Pop & Rock Новости

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

Another monster from the Excello stable and overlooked in the club scene for too long. One of my favorites from Mr. Harpo

Raucous 60’s R’n’B monster obscurity and killer dance tune. Super rare on original pressing

A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is set for release on
19th July via Night Time Stories / Late night Tales
An avid collector of jazz, blues, soul, funk, reggae, and all things in-between; Ash has DJed far and wide... from the infamous
Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA.

Limited Edition, Picture Disc 

Given her extensive and varied recording catalog, if you're looking for a place to explore the talents of the late Nina Simone, then 1965's I Put a Spell On You is a great place to dip your toes - particular if you want to start with her more pop oriented sides.
The set features a truly eclectic mixture including stabs at jazz (the instrumental "Blues On Purpose"), R&B (the title track), French chanson ("Ne Me Quitte Pas") and a number of show tunes.

The LP release of the Original Motion Picture Soundtrack to "Yesterday"- Yesterday, directed by Danny Boyle, screenplay by Richard Curtis, story by Jack Barth and Richard Curtis, produced by Tim Bevan, Eric Fellner, Bernie Bellew, Matthew James Wilkinson, Richard Curtis, Danny Boyle. Yesterday, everyone knew The Beatles. Today, only Jack remembers their songs. He’s about to become a very big deal. From Academy Award®-winning director Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later) and Richard Curtis, the Oscar-nominated screenwriter of Four Weddings and a Funeral, Love Actually and Notting Hill, comes a rock-n-roll comedy about music, dreams, friendship, and the long and winding road that leads to the love of your life. 4 star reviews across the board for the film with Empire saying "A glowing tribute to The Beatles and their music, this is both a toe-tapping pleasure to watch and a smart, occasionally scathing look at how we get things wrong."

Another first-time-on-vinyl release from Koko, Ballads For Bass Clarinet (previously a Japan-only CD) comprises a couple of waltzes, a blues, a Monk-ish suite-like piece, a free-ish drums and clarinet interlude, and finally an elegy to civil rights leader Fannie Lou Hamer.

David Murray leads on bass clarinet, managing to go both deep and soaringly high; it sometimes sounds like two different instruments are being played. Backed by John Hicks (piano), Ray Drummond (bass) and Idris Muhammad (drums), Murray’s quartet is tight and the recording superb, with a warm and intimate sound.

Highly recommended.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

Let it be Latin, Soul Reggae, Cumbia, Samba or music from
the Balkans, Mo'Horizons are cultural travellers and feel at home where music
is alive. Over the years the duo toured the world. For "music sun love" they re-
reconnected with a lot of the musicians they met on their ongoing journey.



The list of international guests is endless. "Gypsy
Ghetto Feel" gets a groovy boost by percussionist Elvis Aljus aka "Gypsy Brown"
who is an integral member of Australian funk favourites The Bamboos' rhythm section
and often joins Mo'Horizons when they tour down under. Noam Bar returns for the
vocal part, adding a cross cultural soul feeling to this Israeli-Australian
groove venture. "Inner Melody" closes "music sun love" in style. It is an
unreleased Mo'Horizons remix of the Reggae original by Greek DJ colleague Palov
turned into a very Sixties sounding club track. "With 'music sun love' we feel
totally re-freshed." Indeed: Mo'Horizons are back in the game.

Well-known bluesman and one-time Oklahoman Bill Homans, known in the blues world as “Watermelon Slim” and known by ’70s rare psychedelic vinyl collectors as “Merry Airbrakes” found work as forklift driver, funeral officiator, small-time criminal, newspaper reporter, saw miller, and truck driver for industrial waste among others. In 1979, Slim and a friend came to Oklahoma and wound up in Pushmataha County, where he bought a piece of land and took up watermelon farming. That vocation didn’t last, but the nickname he got doing it did.

