Carl Weathersby

Carl Weathersby - Restless Feeling - 1998 - Evidence

Vocalist, songwriter, and guitarist Carl Weathersby is a soul-blues crooner in the classic Chicago tradition. Best known for his work with Billy Branch & Sons of the Blues, Weathersby's first album, 1996's Don't Lay Your Blues on Me, was hailed as genuine, state-of-the-art Chicago blues for the '90s. Weathersby released his second album, Looking Out My Window, in 1997, and the raves continued; the song "The Blues Follow Me Around," which Weathersby first recorded with Branch, was nominated for a Handy Award. Born in Jackson, MS, Weathersby was eight when his family moved to East Chicago, Indiana. He spent his summers back home with relatives in Mississippi. Weathersby grew up immersed in blues music and has many family links to the blues, R&B, and Motown legacies: he's related to the late Leonard "Baby Doo" Caston, Willie Dixon's pianist in the Big Three Trio, a popular Chicago group in the early '50s; Weathersby's cousin is Leonard Caston, Jr., a member of the Chicago soul group the Radiants, who had a 1965 Chess Records hit with "Voice Your Choice"; singer G.C. Cameron from the Motown group the Spinners is another cousin. Additionally, a neighbor was a cousin of Hound Dog Taylor, and Weathersby's father was friendly with Albert King. One day while Weathersby was practicing King's licks from a 45 rpm recording of "Crosscut Saw," his father and King overheard him. King encouraged the boy, who hadn't realized his identity until then, and eventually hired him as a rhythm guitarist for short road trips in 1979, 1980, and 1982. Before becoming a full-time musician with Branch's Sons of the Blues, Weathersby worked in a steel mill, as a police officer, and as a prison guard. He also spent time in Vietnam serving in the Army from 1971 to 1977. His life experiences in all four occupations are rich fodder for his songwriting, which is as fresh, original, and life-affirming as one is likely to find from any other contemporary blues player. Weathersby spent 14 years, from 1982 to 1996, with harmonica player Branch's Sons of the Blues before he decided to have a go at leading a band under his own name. For his Evidence albums, Weathersby is accompanied by two great New Orleans musicians, who add just the right touches of funk to the band's sound: David Torkanowsky on piano and keyboards and Herman Ernest III on drums, the latter a key element in Dr. John's quartet, the Lower 911. Weathersby's first album, Don't Lay Your Blues on Me, won nominations in the 1996 Living Blues Critics' Awards for Best New Blues Album, Best Blues Album, and Best Debut Album. Weathersby was also nominated for a 1997 W.C. Handy Blues Award for Best New Blues Artist. Subsequent outings include 1998's Restless Feeling and 2000's Come to Papa. © Richard Skelly © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/carl-weathersby-mn0000166967/biography

Life has not been easy for bluesman Carl Weathersby. First, there was a hellish tour of duty in Vietnam, then the looming sense of danger that comes with laboring as a prison guard and the frustration of being a lowly steelworker. That frustration has been further stoked by his residence in a city he disdains--Chicago! Luckily, he possesses a guitar through which he releases some of his pent-up feelings. Restless Feeling (Evidence) is a form of musical therapy for Weathersby and a musical treat for the rest of us. Weathersby learned his craft honestly, sneaking peeks as a kid at guitar guru Albert King at Chicago's Cadillac Club and gawking in awe at Howlin' Wolf during the Wolf's sound checks at that same venue. Years later, Weathersby wound up playing rhythm for the cantankerous King, a job that led to a 14-year stint with the popular S.O.B.s (a group boasting the sons of legendary bassist/songwriter Willie Dixon and harmonica player Carey Bell). His reputation as a formidable guitarist was enhanced with the release of the W.C. Handy Award-nominated Don't Lay Your Blues on Me and its successor, Looking Out My Window. The new album consolidates those earlier successes. As on his previous discs, Weathersby's approach to the blues is open-minded. Elements of Southern-style soul and tough-minded R&B fuse to produce a sound that acknowledges the past while remaining firmly planted in the present. His choice of material tells much of the story. In addition to his own compositions, Weathersby includes covers of songs by Johnny "Guitar" Watson and Al Green. Sure, listening to tunes like "Matchbox Holds My Clothes," one cannot avoid comparing Weathersby to Albert King--indeed, King penned the song--yet the younger man puts his own spin on things with guitar work that is more facile than King's. Watson's "Real Mutha Fuh Ya" reveals Weathersby's affinity for funky R&B. A slinky bass figure and in-the-pocket drumming lock down the groove, allowing space for jazz-inflected keyboards to add subtle color. Weathersby's laconic drawl brims with wry humor, yet lurking beneath is the feeling that the singer has learned life's lessons the hard way. There's nothing funny about Weathersby's guitar playing; it crackles with intensity. "Rhymes," a relatively obscure Al Green ditty, retains its original Memphis-soul feel. The popping bass line, deceptively uncomplicated drumming and keening organ are all intact. Weathersby, no Al Green by a long shot, gives it his best shot. Limited in range, he croaks away in a baritone not dissimilar to blues singer Taj Mahal's (check out the playfully gruff introductory vocal bit). Here, Weathersby's guitar playing is relatively restrained, using the song's melody as a point of reference. On his own compositions, the bluesman's aggressive nature generally prevails. On cuts like "Woman's Song" and "Everything I Do," his guitar playing exhibits a kind of primal power. The slow-simmering blues of the title track (also an original) finds the singer unable to shake the feeling that his lady is fooling around on him. The singer's pain and frustration are almost palpable; bristling with anger; his guitar solo is yet more eloquent, articulating the depths of his emotional despair with angular, single-note runs. On this song and elsewhere, Carl Weathersby answers definitively the age-old question--How blue can you get? © Metro Publishing Inc. © Nicky Baxter http://www.metroactive.com/papers/metro/01.21.99/weathersby-9903.html

“Elements of Southern-style soul and tough-minded R&B fuse to produce a sound that acknowledges the past while remaining firmly planted in the present. His choice of material tells much of the story. In addition to his own compositions, Weathersby includes covers of songs by Johnny "Guitar" Watson and Al Green”. A great soul, blues and R&B album and HR by A.O.O.F.C. Listen to Carl’s outstanding “Don't Lay Your Blues on Me” album [All tracks @ 320 Kbps: File size = 142 Mb]

TRACKS / COMPOSERS

1.Matchbox Holds My Clothes - Albert King
2.A Real Mutha For You - Johnny "Guitar" Watson
3.It's You That I Want - Rico McFarland
4.Restless Feeling - Carl Weathersby
5.Woman Song - Carl Weathersby
6.Wheel of Fortune - Steve Nails, Victor Palmer, Alan Wiley
7.We All Want To Boogie - Allen Toussaint
8.Meadville,Mississippi - Carl Weathersby
9.Everything I Do - Carl Weathersby
10.Rhymes - Al Green, Mabon Hodges
11.Tired Of Being Alone - Rico McFarland, Mike Gray
12.Glory Be - Sam Hopkins, Clarence Lewis, Morgan Robinson
13.She's Gone - Rico McFarland

MUSICIANS

Carl Weathersby - Electric & Acoustic Guitar, Vocals
Rico McFarland - Electric & Acoustic Guitar, Vocals on Track 11, Backing Vocals
Dave Smith - Bass
David Torkanowsky - Hammond B-3, Keyboards, Piano
Steve Potts - Drums
Juanita Brooks - Backing Vocals on Tracks 10, 13

BIO (WIKI)

