Cris Jacobs Band

 Cris Jacobs Band - Songs for Cats and Dogs - 2012 - Cris Jacobs Band

With the release of “Songs For Cats and Dogs,” the Cris Jacobs Band offers up a full serving of rock inspired blues, filled with the perfect concoction of grit, grime, twang, and soul. This album is jam packed with intelligent and intricate arrangements that makes full use of the sonic palate provided by such a unique grouping of instruments. The disc starts off with “Dragonfly,” which is a thick, medium-tempo blues that is introduced with a twangy rock guitar riff. The vocals come in with an air of darkness, as they convey a story about judgement and perception. The narrative is highlighted with dissonant background guitar swells, and a chant style harmony on the chorus. “Mama Was a Redbone,” delivers the listener deep into the delta, for some good ol’ fashioned blues. David Hadley, takes center stage on the pedal steel guitar, as he plucks, slides, and strums his way into the foreground adding to the authenticity of this track. “Let Me Lift Up Your Burden,” takes on the vibe of a classic Paul Simon tune. For this song, the Cris Jacobs Band has a cleaner, more etherial sound. The upright bass almost sounds like a sousaphone, while the pedal steel fills the role of a string section. It is hard to believe that this is the same band that just played “Mama Was a Redbone.” “Redemption Bound” has the feel of a soundtrack cut from “O’ Brother Where Art Thou?” This heavily arranged song, starts off with a confessional style vocal intro that leads into a medium-blues groove. The vibe of the tune is set by a persistent guitar strum and accented band hits. The song builds into a breakdown that leaves the foundation of upright bass and guitar. The electric guitar enters, with sparse lines that build into a full on psychedelic jam solo that is driven by the constant groove of Mike Gambone on the drums. After the second breakdown, the band lands on the mantra chant “I just wanna be saved, I don’t wanna be let down,” that builds to the end of the song, with full band hits. The CD ends with the country jamboree chopfest song “Saddle Up and Ride,” which is a two beat, guitar picked tune, with thick background vocals and a traditional “ya’ll come back now, ya hear” ending. “Songs For Cats and Dogs,” reassures devoted, post The Bridge, Cris Jacobs’ fans of his abilities as both a frontman and a songwriter. He, along with his band, have managed to carve out an entirely new musical path filled with amazing musicianship, detailed arrangements, and the ability to effortlessly weave back and forth between genres, while staying true to their original sound. Review by & © : Scott Paddock - By MMG • On December 6, 2012 © Mobtown Music Guide. All rights reserved. http://mobtownmusicguide.com/cris-jacobs-band-songs-for-cats-and-dogs/.UuetcxDFK00

This soulful, bluesy, Americana gem showcases the dynamic songwriting, singing, and guitar playing of Cris Jacobs, supported by his stellar band of pedal steel, upright bass, percussion, and acoustic guitar. © http://www.cdbaby.com/cd/crisjacobsband

After ten years fronting roots-rockers band The Bridge, who disbanded at the end of 2011, Cris Jacobs re-emerged with a new band. Cris’ great bluesy guitar work is beautifully complemented by the drumming of Mike Gambone who provided the familiar backbeat for the Bridge, the rock steady bass of Jake Leckie, the almost ethereal pedal steel work of Dave Hadley, and the soulful sound of Ed Hough on acoustic uitar, percussion, and vocal harmony. Cris’ songs have a deep and emotional clarity, and at times the album has a “southern-fried” flavour reminiscent of the late, great Lowell George. This is a very good album. Read more about The Bridge @ http://www.jambase.com/Articles/11551/The-Bridge-Fire-and-Ice and Cris Jacobs @ http://articles.baltimoresun.com/2013-11-20/entertainment/bs-ae-cris-jacobs-interview-20131120_1_cris-jacobs-band-the-bridge-creative-alliance [All tracks @ 320 Kbps: File size = 97.4 Mb]

TRACKS

1. Dragonfly
2. Mama Was a Redbone
3. Be My Stars
4. Little Piece of Heaven
5. Stoned on You
6. Let Me Lift Up Your Burden
7. Redemption Bound
8. Time's Worth a Million
9. Saddle Up and Ride

All tracks composed by Cris Jacobs except "Dragonfly" composed by Cris Jacobs, Chris Bentley, Mike Gambone, & Jake Leckie

MUSICIANS

Cris Jacobs - Guitar, Vocals
Dave Hadley - Pedal Steel Guitar
Ed Hough - Acoustic Guitar, Percussion, Vocal Harmony
Jake Leckie - Bass
Mike Gambone - Drums, Percussion

Mike Zito

Mike Zito - Pearl River - 2009 - Eclecto Groove Records

Guitarist Mike Zito was born in St. Louis, Missouri on November 19, 1970. He got his start in music by singing at local events at a young age. As a teenager he picked up the guitar and began playing regularly around his hometown. By 2008 Zito was releasing records on his own self-titled label while touring the U.S; this was also the year he signed with Eclecto Groove Records and released Today. Pearl River was released the following year, and Zito was awarded Song of the Year at the 2010 Blues Music Awards for the title track off that album. Zito released his final session on Eclecto Groove, Greyhound, in 2011. A track taken from that session, "Roll On," was featured on the TV show Sons of Anarchy. Also in 2011 Zito formed Royal Southern Brotherhood with Cyril Neville, guitarist Devon Allman (son of Gregg Allman), bassist Charlie Wooton (of Zydefunk), and Yonrico Scott (former drummer for the Derek Trucks Band). The group released its self-titled debut album on the Ruf label in 2012, and Zito also debuted his new band, the Wheel, that year. © Al Campbell © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/mike-zito-mn0000994328/biography

Mike Zito is one who enjoys returning to his blues roots, playing electric guitar and ripping though songs with his sawtooth-sharp voice. Pearl River -- his fifth album -- is quite different than the previous effort Today, which was more rock-oriented, and focuses on not only contemporary urban tunes but a few acoustic folk-oriented ones, and the basis of all of his music, the sound of New Orleans. He's got help from guitarist Anders Osborne and keyboardist Reese Wynans from Stevie Ray Vaughan's band, and there are guest appearances from Cyril Neville, Johnny Sansone, Lynwood Slim, Randy Chortkoff (also his producer,) and Susan Cowsill (yes, she of the Cowsills fame). It's good to hear Zito dig deep into songs like the title track, Neville's pure, slow blues, the New Orleans shuffle treatment of Sonny Boy Williamson's "Eyesight to the Blind," and Mel London's rocksteady "Sugar Sweet." Zito is no slouch as a songwriter, and his "Dirty Blonde" is a swing jump blues, as he admonishes a lady "friend" for her entire persona being low-down and scurrilous from the neck down. He does get into some choogling voodoo à la Charlie Musselwhite, and plays toy piano on "The Dead of Night," while the acoustic tunes, especially with rising star Osborne, offer a sweeter side to Zito's normally rough exterior. With Cowsill, "Shoes Blues" is the most humorous song, and interactive as he trades lines with the former pop star/girl next door. This is not a cookie-cutter album from Zito and friends, as it shows off all the musical styles that have led him to the point of being an individualist. It's well worth the purchase price, and comes highly recommended. Michael © G. Nastos © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/pearl-river-mw0000827794

A rollicking slice of greasy New Orleans funk, gritty electric blues, soul, and good old fashioned rock 'n' roll with beautiful and unique melodies. This album is HR by A.O.O.F.C. If there was any justice in the music business, the name, Mike Zito would be part of the higher echelon of rock and blues guitarists. Don’t let this great music pass you by. Listen to Mike’s “Greyhound” album. For more great Americana, listen to the incredibly underrated James McMurtry’s exceptional “Where'd You Hide the Body” album [All tracks @ 320 Kbps: File size = 142 Mb]

TRACKS / COMPOSERS

1 Dirty Blonde - Mike Zito 3:36
2 Pearl River - Cyril Neville / Mike Zito 4:53
3 Big Mouth - Mike Zito 4:08
4 Change My Ways - Mike Zito 5:14
5 Eyesight to the Blind - Sonny Boy Williamson II 3:21
6 One Step at a Time - Anders Osborne 3:37
7 39 Days - Mike Zito 4:07
8 Shoes Blues - Mike Zito 3:23
9 The Dead of Night - Mike Zito 4:05
10 Sugar Sweet - Mel London 3:29
11 Natural Born Lover - Mike Zito 5:29
12 All Last Night - Little George Smith 5:26
13 C'mon Baby - Mike Zito 4:56

MUSICIANS

Mike Zito - Guitar, Toy Piano, Vocals
Anders Osborne - Acoustic Guitar, Vocals
Lonnie "Popcorn" Trevino Jr. - Bass, Background Vocals
Reese Wynans - Keyboards
Eric Bolivar - Drums, Percussion
Jumpin' Johnny Sansone - Accordion
Randy Chortkoff, Lynwood Slim - Harmonica
Susan Cowsill, Cyril Neville - Vocals

Anthony Gomes

Anthony Gomes - Unity - 2002 - 33rd Street Records

Nashville's Anthony Gomes' follow-up to his Sweet Stringin' Soul CD of a couple of years ago is quite a blues record. While his second release showcased his considerable acoustic chops, Anthony lets loose with his Fender Stratocaster on his 33rd Street Records debut. That label is also home to Tommy Castro, and there are many similarities between Gomes' and Castro's work. They're both first-class guitar slingers that can write the blues as well as play them on screamin' Strats. Check out both versions of the funky title cut, or the Gospel-tinged "Going Down Slow," and you get the idea of Gomes' (as in homes) range up and down the fretboard. I liked Sweet Stringin' Soul for Anthony's command of acoustic blues, and I get up out of my chair when he tears it up on Unity. - Reviewed by Eric Steiner © 2002 - Eric Steiner http://www.cosmik.com/aa-october02/reviews/review_anthony_gomes.html

In 1998 Anthony Gomes earned Buddy Guy's Legends "Best Unsigned Blues Band" award. In 2003 he was voted Artist Of The Year in a Blues Wax magazine subscriber poll of over 70,000 members. BlueWaveBlog.com called him "one of the greatest guitar players on earth" and "future Grammy-winner. "Unity" is a great album of stylistic, high-energy, Texas and Chicago blues rock with lots of soul, R&B and some terrific funky grooves. The album is HR by A.O.O.F.C. Buy Anthony's great "Blues in Technicolor" album. Support real music and give great guitarists the recognition they deserve [All tracks @ 320 Kbps: File size = 123 Mb]

TRACKS

1. When The Walls Come Down
2. Upside (To The Downside)
3. Darkest Before The Dawn
4. Do Watchya Do
5. If You Could Rule The World
6. Blindog
7. Going Down Slow
8. Unity (Acoustiphonic Lo-Fi)
9. Unity
10. Trash Talkin' Jive
11. Lonely At The Bottom
12. Bad For You