It was in Vietnam, while laid up by an extended illness at a Cam Ranh Bay hospital, that Homans negotiated in French the five dollar purchase of his first guitar from a “papasan” in a tiny commissary on the hospital grounds. “It was the nastiest old guitar you ever saw, but it did have all six strings on it,” he said. There, with a Zippo lighter and a broken shard of a coffee can top, he began to teach himself to play his unique, backwards style of bottleneck slide. After returning stateside he would join the ranks of Vietnam Veterans Against the War (VVAW), and in 1973 recorded with his brother and friends an LP titled Merry Airbrakes, a protest album he categorized as “psychedelic folk.” A cut from that record eventually appeared on a Country Joe McDonald compilation of music by Vietnam veterans. However, his music career would soon tank. A brief career in petty crime ensued, which he would forsake by 1978.

What is an underground album? Some people would say that it is one which has been produced outside, or in spite, of the music industry, whether or not it has prospered. This album, Merry Airbrakes, has incontrovertible underground credentials. This may be one of the only albums one can hear by a Vietnam veteran, and aside from certain American bluesmen, John Prine, and a literal handful of others, American music has never addressed the Vietnam War and its effects. Certainly it is the only place one can ever hear a song from the Vietnamese point of view.

The second volume of Water and Rock Music by British guitarist Jon Collin is another solid gambol in the outdoors. For much of this it sounds almost as though Mr. Collin is wearing a pair of hip waders and is up to his ass in a stream, casting for notes the way Hemingway casted for trout. His string bending recalls Loren Connors at points, but he has a manual approach to filigree Loren has never displayed. Notes bend and hovers, but they also flutter, and the combination of sounds is not quite like anything that’s preceded it.

Some listeners have noted that the environmental sounds put them in mind of New Age string pluckers, but Collin’s compositions do not fall into the trap of needing to resolve melodic quandaries, or making gestures that chase after standard forms of beauty. Jon’s music works as a series of comments on sound and questions about the physical space in which it’s created, but like any good philosopher he knows when to leave a sense of mystery hanging in the air.

There is plenty of sweetness to the playing here, whether he’s strolling through a playground, standing in the middle of a busy street, or sitting the the flight path of an airport. The music never seems dictated by the background sounds, so much as it encourages us to consider every part of the sonic construction to be heard as music (in the Cage-ian sense). The elements become a part of the greater whole in a seamless way. And the closer you listen the more that becomes clear.

I am still most struck by (at least what sounds like) the “stream” sequences. But that’s just because I really like the visuals it conjures up. You may find different personal sweet spots. But find them you will.

Water and Rock Music Volume II is a truly ear-opening spin.

-Byron Coley, 2019

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

The great Bassist and band leader Charles Mingus cut some of his most exciting and rewarding recordings in 1960. Taped during the apex of Mingus' creativity, shortly after masterstroke Mingus Ah Um, just before his brilliant Oh Yeah, and in the same year as the classic Blues & Roots, this incredible session showcase such stars as Eric Dolphy, Roy Eldridge, and Tommy Flanagan. Mingus' arrangements are, as always, top notch with an unparalleled understanding of space and melody, and the playing is without doubt up to his standards. Mingus is one of the greatest jazz minds of the 20th Century and these sessions are another fine example of his genius.

Clubhouse Records are set to release Here There's No Sirens the debut solo album from Case Hardin frontman Pete Gow on April 5th. Long regarded as one of the UK's finest songwriters, Gow delivers an album rich in songwriting prowess and full of evocative imagery. A storyteller at heart, Gow conjures up a modern day classic that entwines itself around your heart whilst penetrating the soul, underlining his reputation whilst stretching the band confines into new pastures. Awash with strings and piano, Here There's No Sirens is undoubtedly Gow's boldest endeavor.

The album was produced by Joe Bennett (Bennett Wilson Poole) at Farm Music Studios in Oxfordshire.