Carl Weathersby (born Carlton Weathersby, 24 February 1953, Jackson, Mississippi) is an American electric blues vocalist, guitarist, and songwriter. Weathersby has worked most notably with Albert King and Billy Branch, and is now a solo artist. Weathersby was also nominated in 1997 for a W.C. Handy Award for 'Best New Blues Artist'. Weathersby spent his early years in Meadville, Mississippi, a place he still considers home, although when he was aged eight, his family moved to East Chicago, Indiana. As a teenager, Weathersby began to learn the guitar. One day, after practicing "Cross Cut Saw" many times through, he decided to show his father. After he finished playing it, his father's friend, a man Weathersby knew as Albert, the diesel mechanic, said, "Man, that ain't the way that song goes, that ain't the way I played it." The mechanic turned out to be Albert King, who then showed Weathersby how to play it. Despite Weathersby's mistake, King was impressed and eventually signed Weathersby on to play rhythm guitar with him on tour. However his career as musician started many years later. Before then, Weathersby worked many jobs ranging from steel mill worker to prison guard and police man. He also served in the U.S. Army from 1971 to 1977, during the Vietnam War. After the Vietnam War, Weathersby began playing rhythm guitar with Albert King. It was only on short road trips between 1979–81, but the experience solidified Weathersby's identity as a blues musician. He then started filling in for the guitarist of the Sons of Blues, Carlos Johnson, who Weathersby described as "a pretty shaky guy, you know. He could show up just as easy as he couldn't show up..."Eventually the band hired Weathersby on as their full-time guitarist, a position he held for the next fifteen years. His position as guitarist for the Sons of Blues earned him a name among the blues fans of Chicago, it also left him feeling discontent. Because of his growing popularity, Evidence Records released Weathersby's first album, Don't Lay Your Blues on Me (1996). They published all of his subsequent albums, up to Best of Carl Weathersby. His only live album, In the House, was recorded at the Lucerne Blues Festival in Switzerland, when he was joined by the harp player and past band mate Billy Branch. In The House was released under the CrossCut record label. Weathersby has since self produced the album, Hold On.

Paul Weller

Paul Weller - Modern Classics: The Greatest Hits - 1998 - Island

Paul Weller's status as the most resilient survivor from Britpunk's class of `76 was challenged by his last album of original songs. Whether Weller's fire had really gone out or he'd merely succumbed to midlife doldrums, a refresher was urgently required. Weller can afford to wear his influences on his sleeve because, as this new collection attests, the man remains, ultimately, his own best and truest guide. Modern Classics showcases a songwriter whose singular voice endures; it's grown quieter perhaps, but no less vital or honest. Born in 1958 and raised in Woking, Paul Weller formed The Jam at 14, who were influenced by The Beatles, Amen Corner and The Small Faces. In 1976 (Weller was 18) after hearing The Who's 'My Generation' and seeing The Sex Pistols play London's Lyceum, Weller found the direction he was looking for and established the blueprint for what would be Britain's biggest band for the next five years. From the release of their debut album 'In The City' through the seminal 'Down In The Tube Station' and 'That's Entertainment' and the classic straight-in-at-number one singles 'Going Underground', 'A Town Called Malice' and 'Beat Surrender', The Jam were a huge critical and commercial success. Weller penned a succession of songs, brilliantly reflecting his audiences experiences, until in 1982, convinced he'd taken the group as far as he could, he split The Jam to form The Style Council. Radically different to The Jam, The Style Council, incorporated touches of funk & soul. While his first solo album had firmly established Paul Weller as a potent solo artist, the second album, 1994's 'Wild Wood', was to see him hailed as one of the finest British songwriters of the last three decades. 1995 found Paul Weller riding high on a heady mix of popularity and critical acclaim leading up to the release of 'Stanley Road'. 'Stanley Road' managed to even outstrip 'Wild Wood' in its critical acclaim. Having risen from the wreckage of The Style Council to regain his status as an important figure in British music, Weller closes the first chapter of his solo career with this greatest hits set. It's a perfect encapsulation of the harder side of Weller, gritty vocals, water-tight backing and some lovely guitar flourishes. The years have seem Mr Well his temper and look at the world without the blinkers of his adolescent youth. Included on this album we find the softer Weller with haunting guitar solo and the gentle shuffle of ballads. This album reaffirms that Weller can still churn out the nuggets as well as he did in the halcyon days of The Jam. The onset of middle-age has meant he's settled effortlessly into the role of Mod Father of British guitar music. While the tracks may not be invested with the freneticism of yore but they still have the passion and commitment he's invested in everything he's turned his hand to. As ultimately impossible as it might be for Weller to ever top his tenure with the Jam in terms of watershed artistic achievement or cultish notoriety, you've got to hand it to the guy for trying, or more accurately, for not trying. Weller's never attempted to replicate the sound and fury of that celebrated group who, along with the likes of the Clash and Sex Pistols, ignited a musical revolution in the U.K. that (for a while at least) swept the established dinosaurs of rock to the margins of relevance. Weller can afford to wear his influences on his sleeve because, as this new collection attests, the man remains, ultimately, his own best and truest guide. Modern Classics showcases a songwriter whose singular voice endures; it's grown quieter perhaps, but no less vital or honest. Some twenty years after the Jam boldly announced a new era of "the Modern World," an older, wiser, but seemingly no less satisfied Weller continues to take stock of it. He's still grappling and searching for ways to live in a world that perhaps hasn't turned out to be so terribly different from the old one. Changing Man Weller delivers on hos own terms sometimes he gets it right somtines he doesn’t. This is Weller at his best – from ***** The Changing Man, 30 Mar 2010 By & © P. Frizelle (England) © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/product-reviews/B00000FDNW/ref=dp_top_cm_cr_acr_txt/279-3825979-0571455?ie=UTF8&showViewpoints=1

It's easy to gripe that '90s pop has become pasteurized and fake, but proto-mod Weller has spent the decade crafting simple, heartfelt, old-fashioned rock-soul that stands apart from the bogus phenomenettes foisted upon the market... - Rating: A - Entertainment Weekly

Wrapping up his contractual commitment to Go! Records, Paul Weller delivered Modern Classics: Greatest Hits, his first compilation of solo material, late in 1998. Modern Classics plays it safe, collecting all of his singles and adding a fine new song, "Brand New Start," which may not at first seem live up to its title, but eventually reveals itself to be a weightier ballad variation of the trad rock of Heavy Soul. Regrettably, the album is not sequenced in chronological order, but there was a consistency to Weller's solo work that makes the compilation hold together well. And while it certainly confirms that his solo work is easily his most conservative music to date, it also proves that it wasn't slight -- these singles are uniformly solid, whether it's the driving "Into Tomorrow," the rugged soul-pop of "Uh-Huh Oh-Yeh," the passionate "Sunflower," the ersatz ELO tribute "The Changingman," or ballads like "Broken Stones" and "Mermaids." Like Snap! and The Singular Adventures of the Style Council, Modern Classics is a testament to Weller's strength as a singles artist and a terrifically enjoyable listen in its own right. [The U.K. edition of Modern Classics included a bonus live disc, culled from various shows, which was every bit as good as Live Wood.] Stephen © Thomas Erlewine © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/modern-classics-the-greatest-hits-mw0000046224

The main Greatest Hits album collects many of Paul Weller’s best songs from his four solo albums released between 1992 and '97. This double cd issue includes a Bonus 13 track live disc recorded at Victoria Park, Hackney, London on August 8th, 1998. Listen to Paul’s wonderful “22 Dreams” album, and The Jam’s brilliant “All Mod Cons” album [All tracks @ 320 Kbps: File size (2 x CD’s) = 285 Mb]

TRACKS

CD ONE

1 Out Of The Sinking
2 Peacock Suit
3 Sunflower
4 The Weaver
5 Wild Wood
6 Above The Clouds
7 Uh-Huh Oh-Yeh
8 Brushed
9 The Changingman
10 Friday Street
11 You Do Something To Me
12 Brand New Start
13 Hung Up
14 Mermaids
15 Broken Stones
16 Into Tomorrow

All tracks composed by Paul Weller except "Brushed" by Paul Weller, Steve White, Mark Nelson, Brendan Lynch: "The Changingman" by Paul Weller & Brendan Lynch