All tracks composed by Anthony Gomes except "Lonely At The Bottom" by Anthony Gomes & Jim Peterik

MUSICIANS

Anthony Gomes - Guitar, Vocals
Biscuit Miller - Bass
Roosevelt "Hatter" Purifoy - Keyboards
Roger Femali - Drums
Glen Caruba - Percussion
Jimmy Bowland - Saxophone
Vinnie Ciesielski - Trumpet
Chris Rose -Trombone
Joan Collaso, Yvonne Gage - Backing Vocals

ABOUT ANTHONY GOMES

Canadian-born guitarist, singer, and songwriter Anthony Gomes is a critically acclaimed chart-topping artist who plays a style of modern electric blues that incorporates elements of rock, soul, R&B, and country. Born in 1975 in Toronto, Canada, to a Portuguese father and a Canadian mother, he began playing guitar in his early teens and moved to Chicago, IL, in the late '90s with hopes of establishing himself as a musician. After honing his craft on the Windy City club circuit, he moved to Nashville, TN, where he found a home for himself amid the city's renowned music scene. Gomes made his recording debut in 1998 on the Urban Electric label with Blues in Technicolor, followed by Sweet Stringin' Soul in 2000. In 2002 he switched to 33rd Street Records for Unity and proceeded to win the 2003 BluesWax Artist of the Year award. This accolade elevated Gomes to the top of the blues field, and consequently he was able to draw increasingly larger crowds to his live performances, which increased in frequency and scope. Though he didn't release another album until 2006, Gomes' endless touring kept him atop the blues field, as he continued to be nominated for BluesWax Artist of the Year awards several years in a row. Gomes' fourth album, Music Is the Medicine (2006), released on the Adrenaline Music label, was his first to chart, peaking at number four on the Billboard Top Blues Albums chart. During his supporting tour of the album, the February 27, 2007, show at the Triple Door in Seattle, WA, was recorded and subsequently released in 2008 as the album Live. It features his band, the New Soul Cowboys, comprised of David Karns (bass, vocals), Peter Lang (drums), and Dylan St. John (keyboards, vocals). The first of his albums to document his on-stage performance ability, Live was his greatest commercial success to date, reaching number one on the Billboard Top Blues Albums chart. © Jason Birchmeier © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/anthony-gomes-mn0000923481

BAND BIO

Here is a band that is moving rapidly into the future, but is experienced enough to learn from the masters of the past.Their music is a raw example of the old Delta-style blues mixed with some very original guitar phrasings. Anthony Gomes (lead singer and lead guitarist) formed a band that is infectious. They had their first public appearance in Chicago in April of 1997, and everyone in the industry was talking about the Anthony Gomes Band. In the spring of 1998 they took first place in Buddy Guy's Legends first annual "Best Unsigned Blues Band" competition, winning $10,000 in prizes. Guy himself was on hand to congratulate them. To be singled out as the top blues band in the Chicago area is a great honor that has helped gain them national and regional attention. Some of the national legends they have shared the stage with are Buddy Guy, Koko Taylor, Jimmy Johnson, Lucky Peterson, Eddie King, Smokin' Joe Kubek, Big Jack Johnson, Otis Clay, Eddie C. Campbell, Bar-Kays, Clarence "Gatemouth" Brown and Sugar Blue. In May of 1998, Anthony Gomes signed an endorsement deal with Fender guitars. In 1999, a custom model guitar was being manufactured to the artist's specifications. Gomes describes it as a cross between Albert Collins' and B.B.King's guitars, a set-neck, hollow-body Telecaster with Humbucking pickups on it. If you are searching for some of the hottest Delta-style blues music, blended with Texas blues guitar, done with a Jimi Hendrix finesse, and coming from a native Chicago blues band, then the Anthony Gomes Band is your answer. © Larry Belanger © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/anthony-gomes-band-mn0001358766

Burton Gaar

Burton Gaar - Home Of The Blues - 2003 - SVR

Born in Baton Rouge, Louisiana, Burton Gaar began his professional musical career in 1959 at the age of 16 playing bass guitar behind the legendary Louisiana bluesman Slim Harpo. Throughout the 1960’s, his association with the Boogie Kings, one of the South’s most popular R&B acts at the time, solidified his musical direction. As the 1970’s dawned, although blues music was no longer fashionable for any audience, Burton managed to thrive with his Stone River Band, handling all requests from doowop to R&B. In the 1980’s, he joined zydeco great Rockin’ Sydney (My Toot Toot) Simien’s band - a musical relationship that was to turn into a lifelong friendship. This decade also saw Burton spend five years as a writer/producer at a major studio in Houston, Texas. The end of the decade and early 1990’s brought yet another connection with a legend, as Burton performed for several years with R&B superstar Percy Sledge.In 1995 Burton Gaar recorded his debut CD for Lanor Records “Still Singing The Blues” and during his first European tour in 1996, he recorded his second CD “One Hundred Pounds of Trouble” which was released in the spring of 1997 on the CrossCut label.In a review of the latter, Blues Revue magazine noted it to be, “. . . one of the top 10 most listened to CD in Blue Revue offices worldwide.” Grammy Nominated Handy Winner Charlie Musselwhite recorded Gaar’s song “No” from this disc as the first cut on his Grammy nominated album, Continental Drifter. Musselwhite later chose Gaar’s song to perform while promoting his cd on the Conan O’Brian Show. In the year 2000, Gaar released his third CD named “Mighty Long Road”. The disc, recorded in Nashville was distributed through New Orleans based Louisiana Red Hot Records.Burton Gaar and T.C. Davis produced the project. The Mighty Long Road features the legendary, Guitarist - Jack Pearson, Harmonica man Tim Gonzalez, Organist - Johnny Neel, Guitarist - Shane Theriot and others. Bluesman Carl Weathersby said, “Burton Gaar has it all” The 2003 release titled - Home Of The Blues was recorded in Nashville Tennessee at Colemine Studios. Louisiana Blues Hall Of Fame artist Larry Garner was quoted: “I am a hard man to please and I like every song on the Home Of The Blues disc.” Charlie Musselwhite said “every tune is an A side.” (Making reference to the days of 45 r.p.m. vinyl singles when it was standard to have your best song on “side A”). I was born in Louisiana and after all these years, I still live here. The music I write has its roots in Louisiana. It’s bluesy, funky and SPICY - sorta like our gumbeaux! [Edited by In2TheBlues on 10 Jun 2011, 05:02 - Sources http://www.burtongaar.com/#anchor_70 © 2012 Last.fm Ltd. All rights reserved http://www.last.fm/music/Burton+Gaar/+wiki

Lea’s Lunchroom ain’t the only thing cookin’ down in LeCompte, Louisiana. Resident bluesman Burton Garr has brewed one powerful CD, Home of the Blues. Seldom is a new release completely solid from beginning to end. Well, folks, Garr accomplished just that with his latest CD. Each song is right in the slot and smokes from beginning to end. This is one grooving blues album. In addition to his really fine songwriting on all tracks but one, Garr covers all vocals. An amazingly versatile singer with apparent Southern Louisiana R&B roots, Garr pulls you in with vocal performances that are strong, melodic, sophisticated and solid. Home of the Blues kicks off with the title song supported by a bass line reminiscent of "Born Under a Bad Sign." "Home of the Blues" is a moderate tempo tune and sets the pace and standard for the next 11 cuts. "Blow Wind Blow" on track 2 is a nice up tempo shuffle and is played strong, like shuffles should be played. The track features a tasty harp solo and fine organ and guitar solos. "Repoman" opens with a guitar/bass hook that continues through the song backed by a kick ass horn section. "Hole in My Heart" has some nice double stop guitar and a catchy chorus that goes, "She left a hole in my heart bigger than the Robert E. Lee," which you will find yourself singing days later. A standout with excellent sax work and smooth vocals laid on top of a funky groove, this song deserves to become a standard and alone would well be worth the price of the CD. A rhythmic guitar and keys are featured on "Hall of Fame," which is one of those classic blues ballads that vamp between G and C. Personally, they always feed good and sound great. Well done. I especially like "I Wonder" and "Still Singing the Blues," which incorporate great interplay between the members of the rhythm section and in the latter, the dynamic horn section. The remaining cuts are all strong, with "Mississippi Water" the only one played in a minor key (Cm). Each song stands on its own. There is no filler material added to lengthen the album. All solos, no matter who is playing, are melodic and appropriate – no inflated egos here – just great musicianship. Garr assembled a premier group of musicians. Some appeared on his previous album, Mighty Long Road. Randy Coleman is once again on bass (Home of the Blues was also recorded in his studio, Colemine Studios in Nashville). Other personnel include Shane Theriot (Neville Brothers) on guitar, Tim Gonzales on harp, former Allman Bros. Band member Johnny Neel (who co-wrote track 8, "My Little Feel Good," with D. Jones and R. Cullison) on organ and keys, and Marty Ojeda on tenor sax. Floyd Saizon handles drum chores this time around and works great with the other members of the rhythm section. The horn section is top notch and includes Steve Herrman on trumpet, Dennis Taylor and Ojeda on tenor saxes, and Tom McGinnley filling up the bottom with baritone sax. Danny Hamblin and Clay Krasner handle some of the guitar and bass tracks. Home of the Blues is in the tradition of the great soul and R&B music of the ‘60s – what the Europeans call "deep soul." This album should do well in overseas markets. Surf to Garr's fine website for info on buying Home of the Blues. Photos, upcoming gig info, a bio and music samples that also include cuts from two of Garr's previous CDs, Mighty Long Road and 100 Pounds of Trouble, are also available. CD review Copyright © 2006 Sonny Boy Lee. All rights reserved.http://sonnyboylee.com/cdreviews/bgaar.htm

Good solid Louisiana soul blues and R&B from the Baton Rouge born Burton Gaar. Burton has an unmistakeable voice and sings from the heart. His lyrics are good and he penned eleven of the twelve album tracks. He is backed by great musicians that include Tim Gonzales on harmonica, organist Johnny Neel of the Allman Brothers and Government Mule, guitarist Shane Theriot of the Neville Brothers band, guitarist Danny Hamblin, bassist Randy Coleman of the T Graham Brown Band, and drummer Floyd Saizon of The Delta Rockets. There is no flashy playing on the album but the album is full of class. Listen to Burton's "Mighty Long Road" album [Tracks @ 256-320 Kbps: File size = 71 Mb]

TRACKS

1 Home of the Blues 3:49
2 Blow Wine Blow 4:51
3 Repoman 3:52
4 Hole in My Heart 3:49
5 Hall of Fame 4:47
6 Stone Cold Blues 3:59
7 Rainbow 4:54
8 My Little Feel Good 3:22
9 I Wonder 3:44
10 Mississippi Water 3:48
11 Wonderland 3:05
12 Still Singing the Blues 4:55