Pete ''I asked Joe to make this sound unlike any record I had previously made, so listeners can be assured they are hearing something uniquely different.Joe was the perfect foil..he politely appeared to tolerate that ridiculous mandate''

Case Hardin are one of the UK's most loved Americana bands & have played festivals such as C2C, Truck, Maverick and Wood. Their last album Colours Simple was described as a ''rock masterclass'' by Q Magazine, an ''album lovers album'' by Mojo whilst No Depression relished its ''ambitious, headstrong and no holds barred'' approach.

Reviews confirmed to run in RNR, Maverick, AUK, Beat Surrender, Rocking Magpie & Lonesome Highway

Intended as the sequel to Muddy Waters' and Willie Dixon's 1954 hit Hootchie Cootchie Man and simultaneously as the response to Bo Diddley's 1955 groover I'm A Man, the A-side Manish Boyitself has since become a blues standard, covered by anyone from Erykah Badu to The Band.

Auf diesem 1976er Live-Album nehmen die Brüder Edgar
und Johnny Winter das Publikum mit auf einer Reise durch
die Geschichte des Rocks. Highlights sind Songs wie Soul
Man, You've Lost That Lovin' Feeling und Harlem Shuffle.

Leo Bud Welch, the deceased delta bluesman, spent his life honing his musical craft. The Mississippi native and 30-year lumberjack performed as a gospel singer in his small hometown for years before he made his first record when he was in his seventies. The influence of the region he called home, his years of musicianship, and his welllived life blended together to create music that is as unique as he is. The album was produced by Dan Auerbach at his Easy Eye Sound studios in Nashville just before Leo's death December 2017. On this album, we salute Leo Bud Welch of Sabougla, Mississippi and his gospel-soul-blues singing soul. We do hope you enjoy it as much as we enjoyed making it. It was an honor to work alongside Bud during the recording sessions - to have an opportunity to learn directly from the source is an experience that becomes rarer with each passing year. Bud shared with us the songs that he's been signing his entire life, some that are older than the Delta itself. We sure do wish he was here today so we could personally hand him a copy of this record, but at the same time we're pretty sure he's happy right where he is - surely after a long life spent praising His holy name, Bud now has it made-in-the-shade in the sweet hereafter. I bet he's got a mansion all to himself up there. Thank you, Bud. -Yours Dreamily, Dan Auerbach

The term 'blues' doesn't cover what Bjorn Berge is all about - it's also raw rock, influenced by a wide variety of music styles. He's got a voice like gravel and broken glass, and those who have seen this medicine man of

music on stage, know to rate him as one of our greatest guitarists. As a true performer and virtuoso of the twelve-string guitar, his music is free. We're used to see and listen to him simply armed with his guitar and

his stomping right foot, but on his new album he takes us in a new direction. On 'Who else' he's accompanied by an exceptional band, which brings a new dimension and an expanded sound scape to his music. The material is

essentially self-written, and doesn't lack either energy or dynamics Bjorn Berge is a relatively well-known name for many after almost 20 years as a solo artist. He has made countless recordings, received two Norwegian

Grammy Awards and traveled around the world playing the last 12 years. He has visited a number of guitar, jazz and rock festivals and clubs in countries such as Belgium, Canada, Denmark, England, France, The Netherlands, Russia,

Switzerland, Germany Ukraine and the United States. Personnel: Bjorn Berge - vocals, guitars Kjetil Ulland - Bass Odin Staveland, Kim Christer Hylland, Vidar Støyva - Drums Dagny Christophersen - backing vocals.

Eric Schenkman, founding guitar player for the Spin Doctors, is a vital songwriter and virtuoso guitarist who both crafted the 90s band and cowrote all five of their Top 100 hits. His self-produced third solo album, Who

Shot John, showcases the many sides of Eric Schenkman from raw, rockin blues to funk/soul/pop. With its elemental lineup of guitar, bass and drums, and songs that seldom stray beyond three chords, its radio-friendly and familiar enough to draw listeners in.