MUSICIANS

Paul Weller (guitar, bass, piano, electric piano, Wurlitzer piano, organ, Mellotron, Moog & Mini-Moog synthesizers, novatron, percussion, vocals)
Steve Cradock, Dr. Robert (guitar, bass, background vocals)
Yolanda Charles (bass)
Mark Nelson (bass, sitar)
Brendan Lynch (Mellotron, Mini-Moog synthesizer, accordion, cyremin)
Mick Talbot (Fender Rhodes)
Helen Turner (organ, novatron)
Max Beasley (organ)
Steve White (drums, percussion)
Jacko Peake (saxophone, flute)
The Wired Strings (strings)
Chris Bangs (various instruments)
Carleen Anderson (vocals)
Simon Fowler (background vocals)

CD TWO [Live Classics]

1 Into Tomorrow
2 Peacock Suit
3 Friday Street
4 Mermaids
5 Out Of The Sinking
6 Heavy Soul
7 Wild Wood
8 Up In Suzes' Room
9 Can You Heal Us (Holy Man)
10 The Changingman
11 Porcelain Gods
12 Sunflower
13 Broken Stones

All tracks composed by Paul Weller except "The Changingman" by Paul Weller & Brendan Lynch

BIO

As the leader of the Jam, Paul Weller fronted the most popular British band of the punk era, influencing legions of English rockers ranging from his mod revival contemporaries to the Smiths in the '80s and Oasis in the '90s. During the final days of the Jam, he developed a fascination with Motown and soul, which led him to form the sophisti-pop group the Style Council in 1983. As the Style Council's career progressed, Weller's interest in soul developed into an infatuation with jazz-pop and house music, which eventually led to gradual erosion of his audience -- by 1990, he couldn't get a record contract in the U.K., where he had previously been worshiped as a demigod. As a solo artist, Weller returned to soul music as an inspiration, cutting it with the progressive, hippie tendencies of Traffic. Weller's solo records were more organic and rootsier than the Style Council's, which helped him regain his popularity within Britain. By the mid-'90s, he had released three successful albums that were both critically acclaimed and massively popular in England, where contemporary bands like Ocean Colour Scene were citing him as an influence. Just as importantly, many observers, while occasionally criticizing the trad rock nature of his music, acknowledged that Weller was one of the few rock veterans who had managed to stay vital within the second decade of his career. Weller's climb back to the top of the charts was not easy. After Polydor rejected the Style Council's fifth, house-influenced album in 1989, Weller broke up the group and lost both his record contract and his publishing deal. Over the next two years, he was in seclusion as he revamped his music. In 1991, he formed the Paul Weller Movement and released "Into Tomorrow" on his own independent label, Freedom High Records. A soulful, gritty neo-psychedelic song that represented a clear break from the Style Council, "Into Tomorrow" reached the U.K. Top 40 that spring, and he supported the single with an international tour, where he worked out the material that comprised his eponymous 1992 solo debut. Recorded with producer Brendan Lynch, Paul Weller was a joyous, soulful return to form that was recorded with several members of the Young Disciples, former Blow Monkey Dr. Robert, and Weller's then-wife, Dee C. Lee. The album debuted at number eight on the U.K. charts, and was received with positive reviews. Wild Wood, Weller's second solo album, confirmed that the success of his solo debut was no fluke. Recorded with Ocean Colour Scene guitarist Steve Cradock, Wild Wood was a more eclectic and ambitious effort than its predecessor, and it was greeted with enthusiastic reviews, entering the charts at number two upon its fall 1993 release. The album would win the Ivor Novello Award for Outstanding Contemporary Song Collection the following year. Weller supported the album with an extensive tour that featured Cradock as the group's leader; the guitarist's exposure on Wild Wood helped him successfully relaunch Ocean Colour Scene in 1995. At the end of the tour, Weller released the live album Live Wood late in 1994. Preceded by "The Changingman," which became his 17th Top Ten hit, 1995's Stanley Road was his most successful album since the Jam, entering the charts at number one and eventually selling nearly a million copies in the U.K. By this point, Weller decided to stop attempting to break into the United States market and canceled his North American tour. Of course, he was doing so well in the England that he didn't need to set his sights outside of the U.K. Stanley Road may have been greeted with mixed reviews, but Weller had been re-elevated to his status as an idol, with the press claiming that he was the father of the thriving Brit-pop movement, and artists like Noel Gallagher of Oasis singing his praises. In fact, while neither artist released a new album in 1996, Weller's and Gallagher's influence was felt throughout the British music scene, as '60s roots-oriented bands like Ocean Colour Scene, Cast, and Kula Shaker became the most popular groups in the U.K. Weller returned in the summer of 1997 with Heavy Soul. Modern Classics: Greatest Hits followed a year later. Heliocentric -- which at the time of its release he claimed was his final studio effort -- appeared in the spring of 2000. The live record Days of Speed followed in 2001, and he released his sixth studio album, Illumination, in 2002. A collection of covers called Studio 150 appeared in 2004, followed by an all-new studio release, As Is Now, in October of 2005 on Yep Roc. Released in 2006, Catch-Flame! Live at the Alexandra Palace preceded Yep Roc’s mammoth Hit Parade box set. It was followed in 2008 by 22 Dreams, a two-disc studio epic that managed to touch on all of Weller’s myriad influences. His tenth solo album, Wake Up The Nation, was released in 2010 and it proved another success, earning a nomination for the Mercury Music Prize. Weller's next album, Sonik Kicks, arrived in the spring of 2012. © Stephen Thomas Erlewine © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/paul-weller-mn0000029791/biography

Johnny Neel & The Last Word

Johnny Neel & The Last Word - Comin' Atcha...Live! - 1995 - Big Mo/Silverwolf

A funky live set of Southern soul, R&B, blues and funk from the great and underrated singer/songwriter and Hammond B-3 specialist Johnny Neel who made a name for himself as keyboard player in various incarnations of the Allman Brothers Band. Johnny is backed by an all-star band featuring guitarist Jack Pearson, bassist Tim Loffin, drummer Scotty Hawkins, special guest Delbert McClinton on harmonica, and Keli Bruce, Nannette Britt-Bohannon, and Vickie Carrico on background vocals. Buy Johnny Neel's "Gun Metal Blue" album, and listen to Blue Floyd's "Begins" album featuring Johnny Neel and Marc Ford [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS / COMPOSERS

1. Society Hill - Johnny Neel, Rad (Rose Ann Dimalanta)
2. Just My Style - Johnny Neel, Warren Haynes
3. Maydell - Johnny Neel, Warren Haynes
4. Read Me My Rights - Johnny Neel, Delbert McClinton
5. Lost the Will To Love Me - Johnny Neel, Tommy Polk
6. What Am I - Johnny Neel, Warren Haynes
7. Bless My Soul - Johnny Neel, Rose Ann Dimalanta
8. Turn on Your Love - Johnny Neel, Ricky Ray Rector
9. Blues Ain't Nothin' - Johnny Neel, Taj Mahal, Kim Morrison
10. Easy Come, Easy Go - Johnny Neel, Kim Morrison

MUSICIANS

Johnny Neel - Hammond B-3 Organ, Vocals
Jack Pearson - Guitar
Tim Loftin - Bass
Scotty Hawkins - Drums
Keli Bruce, Nannette Britt-Bohannon, Vickie Carrico - Background Vocals
Delbert McClinton - Harmonica

BIO (WIKI)