All tracks composed by Burton Gaar & George Hollingshead except Track 8 by Johnny Neel, Doug Jones, & R.Cullison

MUSICIANS

Shane Theriot - Guitar except Tracks 1,6,8,9,11
Danny Hamblin - Guitar except Tracks 2,3,4,5,7,8,10,12
Doug Jones - Guitar on Track 8
Randy Coleman - Bass except Track 2,3,7,8, Background Vocals
Clay Kasner - Bass except 1,4,5,6,8,9,10,11,12
Dennis Gully - Bass on Track 8, Background Vocals
Johnny Neel - Organ, Keyboards - Tracks 1-12
Floyd Saizon - Drums except Track 8
Mike Caputy - Drums on Track 8
Tim Gonzales - Harmonica except Tracks 1,3,4,5,6,7,8,10,11,12
Dennis Taylor - Tenor Sax
Marty Ojeda - Tenor Sax, Background Vocals
Tom Mcginnley - Baritone Sax
Steve Herrman - Trumpet
Burton Gaar - Lead Vocals Tracks 1-12

SHORT BIO

Cajun bass player and singer Burton Gaar grew up listening to the sounds of great blues artists such as electric guitarist B.B. King and vocalist Bobby "Blue" Bland. Before he hit his teen years, he decided he wanted to become a musician and play the blues, too. Within a couple of years, as the '50s were drawing to a close, he got his chance when he started working in his hometown of Baton Rouge, alongside blues legend Slim Harpo. Frequently, they worked the city's Glass Hat Club. Gaar also played for a short time with the Boogie Kings. During the '60s, Gaar went on to form a band of his own and they found work playing backup for visiting artists to Baton Rouge, a list that included zydeco artist Rockin' Sidney and soulful singer Percy Sledge. Gaar drew such inspiration from Rockin' Sidney that in the future he would dedicate one of his albums, Mighty Long Road, to the zydeco musician. Despite the fact that Gaar made music for almost four decades, he didn't record a solo album of his own until 1996, when the Cajun-influenced Still Singing the Blues was issued with the Mudcats. The following year in Holland, he recorded One Hundred Pounds of Trouble, an album that performed well internationally. He is one of the musicians featured in the book Blues: Keeping the Faith by Keith Shadwick © Linda Seida © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/burton-gaar-mn0000638924

Robert Randolph & The Family Band - Live in Concert - 2011- Dare Records Inc.

Early in Robert Randolph’s career, his over-the-top gospel-infused pedal steel playing burned with desire, frequently veering into on-the-edge Hendrixesque territory. A good thing then, this live album reveals what a little time and maturity can do. Randolph’s still-stellar playing shows increased restraint (though no less intensity) and allows The Family Band equal footing. The disc opens with vocal/guitar harmonization and scorching licks of “Traveling Shoes,” followed by the instrumental tour staple “Squeeze.” Whether a song’s gospel-, rock- or blues-based, the band adeptly plays tightly to Randolph’s exaggerations, whether they are slow and greasy or fast and furious. The set also features choice covers from The Staple Singers, Prince and Earth, Wind & Fire. Fittingly, Hendrix’s “Purple Haze” finishes things off in explosive style. By & © Glenn BurnSilver Published: 2011/12/23 © Relix Media Group LLC. All Rights Reserved http://www.relix.com/reviews/cds/2011/12/23/robert-randolph-and-the-family-band-live-in-concert

Robert Randolph & the Family Band is an American blues, funk, rock, Gospel, Soul and 'Jam' band who started their career in 2002. It is composed of Robert Randolph (guitar and vocals), Marcus Randolph (drums), Danyel Morgan (bass) and Jason Crosby (keyboards). Robert Randolph was once rated by Rolling Stone magazine as one of the all time 100 greatest guitarists. This album is the band's first live album since their 2002 debut album, Live at the Wetlands. The twelve tracks were recorded across the United States during his 2011 nationwide tour. The album includes band classics like "Squeeze" and "If I Had My Way." The latter features Blind Boys Of Alabama's Joey Williams, who also plays on Prince's "Walk Don't Walk." Susan Tedeschi, Ryan Shaw, Chuck Campbell and Nigel Hall join in on the Staple Singers' "I'll Take You There" while Shaw, Tommy Sims, Ryan Scott and The Monophonic Horns guest on Earth, Wind & Fire's classic "Shining Star." The album also includes a powerful version of Jimi Hendrix's classic "Purple Haze." Listen to Robert Randolph & The Family Band's terrific "Unclassified" album [All tracks @ 320 Kbps: File size = 147 Mb]

TRACKS / COMPOSERS

1. Traveling Shoes - Burnett, Randolph, Tonio K.
2. Squeeze - Randolph, Morgan
3. Don't Change - Gray, Hamlin
4. Sacred Steel - Randolph
5. If I Had My Way - Burnett, Johnson, Randolph, Tonio K.
6. Electric Church - Randolph
7. Peekaboo - Randolph
8. I'll Take You There - Bell
9. Walk Don't Walk - Prince
10. Back To The Wall - Gray
11. Shining Star - White, Dunn, Bailey
12. Purple Haze - Jimi Hendrix

BIO

A virtuoso on the pedal steel guitar, Robert Randolph set the music world on fire in 2000 when he began playing his first club dates in New York City. Randolph started playing the instrument as a church-going teenager in Orange, NJ, a small city just outside of Newark. He regularly attended the House of God Church, an African-American Pentecostal denomination that had been implementing steel guitars (or "Sacred Steel") in services since the '30s, with the pedal steel in particular being introduced during the '70s. Randolph learned to play by watching other steel players during church services; years later, he updated that sacred basis with a secular mix of funk and soul, giving a new multicultural facelift to an instrument that had often been associated with country music. In early 2000, Jim Markel heard Randolph play at the Sacred Steel Convention in Florida and subsequently introduced him to his friend, Gary Waldman. Together, Waldman and Markel began to manage Randolph's career, which took flight after Matt Hickey, a talent buyer at Manhattan's Bowery Ballroom, signed Randolph on as the opening act for the North Mississippi Allstars. Within a month, Randolph had graduated to the Beacon Theater, where he played alongside Medeski, Martin & Wood. Keyboardist John Medeski enjoyed Randolph's playing so much that he asked him to record an instrumental gospel/blues album with the band. The resulting record, The Word, was released in August 2001 to great critical and popular acclaim. Randolph's own group, the Family Band, includes cousins Danyell Morgan and Marcus Randolph (bass and drums, respectively) and John Ginty (Hammond B-3 organ). The band's career began with opening gigs for a variety of blues, jazz-funk, and jam bands such as the Derek Trucks Band, Karl Denson's Tiny Universe, and Soulive; headlining gigs became the norm within a few months' time. Robert Randolph & the Family Band released Live at the Wetlands in fall 2001, capturing the band's live performance at the legendary Wetlands venue shortly before it closed. The group's studio debut, Unclassified, followed in 2003 and introduced Randolph to an even wider audience. One new fan was veteran guitarist Eric Clapton, who brought the band out on tour and appeared on Robert Randolph's third release, Colorblind, in 2006. In 2010, Randolph teamed-up with producer T-Bone Burnett and released the album We Walk This Road which featured guest appearances from Ben Harper, Leon Russell and Doyle Bramhall II. © Ann Wickstrom © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/robert-randolph-mn0000288350

Karl Morgan

Karl Morgan - Talkin' with the Hands - 2007 - Pied Piper Records

Karl Morgan is an Australian blues/soul guitarist, singer and songwriter, based in Austin, Texas. Although he cites Eric Clapton as his main influence his style is also influenced by artists like Stevie Ray Vaughan, Jimi Hendrix, and many other blues and soul artists, including Stevie Wonder, BB King, Albert King, Freddie King, Aretha Franklin, The Allman Brothers Band, Bonnie Raitt, Taj Mahal, and Al Green. Karl released "Talkin' With the Hands' in 2007 and released his second album , 'Burning Heart' in October of 2011. Karl and his band constantly gig in and around Austin, including several shows during SXSW 2012.

Karl Morgan will be accused of sounding like Eric Clapton and SRV, but he also has his own unique guitar style. There are two many reviews accusing artists of aping guitarists like Rory Gallagher, SRV, Eric Clapton, and God knows who else. Who influenced EC or SRV? There is a difference between copying these artists note for note and being influenced by an artist. That's the evolution of the blues, and Karl Morgan is definitely no "rip-off merchant". He is a great vocalist with distinctive phrasing. He writes original songs with good lyrics, and his skilful and intelligent playing is in the "less is more" style. No songs on this album are used as a base for any histrionic guitar solos. Karl is not a "showy" player and although his guitar is the driving force throughout the album, he is never overbearing. Karl's tone and balance is exceptional. His music contains folk, rock, Chicago style blues rock, soul blues, and plenty of funk, but fundamentally he plays good old fashioned electric guitar with flair and originality, a quality lacking in many of today's so called guitarists. The album is HR by A.O.O.F.C. Buy Karl's "Burning Heart" album and support real music [All tracks @ 320 Kbps: File size = 108 Mb]

TRACKS

1 Your Good Man 3:58
2 Natural Condition 4:43
3 Nothing from Nothing Grows 4:43
4 Hold Me Where I Lay 3:52
5 Sunny 3:53
6 Sweetness 2:24
7 Cult of the Self 5:02
8 Mother's Child 3:04
9 The Lowdown 3:21
10 Talkin' with the Hands 4:16
11 Love in Your Space 4:49
12 Break Your Mind 5:01

All songs composed by Karl Morgan except "Sunny" by Bobby Hebb

MUSICIANS

Karl Morgan - Guitar, Vocals
Greg Royal - Bass, Upright Bass
Graham Local - Bass
Clayton Doley - Hammond Organ, Piano, Wurlitzer
Joe Whittle, Warren Jackson - Drums
Andrew Bickers - Saxophone, Horn Arrangements
Anthony Kable - Trombone
Stewart Kirwan - Trumpet