After that, the complexities reveal themselves. The proof is in the beats, in the intimacy of those late nights on the stage and through every moment of Who Shot John Schenkman nailed the grooves with long time pals, drummers Van

Romaine (Enrique Iglesias) and Cody Dickinson (North Mississippi Allstars) and co-producer/bassist Shawn Kellerman (Lucky Peterson), working in studios in Newark, NJ, Kitchener, NY and Memphis, TN.

The blistering performances collected on Meena Cryle & The Chris Fillmore Band - In Concert span their gigs at clubs, theatres and festivals from the past 18 months of non-stop touring. Early listeners have called this the

band's best work yet. Their three highly successful releases on german top Blues label 'Ruf Records', extensive tours in Europe and USA, as well as recent highlights like a sold-out show at the Vienna Opera House or their performance at the 'Peer Blues

Festival' (together with acts like Buddy Guy, Walter Trout, ...) prove their stand in today's roots music scene. Producer legend Jim Gaines (Stevie Ray Vaughan, John Lee Hooker, Santana,...)

once praised Cryle as 'one of the best singers I've worked with in 20 years. She is what we call in the business an 'old soul'. She's got the voice and she's got the passion...'

There is an inherent magic that occurs when Meena Cryle & Chris Fillmore take the stage each night. It is an organic, spontaneous, and almost mystical experience to witness. That magic is now also available on VINYL!

Skip James was a Delta blues enigma, whose mesmerizing guitar playing and haunting voice produced bluer than blue masterpieces. This beautifully re-mastered collection of his seminal 1931 recordings

shows why his otherworldly blues cast its spell on many blues greats from Robert Johnson to Eric Clapton. Arguably the greatest of the original Delta blues guitarists with his

mesmerizing and truly unique style. Highlighting his diverse repertoire of songs ranging from deep, dark Delta blues to upbeat barrelhouse piano tunes and spirituals.

Queen of Funk und 10-fache Grammy-Gewinnerin Chaka Khan ist zurück! Mit - Like Sugar' sorgte sie
für eines der größten Club-Anthems des vergangenen Jahres und begeisterte selbst DJ-Größen
wie Mark Ronson und The Magician. Pünktlich zu Beginn des neuen Jahres erschien ihre neue Single
- Hello Happiness', mit der sie nicht nur ihre gnadenlose Stimmgewalt, sondern auch den angesagten
Funk-Groove der 70er-Jahre zurück auf die Tanzfläche bringt.
Am 15. Februar erscheint nun Chaka Khans neues Album - Hello Happiness' - ihr erstes Album seit 12
Jahren! Das komplette Album wurde, wie auch schon die beiden Singles, von Major
Lazer-Gründungsmitglied Switch produziert, der Chaka Khans unumstrittenen Funk-Glam in ein
modernes Soundgewand packt und dabei für Tanzlaune sorgt.
Chaka Khan begeisterte in den 70er-Jahren mit Funk-Band Rufus und Hits wie - Ain't Nobody' die
Massen. Solo-Erfolge feierte sie u.a. mit - I'm Every Woman' und Prince's - I Feel For You', die beide an
die Spitze der Billboard R&B Charts gelangten.
Ab dem 15.02.2019 ist Chaka Khans Album - Hello Happiness" auf CD & LP sowie einer Ltd. coloured
Vinyl erhältlich.

Recorded in a couple of days in June 1961 in Hollywood, this fine album documents the historical meeting between Genius Ray Charles and the wonderful Betty Carter, one of the greatest female Jazz singers of all times. A powerful duet combination with Ray's deep-sweet tone in almost sensual relation with Carter's highly pitched and energetic vocals. The two literally fly on top of a series of sophisticated string arrangements and some highly swinging big band charts. Among the players are some of Ray's close collaborators such as reed men Hank Crawford and David "Fathead" Newman.