Johnny Neel is an American vocalist, songwriter, and musician based in Nashville, Tennessee. He is best known for his songwriting, stage, and session work for the Allman Brothers, Gov't Mule, and Dickey Betts. Keith Whitley, Travis Tritt, The Oak Ridge Boys, Restless Heart, Ann Peebles, Dorothy Moore, and John Schneider. As a studio musician, Neel has lent his talents to recordings by a diverse group of artists including The Allman Brothers, Gov't Mule, Warren Haynes, Dickey Betts, Montgomery Gentry, Michael McDonald, Todd Snider, David Allan Coe, Jeff Coffin, Robert Gordon, Chris LeDoux, Tiny Town, Suzy Bogguss, Joe Diffie, Colin Raye, and The Pirates of the Mississippi. As a songwriter, in addition to the material written, or co-written for the Allman Brothers, Gregg Allman, and Dicky Betts, Neel's songs have also been recorded by Gov’t Mule, John Mayall, Delbert McClinton, Montgomery Gentry, Neel was born in Wilmington, Delaware. He cut his first single, entitled "Talking About People", at the age of twelve, as Johnny Neel and The Shapes Of Soul, which was a hit on local radio in the Wilmington/Philadelphia area. As an adult, the Johnny Neel Band had a strong following up and down the east coast and released two well-received independent albums. Neel moved to Nashville in 1984. Performing with various bands in area clubs drew the attention of former Nashville resident Dickey Betts, who asked Neel to join his road band, and he soon began working on Bett’s solo LP for Epic Records. That relationship led to seven cuts on the Pattern Disruptive LP released in 1988, including the AOR hit, Rock Bottom. Neel's talented keyboard and harmonica playing on the 'Pattern Disruptive album convinced Gregg Allman to ask Neel to tour with his road band which led to the inclusion of the cut Island on The Gregg Allman Band album (also released in 1988), co-written with Allman, Dan Toler, and Tony Colton. In 1989 Neel was invited to join the reunited Allman Brothers Band. He immersed himself in touring, writing, and recording, which led to four cuts on the Allman's Seven Turns album (released in 1990), and the hit single Good Clean Fun, co-written by Neel with Allman and Betts. In 2002 country stars Montgomery Gentry included Good Clean Fun as part of their My Town album. In 1994 the studio album Johnny Neel & The Last Word was released. This album included the song Maydell which was co-written with Warren Haynes (Allman Brothers/Gov't Mule) and has been covered by the Allman Brothers on their Hittin' The Note album, and by John Mayall on his Wake Up Call album. The album also included the song Read Me My Rights which was co-written with Delbert McClinton, and which was covered by McClinton on his Nothing Personal album, by Ann Peebles on her Full Time Love album, by Dorothy Moore on her Stay Close to Home album, and by Dalton Reed on his Louisiana Soul Man album. This album featured appearances by Jack Pearson (Allman Brothers) on guitar and Delbert McClinton on harmonica. In 1995 Neel's album Commin' Atcha... Live was released and included live versions of Read Me My Rights and Maydell. The album captured a live appearance by Neel and his band The Last Word including Jack Pearson and most of the musicians on The Last Word album. In 2000 Neel released Late Night Breakfast which was recorded at his Straight Up Sound Studio with the members of his band The Last Word along with special guests guitarists Shane Theriot (The Neville Brothers), and Rick Vito (Fleetwood Mac/Zoo), as well as Wayne Jackson (The Memphis Horns) on trumpet. Late Night Breakfast was released on Neel’s Breakin’ Records label. During the period of time the Late Night Breakfast recordings were made Neel also became a member of Blue Floyd, an all-star jam band performing variations on the material of Pink Floyd. In addition to Neel, the band was composed of guitarist Marc Ford (Black Crowes), drummer Matt Abts (Gov't Mule), bassist Berry Oakley Jr. (OKB Band) and until his unfortunate demise, Allen Woody (Allman Brothers/Gov't Mule) on second guitar. Neel and Abts then went into the Straight Up Sound Studio and recorded the X2 funk/jam duo project. X2 - Johnny Neel / Matt Abts was released in 2002. In 2004 Neel released the album Gun Metal Blue on his Breaking Records label which was also recorded at Straight Up Sound. These sessions included guitarists Chris Anderson (Blackhawk/Outlaws), George Marinelli (Bonnie Raitt/Bruce Hornsby), and Pat Bergeson (Chet Atkins/Lyle Lovett), drummer Vince Santoro (Rodney Crowell/Highwaymen), and vocalists Joanna Cotten, and Neel's wife, Christine Thompson Neel. Also in 2004, the album Johnny Neel and The Italian Experience was released on the Italian label Artesuono. This album included strings and horns as Neel moved in a Jazz direction. The album included members of the Italian blues/rock/jam power trio W.I.N.D. with which Neel has toured and recorded in Europe several times. In addition to the Blue Floyd and X2 projects, Neel was a part of two other all-star collaborations. The group Deep Fried included Neel on keyboards, drummer Matt Abts, guitarist Brian Stoltz (The Neville Brothers/The Funky Meters), and bassist George Porter Jr.(The Meters/The Funky Meters). Their album The Deep Fried Sessions - Live was released in 2004. The other group, The Grease Factor released two live recordings; Off the Cuff in 2004, and Live From Zambifest 2004 in 2005. The Grease Factor included guitarist Shane Theriot (The Neville Brothers), bassist Derek Jones (David Grisman), drummer Jeff Sipe (Leftover Salmon / Aquarium Rescue Unit), and percussionist Count M’Butu (Aquarium Rescue Unit). Neel has provided vocals on five songs included on four Walt Disney Records CD releases related to the Pixar Animation Studios movie releases Finding Nemo, Cars, and Ratatouille. These include Saturday Night Fish Fry from the 2003 release Finding Nemo: Ocean Favorites, My Old Car from the 2006 release Lightning McQueen's Fast Tracks, One Meat Ball and Banana Split for My Baby from the 2007 release Ratatouille: What's Cooking?, and Hot Rodder's Lament from the 2009 release Mater's Car Tunes. Most recently he has been recording and performing with his band The Criminal Element. Three albums have been released by Johnny Neel and The Criminal Element; Volume 1 (2007), Volume 2 (2008), and The CSI Chronicles (2010). In 2010 Neel also released Harmonius, a solo project featuring only his vocals and keyboards.

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Although not a household name, Johnny Neel is a Grammy award nominee recognized in the music world for his work with the Allman Brothers, Lonnie Mack and Gov't Mule, among others. In addition to his soulful vocals, harp, piano and B-3 proficiency, Johnny is an accomplished songwriter whose tunes have been recorded by the likes of the Allman Brothers, Joe Louis Walker, John Mayall, Irma Thomas, Ann Peebles, Marie Osmond, the Oak Ridge Boys and Travis Tritt. Born and Raised in Wilmington, Delaware, Johnny Neel cut his first single at the age of twelve, as Johnny Neel and The Shapes Of Soul. As an adult, the Johnny Neel Band had a strong following up and down the East Coast and released two well-received independent albums. Neel moved to Nashville, the premiere song writing city, in 1984, where he immediately became recognized as an "A" session studio player. Others began to notice Neel’s songwriting talent and decided to take advantage by recording his songs on their albums. Performing with various bands in area clubs drew the attention of former Nashville resident Dickey Betts, who asked Neel to join his road band, and begin working on Dickey's solo LP for Epic Records. That relationship led to seven cuts on the "Pattern Disruptive" LP including the Top 10 AOR hit, "Rock Bottom." Neel's talented keyboard and harp playing on that album convinced Gregg Allman to ask Neel to tour with his road band. Neel decided to join the reunited Allman Brothers Band, immersing himself in a successful tour, which led to a number one AOR smash hit during the summer of 1990. Car radios all across America blasted "Good Clean Fun", from the Seven Turns Album, co-written by Neel with Allman and Betts. The chart topping hit provided the reunited Allmans with their highest charting single since "Ramblin' Man" fifteen years prior. Following that tour, Neel released "Late Night Breakfast", which was recorded at his studio, Straight Up Sound Studio, with the members of his band, "The Last Word", and special guests such as Shane Theriot (The Neville Brothers), Rick Vito (Fleetwood Mac) and Wayne Jackson (The Memphis Horns). This record was released on Neel’s label, Breakin’ Records, which showcased his pleading vocals as well as brilliant piano, B-3 and harp work. During that same period of time the recordings were made, Neel also became a member of Blue Floyd, a premiere jam band with variations on the material of Pink Floyd. In addition to Neel, the band was comprised of Marc Ford (Black Crowes), Matt Abts (Gov't Mule), Berry Oakley, Jr. (OKB Band) and until his recent and unfortunate demise, Allen Woody (Gov't Mule). Neel and Abts then went into the Straight Up Sound Studio and recorded the X2 project which was graciously received by fans and the media. More recently, some of Neel penned songs have been recorded by Travis Tritt, Montgomery Gentry and Delbert Mc Clinton. Neel is also excited about his latest release on Breakin’ Records titled Gun Metal Blue, which was release in April, 2004. As a man with boundless energy, Neel still manages to juggle studio work, local club gigs, road work and hit song writing, and somehow between the chaos maintains his sanity. “They say that you can’t do it all; Hell, I’m trying to prove ‘em wrong.” - Johnny Neel. © http://www.cdbaby.com/artist/JohnnyNeel