SHORT BIO

Blues, Southern Rock Karl Morgan is a blues guitarist, singer and songwriter whose explosion onto the blues scene, heralds the return of powerful, soulful, guitar-driven blues and rock & roll not heard since the great blues guitarists of the 1960s and 70s. Karl was a young West Australian boy when Stevie Ray Vaughan died in 1990, signaling the end of an era of devastating guitar artistry which began with the likes of Albert, Freddie and BB King and informed a generation of players from Jimmy Page to the Band; from Eric Clapton to SRV; from the Rolling Stones to Jimi Hendrix. Since the death of Stevie, great blues guitarists have been few and far between on the world stage. Karl Morgan is here to show us that the Blues - the great progenitor of modern music - has an enduring power to inspire and drive contemporary music with soul, with tone, and above all with feel. Since discovering the awesome power of the Blues in his teenage years, Karl has striven to emulate the greats of the art, and has paid his dues in bars and clubs on the West Coast with bandmates Joe Whittle on drums and Graham Local on bass. The three piece journeyed to Sydney's 301 Studios in January of '04 to record 7 tracks, and finished the job at Sydney's Origami and Electric Avenue studios, adding 5 more tracks to complete Karl's debut album, 'Talkin' With the Hands'. ARIA Award-winning engineer Anton Hagop presided over both sessions, and renowned Sydney session players contributed to the ensemble, including bassist Greg Royal and Hammond virtuoso Clayton Doley. Nashville record label, Pied Piper Records, has signed Karl and US touring for his debut album is planned shortly to follow shows in Australia. 1 Your Good Man 2 Natural Condition 3 Nothing From Nothing Grows 4 Hold Me Where I Lay 5 Sunny 6 Sweetness 7 Cult of the Self 8 Mother's Child 9 The Lowdown 10 Talkin' With the Hands 11 Love in Your Space 12 Break Your Mind - from Editorial Review © 1996-2012, Amazon.com, Inc. or its affiliates http://www.amazon.com/Talkin-Hands-Karl-Morgan/dp/B000SJ2E9S/ref=sr_1_fkmr0_1?s=music&ie=UTF8&qid=1335222251&sr=1-1-fkmr0

Kenny Neal

Kenny Neal - Let Life Flow - 2008 - Blind Pig

"Kenny Neal's new release is full of blues and soul music of the highest standard. In fact, 'Fly Away' alone is worth the price of admission, with it's soaring soul tune with beautiful strings, an incredible lyric about life and it's aftermath, stunning guitar, and a vocal that calls to mind the best of Philadelphia soul. While Neal's always been one of his generation's finest bluesmen, Let Life Flow helps push him into the upper echelon of the genre. His maturity, mastery of the music, and sheer determination show it, making this one of 2008's best - so far." - Vintage Guitar

"The Baton Rouge native has made a series of well-crafted albums, but none was as heartfelt as Let Life Flow. It's a disc worth waiting for." - Chicago Sun-Times

"It's always been said that the best blues are born of adversity, and if that's true, then Kenny Neal's Let Life Flow album should be considered a masterpiece. A wonderful reaffirmation of life and all of its wonders." - About.com

"Kenny Neal's latest effort is a resounding reaffirmation of his talents as a musician, songwriter and singer. While the album has its share of melancholy, Let Life Flow has enough uplifting moments and infectious grooves to keep the party going." - Living Blues

The title track of this CD was given the Jus' Blues Music Award for "Traditional Blues Song of the Year." This is the second Song of the Year award for this title. The CD has won three "Album of the Year" awards since its release, from Living Blues, Blueswax, and the Blues Critics organization.
It's always been said that the best blues are born of adversity, and if that's true, then Kenny Neal's Let Life Flow album should be considered a masterpiece. Since 2004, the charismatic blues musician has lost several family members, including his father, blues harpist Raful Neal. His sister Jackie was tragically murdered, and his brother Ronnie died of hepatitis C. Long-time family collaborator, drummer Kennard Johnson, also died during this time. Then, to top it off, Kenny was also diagnosed with hepatitis C, knocking the hard-touring musician off the road for almost two years. Let Life Flow: Neal used the time that he was sidelined to work up a fine batch of new songs with his son, Kenny Jr. The result is Let Life Flow, a wonderful reaffirmation of life and all of its wonders. The title track offers up some Southern rock-styled guitar licks, along with a generous groove, Neal's gritty vocals, and the spare use of horns for punctuation to help convey the song's positive message. "Blues, Leave Me Alone" is a Chicago-styled funkateer with a clever turn of a phrase, precise six-string leads, and a shuffling lope that accentuates the song's defiant edge. Although it wasn't written by Neal, "You've Got To Hurt Before You Heal" is an entirely appropriate addition to Let Life Flow. Backed by loose, subtle instrumentation with R&B accents, the song highlights Neal's soulful vocals, which are reminiscent of Otis Redding here. The gumbo-and-boudan flavor of "Louisiana Stew" is a stylistic return home for Neal, a sly swamp-blues romp that showcases his mouth harp skills, a talent often overshadowed by the artist's considerable six-string abilities. Two Sides Of Romance: The slow-burning "Starlight Diamond," written by Kenny's brother Raful Jr., is a delightful take on love and romance while "Broken Dreams" offers the other side of the coin. A classic "love-gone-bad" blues song, the heartbroken wordplay is underlined by Neal's elegant guitar lines, tearful vocals, and a steady, cautious rhythm with constant cymbal brushes. Neal's work-out on the timeless Ivory Joe Hunter gem "Since I Met You Baby" is pure gold, beginning with his trembling guitar tone and nuanced phrasing, to his blustery R&B-styled singing. Combine Lucky Peterson's wry piano playing with an energetic guitar solo, and you have a classic take on a great song. "It Don't Make Sense You Can't Make Peace," an ominous Willie Dixon song, was written about another distant war but, in Neal's capable hands, it has just as much relevance today. With a dark-hued soundtrack, Neal's somber vocals, and Latin-tinged horns, it offers a powerful performance to end Let Life Flow. The Reverend's Bottom Line: Kenny Neal's Let Life Flow is so doggone good that it might just win the talented bluesman a second "Best Album" award from the Blues Foundation. Writing, playing, and singing with a renewed sense of purpose and energy, Neal has taken the tragedies of the past few years and, in the best blues tradition, turned them into great songs and performances. His fanciful guitarwork ranges from spry single-note leads that are scattered across the song to meaty riffs and funky rhythms. With an overall lyrical theme of perseverance and hope, Let Life Flow shows that Kenny Neal still has a few tricks left in his gris-gris bag. By & © Reverend Keith A. Gordon, About.com Guide About.com Rating 4.5/5 Star Rating © 2012 About.com. All rights reserved http://blues.about.com/od/cddvdreview1/fr/KennyNealCD1.htm

Son of Louisiana bluesman Raful Neal, young Kenny had some big shoes to fill, but he's been more than up to the task. He plays bass, guitar, trumpet, piano and guitar, and worked in Toronto with the Downchild Blues Band as well as with his siblings in the Neal Brothers Band before returning to Louisiana in 1987 to cut his debut, Bio on the Bayou. Since then Neal has continued to blend his swampy roots with soul and R&B to put his own contemporary spin on the blues. Let Life Flow finds the 50-year-old bluesman in fine voice delivering four originals and seven covers. Neal accents "Louisiana Stew" with a long, jaunty, country flavored harp solo, while on "Fly Away" he drops a bit of sage spiritual advice into the mix. His Memphis-style guitar fills accent the tune, but it's his gospel drenched vocals that standout. The title track has a soulful '70s feel, with Neal's Al Green influenced vocal, and subtle horn accents from Joe Campbell's trumpet and LeRoy Harper's sax. "Since I Met You Baby," the Ivory Joe Hunter chestnut gets taken back to its blues roots by Neal's gritty delivery. His mellow guitar solo, full of slow bent notes and full round tones complement Lucky Peterson's rolling piano work. "It Don't Make Sense, You Can't Make Peace," a Willie Dixon tune, has a swampy groove with a slight Latin tinge, mournful backing vocals, and Neal's sanctified lead vocal. "Another Man's Cologne" tells a familiar story of infidelity. Neal's sneering, slightly bemused vocal and stinging guitar tell the sad story to a funky backbeat. "You've Got to Hurt Before You Heal," another simmering slow blues, lets Neal show off his soulful vocal style with Peterson supplying sanctified organ work. Neal is in fine voice throughout and his understated bluesy guitar works fine, but nothing here really catches fire. © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/let-life-flow-r1841727/review

Kenny's music has been called "down-in-the-alley blues." He is a great guitarist/singer/harmonica player, songwriter, and vocalist, and the New Orleans born bluesman is one of the most consistent talents in contemporary blues today. "Let Life Flow" is a great soulful R&B album. It includes a mix of classic standards and original material. If you like guitarists like Robert Cray, you may like this album which is HR by A.O.O.F.C. The above review says that "nothing here really catches fire", but the album is not meant to catch fire. If you want that, then listen to Led Zeppelin II ! Kenny still needs to be heard by a wider audience. Listen to his outstanding "Bayou Blood" album and buy his "What You Got" album [All tracks @ 320 Kbps: File size = 79.4 Mb]

TRACKS / COMPOSERS

1. Let Life Flow - Kenny Neal
2. Blues, Leave Me Alone - Kenny Neal
3. You’ve Got To Hurt Before You Heal - Larry Duane Addison
4. Louisiana Stew - Kenny Neal
5. Starlight Diamond - Raful Neal, Jr.
6. Another Man’s Cologne - Joe Campbell, Joyce Smith
7. Broken Dreams - Kenny Neal, Rebecca LeMesnager
8. Bleeding Heart - Raful Neal, Jr.
9. Since I Met You Baby - Ivory Joe Hunter
10. Fly Away - Kenny Neal
11. It Don’t Make Sense You Can’t Make Peace - Willie Dixon

MUSICIANS

Kenny Neal - Guitar, Bass, Harmonica, String Programming (3,10), Vocals
Darnell Neal - Bass (1,2,4,6)
Kenny Neal, Jr. - Keys (10), Percussion Programming (1,2,4,6,7,11), String Programming (3,10), Bass (3), Additional Bass (11), Horn (3)
Frederick Neal - Keys (2,4,6)
Lucky Peterson - Piano & Organ (3,8,9)
Jimmy Adams - Piano (1)
Bryan Morris - Drums
LeRoy Harper - Saxophone (1,2,4,6,7)
AG (Alfonso Guillory) - Saxophone (3)
Nadege - Saxophone (8)
Joe Campbell - Trumpet (1,2,3,4,6,7)
Boney Fields - Trumpet (8)
Pierre Chabrele - Trombone (8)
Robin Rogers, Shelly Magee - Background Vocals - (11)

BIO (WIKI)

Kenny Neal (born October 14, 1957, New Orleans, Louisiana, son of Raful Neal, is an American blues guitar player, singer and band member. Neal comes from a musical family and has often performed with his brothers in his band.Neal preserves the blues sound of his native south Louisiana, as befits someone who learned from Slim Harpo, Buddy Guy and his father, the harmonica player, Raful Neal. In 1987, Neal cut his debut album for the Florida record producer, Bob Greenlee — an updated swamp feast initially marketed on King Snake Records as Bio on the Bayou. Alligator Records picked it up the following year, retitled it Big News from Baton Rouge!! In 1991 he also proved to be a talented actor in the Broadway production of the folk musical Mule Bone (by Langston Hughes and Zora Neale Hurston), singing numbers written by Taj Mahal. Neal has played with blues stars including Lucky Peterson and Lazy Lester, and was at one time a member of The Downchild Blues Band, during a period of relocation to Toronto. In September 2006 Neal announced he was taking a year's break from recording and performing, due to an undisclosed illness. He returned to the public eye at the Monterey Blues Festival in June 2007. His illness was also disclosed as Hepatitis C. He has children named Kenny, Syreeta, and Micah. Lately he is touring with Efes Pilsen Blues Festival

