Archive for ‘Blues’

octobre 8, 2010

Robert Randolph and The Family Band – Walk This Road


Origine du Groupe : North America

Style : Blues Soul , Alternative Rock , Funk

Sortie : 2010

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Hot, young guitarists spring have sprung forth every few years for more decades than I can be bothered to count. Each generation spawns a new crop and while many are momentarily interesting,
“guitar god” is a cannibalistic business and very few have much shelf life. There are exceptions and Robert Randolph has taken a bold step forward, daring to join the few and the proud.

Randolph is a unique talent as anyone who has listened to the work of his first three albums with his Family Band or his collaboration with John Medeski and the Dickinson boys of North
Mississippi Allstar fame can attest. There is more to Randolph than a dazzling command of the steel guitar, or Sacred Steel as it is referred to in the Church Of God where he first learned the

There are a host of things that set Randolph apart and one of them becomes obvious in the liner notes he wrote for We Walk This Road. After completing the tour for the Colorblind album, he went
in search of a producer with special ears and knowledge; someone who understood the connections of his rock and gospel roots and who would, as Randolph puts it, “help us put those things in their
most compelling context.” He found that producer in T Bone Burnett.

I’ve heard people described as having “old souls.” It’s an expression I’ve never much liked but it is an effective bit of shorthand for Randolph. He is still a very young man but his musical
upbringing is quite old, having learned his instrument through the traditions of his church. The crafty, versatile Burnett was able to speak Randolph’s language, having studied an impossibly vast
scope of American and world musics. When artist and producer got on the same page, they brewed something special blending blues, roots, gospel, soul, and spirit into a potent, magical

“If I Had My Way” incorporates a portion of Blind Willie Johnson’s “If I Had My Way” into an original composition Randolph co-wrote with Burnett and an assist from, Ben Harper and it is a
magnificent, soaring piece of music fusing gospel and blues with folk. Randolph uses Johnson’s original as a jumping off point and actually “samples” a piece of that original and uses it to segue
in and out of his own composition. The segue concept is one used throughout the record with the idea being to tie the music Randolph is making in the present with its roots. There are times these
segues are effective bridges between songs but there are times when they do more to distract than connect.

Randolph’s re-imagining of Bob Dylan’s « Shot of Love » hits with the weight and force of a heavyweight’s fist. Dylan is so easy and obvious to cover that nearly everyone does it but so few capture
the essence and power of his songs, settling to merely sing them « better” or “prettier.” This version takes the power of the Dylan original and amplifies and magnifies.

The beautiful “I Still Belong To Jesus” opens with more than a passing feeling of Fleetwood Mac’s “Dreams.” The airy, ethereal intro gives way to a more substantive, anthemic song that not only
proclaims Randolph’s devotion but also delivers a unifying message of social justice. This is another of Randolph’s achievements in the material on this record, both the songs he wrote and those
he’s chosen to interpret on the record. There is a theme and a message on this record but it’s one that uplifts rather than preaches. Even John Lennon’s “I Don’t Wanna Be A Soldier,” which can be
delivered as scathing, anti-war screed, is a plea for peace and understanding rather than heated rhetoric in Randolph’s hands.

We Walk This Road is soul music in nearly every connotation of the word and its title is instructive. This is the kind of deep, rich, authentic music the world needs and the music contained
therein should be experienced as a journey from beginning to end; he wanted his music to have context and We Walk This Road exquisitely provides that. With this album Randolph has made a record
worthy of his immense gift and that is cause for celebration and repeated listens.

by Josh Hathaway


Tracklist :

01.Segue 1 (0:25)

02.Traveling Shoes (3:48)

03.Segue 2 (0:10)

04.Back To The Wall (3:31)

05. Shot Of Love (5:36)

06.I Still Belong To Jesus (6:02)

07.Segue 3 (0:27)

08.If I Had My Way (5:35)

09.Segue 4 (0:22)

10.Don’t Change (4:47)

11.I Don’t Wanna Be A Soldier Mama (5:50)

12.Walk Don’t Walk (4:06)

13.Segue 5 (0:20)

14.Dry Bones (3:42)

15.Segue 6 (0:17)

16.I’m Not Listening (5:03)

17.Salvation (5:59)



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octobre 8, 2010

Ali Farka Toure & Toumani Diabate – Ali and Toumani


Origine du Groupe : Mali

Style : Africa Blues , World  Music , Folk

Sortie : 2010


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Après avoir enregistré un premier album en duo (In the heart of the Moon), Toumani Diabaté et Ali Farka Touré étaient retournés en studio quelques mois après, pour une nouvelle session
d’enregistrement à Londres. Une intimité artistique entre les deux hommes, rendue vivante grâce à l’album qui sort ces jours-ci, Ali & Toumani.

eux prénoms, deux sons, deux visions qui racontent une même histoire : les grandes épopées du Mali que ces deux musiciens, Ali Farka Touré et Toumani Diabaté, ont largement contribué à diffuser
au-delà de la sous-région depuis les années 1980. C’est cela que célébrait In the heart of the moon, un disque né de leur rencontre autour d’un classique, Kaira. Ce ne devait être qu’un duo, ce
deviendra un enregistrement mythique, le symbole de l’entente parfaite entre le guitariste et le joueur de kora, un dialogue instruit, le temps de trois séances improvisées.