Curtis Salgado

Curtis Salgado - More Than You Can Chew - 1995 - Rhythm Safari

“Triumphant, joyful blues-soaked R&B...one of the most soulful, honest singers ever” - Blues Revue

As well as having a successful solo career, Curtis Salgado, the great vocalist and harp player from Portland, Oregon was a vocalist/harp player with Santana, Robert Cray, and Roomful Of Blues. He also worked with SRV, and BB King. The late John Belushi credited Curtis as inspiring The Blues Brothers. If you are not familiar with Curtis Salgado, hopefully "More Than You Can Chew", Curtis' first solo album will impress you. It's a really good album and a powerhouse fusion of blues, rock & roll, funk, soul and gospel. Although Curtis Salgado may have impressive credentials, he still needs more exposure. You gotta hear this guy. Buy his brilliant "Clean Getaway" album, and try and hear his wonderful "Curtis Salgado & the Stilettos" album. Check out Curtis' "Strong Suspicion" album on this blog [All tracks @ 256 Kbps except Track 13 @ 192 Kbps: File size = 105 Mb]

TRACKS / COMPOSERS

1 To Hell With It (Pt. 1) (Instrumental) - Salgado/Minnieweather
2 Little Charmer - Salgado/Boe/McClain/Phillips
3 I Don't Care - McClain
4 Salt In My Wounds - D.Walker/A.Miriakitani
5 Heartless - Salgado/McClain/Cousins/Burns
6 She Told Me That Too - Salgado/Miller/McClain1/Cousins
7 More Than You Can Chew - Salgado/Minnieweather/Robb/Mazzocco
8 Can't This Be Mine - F.Hall
9 I'm Not Through Lovin' You - D.Walker
10 Got A Bad Feelin’ (Gonna Be A Good Night) - Salgado/McClain/Robb/Tappendorf
11 Jump Into Love - Salgado/McClain/Hamilton
12 Always - Salgado/McClain
13 On My Way Back Home - Salgado/McClain/Holiday/Wilson
14 To Hell With It (Pt. 2 ) (Instrumental) - Salgado/Minnieweather

MUSICIANS

Curtis Salgado - Harmonica, Vocals, Background Vocals
Steve Cropper, Terry Robb - Guitar
Steve Miller - Guitar, Background Vocals
Marlon McClain - Guitar, Drum Programming, Background Vocals
Richard Cousins - Bass
Nathaniel Phillips - Keyboards, Drum Programming
Joe Heinemann - Keyboards
Jeff Minnieweather - Drums, Background Vocals
Steve Reid - Percussion
Gary Herbig - Tenor & Baritone Sax
Greg Adams - Trumpet, Flugelhorn
Chuck Findley - Trumpet
Nick Lane - Trombone
Jeff Pescetto, Penny Ford, Sir Harry Bowens - Background Vocals

BIO

A well-respected veteran of the American blues scene, Curtis Salgado has been rocking audiences with his full-force vocals and powerful harmonica work since the late 1960s, and has performed with some of the biggest and most enduring acts in the genre. Salgado was born on February 4, 1954 in Everett, Washington. He grew up in a family of music lovers -- his folks were fans of classic jazz and blues, from Kid Ory to Fats Waller, and his siblings were hip to soul shouters such as Wilson Pickett and blues masters like Muddy Waters. Seeing Count Basie when he was 13 first inspired Salgado to consider a career in music, and after hearing Little Walter for the first time, he began learning to play the harmonica, picking up some tips from an instruction book his mother gave him. By the time he was 16, Salgado was playing paying gigs, and only a few years later he and his band the Nighthawks (not to be confused with the long-running Washington D.C. act of the same name) were a major draw on the Northwest club scene. In 1975, Salgado and a handful of other blues fans in Eugene, Oregon (which had become Salgado's home) began booking a blues festival that gave Salgado and his bandmates the chance to share stages with (and often back up) a number of legendary musicians, including Willie Dixon, Sonny Terry & Brownie McGhee, Albert Collins, Big Walter Horton, and Otis Rush. In 1977, Salgado & the Nighthawks were playing a typically raucous gig in Eugene when he struck up a conversation between sets with an especially enthusiastic patron. The fan turned out to be actor and comedian John Belushi, who was in town shooting the film Animal House. Belushi, whose tastes at the time ran to metal and hard rock, struck up a friendship with Salgado, who turned Belushi into a blues fan, and much of Salgado's suggested listening would form the set list for the Blues Brothers' top-selling debut album Briefcase Full of Blues. Salgado also became friends with up-and-coming guitarist and songwriter Robert Cray, who frequently played the Northwest at the time, and when Salgado's Nighthawks began to splinter, he joined Cray's band on harp and vocals. Salgado appeared on Cray's debut album, 1980's Who's Been Talkin', but left Cray's band in 1982; between 1984 and 1986, he was a member of Roomful of Blues, and sat in on the sessions for RoB's 1988 collaboration with Earl King, Glazed. Salgado then formed a new band, Curtis Salgado & the Stilettos, and after making the rounds of the Northwest club circuit, the group released their self-titled debut album in 1991. Steve Miller, a longtime fan and friend of Salgado's, invited him to open Miller's 1992 summer concert tour, and in 1994, Salgado took a sabbatical from his own band to sing with Santana for a U.S. tour. Salgado released a solo album in 1995, More Than You Can Chew, and a year later he and his band hit the road again with Steve Miller; Salgado also found time to release another album that year, Hit It ‘N Quit It. In 1999, Salgado signed a deal with the roots music label Shanachie Records, who released his album Wiggle Outta This the same year; Soul Activated would follow in 2001 and Strong Suspicion in 2004, as Salgado continued his busy touring schedule. In 2006, Salgado was diagnosed with liver cancer and underwent treatment that included a liver transplant; two years later, he was found to have lung cancer, but was declared cancer-free in time to release the album Clean Getaway in 2008. In the fall of 2011, Salgado signed with powerhouse blues label Alligator Records, and his first album for Alligator, Soul Shot, appeared in February 2012. In July 2012, Salgado announced that another cancerous growth had been discovered on his lung, but after undergoing surgery, he and his doctors expected him to make a complete recovery. © Mark Deming © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/curtis-salgado-mn0000117960

Stevie Salas

Stevie Salas - The Electric Pow Wow - 1994 - Aquarius

Stevie Salas is not a household name but he has played and recorded with artists like Bill Laswell, George Clinton, Bootsy Collins, Sass Jordan, Jeff Healy, The Tubes, Buddy Miles and many others. He is considered by many to be one of the world's all time top fifty guitarists. In the '90s, over 20 of his songs were recorded by other artists and some of them were top ten hits. "The Electric Pow Wow" contains four Salas originals and a Salas, Pathenon Huxley collaboration, "Wild Ride". The other ten tracks are a series of covers selected by Stevie with songs by Stevie Wonder, Eddie Floyd, George Clinton, Robin Trower, Willie Dixon, Rick Derringer, and David Bowie. Stevie invited many of his musician friends including Zakk Wylde, Richie Kotzen, Jeff Paris, T.M Stevens and Tal Bergman to play on the album. The result is a brilliant mix of funk, blues, R&B, and psychedelic rock. If you like hard funk with great musicianship then give this underrated album a listen. HR by A.O.O.F.C. Check out Stevie Salas Colorcode's "Back From The Living" album on this blog [All tracks @ 320 Kbps: File size = 122 Mb]