MORE

The future of Baton Rouge swamp blues lies squarely in multi-instrumentalist Kenny Neal's capable hands. Along with a select few others (Larry Garner, for one), the second-generation southern Louisiana bluesman is entirely cognizant of the region's venerable blues tradition and imaginative enough to steer it in fresh directions -- as his albums for Alligator, Telarc, and Blind Pig Records confirm. Kenny Neal was born on October 14, 1957 in New Orleans, exposed to the swamp blues sound from day one. His dad, harpist Raful Neal, was a Baton Rouge blues mainstay, whose pals included Buddy Guy and Slim Harpo (the latter handed three-year-old Kenny an old harp one day as a toy, and that was it). At age 13, Neal was playing in his father's band, and he picked up a bass at 17 for Buddy Guy. The guitarist recruited some of his talented siblings to form the Neal Brothers Blues Band up in Toronto (brother Noel later played bass behind James Cotton; five other Neal brothers also play in various bands) before returning stateside. In 1987, Kenny Neal cut his debut LP for Florida producer Bob Greelee -- a stunningly updated swamp feast initially marketed on Kingsnake Records as Bio on the Bayou. Alligator picked it up the following year, retitled it Big News from Baton Rouge!!, and young Neal was on his way. Neal's sizzling guitar work, sturdy harp, and gravelly, aged-beyond-his-years vocals have served him well ever since. An acclaimed 1991 stint on Broadway in a production of Mule Bone found him performing acoustic versions of Langston Hughes' poetry set to music by Taj Mahal. His 1994 Alligator set Hoodoo Moon rates as one of his most satisfying outings for that label; it was also his last for Alligator. Toward the end of the '90s, Neal moved to the blues division of the jazz-based Telarc Records. Among his numerous albums for the label are Blues Fallin' Down Like Rain (1998), What You Got (2000), One Step Closer (2001), Easy Meeting (2003), Double Take (2004), and A Tribute to Slim Harpo and Raful Neal (2005). Three years later, Neal hooked up with Blind Pig Records and released Let Life Flow in 2008, once again incorporating his gritty Louisiana roots with a sophisticated Chicago/Memphis soul approach. A second Blind Pig release, Hooked on Your Love, appeared two years later in 2010. © Bill Dahl © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/kenny-neal-p476/biography

Kaleigh Baker

Kaleigh Baker - The Weight of It All (EP) - 2011 - Kaleigh Baker

Among the many gifts given with both hands to formerly local, currently New York-prowling singer-songwriter Kaleigh Baker – aside from that Swiss Army knife of a voice – is her innate grasp of momentum. On her new EP, The Weight of It All, Baker and producer Justin Beckler play the puppet masters, building suspense without ever seeming coy about it. Baker is capable of communicating volumes with a simple vocal lilt, and on the moments in which her register nose-dives headfirst into the emotional muck (“Sugardaddy”) or propels like a jet into the stratosphere (“Love Letter to a Burning Man”), she never fails to rouse the senses. From its 12-bar intro (the foot-stomping “Train Gone By”) to the titular closer, Weight feels like that disorienting second after an earthquake begins. Long-gestating centerpiece “Peace, Love and All That” is a master class in maintaining an album’s tide. Following the skillfully playful “Train Gone By” and “Sugardaddy,” the track is wholly declarative, with extended phrasing that elegantly rides the beat as Baker waits for an opening to attack. In its last minute, the drums drop out and Baker strikes, supported by a couple of Orlando’s greatest voices: Olivia Wynn of Thomas Wynn & the Believers and Solillaquists of Sound’s Alexandrah Sarton. It’s a thrilling moment that injects every remaining song with possibility, including the Broadway bouncer “Sheister” and the forbidden lust of “Love Letter to a Burning Man.” The Weight of It All is the roar of a soulful lioness and will go a long way toward proving to the world what Orlando’s known for a long time: Kaleigh Baker is a legend in the making. - [from Fire and pain: Blues-soul lady-in-waiting Kaleigh Baker makes a strong claim to the throne: By & © Justin Strout Published: August 11, 2011 © 2012 Orlando Weekly http://orlandoweekly.com/music/fire-and-pain-1.1187019]

Originally from a small valley in Western New York, Kaleigh Baker has now established herself as a dynamic jazzy, soul/blues rock vocalist, and a talented songwriter. "Her chill-inducing growl and ear-shattering range come drenched in Jack Daniel’s swagger: ‘Her vocals dip into a low and resounding molasses-slow croon with as much ease as they ascend to ceiling-skimming heights…’(Creative Loafing). When asked during an interview to describe her sound, she said “blues, soul, rock-n-roll”. If "The Weight of It All" is any indication of things to come from Kaleigh, then another small but important step will have been made in cultivating the seedlings of really good music for the future. This EP is HR by A.O.O.F.C. Kaleigh Baker is a great soul blues artist, and similar to soul/blues singers like Kyla Brox from England, she is maintaining a high quality of musical output in todays barren musical scene. These artists need all the help they can get to try and eliminate the commercial crap out there masquerading as "music". Buy "The Weight of It All", go and see her if she's playing in your area, and watch out for more releases from this talented lady. Support real music [All tracks @ 320 Kbps: File size = 41.8 Mb]

TRACKS / COMPOSERS

1. Train Gone By - Kaleigh Baker 3:51
2. Sugardaddy - Kaleigh Baker & Justin Beckler 3:34
3. Peace Love and All That - Kaleigh Baker 4:06
4. Sheister - Kaleigh Baker & Tim Turner 4:09
5. Love Letter to a Burning Man - Kaleigh Baker 2:58
6. The Weight of It All - Kaleigh Baker 4:34

MUSICIANS

Kaleigh Baker - Acoustic Guitar, Lead Vocals, Backing Vocals
Tim Turner - Electric Guitar
Justin Beckler - Electric & Bass Guitar
Matt Lapham, Todd Warsing - Bass Guitar
Abel Avalos - Keyboards
Rion Smith - Percussion
Nathan Anderson - Saxophone
Olivia Wynn, Alexandrah Sarton - Backing Vocals

ABOUT KALEIGH

While Barbados may have Rihanna, Orlando has the right to say we won the heart of Kaleigh Baker, the talented songstress and songwriter with vocals that have been said to rival that of Janis Joplin. Though Kaleigh was not born or raised in Orlando, you could call Orlando her musical home. Growing up in a valley in Western New York, Kaleigh was an athlete and country girl. After striking out on her own to Buffalo, NY and trying her hand in college at Journalism, Kaleigh started playing guitar and found her way into playing gigs. Though she started singing a few years prior to college something clicked and she found her calling. She says at that point she thought “I’ve been playing sports all my life and it’s time for something new.” Having a strong soulful voice, booking gigs was not the issue for this girl, the technical side of music was her weak side. Lucky for Orlando, this brought her here through her enrollment into Full Sail to strengthen her musical knowledge and become a force to reckon with both in Orlando and beyond. “Orlando is really good to me” says Kaleigh while visiting from her current home in New York, NY. “I’ve only been gone three months…” she trails off. While Orlando may not instill the same nostalgia in everyone (though hopefully one day it will earn that place in many hearts), Kaleigh has a great point about the music scene in Orlando. She says “I was here for five years and I’ve always felt like Orlando has the best music scene. Out of all the different genres, the bands here are stellar, the musicianship is top tier.” But Kaleigh isn’t here just to make us Orlando residents get all teary eyed about our fine city. She is also gracing us with her talent and playing at The Social on Friday, August 12, 2011 at 9:00 p.m. “The band for The Social is killer” entices Kaleigh. Not wanting to give away everything, she reveals that you can count on is seeing Nate Anderson on stage playing saxophone, Abel Avalos on keys, and Anthony Manzo on drums. In addition you can prepare yourself for husband and wife, Jeff and Erin Nolan to hit the stage, who will be sure to impress the crowd. With a lineup like this and the attraction of Kaleigh herself, this show will be the place to be on Friday night. Tickets are $10 and you can purchase them ahead of time here (http://www.ticketfly.com/purchase/event/51933?utm_source=fb1&utm_medium=amp) to avoid waiting in line, or worse not getting in at all due to sell out! By & © Jennifer Schaffner Orlando Live Music Examiner http://www.examiner.com/live-music-in-orlando/spotlight-on-kaleigh-baker

Victor Brox Blues Train (Victor Brox & The Night Train)

Victor Brox Blues Train (Victor Brox & The Night Train) - Darwen Night Train (Darwin Night Train) - 2000 - Bullfrog

"Darwen Night Train" (That's how it's spelt on the album's front) was recorded live at the Darwin Festival, Australia in September 2000, by ABC Radio during Victor Brox Blues Train's first Australian tour. Some of Victor Brox's album releases include lo-fi documents of live shows with very basic packaging, or even plain CD burns, cheaply produced to sell at gigs. This is a professional recording, and Victor's daughter Kyla sings "Trouble in Mind", "Big Boss Man", "Double Lovin’", "Girlfriend", "The Painter" and "Don’t Fail Me Baby". She also duets with her dad on "Jesus On The Mainline". Victor Brox is already a British blues legend, and his daughter Kyla Brox has to be one of the most authentic UK blues and soul singers of her generation. There's a great interview with Victor @ http://www.earlyblues.com/Interview%20-%20Victor%20Brox.htm. Try and find his "Victor Brox: French Connection" album, and search this blog for Kyla Brox releases [All tracks @ 160 Kbps: File size = 79.4 Mb]

TRACKS / COMPOSERS

1 Run You Off The Hill - Brox
2 This Island Earth - Brox
3 Money Talks - Brox
4 Trouble In Mind - Richard M.Jones
5 Big Boss Man - Willie Dixon
6 Double Lovin'- Brox
7 Midnight Hour-No Woman, No Cry - Cropper, Piclett - Marley
8 Unchain My Heart - Ray Charles
9 Winning Streak - Brox
10 Girlfriend - Sarah Young
11 The Painter - Brox
12 Don't Fail Me Baby - Buddy Johnson
13 Jesus On The Mainline - Trad.