Introducing a new label, Koko Music, founded in West London by a long time friend of ours. Their first release:

'Allegedly Coltrane's favourite singer, Andy Bey recorded as vocalist for Max Roach ('Members, Don't Git Weary'), Horace Silver ('Won't You Open Up Your Senses'), Gary Bartz ('Celestial Blues') and Stanley Clarke in the late sixties / early seventies. He released one solo album and then disappeared from view for 20 years, resurfacing in the nineties.

This 1998 album showcases his four-octave range, the intimacy of love songs and raw power of the blues on a mixture of standards ('Pretty Girl', 'Some Other Time'), Latin ('O Cantador', 'Drume Negrita'), modern (Nick Drake's 'River Man'), and a couple of original tunes. Available for the first time on vinyl, cut at 45rpm, it features Andy on vocals and on piano, with appearances from Gary Bartz and Geri Allen.'

- Audiophiles 180g Vinyl
- Inkl. Einleger
- Album erhielt Auszeichnung mit dem Grammy Award
- Als Gastmusiker: Robert Cray, Robben Ford, Vince Gill und viele weitere Stars
- Limited Edition von 1.500 nummerierten LPs auf TRANSPARENT BLUE VINYL!
Keep It Simple (2004) ist das siebte Studioalbum des Blues-Künstlers Keb 'Mo'. Das Album
gewann 2005 einen Grammy für das beste zeitgenössische Blues-Album und umfasst
Gastauftritte von Robben Ford, Robert Cray und Vince Gill sowie vielen weiteren
Weggefährten. Keb 'Mo' hat eine warme, eingängig-ausdrucksstarke Blues-Version von Pop
Americana entwickelt, die sich inhaltlich mit damals wie heute aktuellen Problemen wie der
Bezahlung der Hypothek, dem hohen Preis für Kaffee etc. auseinandersetzt. In den letzten zwei
Jahrzehnten hat sich Keb 'Mo' (geborener Kevin Moore) den Ruf als moderner Meister der
amerikanischen Roots-Musik durch seine Live- und Studio-Performances erarbeitet. Seine
Songs wurden von B. B. King, Buddy Guy, den Dixie Chicks, Joe Cocker und Robert Palmer
aufgenommen. Seine Schauspielkarriere begann in den frühen 90er Jahren. 1998 porträtierte
Keb'Mo Robert Johnson in der Dokumentation Can't You Hear the Wind Howl.

Miles Copeland's WONDERFULSOUND label will release the first Monks Road Social collection, Down The Willows.

Curated by the Blow Monkeys' Dr Robert, Monks Road Social is an ever-evolving collaborative outfit. Down The Willows is their first album release and a unique and special project of inspiration, friendship and craft.

Helping Robert get there were some members of the stellar Monks Road Social: Mick Talbot (Style Council, The Who) on harmonium, piano and Hammond; Crispin Taylor (Galliano, Candi Staton, Push) on drums; Ernie McKone (Galliano, Marlene Shaw) on bass; Matt Deighton (Mother Earth, Oasis) on lead guitar; Steve Sidelnyk (Richard Ashcroft, Madonna) percussion and, of course, the exquisite strings of Ben Trigg (Dexys, Richard Ashcroft).

These talented musicians were joined by some of Monks Road Records' exceptional new talent

Following on from our two 'Lonesome & Blue' compilation albums which showcased the music that inspired Mick and Keith, Get The Led Out picks up on the music that inspired Led Zeppelin. Led Zep were heavily influenced by their love of Afro-American jazz and blues culture. They were Inspired by Muddy Waters' Mississippi blues, Robert Johnson's Delta blues and the upcoming Rock 'n Roll from the likes as Little Richard and Eddie Cochran. When the American Jazz and Blues scene gave birth to Rock 'n Roll in America, its influence fuelled a burgeoning scene in Europe. Especially so in England. where the vibrant 'Mod' explosion gave birth to the bands that formed the British Invasion of the American charts. The Stones, The Who, Cream and of course the mighty Led Zeppelin invented and introduced the British take on White Blues back to it's American birthplace.