TRACKS / COMPOSERS

1 The Grooveline - Rod Temperton 4:12
2 Too Many Mountains - Stevie Salas 5:56
3 I Was Made to Love Her - Stevie Wonder, Henry Cosby, Sylvia Moy, Lula Mae Hardaway 5:58
4 I Don't Want to Be With Nobody But You - Eddie Floyd 5:02
5 I Don't Want to Waste Your Time - Stevie Salas 4:42
6 Good to Your Earhole - George Clinton, Grace Cook, Fuzzy Haskins 3:16
7 Trail of Tears - Stevie Salas 2:24
8 Little Things - Stevie Salas 4:25
9 Too Rolling Stoned - Robin Trower 5:38
10 Wild Ride - Stevie Salas, Pathenon Huxley 3:45
11 You Can't Judge a Book - Willie Dixon 4:25
12 Teenage Love Affair - Rick Derringer 3:20
13 Dodo - David Bowie 3:15
14 Chant of the Ever Circling Skeletal Family - David Bowie 2:46

MUSICIANS

Stevie Salas - Guitar, Rhythm Guitar, Slide Guitar, Vocals
Zakk Wylde, Rick Neilsen - Guitar
Richie Kotzen - Guitar, Piano, Vocals
T.M Stevens, Carmine Rojas, Phil Soussan, Allen Kamai, Ralph Battle, C.J.'C3PO' De Viller, Tom Petersson - Bass
Jeff Paris - Organ
Rei Atsumi - Mellotron
Brian Tichy, Randy Castillo, Winston A Watson Jr., Slim Jim Phantom, Matt Sorum - Drums
Tal Bergman - Drums, Percussion
David Friendly, Tony Celebrini - Percussion
Rikki Rockett - Maracas
Los Unity Horns - Horns
Gary Mudbone Cooper, Glenn Hughes, Vince Ruby, Sass Jordan, Bernard Fowler - Vocals
Roberta Freeman, Donna McDaniel - Background Vocals

BIO

Although his name isn't as instantly recognizable as Steve Vai or Joe Satriani amongst the guitar masses, Stevie Salas is just as renowned as the aforementioned guitarists in other parts of the world (namely Japan), while he has also served as a sideman for the likes of Rod Stewart and Mick Jagger. A Native American, Salas was raised in San Diego, California, where he learned guitar and absorbed a wide variety of musical influences early on -- everyone from Earth, Wind & Fire to Van Halen and Led Zeppelin. Relocating to Hollywood with hopes of launching a music career, Salas quickly realized it wasn't going to be as easy as originally planned. As a result, he was reduced to working at a recording studio, where he answered phones and did chores -- barely scraping together enough to get by. One evening, when he was sleeping on a sofa at the studio, he was awoken by none other than Funkadelic leader George Clinton, who was recording and needed some guitar work done. Salas obliged, and before he knew it, he became a much sought-after session guitarist, appearing on late-'80s era recordings by the likes of Bootsy Collins, Was (Not Was), and Eddie Money, among others, as well as even landing a brief spot as the 'house band' on the TV show Fame. It was around this same time that Salas formed his own group, Stevie Salas Colorcode, which was momentarily put on hold, as the guitarist was offered a gig he simply couldn't pass up -- as he was invited to join Rod Stewart's touring band. After the Stewart tour wrapped up (which included multi-night stays at such prestigious venues as the L.A. Forum and Madison Square Garden), Salas was offered his own record deal with Island Records, resulting in the release of Stevie Salas Colorcode in 1990. Despite landing an opening slot for Joe Satriani at the time (who was touring behind his hit release, Flying in a Blue Dream), Salas' debut didn't exactly light up the U.S. charts, but in Japan, Salas quickly built a large and devoted following. Salas' sophomore effort, 1993's The Electric Pow Wow, included guest appearances from Slim Jim Phantom, Matt Sorum, Zakk Wylde, plus Cheap Trick's Rick Nielsen and Tom Petersson, while 1994's Back From the Living was named "Album of the Year" in Japan (over releases by such heavyweights as the Rolling Stones and Aerosmith). Salas has continued to issue solo releases (most of which were only available in the U.S. as imports), including 1997's Alter Native Gold and Le Bootleg/Live in Paris, 1998's The Sometimes Almost Never Was, and Viva La Noise, 1999's Sol Power, and 2001's Shapeshifter. Additionally, Salas continues to work with other artists, including Duran Duran, Terence Trent D'Arby, Sass Jordan, and is forming a one-off power trio with Bootsy Collins and Buddy Miles, called Hardware. As if his schedule wasn't busy enough, Salas was handpicked by Mick Jagger to play shows alongside the longtime Rolling Stones' frontman in support of his 2001 release, Goddess in the Doorway. © Greg Prato © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/stevie-salas-mn0000618902

Stevie Wonder

Stevie Wonder - (Music From The Movie) Jungle Fever - 1991 - Motown

Despite all of the hype surrounding it, the soundtrack to Jungle Fever is Stevie Wonder's best work in years. Although it can't compare to Wonder's glory days, Jungle Fever is a considerable improvement from his bland late-'80s albums. Wonder still borders on saccharine on his ballads, although even the sappiest of them ("These Three Words") is never as sickening as "I Just Called to Say I Love You." While the keyboard funk of "Chemical Love," "Gotta Have You," and "Queen in the Black" doesn't sound new, it does sound alive, which is better than Wonder has sounded in years. © Stephen Thomas Erlewine © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/jungle-fever-mw0000674863

"Jungle Fever" is the 1991 soundtrack album to Spike Lee's award winning movie Jungle Fever which tackled the thorny and complex subject of interracial love. "Jungle Fever", "Gotta Have You", "Fun Day" and "These Three Words" were chart hits and the album topped the R&B Albums chart for two weeks. "Lighting Up the Candles", was written as a tribute to Wonder's friend Marvin Gaye, who died in 1984. The album is full of great songs, and is not so thematic that you need to see the movie to appreciate the lyrics or enjoy the music. Stevie has almost always included a "sugary" ballad on his albums, and this album is no exception. However, the guy is such a brilliant songwriter that he has always managed to write these songs with style. Stevie's "I Just Called To Say I Love You" is a bit on the "sweet" side, but there's no denying that it's a brilliantly written pop song with a beautiful melody that will always be a pop standard. Stevie Wonder has penned many songs like that, along with some of the best soul, funk, and R&B music ever written. Soundtrack albums are often overlooked, but "Jungle Fever" is a great Stevie Wonder album and HR by A.O.O.F.C [All tracks @ 320 Kbps: File size = 122 Mb]

TRACKS

1 Fun Day 4:41
2 Queen in the Black 4:46
3 These Three Words 4:54
4 Each Other's Throat 4:17
5 If She Breaks Your Heart 5:03
6 Gotta Have You 6:26
7 Make Sure You're Sure 3:30
8 Jungle Fever 4:55
9 I Go Sailing 3:58
10 Chemical Love 4:26
11 Lighting Up the Candles 4:09

All songs composed by Stevie Wonder except "Chemical Love", with music by Stevie Wonder & lyrics by Stephanie Andrews