RE: MUSICIANS-

Many of Victor Brox's albums and some of Kylas are very vague in specifying musicians' credits. It would be easy to guess most of the performers on this album, but this blog would be extremely grateful for a detailed credits list for the album

VICTOR BROX BIO

Manchester blues legend Victor Brox (born in Droylsden, 1940) is a musical virtuoso and as well as playing keyboards and singing he plays brass and guitar. He is one of Britain’s greatest ever blues vocalists ranking alongside the likes of Chris Youlden, Joe Cocker and Steve Marriot at their best. This has been endorsed by Jimi Hendrix who was a great fan of Victor jamming and playing with him and the Aynsley Dunbar Retaliation on many occasions in London and New-York. Victor studied under a variety of blues pioneers such as Big Bill Broonzy, Bo Diddley, Brownie McGhee, Sonny Boy Williamson, Little Walter, Screaming Jay Hawkins, and played with B.B King, Eric Clapton, Jimi Hendrix, Muddy Waters, Big Bill Bronzy, Marvin Gaye, Stevie Wonder, Ritchie Blackmore and Ian Gillian of Deep Purple, Charlie Mingus, Noel Redding of The Jimi Hendrix Experience, Memphis Slim, Dr. John, Keith Moon of The Who, Alexis Korner, Bill Coleman, Lord David Sutch, Tete Montelieu, T.T.Swanston, John Mayall, Graham Bond, Country Joe McDonald, Keith Moon, Marzette Watts, Sun Ra and Nico, Mick Jagger, Pink Floyd, Rory Gallagher, Marc Bolan. In the late 1960s, he was the front man of Aynsley Dunbar’s Retaliation and also appeared as member of many blues outfits or as guest on several blues albums (vocals and sometimes keyboards). They released four albums: ‘Retaliation’, ‘Doctor Dunbar’s Prescription’, ‘To Mum from Aynsley and the Boys’ and ‘Remains to be Heard . He created the Victor Brox Blues Train (originally formed way back in the 60s with Annette his wife), which still exists, re-surfacing regularly. In 1970 Victor performed as Caiaphas on the original recording of Tim Rice and Andrew Lloyd Webber’s ‘Jesus Christ Superstar’. Victor frequently appeared alongside his highly talented wife Annette Brox (vocals & percussion) and continues the tradition by singing with his daughters Kyla, Buffy and Anna. Kyla now has her own highly rated blues band. Sam Brox, his son sings and plays with his own band in Denmark. This amazing performer has appeared alongside many of the big names of blues as well as in his own right and has a string of recordings across the musical spectrum. This amazing artist, band leader, singer and multi-instrumentalist, is one the best know and longest enduring names in grass roots British blues. His dedication to live music is legendary, and over the years he has been associated with just about every major blues artist to emerge from Europe & the U.S.A. His feel, energy and great enthusiasm for the music is second to none! “Blues music has given me greater pleasure than I could ever have imagined all those years ago. I’ve met and played with hundreds of fine musicians and have made many friends. I love the music and just want to go on playing it…” http://www.myspace.com/victorbrox Edited by WilliamNl on 21 Jun 2010, 23:58 Sources http://www.myspace.com/victorbrox

Greg Koch and Other Bad Men

Greg Koch and Other Bad Men - Live! On The Radio - 2007 - BHM

This is a great blues rock/soul blues album by a vastly underrated guitarist. Greg recorded this album while broadcasting from WMSE 91.7FM - Milwaukee, WI. to promote local shows. Greg said "Nowadays what often passes for blues is really harder-edged blues rock, which I'm not into that much. "Live! On The Radio" is blues and funk standards interpreted our own way at a high musical level and with a lot of humour. It's fun. You can't go away from one of our shows without having a good time." Greg also said that he liked "Live! On The Radio" for its lack of studio polish. He said, "We listened back to the recordings and said, 'Wait a minute! This sounds good!' We just wanted to capture a performance". Greg is backed by the brilliant vocalist, Malford Milligan together with members of Robben Ford's backup band. Joe Bonamassa has stated that “I believe Greg Koch is pound for pound the best guitar player in the world today. His, tone, feel and style are unrivaled in today’s guitar playing community. He is scary good. It was a true honor to do shows with him.” Buy Greg's "Double the Gristle" album and support a very underrated blues guitarist [Tracks @ 192-320 Kbps: File size = 119 Mb]

TRACKS / COMPOSERS

01. Manic Depression [Hendrix]
02. Going Down [Nix]
03. Mrs. Buckley [Koch]
04. Stormy Monday [Walker]
05. The Stumble [King, Thompson]
06. Change Is Gonna Come [Cooke]
07. Ain't No Fun for Me [Green]
08. Spanish Castle Magic [Hendrix]
09. Standing on Shakey Ground [McClinton]
10. Cotton [Beck]
11. Don't Change Horses [Watson]

MUSICIANS

Greg Koch - Guitar
Roscoe Beck - Bass Guitar, Background Vocals
Brannen Temple, John Calarco, Tom Brechtlein - Drums
Malford Milligan - Vocals

BIO

An unsung guitar hero from Milwaukee, Wisconsin, where he grew up just a few miles from the Waukesha birthplace of the late, great guitarist-inventor Les Paul, Greg Koch has established himself within six-string circles as a masterful technician, accomplished clinician (for Fender) and general bad-ass guit-picker. No less than guitar virtuoso Steve Vai noted Koch’s six-string prowess and promptly signed signed him to his Favored Nations label in 2001. Tom Wheeler from Guitar Player magazine hailed him as “fiendishly talented” while other critics have called him everything from “a twisted guitar genius” to “the best kept secret in the guitar firmament.” On From The Attic, his 12th release overall as a leader and third for Germany’s ZYX/Peppercake label, the veteran guitar virtuoso joins bassist Tom Good and drummer Del Bennett for an eclectic, hard-hitting program full of incendiary licks and audacious fretboard tricks. Recorded remarkably quickly (“We did the ten tracks in roughly 11 hours,” Koch explains) in the attic of guitarist-engineer Chris Hanson’s Victorian home on Milwaukee’s East Side, these rockin’, bluesy originals are imbued with Koch’s trademark searing licks and typically clever lyrics. From the blistering, Magic Sam-inspired boogie “Leg Up Foot Out” to the urgent blues inflected “Nova Scotia Cold,” from the elegant fingerstyle instrumental ballad “Sleep Tight” to the wild chicken-picking romp “Picked On,” Koch and his crew wail with uncanny tightness and authority. “Trouble” is a growling funk-blues number written about Koch’s first encounter with his wife-to-be (“Her middle name was trouble, her last name is mine”) while “Agree To Disagree” addresses the guitarist’s ongoing conflict with the staunch point’s of view of loved ones. “Here We Go Again” is a rich, r&b flavored ballad featuring some lyrical, legato guitar work by Koch and the aggressively funky “Happy Versus Right” recalls classic Red Hot Chili Peppers slamming down a thick groove. Koch flaunts some wicked wahwah-inflected slide guitar licks on the mellow “Twice the Man” and they close out the collection with the anthemic, classic rock jam “You’ll Rock and Like It,” which sounds like an encounter between Jeff Beck and AC/DC.” “The whole gist of this record is kind of where I started from in my career,” says Koch of From The Attic. “It’s basically tunes with cool guitar things. And I fi nd that if you can have nice little blasts within the confi nes of a short tune, it’s much more digestible.” And though Koch may be consciously trying to simplify his six-string onslaught on this trio recording, his natural fretboard fusillades ultimately come to the fore. In its 2001 feature story, Guitar Player magazine described Koch’s inherently pyrotechnic approach this way: “An impossible stream of riffs jumps off of Koch’s fretboard like clowns spilling out of a VW bug – and when you’re convinced that there can be no more, out pops another one.” Born in Milwaukee in 1966, Koch got his earliest musical infl uences from his older brother and later became infatuated with Jimi Hendrix, who remains a profound infl uence to this day. After studying jazz guitar for four years at the University of Wisconsin-Stevens Point, Koch won 1st Prize in the 1989 Bluesbreaker Guitar Showdown judged by legendary bluesman Buddy Guy. Shortly after, he formed Greg Koch and the Tone Controls, which became one of the more popular acts of the region. The band went on to win fi ve Wisconsin Area Music Awards for Blues Artist of the Year (‘93, ‘95 through ‘98), and Koch personally took in seven WAMA awards as Guitarist of the Year (‘92, ‘94 through ‘99). Koch soon found himself as a clinician for Fender, the world’s largest and most prestigious guitar and amplifier manufacturer. Bringing together world-class chops and a humorous ability to articulate sounds and techniques with a genuine devotion to all things guitar, Koch has developed an exceptionally effective approach to conducting guitar clinics. Greg’s relationship with music publishing giant, the Hal Leonard Corporation, has also resulted in a string of top-selling guitar method books, including “Guitar Clues: Operation Pentatonic,” “Lead Licks,” “Rhythm Riffs” and Koch’s popular Hal Leonard instructional DVDs – two on the style of Stevie Ray Vaughan (approved by Jimmie Vaughan), one on Lynyrd Skynyrd, another celebrating revered blues stylists like Albert King, Albert Collins, Elmore James and Guitar Slim and one on his own twisted take on guitar called “Guitar Gristle” – have revolutionized video guitar instruction with a combination of humor, effective instruction and inspiring musical performances into a package that can only be described as “edu-tainment.” In his self-penned liner notes to his 2001 recording, The Grip, Koch described his guitaristic approach as “Chet Hendrix meeting the Kings (BB, Albert and Freddie) at the first annual Zeppelin-Holdsworth Coffee Guzzlers Hoedown.” He would subsequently showcase his over-the-top chops and wicked sense of humor on 2003’s Radio Free Gristle, 2004’s 13 x 12, 2005’s 4 Days In the South and 2007’s Live on WMSE, which showcases his fiery fretboard work in the company of bassist Roscoe Beck (longtime sideman to guitarists Robben Ford and Eric Johnson), drummer Tom Brechtlein (a former member of Ford’s Blueline band and a frequent collaborator with Chick Corea) and the charismatic Austin-based soul singer Malford Milligan (formerly the frontman for Storyville and Double Trouble). Last year’s Nation Sack had Koch teaming with Milligan and his current rhythm tandem of Good and Bennett for a collection of Koch originals (including some co-penned with Milligan) along with a cover of John Lennon’s “Jealous Guy.” Koch continues to channel all the right people on his most recent collection of blues, funk and R&B, including Jimi Hendrix, Albert King, Albert Collins, Jeff Beck and Roy Buchanan with touches of Stevie Ray Vaughan, Danny Gatton and Richie Blackmore thrown in for good measure. And he fi lters all those killer infl uences through his own slightly bent prism that is tinted with grunge, gristle and good clean fun. © BILL MILKOWSKI http://gregkoch.com/wordpress/?page_id=79: WHAT PEOPLE ARE SAYING: - “Greg Koch has been our go-to guy for a dozen years now. We’ve sent him all around the world as Fender’s top ambassador. His skill as not only a guitarist but also as a world-class musician in general is matched only by his tireless commitment, leadership, professionalism, humor and utter reliability. I’ve worked with Greg for years and all I can say is that the endless depth of his musical skill and the sheer delight of his demeanor, day in and day out, absolutely has no equal. He’s the best in every sense of the word.” BILL CUMMISKEY, Vice President of Artistic Relations for Fender Musical Instruments Corporation. “Incredible musician? Check. Funnier than most comics? Check. Filled with great Dad and Husband stories? Check. And, at 6’ 7”, Greg ‘Rhymes with Chalk’ Koch is living proof that great things don’t always come in small packages. I’ve been hosting morning radio shows for 25+ years and there’s literally no one that connects with our audience like Greg.” DAVE LUCZAK – WKLH Morning Show Host. “Greg Koch is one of those players with chops to spare. But he’s also got a wonderful sense of humor and despite his talent, doesn’t take himself too seriously. … – great chops, great imagination, and again, his sense of humor. It doesn’t get much better than this.” VINTAGE GUITAR MAGAZINE – John Heidt, editor. “It seems Greg Koch can do the impossible. Not only can he rotate your head in a full Linda Blair 360 with his fi endishguitar chops, but he can also render spot-on imitations of favorite players while managing to assert a powerful artistic identity all his own.” TOM WHEELER – Former editor-in-chief, Guitar Player Magazine and author. “I believe Greg Koch is pound for pound the best guitar player in the world today. His, tone, feel and style are unrivaled in today’s guitar playing community. He is scary good. It was a true honor to do shows with him.” JOE BONAMASSA © http://gregkoch.com/wordpress/?page_id=79

