterfield (Harmonica);
Jeff Gutcheon (Piano);
Bobby Notkoff (Violin);
Trevor Lawrence (Bariton Sax);
Peter Ecklund (Trumpet);
Gene Dinwiddie (Tenor Sax);
Munc Blackburn (Alto Sax);
Junior Turlock (Bass);
Stu Brotman (Bowed Bass, Bass Trombone);
Billy Wolf (Bass on track 10);

Sweet Potatoes

---

Brian Fraser Trio - Passing the Time

Size: 104.7 MB
Time: 45:43
File: MP3 @ 320K/s
Released: 2008
Styles: Roots, Acoustic blues
Art: Front

1. If the Cap Fits (2:56)
2. Backwood Town (3:38)
3. Nobody's Fault But Mine (3:28)
4. New England Highway (3:35)
5. Thredbo (2:48)
6. Against the Wall (3:13)
7. Passing the Time (2:42)
8. Afi (2:54)
9. Can't Judge a Book (3:08)
10. Ain't No Love (3:43)
11. Guitar Rag (2:50)
12. One Eye on the Mountain (2:53)
13. No One's Coming Home (4:28)
14. Albatross (3:20)

Brian Fraser’s fourth album Passing The Time heralds a new band and a new sound. Fraser’s trio incorporates harmonica, percussion, lap slide guitar and didgeridoo. The result is his best work to date. The Brian Fraser Trio weave their music around ancient tribal rhythms. The album finds Geelong-based Fraser moving away from his traditional fingerpicking technique to embrace the slide steel guitar, his style suggesting that of 1920s Bluesman Blind Willie Johnson.

Mick Reid, on harmonica and backing vocals, hails from Boston, USA and has 20 years of blues harmonica experience behind him. Benny Owen, on percussion, didgeridoo and backing vocals, has previously toured with Blues legend Matt Corcoran and has performed with Ash Grunwald.

“The addition of lap slide guitar, percussion, harmonica and three vocalists has added a depth to my music that’s exceeded my expectations,” says Fraser. “It’s rare to find musicians who complement my music so well. Benny is simply ferocious on percussion and Mick’s playing creates a haunting atmosphere,” says Fraser.Passing The Time is drenched in dark, pensive tones absent in his previous work. A rendition of Bobby Blue Bland’s Ain’t No Love laments a cold and brutal world. Back Up Against The Wall paints a portrait of a life going nowhere. Fraser’s version of Blind Willie Johnson’s Nobody’s Fault But Mine is a tense glimpse at religious paranoia. The Cap Fits and Bo Diddley’s Can’t Judge A Book By Its Cover injects the album with buoyant pearls of wisdom. The album’s finale, No one’s Coming Home, is a cathartic release of nervous tension.

Passing the Time

---