MUSICIANS

Stevie Wonder - Bass, Guitar, Electric Piano, Piano, [Synth], Bass [Synth], Organ [Synth], Harp [Synth], Horns [Synth], Flute [Synth], Strings [Synth], Voice [Synth], Drums, Percussion, Harmonica, Background Vocals, Lead Vocals
Greg Poreé - Guitar, Strings
Nathan Watts - Bass
Isaiah Sanders - Synthesizer
Alvino Bennett - Drums
Lenny Castro, Baba Olatunji, Earl DeRouen, Munyungo, Sikir'u Bimbo Adepoju, Nathan Watts, Vaughn Halyard - Additional Drums & Percussion
Larry Gittens - Trumpet
Kimberly Brewer - Lead Vocals on "If She Breaks Your Heart"
Susan Gikaru, Sylvester Irungu, Winnie Kuria, Rose Kimani, Samson Malelu, Sekou Rubadiri, Linda Kinyua,Mary Tameno, Nancy Fields, Norah Mbusi, Chris Thiongo, Faith Kinyua, Fred White, Grace Thande, Irene Prabhudas, Jane Tameno,
Arthur Williams III, Boyz II Men, Catherine Likimani, Keith John,Phillip Williams, Steve Wise, Keith Washington, Amy Keys, Jacquelyne Farris, Jon Gibson, Kimberly Brewer, Maysa Leak, Shirley Brewer, Syreeta Wright, Bridgette Bryant, Darryl Phinnessee, Dorian Holley, Lynne Fiddmont-Linsey - Background Vocals

Johnny Adams

Johnny Adams - Man Of My Word - 1998 - Rounder

Adams kept cranking out solo albums for the Rounder imprint and this one was the ninth such effort, finding him in tip-top shape vocally and in full command of his consummate powers. In addition to top-notch new material from Dan Penn ("It Ain't the Same Thing"), Carson Whitsett ("Bulldog Break His Chain"), Bobby Charles ("I Don't Want to Know") and Jonnie Barnett ("Going Out of My Mind Sale"), Adams takes on William Bell's "You Don't Miss Your Water," Brook Benton's "Looking Back" and Percy Sledge's "It Tears Me Up." Closing out the album is a duet with Aaron Neville on the gospel chestnut "Never Alone." © Cub Koda © 2012 Rovi Corporation. All Rights Reserved
http://www.allmusic.com/album/man-of-my-word-r368243

Johnny Adams, the regal "Tan Canary" from New Orleans, sings with pure, soul-stirring emotion on Man Of My Word (Rounder 11661-2155-2; 59:57). Rebounding from a life-threatening illness in 1997, Adams is back in classic belting form with this collection of heart-wrenching ballads ("Even Now," "Now You Know," "It Tears Me Up"), infectious funk ("It Ain't The Same Thing," "Bulldog Break His Chain"), slow blues ("This Time I'm Gone For Good"), country ("I Don't Want To Know") and good ol' Southern soul ("Going Out Of My Mind Sale," "Up And Down World"). Another highlight here is an a cappella rendition of the gospel chestnut "Never Alone," performed with Aaron Neville, Nick Daniels, Earl J. Smith, Jr., and Charles Elam III, which closes out this superb deep soul showcase in majestic fashion. By & © Bill Milkowski [Originally published in November 1998] © 1999–2012 JazzTimes, Inc. All rights reserved http://jazztimes.com/articles/7937-man-of-my-word-johnny-adams

Judging by this, his last recording, Johnny Adams had a lot of music left in him when he died at age 67. As with all of his remarkably consistent Rounder efforts, Man of My Word is marked by conscientious song selection, expert backing, and, foremost, Adams's absolutely commanding vocals. With producer Scott Billington back at the helm, and backed by a crack session crew led by fellow New Orleans stalwart Walter "Wolfman" Washington, Adams tackles this selection of soul tunes with characteristic verve and savvy; the man simply didn't have it in him to sing a note carelessly. Highlights here include Dan Penn and Spooner Oldham's Memphis-styled "It Tears Me Up," Bobby Charles's easy-grooving "I Don't Want to Know," and the gospel closer, "Never Alone." But it's all good. It really is. © Steven Stolder © 1996-2012, Amazon.com, Inc. or its affiliates http://www.amazon.com/Man-My-Word-Johnny-Adams/dp/B000009NTD/ref=sr_1_1?s=music&ie=UTF8&qid=1336918077&sr=1-1

Nobody holds a note, and ends a note like Johnny Adams. Nobody. In fact, nobody does anything with a note like Johnny Adams, for he truly is one of the most unique, versatile, and downright talented singers to have drawn breath in the last 70 years. The CD you are holding in your hand is something very special. Sure, it's a new release by Johnny Adams and a triumphant one at that, as it marks his return to the styles of music he first became known for - R&B and Soul. Yes, it's beautifully sung from start to finish and the musicians' empathy between each other, and the singer, will take your breath away. Of course, Scott Billington's production job is alive, wide open and faultless. And naturally the choice of songs is excellent too. I'm just stating the obvious here because these are the things we've come to expect when the above combinations of talent gather in one room to make music. No - the reason I rate this album as special is because together they have created a MASTERPIECE. Find that hard to believe? A rapid, over-zealous, burst of enthusiasm maybe? On the contrary, I listened repeatedly to this collection of songs, and each time I was once again moved, once again floored, and once again amazed at how much I'd missed the last time. Playing any of the tracks over and over revealed a previously unheard nuance, lick, or phrase, which threw the song into a whole new dimension. Unfortunately, things like this don't occur with a new release very often, but I soon realized this album was taking me to a higher plateau. A plateau only accessed by being visibly moved from an artists work. This collection immediately stands alongside the cream of classic soul albums made in the last 35 years. Johnny Adams is always on fine vocal form, that's a given, but whether he was motivated by something spiritual or spurred on by the quality of the musicians - I don't know. What I do know is that Johnny has rarely sounded better than he does on this fabulous set. His voice is strong, powerful, elastic, and above all drenched with soul. The group of musicians assembled here are a real `dream team', each having a thorough love, respect and understanding of how soul music works. They play with such depth of feeling that I find myself comparing them to the Stax and Muscle Shoals groups from soul's heyday, when spaces were just as important as notes. Walter `Wolfman' Washington makes his first appearance on wax, backing Johnny, since his cameo appearance on 1993's 'Good Morning Heartache'. Together with Memphis guitar legend Michael Toles, the two make an unbeatable combination. Keyboard work comes via another music legend, David Torkanowsky, who's playing is as elegant and graceful as ever. The rock-solid drum and bass heartbeat of this amazing band are supplied by the telepathically connected Donell Spencer and George Porter, Jr. Lastly, the tear-stained horns provided by Scott Thompson, Jim Spake, and Craig Klein are just out of this world and at times, I think they even out-Memphis the Memphis Horns. Buy this CD and pay your last respects to one of Soul Music's real giants. - Excerpt From Sleevenotes By & © Len Romano ***** from Swansong From Vocal Genius December 15, 1999 By & © Len Romano © 1996-2012, Amazon.com, Inc. or its affiliates http://www.amazon.com/Man-My-Word-Johnny-Adams/dp/B000009NTD/ref=sr_1_1?s=music&ie=UTF8&qid=1336918077&sr=1-1

The late New Orleans born Johnny Adams, was one of the world's greatest jazz, soul, Gospel and R&B singers. This was Johnny's last studio album before his death in 1998. The album includes the great guitarists Walter "Wolfman" Washington and Michael Toles, David Torkanowsky on keyboards, and Jim Spake on saxophone. Marvellous vocals, songs and musicianship all round. An important and very underrated soul album, and VHR by A.O.O.F.C. Buy Johnny's great "Room With A View Of The Blues" album and support real music [All tracks @ 320 Kbps@: File size = 132 Mb]