Eric Sardinas And Big Motor

Eric Sardinas And Big Motor - Eric Sardinas And Big Motor - 2008 - FridayMusic

Playing sizzling slide guitar and dobro is only part of the equation. Writing good songs is the other, and that's where Eric Sardinas has come up short on his previous three releases. While the tunes on his fourth won't revolutionize the blues boogie genre where it seems he intends to reside for his career, they are better and more intricately arranged than in the past. The slashing slide shenanigans that get the shredder's pulses racing are slathered over the tracks as before, but there is greater emphasis on subtlety "this time" out. Credit guest keyboardist David Schulz and a pair of female backing singers for bringing a gospel feel to the music, also adding a touch of class that nicely balances the grinding groove. Surely nobody would confuse Sardinas' gritty voice for a soul singer, yet there is a newfound confidence to his approach that is certainly soulful. Tunes such as "Gone to Memphis" and "This Time" sport memorable choruses that are some of the guitarist's finest. Covers of the Elvis standard "Burning Love" and Tony Joe White by way of Rory Gallagher's "As the Crow Flies" don't add much to the originals but are far from embarrassments either. Stompers such as "Find My Heart" and "Just Like That" are reminiscent of the glory days of Southern rock, specifically Black Oak Arkansas, Lynyrd Skynyrd, and Molly Hatchet, but with hotter, better delineated guitar. Sardinas moves into '70s hard rock territory with the Free/Bad Company influenced "Door to Diamonds" yet the arrangements are spacious enough to include his crunchy slide lines without sounding exaggerated. Those looking for a ballad to lighten the mood will need to search elsewhere because once Sardinas revs up his engine, there is no slowing down. Sturdy bass and drums from his Big Motor backing duo do their job and stay out of the way allowing the guitarist freedom to do his thing. Sardinas keeps the songs concise and tight, reins in the solos, and hugs the curves of this material with far more nuances than in the past. That makes this his finest effort yet and shows that he's a rugged blues-rocker with brains and brawn. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/eric-sardinas-and-big-motor-r1335684/review

A great slide guitarist in the Delta Blues tradition, influenced by legends such as Muddy Waters, and Elmore James. Eric is becoming more prominent outside the US. A guy like this who sticks to tradition and puts his real love of the blues before commercialism, similar to the late, great Rory Gallagher, deserves to be heard by more people. Buy his great 1999 debut album, "Treat Me Right", and help keep the blues alive! Listen to Eric Sardinas and Big Motor's "Sticks And Stones" album [All tracks @ 320 Kbps: File size = 113 Mb]

TRACKS

1. All I Need
2. Ride
3. Find My Heart
4. Gone To Memphis
5. It's Nothin' New
6. This Time
7. Just Like That
8. Burning Love
9. Wonderin’ Blues
10. Door To Diamonds
11. As The Crow Flies

All songs composed by Eric Sardinas except "Burning Love" by Dennis Linde, and "As the Crow Flies" by Tony Joe White

MUSICIANS

Eric Sardinas - Slide Guitar, Vocals
Levell Price - Bass Guitar, Background Vocals
Dave Schulz - Organ, Piano
Patrick Caccia - Drums
Stacy Plunk, Gia Ciambotti - Background Vocals

BIO

The term "blues-rock" brings with it a connotation of a blues artist "selling out" in order to make more money or a rock band blaring heavy riffs with a thinly veiled strain of blues. A worse offense is that many of these rock artists have little or no knowledge of the blues in its historical context or its mythological roots. That is certainly not true in the case of Eric Sardinas. At six, his first love was Delta blues, as it "was the thrill of hearing one person playing the guitar and generating the energy of five - I loved the sheer strength and heart of a single player." Just as unusual was citing his first influences as Barbecue Bob, Charley Patton, and Bukka White, then Elmore James, Muddy Waters, and Big Bill Broonzy. He exclusively concentrates on slide guitar, employing his cherished Dobros, some that are customized to play by Edison's power. Sardinas listens to 78s, then couples these influences with modern sounds. He moved around the country, landing in Los Angeles in 1990. Like the early blues folk, he played acoustic for a living on the street, then formed the Eric Sardinas Project (ESP) by hooking up with bassist Paul Loranger at a jam session. Loranger had the ideal sound that Sardinas wanted, a bassist who had exceptional playing ability on upright and electric and could work the upright in a blues-rock context. Two years later, drummer Scott Palacios joined them. It took ESP six years of experience of performing nearly 300 shows annually, playing from acoustic gigs in coffeehouses to sharing the bill with rock bands at Hollywood clubs. Musical-instrument companies sent them gigging at showcase concerts, which led the band to a gig as the opening act for a West Coast swing of a Johnny Winter's tour. Word got around, receiving the attention of Evidence Records. Blues discoverer Dick Shurman produced Sardinas' 1999 debut, Treat Me Right. In 2000, Sardinas released a three-song single spotlighting his burning take on J.B. Hutto's "Angel Face." Devil's Train, his second full-length album, followed in 2001 and featured more of Sardinas' trademark blues-rock. © Char Ham © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/eric-sardinas-p365480/biography

BIO (WIKI)

Eric Sardinas is an American blues-rock guitarist born in Fort Lauderdale, Florida in 1970. He is noted for his use of the electric resonator guitar and his powerful live performances. Sardinas began to play the guitar at age six and leaned toward vintage recordings by such Delta bluesmen as Charlie Patton, Bukka White, Big Bill Broonzy, Elmore James and Muddy Waters. Although he was left-handed, he eventually started to play right-handed and his impressive style may be due to this fact. "The rawest, most emotional music is what sparked my excitement for the blues," Eric says. "I still listen to music from the 20s and 30s on a daily basis. That's where it all began." He is currently signed to Steve Vai's Favored Nations record label and was the opening act for Vai's The Real Illusions Tour 2005 around the world.

Lou Pride

Lou Pride - Keep On Believing - 2005 - Severn Records

"… [Lou] is carving out his place in music history proudly and bravely carrying the torch of master soul-blues crooner, in the footsteps of Ray Charles, Sam Cooke, Otis Redding, and Bobby Bland." - Steve Cagle, KVMR Radio

"For those of you who enjoy blues that blends funk with the urban experience in a relevant way… nobody is better equipped than Lou Pride to deliver high-octane R&B like the Lord intended it to be." - George Seedorf, Big City Blues

Once an under-recorded soul bluesman, Lou Pride is making up for lost time. This 2005 release is his third album of predominantly new and original material since 2000, not including a terrific set of 1970-1973 sides reissued by Severn in 2003. Pride kicks off with "Midnight Call," one of his best songs and a perfect indication of his Southern soul/blues roots. There is a bit of Al Green's Hi rhythm section in the thumping drums and longtime associate Benjie Porecki's powerful Hammond B-3. Post-heart attack, Pride's voice remains in fine form, bending notes and sliding from a gruff bottom to a sweet upper register like a combination of Howard Tate, Bobby Bland, and Johnnie Taylor. Although the 12 originals all written or co-written by Pride are uniformly solid, it's on Bob Marley's "Waiting in Vain," the disc's only cover, that Pride finds the blues by tapping outside material, possibly something he should do more often. A remake of his 1972 hit "I'm Com'un Home in the Morn'un" and horn arrangements by the great Willie Henderson bolster the retro production. The backing vocalists, horns, and live-in-the-studio sound all seem grabbed out of the mid-'70s Memphis soul boom, which is high praise indeed. Jon Moeller's short, crisp guitar solos recall Steve Cropper's in their concise attack and the horns that punctuate most of the tracks are wonderfully arranged for maximum effect. Only the album's extended length is to its detriment. At a full hour, the disc is subject to diminishing returns as the songs unfurl. There is a similarity to the approach that, although not a problem when each track is played individually, becomes a bit staid over the duration. The slow blues of "Sunrise" comes as a much needed change of pace on an album that could have been more powerful if it had been trimmed by about four tunes. Regardless, this is emotional, gritty Southern-fried R&B sung by a master and recorded with old-school charm. It's an all but dying art form and one Lou Pride is proud to keep alive. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/keep-on-believing-r797729/review

Unleashing that big voice from the Windy City, Lou Pride reaches new heights with Keep on Believing, his third album on Severn Records. Lou delivers 11 powerful new originals, topping them off with a beautifully soulful version of the Bob Marley classic "Waiting in Vain," and a remake of his own 1972 hit on the English Northern Soul scene "I'm Com'un Home in the Morn'un." Sparked by the horn arrangements of the great Willie Henderson (Tyrone Davis, Chi Lites), Lou leads us to a righteous place where Chicago blues meets Memphis soul. © http://www.severnrecords.com/site/albumdetail.asp?rid=35

"Keep On Believing" was inspired by Lou's late friend and mentor, the legendary Curtis Mayfield. Before he died, Curtis was paralyzed from the neck down. Lou says, “But I never saw him without a smile. He always used to tell me, ‘Lou, don’t ever give up believing. You got to hold on to your dream. Another thing I learned about R&B from Curtis is that every song has to tell a story. What’s important about telling a story is that it sounds real, so the people who buy my albums or come to my shows can relate to it, and maybe say, ‘Hey, that happened to me. I always keep my ears open for things people might say and observe what they do, because even an off-hand remark or something that seems insignificant can suggest a song. In fact, if you saw me driving my van around the streets of Chicago, you’d think I was crazy because I’m always mumbling to myself and writing lyrics down on pieces of paper. One of those little pieces could lead to a big song. My goal is to keep on working at what I do. I’m on top of my art and my music, and like my song says, I’m going to hold on to my dream.”The album is a masterful vocal-driven soul, R&B, and blues album from the great Chicago born vocalist and HR by A.O.O.F.C. Buy Lou's outstanding "Gone Bad Again" album and support real music.