Lonesome Shack überzeugen mit einem rauen, expressiven und sonderbaren Sound und bewegen sich
genremäßig irgendwo zwischen Hill Country Blues und Urban Folk Rock, was zu gleichen Teilen
beeinflusst wurde durch Alan Wilson's Canned Heat und Junior Kimbrough.
In einer einsamen Ecke von New Mexico begann vor vielen Jahren Songwriter Ben Todd, Musik unter
dem Namen Lonesome Shack zu veröffentlichen. Ben ließ sich in Seattle nieder, wo er sich mit
Schlagzeuger Kristian Garrard zusammentat. Das Duo bereiste das Land und spielte regelmäßig
Gigs; bald stieß Bassist Luke Bergman zu der Band. Mittlerweile sind Lonesome Shack in den USA,
Großbritannien und Europa populär und tourten dort erfolgreich. Gegründet in Seattle und aktuell
in London lebend, wird das Trio von dem - finger-picking' Gitarristen Ben Todd angeführt, der
einige Zeit in einer Hütte in der Wüste von New Mexico gelebt hat. Allein in der Wildnis der Gilawüste,
lernte Ben klassischen Blues sowie Banjo zu spielen - über Vintage- bis hin zu traditionellen Stilen.
Desert Dreams ist ein einzigartiges und poetisches Album moderner amerikanischer Musik, das am
Ende eines langen, herausfordernden Winters in London geschrieben wurde. Das Ergebnis klingt nach
Rock City trifft Backwoods Boogie und Desert Blues trifft Jungle Grooves.

Als der Blues den Übergang von seinen ländlichen Wurzeln im Missisippi
Delta zum urbanen Boogie-Woogie und Jump-Blues machte - Stile, die
die Leute zum Tanzen brachten (die sich später in Rock 'n Roll
verwandelten) - war Big Joe Turner auf dem Höhepunkt seiner
Karriere. Mit seinen 6 Fuß 2 Zoll groß und über 300 Pfund schwer, war
er ein amerikanischer "Blues Shouter" aus Kansas City. Laut
Songwriter Doc Pomus wäre Rock ´n Roll ohne ihn nie passiert. 1954
kam er mit seinem Rock 'n Roll-Klassiker Shake, Rattle And Roll in die
Charts, gefolgt von Flip, Flop and Fly sowie Corrine, Corrina. Er wurde
posthum in die Rock and Roll Hall of Fame aufgenommen. 1987 lobte
ihn die Halle als "den muskulösen" Boss Of The Blues ".



















[S B10. Jump For Joy

Blues Creation was founded in Tokyo in 1969. They released this, their impossibly rare debut of American blues covers, that same year. Featuring covers of Sonny Boy Williamson, Chester Burnett, Memphis Slim, Willie Dixon, and more, this is the greatest recorded example of the Japanese obsession with American blues music. The band would record several more albums and then come back as, simply, Creation, but nothing reached the sheer blues rock heights of their debut.

Industrial Silence is the debut album by Norwegian alternative Rock band Madrugada. The album contains the singles 'Electric', 'Higher' and 'Beautyproof' plus live favourite 'Vocal'. The album kicks off with the majestic 'Vocal', with its dense and thick guitar sound and singer Sivert Höyem's distinctive crooning on top of it all. What's really impressive on this album, besides the quality of the songs, is guitarist Robert Burås' creative and versatile playing. He plays everything from country-like slide guitar leads to fierce punk rock power chords, gentle acoustic strumming, and something not unlike flamenco on the apocalyptical 'Salt'.