TRACKS / COMPOSERS

1. Even Now - David Egan, Buddy Flett
2. It Ain't The Same Thing - Jonnie Barnett, Dan Penn, Carson Whitsett
3. This Time I'm Gone For Good - Deadric Malone, Oscar Lee Perry
4. Going Out Of My Mind Sale - Jonnie Barnett, Butch Dillon
5. Now You Know - Copyright Control
6. Up And Down World - Deadric Malone, Vernon Morrison
7. I Don't Want To Know - Bobby Charles
8. Man Of My Word - Alan Mirikitani, Denis Walker
9. You Don't Miss Your Water - William Bell
10. Bulldog Breaks His Chain - Billy Henderson, Carson Whitsett, Stuart Ziff
11. It Tears Me Up - Spooner Oldham, Dan Penn
12. Looking Back - Brook Benton, Belford C. Hendricks, Clyde Otis
13. Never Alone - (with Aaron Neville) - Public Domain

MUSICIANS

Walter "Wolfman" Washington - Guitar (Soloist on "This Time I'm Gone For Good", and "You Don't Miss Your Water")
Michael Toles - Guitar (Soloist on "I Don't Want To Know", "Man Of My Word", "Bulldog Breaks His Chain"
George Porter, Jr. - Bass
David Torkanowsky - Keyboards (Soloist on "It Ain't The Same Thing")
Donnell Spencer, Jr. - Drums
Jim Spake - Tenor & Baritone Saxophones (Soloist on "Now You Know", "Up And Down World", and "Looking Back")
Scott Thompson - Trumpet
Craig Klein - Trombone (Soloist on "Looking Back")
Johnny Adams, Aaron Neville, Nick Daniels, Charles Elam III, Earl J. Smith, Jr. - Vocals
Elaine Foster - Background Vocals

BIO

Renowned around his Crescent City home base as "the Tan Canary" for his extraordinary set of soulfully soaring pipes, veteran R&B vocalist Johnny Adams tackled an exceptionally wide variety of material for Rounder in his later years; elegantly rendered tribute albums to legendary songwriters Doc Pomus and Percy Mayfield preceded forays into mellow, jazzier pastures. But then, Adams was never particularly into the parade-beat grooves that traditionally define the New Orleans R&B sound, preferring to deliver sophisticated soul ballads draped in strings. Adams sang gospel professionally before crossing over to the secular world in 1959. Songwriter Dorothy LaBostrie -- the woman responsible for cleaning up the bawdy lyrics of Little Richard's "Tutti Frutti" enough for worldwide consumption -- convinced her neighbor, Adams, to sing her tasty ballad "I Won't Cry." The track, produced by a teenaged Mac Rebennack, was released on Joe Ruffino's Ric logo, and Adams was on his way. He waxed some outstanding follow-ups for Ric, notably "A Losing Battle" (the Rebennack-penned gem proved Adams' first national R&B hit in 1962) and "Life Is a Struggle." After a prolonged dry spell, Adams resurfaced in 1968 with an impassioned R&B revival of Jimmy Heap's country standard "Release Me" for Shelby Singleton's SSS imprint that blossomed into a national hit. Even more arresting was Adams' magnificent 1969 country-soul classic "Reconsider Me," his lone leap into the R&B Top Ten; in it, he swoops effortlessly up to a death-defying falsetto range to drive his anguished message home with fervor. Despite several worthy SSS follow-ups ("I Can't Be All Bad" was another sizable seller), Adams never traversed those lofty commercial heights again (particularly disappointing was a short stay at Atlantic). But he found a new extended recording life at Rounder; his 1984 set, From the Heart, proved to the world that this Tan Canary could still chirp like a champ. With producer Scott Billington, he recorded some nine albums for the label prior to his cancer-related death on September 14, 1998. © Bill Dahl © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/johnny-adams-p50432/biography

Marty Grebb

Marty Grebb - Smooth Sailin' - 1999 - Telarc

Born on 2nd September 1946, in Chicago, Illinois, USA into a musical family, in which were several professional musicians, Grebb learned to play keyboards, guitar and saxophones. He became a session musician and in the 60s and 70s played with various groups, including the Buckinghams and the Fabulous Rhinestones, and he also backed Paul Butterfield and Mike Bloomfield. He continued his session work through succeeding decades, working with artists such as Rosanne Cash, Rick Danko, Levon Helm, Willie Nelson, Stevie Nicks, Otis Rush and Leon Russell. In particular, he attracted attention for his contributions to records by Bonnie Raitt and Maria Muldaur. Raitt appeared as a guest on Grebb’s 1999 debut Smooth Sailin’, as did Taj Mahal and Steve Cropper. Grebb also appeared on Telarc compilation albums such as Blues For A Rotten Afternoon, Meet Me Where They Play The Blues and Telarc’s Got The Blues

Smooth Sailin' is the debut release by multi-instrumentalist Marty Grebb. Back in the mid-'60s, Grebb was a founding member of the pop band the Buckinghams, and was also a backup musician who played with the Dells, Bonnie Raitt, Etta James, and Willie Nelson, to name a few. On his Telarc debut, Grebb plays piano, B-3, a bevy of saxophones, and guitar, and also handles lead vocals. He surrounds himself with high-profile guests, including Raitt, Taj Mahal, Steve Cropper, Amos Garrett, and Rick Braun. The 13 tunes are all originals by Grebb or are co-written by him, and range from horn-saturated soul-blues, lazy New Orleans grooves, and gospel-funk to smooth radio-ready contemporary blues. © Al Campbell © 2012 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/album/smooth-sailin-r430628

A great album full of catchy R&B songs, all written or co-written by Marty, with a full sound and strong rhythms. Includes many great musicians including members of Little Feat, Bonnie Raitt, Doyle Bramhall II, Amos Garrett, Taj Mahal, Lenny Castro and many more. Buy Marty Grebb's great "High Steppin'" album [All tracks @ 160 Kbps: File size = 71 Mb]

TRACKS / COMPOSERS

1 Smooth Sailin' - Marty Grebb 5:39
2 High Wire Walker - Marty Grebb, John Castleberry 4:42
3 Soul Mate - Marty Grebb 4:10
4 Mississippi Muddy Water - Marty Grebb 5:31
5 Hen House - Marty Grebb, Taj Mahal 3:39
6 On the Lookout - Marty Grebb 4:23
7 The Real Thing - Marty Grebb, Jerry Lynn Williams 4:27
8 A Godsend - Marty Grebb, Walt Richmond 4:39
9 Bad Blood - Marty Grebb, Mike Finnigan 4:41
10 Sweet Girl - Marty Grebb 3:29
11 Heaven on Earth - Marty Grebb 4:51
12 Memphis Shuffle - Marty Grebb, Daniel Moore 3:43
13 Love and Shelter - Marty Grebb, Jerry Lynn Williams 3:11

MUSICIANS

Marty Grebb - Guitar, B3, Piano, Tenor, Alto & Baritone Saxophone, Clavinet, lead vocals
Doyle Bramhall II, Steve Cropper, Amos Garrett, B.B Chung King, Taj Mahal, Bonnie Raitt, Johnny Lee Schell, Fred Tackett, Rick Vito, Dave Widow, Jon Woodhead - Guitar
Larry Fulcher, Bob Glaub, Hutch Hutchinson, Gerald Johnson, Reggie McBride - Bass
Walt Richmond - Piano
Bill Payne - Wurlitzer Piano, Strings
Richie Hayward, Jim Keltner, Denny Seiwell, Mario Calire, Alvino Bennett, Tony Braunagel - Drums
James Gadson - Drums, Vocals
Lenny Castro, Arno Lucas - Percussion
Jim Calire, Joe Sublett, Harry Grebb - Saxophone
Rick Braun, Darrell Leonard - Trumpet
Bonnie Raitt, Jackie Gouchee Farris, Maxine Willard Waters, Valerie Pinkston, Ivan Neville, Rick Nelson, Taj Mahal, Gerald Johnson, Teresa James, Anna Grebb, Renée Geyer, Mike Finnigan, Taneka Beard, Chris Bolton, James Gadson - Vocals