TRACKS / COMPOSERS

1 Midnight Call - Pride 4:09
2 Waiting in Vain - Marley 4:01
3 I Can't Hold It - Gomes, Pride 4:25
4 I'm Com'un Home in the Morn'un - Pride 5:19
5 Love Will Make It Alright - Pride 5:27
6 I Want to Hold Your Hand - Pride 5:06
7 Another Broken Heart - Pride 5:05
8 Real Deal - Gomes, Pride 3:37
9 Sunrise - Pride 4:30
10 Without Your Love - Pride 4:47
11 I Wanna Be the Man You Want - Henderson, Pride 4:22
12 Layin' Eggs - Gomes, Pride 4:10
13 Hold on to Your Dream - Pride 4:24

MUSICIANS

Lou Pride - Vocals
Walter Namuth, Jon Moeller - Guitar
Steve Gomes - Bass
Benjie Porecki - Fender Rhodes, Hammond Organ
Jeff Antoniuk - Tenor Sax, Flute
Rob Stupka - Drums
Victor Williams - Percussion
Scott Silbert, Ronny Diehl - Baritone Sax
Scott Young - Alto Sax, Flute
Kenny Rittenhouse, Kevin Burns - Trumpet
John Jensen - Trombone
Willie Henderson - Horn Arrangements
Meg Murray, Lady Mary, Eddie Jones, Earl Jones, John Butler - Background Vocals

DETAILED MUSICAL CREDITS

Lou Pride: Vocals
Jon Moeller: Guitars
Benjie Porecki: Hammond Organ, Fender Rhodes
Steve Gomes: Bass
Robb Stupka: Drums
Victor Williams: Percussion
Walt Namuth: Lead Guitar track 5
Meg Murray: Background Vocals tracks 1 and 7
Earl Jones: Background Vocals tracks 6, 10, and 13
Eddie Jones: Background Vocals tracks 6, 10, and 13
Margie Clarke: Background Vocals tracks 1, 2, and 5
Lady Mary: Background Vocals tracks 1, 2, and 5
John Butler: Background Vocals tracks 1, 2, and 5
Kevin Burns: 1st Trumpet
Kenny Rittenhouse: 2nd Trumpet
Scott Young: Alto Saxophone and Flute
Jeff Antoniuk: Tenor Saxophone and Flute
Scott Silbert: Baritone Saxophone
Ron Diehl: Baritone Saxophone
John Jensen: Trombone

BIO

Lou Pride has a classic blues/soul voice that has found its way onto at least four solo albums, a slew of singles, and countless performances as an in-demand blues performer renowned for his electrifying stage presence and Bobby Bland ish growl to whisper to shout delivery. George Lou Pride -- born May 24, 1950 in Chicago -- grew up on the north side of the Windy City into gospel roots; he attended First Baptist Church pastored by Reverend E. J. Cole, Nat King Cole's father. But after watching a B. B. King performance with his mom, blues singing became a career goal. Nothing much happened until a two year stint singing with the Karls on service shows in Germany; upon returning home he formed a duet with a female singer who went by the initial's JLC; the pair had a Sam & Dave type act and got along so well they married and settled in El Paso, TX. It was while living in El Paso not Chi-town (a blues city) that Pride cut the acclaimed singles "I'm Coming Home in the Morning" b/w "I'm Not Thru With You" and "Your Love Is Fading" b/w "Lonely Road," on Seumi Records in the early '70s. He relocated to New Mexico and all told cut many, obscure hard to find singles while plying his trade in blues clubs and festivals. Pride's road resume include performing gigs with Clarence Carter, Betty Wright, Ko Ko Taylor, Kool & the Gang, and B. B. King. Other 1970s' singles include: "Look Out on Love," "We're Only Fooling Ourselves," "You've Got to Work for Love," and "Been Such a Long Time." He cut his first album, Very Special, in 1979 while living in Albuquerque, NM, for Black Gold Records. It spawned 45s and even a 12" single (an oddity for a blues performer) and kept Pride out there burning rubber. A second Black Gold album, Gone Bad for a Very Special Reason that dropped in 1988, was a virtual track-by-track reissuing of the 1979 LP. He came home (Chicago) and befriended Reverend Charles L. Fairchild who introduced him to Curtis Mayfield, the connection resulted in Gone Bad Again on Curtom Records. Recordings were almost a sideline for Pride; performing live was his focus, and the soulful singer mesmerized rooms with a voice that could serve as a Southern soul paradigm embodying the greatness of Bobby "Blue" Bland, Z. Z. Hill, Bobby Rush, Little Milton, Johnny, and Johnnie Taylor. Ichiban Records released Pride's riveting Twisting the Knife set in 1997 and Ice House Records blessed us with I Won't Give Up (2000). The singer's calendar doesn't have many blank days and there lies the essence of Lou Pride, a true music road dog, just like B. B. King, but without the acclaim and fanfare: one of blues best kept secrets. WMB Records issued Love at Last, which contains re-recordings of some of Pride's finest efforts. You can find his single "I'm Coming Home in the Morning" on The Wigan Casino Story (Goldmine GSCD72) and "Your Love Is Fading" on East Coast Soul Sounds CD6: For Lottery Winners Only; and do check out his heartfelt rendition of James Browns' "It's a Man's, Man's, Man's World." © Andrew Hamilton © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/lou-pride-p13985/biography

Eddie Taylor Jr.

Eddie Taylor Jr. - Mind Game - 2006 - Wolf

This is a terrific effort from Eddie Taylor Jr., who contributes the original Chicago soul blues title track, "Trying to Play a Mind Game" ....Taylor brothers Larry and Tim are outstanding in their drum support. - Living Blues

Eddie Taylor Jr. has inherited his extraordinary talent from his father, blues god Eddie Taylor. Taylor's sophisticated playing allows him to bring back old favorites and add his own new tunes, which are too tricky for average blues bands. Other so-called "blues-artists" often mix their music with R&B, funk, jazz, or swing, but Eddie Taylor Jr. stands for pure blues! - [from Product Description © 1996-2011, Amazon.com]

A second-generation blues maven (he's the son of blues greats Eddie and Vera Taylor), Eddie churns out the good stuff, raw and uncut. His vocals are full of conviction, his guitar work is sharp, and on "Mind Game" he's gathered a worthy backing band to support him in his purist vision. Eddie is a competent vocalist and guitarist, but don't expect any mind blowing guitar solos. This is a solid album of mostly good old fashioned blues and soul blues covers. Check out Eddie's "Worried About My Baby" album

TRACKS / COMPOSERS

1 I've Made Nights by Myself - Albert King 4:03
2 Use What You Got - Sugar Pie Desanto 3:33
3 Pink Champagne - Joe Liggins 3:00
4 That's All I Need - Samuel Maghett 4:52
5 I'm So Blue - Brenda Taylor 4:43
6 Look on Yonder's Wall - William McKinley "Jazz" Gillum 4:05
7 You've Got Me Licked - Freddie King, Jimmy McCracklin 4:26
8 Let Me Love You Baby - Willie Dixon 4:01
9 Trying to Play a Mind Game - Eddie Taylor 4:14
10 Forty-Four - Chester Burnett, Roosevelt Sykes 6:49
11 Feel Like Breaking Up Somebody's Home - Al Jackson Jr., Timothy Matthews 3:22
12 Eddie's Groove - Eddie Taylor 3:35

MUSICIANS

Eddie Taylor Jr. - guitar, vocals
Manua - rhythm guitar on Tracks 1,2,4,9,10,12: Illinois Slim - rhythm guitar on Tracks 3,5, 6-8
Pete Rubber - bass
Detroit Jr. - piano on Tracks 3,5, 6-8
Tim Taylor - drums on Tracks 1,4,5-11: Larry Taylor - drums on Tracks 2,3,12
Brenda Taylor - vocals on Track 5: Demetria Taylor - vocals on Track 8: Edna Taylor - vocals on Track 11

SHORT BIO

When Eddie Taylor Sr., a founder of postwar Chicago blues and the genius behind the famous Jimmy Reed, passed away in 1985, his red guitar, a Gibson 355 stereo, was left sitting in the corner. Eddie Jr., the third son in the family, had grown up hearing blues, but his main interest at the time was the current hip-hop music. One day he started listening to his father's records, picked up the guitar, hooked it up to the old Fender tube amp, and started teaching himself to play and sing. Today, at only 32 years old, Eddie Taylor Jr. is a leader in traditional Chicago blues. "Most people who play the blues today don't have the old original feel. I respect all the musicians, but there are certain musicians who give me that true feeling that I really want", he says. Eddie's sophisticated playing allows him to bring back some old favorites and add his own new tunes. that are a bit too tricky for the average blues bar band to copy. Fans are sure to tap their toes when he belts out "Cut You Loose," a Ricky Allen tune which was a favorite of his late mother Vera. "I can play along with a lot of different kinds of music," says Eddie, "but when it's my turn to stand up, I play what I play. I don't know whether the person in front of me in the audience knows anything about Eddie Taylor Sr. or Jimmy Reed, or if they are a jazz fan or a classical fan looking to hear something different. But the music I play, I play like me. That's the way I do it." Eddie's rising star was temporarily knocked aside in 2002, when he suffered a severe kidney ailment. His youngest brother Milton came to his rescue and donated a kidney. With the support of family and fans, Eddie has regained his strength-and it shows on the bandstand. Like his father, he lays down a great rhythm line for harmonica players, appearing on new CDs by traditional harpists Little Arthur Duncan and Easy Baby and backing up Easy Baby in the Chicago 2003 Blues Festival. Eddie's Wolf Records tribute to his father, "Lookin' for Trouble" features outstanding musicians such as Eddie Shaw on sax, Johnny B. Moore on guitar, and Martin Lane on harmonica. His own new Wolf release "Worried About My Baby" has five of his own compositions. Both Wolf records feature his brothers Larry and Tim on drums. A Taylor family band is one of Eddie's dreams: " We're proud of our heritage. We want to let the world know what we're about. That's all we're trying to do-get a fair chance out of life, like everybody else." [from Biography Nov. 4th, 2003 © Wolf Records http://www.wolfrec.com/feature.php?id=ed