Madrugada, although having successful singles and EPs on the Norwegian charts, are most definitely not a singles band. Their strength is not catchy three-minute pop songs; it is their epic, melancholic ballads like 'Electric' and 'Shine,' and intense rockers like 'Higher,' that make Madrugada stand out.

Industrial Silence is available as a limited edition of 2500 individually numbered copies on white coloured vinyl.

Der Opener I Feel Like Going Home war 1948 einer der DurchbruchSongs von Muddy Waters in den R & B-Charts. Anfang 1951 erreichte
Louisiana Blues die Charts, gefolgt von Long Distance Call. Die
Volltreffer setzten sich fort, als Honey Bee mit der zusätzlichen
Gitarrenarbeit von Jimmy Rogers die Top 10 erreichte, ebenso wie Still a
Fool mit Little Walter an der Mundharmonika und Leonard Chess an
der Bassdrum. Muddy Waters wurde im ersten Jahr (1980) in die Blues
Hall Of Fame aufgenommen und 1987 in die Kategorie Blues Pioneer in
die R & R Hall Of Fame aufgenommen. Dieses Album gibt einen
vortrefflichen Überblick über seine Jukebox-Hits im Zeitraum 1948-1958

Somebody Save Me von Ex-Marine Sugaray Rayford ist ein Album, das sich anmutig
zwischen den neuen Blues von Gary Clarke Jr. und Fantastic Negrito sowie den Daptones
Klassikern der verstorbenen Größen Charles Bradley und Sharon Jones und den klassischen
Klängen bewegt und mit seiner frischer Note das Genre belebt.
Das Album besticht mit abenteuerlicher Instrumentalisierung; wie der von John Barry
(James Bond) inspirierte Bridge im Song Angels and Devils. Weiterhin finden sich 50er-Jahre
Referenzen und Klänge, die von den damaligen Blues-Künstlern inspiriert wurden.
Keyboard-Solos und üppige Streicher formen den Sound auf diesem Album: Ein spannender
Mix aus Soul, Jazz und einem Hauch von Reggae. Im Mittelpunkt stehen jedoch die Songs
selbst und die zeitlose Stimme von Rayford.
Reviews:
Blues News, Good Times, Classic Rock, Stereo (tbc), Jazzthetik, Jazz Podium, Jazzthing, Hifi &
Records
Online:
hooked-on-music, whiskey-soda, wasser-prawda, soultrainonline.de
Radio:
NDRinfo (Sunday Blues), SWR3, WDR4, byte.fm, Radio Bremen2, BR-Zündfunk, HR2

Ein Afrikaner auf der Suche nach dem amerikanischen Traum: auf seinem grandiosen Debüt schlüpft
Singer-Songwriter J.S. Ondara in die Fußstapfen von Bob Dylan und Neil Young.
Das Erste was J.S. Ondara aus der Masse der Konkurrenz hervorstechen lässt, ist seine glasklare,
bestechend helle Stimme. Aufs zweite Hören nehmen einen dann die Songs des in Nairobi geborenen
und heute in Minneapolis lebenden Künstlers gefangen. Die sind unverschämt eingängig und erzählen
mit tiefem Gefühl und aus ungewöhnlicher Sicht vom amerikanischen Traum.
"Als ich vor fünf Jahren nach Amerika kam, hatte ich nur eines im Kopf: eine Platte zu machen", sagt
J.S. Ondara. "Ich hatte keine Ahnung, wie ich vorgehen sollte, aber ich liebte Platten so sehr. Also
kämpfte ich mich voran."
Mit "Tales Of America" hat sich J.S. Ondara diesen Traum mehr als erfüllt. Denn das bluesig-folkige
Debüt, das deutlich den Einfluss von Ondaras Idol Bob Dylan, aber auch Neil Young, Ray
Lamontagne, Damien Rice oder Ryan Adams verrät, kommt nicht etwa bei einem obskuren
Indie-Label heraus, sondern bei Verve Forecast, dem Sublabel des legendären Jazzlabels Verve
Records.