Tant et si bien que le producteur Nick Gold les conviera à Londres un an plus tard, en 2005, afin de creuser au plus profond ce sillon. « Je crois que cet album est plus fort, plus sage et
meilleur… », analyse après-coup Toumani, unique survivant de cette session de trois après-midis londoniens où était également convié le contrebassiste cubain Cachaito Lopez, décédé l’an passé.

Du coup, on ne peut s’empêcher d’écouter Ali & Toumani comme un document-testament musical de la première importance. Certes, mais ce serait réduire la portée de ce moment de grâce que de
l’écouter de cette oreille-là, à savoir le circonscrire à une qualité d’hommage posthume.

Car, au-delà de la mort, Ali & Toumani est une vibrante ode à la vie, l’émouvant témoignage pour l’éternité de moments partagés en toute intimité et sérénité acoustiques où les cordes
sensibles de ces trois maîtres de musiques se mêlent pour ne formuler plus qu’un seul message de paix et de sagesse.

par Jacques  Denis



Tracklist :

1. Ruby

2. Sabu Yerkoy

3. Be Mankan

4. Doudou

5. Warbe

6. Samba Geladio

7. Sina Mory

8. 56

9. Fantasy

10. Machengoidi

11. Kala Djula


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octobre 2, 2010

Little Axe – Bought for a Dollar, Sold for a Dime


Origine du Groupe : North America

Style : Blues , Alternative , Soul

Sortie : 2010

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After nearly two decades of blues re-invention, singer/guitarist Skip McDonald has perfected his particular and peculiar metamorphosis of the form. Is Little Axe a band or an
alternative name for McDonald himself? It’s quite possibly both, as every live appearance possesses a very strong group vibration. McDonald now prefers the stance of grizzled bluesman from
Dayton, Ohio, but his prime breakthrough came as a member of Sugar Hill Records’ in-house band, and had formed Tackhead by the time the mid-80s arrived.

Regardless of whether his assumed ‘authenticity’ is similar to that sought by born-again bluesman Keb’ Mo’, it’s not really an issue when McDonald clearly embraces the
form with authority, creativity and innovation. A massive part of the already massive Little Axe sound has always been provided by dub-king producer Adrian Sherwood, his influence so sonically
pervasive that he counts as an equal collaborator. The old master-crew is assembled for these sessions in
Peter Gabriel‘s Real World studio: bassist Doug Wimbish, drummer Keith
LeBlanc and soaring singer Bernard Fowler. There are also two guest vocal spots from Jamaican veteran Ken Boothe. Less familiar, but still crucial to this album is harmonica player Alan Glen,
whose stinging trills lift up nearly every song.

The feedback avenues are now beyond easy tracking, as old blues elements are channelled through fresh techniques. There are even versions of two Tackhead songs, further
confusing the lineage between old-timey rural foot-clumping and shining 1980s funk-hop beats. There’s a reading of the song popularised by long-departed down-home bluesman
Son House: his Grinnin’ In Your Face is shortened to Grinning.

The album opens and closes with 50-second mini-songs, their gospel traits swirling into the heavens. Most of the remaining bulk favours a much longer six-minute average within
which to slink and saunter, emanating a spellbinding aura. The distinctive Little Axe sound is a dreamy miasma, creaming up elements of funk, rock, soul and gospel. It’s perpetually intertwining
into a genre weave. The vocal layers build up a call-and-response thickness, and a couple of tunes even hint at ska and reggae rhythms. The cumulative slowness begins to take on the feel of an
Funkadelic ballad collection.

The guitars are always draped in exotic echo, held in perpetual slow motion, except for when Hammerhead gets to sludge-truckin’ and Return proves itself the hardest and
heaviest track. By this time, there’s a beautifully sustained flotation in place.


by Martin Longley


Tracklist :

01 – Guide My Feet

02 – Soul of a Man

03 – Grinning

04 – Take a Stroll

05 – Hands Off

06 – Can’t Sleep

07 – Hammerhead

08 – Can’t Stop Walking Yet

09 – Hear Me Cry

10 – Too Late

11 – Another Friend Gone

12 – Tell Me Why

13 – Return

14 – When the Sun Goes Down


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octobre 1, 2010

Popa Chubby and Walter Trout Band (Live full Concert)

Origine du Groupe : North America

Style : Blues Rock

Sortie : 2000



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From Wikipedia :

Popa Chubby, de son vrai nom Ted Horowitz, est un chanteur et guitariste  de blues  et de rock  new-yorkais.

Originaire du Bronx à New York, son style agressif est influencé par Willie Dixon ainsi que Jimi Hendrix, Randy Rhoads, Albert King ou encore Danny Gatton créant ainsi une synthèse Blues, Rock,
Funk, Pop très personnelle mais transpirant le blues new-yorkais. Comme Calvin Russell, il a beaucoup plus de succès en France qu’aux États-Unis, où il n’est connu que des spécialistes, bien que
la situation ait tendance à s’inverser. Son nom de scène est tiré d’une expression d’argot, « pop a chubby », qui veut dire « avoir une érection », mais peut également faire référence à son
embonpoint (popa/papa joufflu). Chacun de ses albums est un concept en lui-même : un album de ballades avec des chansons comme Hallelujah, de rock-punk pur (« If the Diesel Don’t Get You Then the
Jet Fuel Will »), ou encore de blues comme « Back Door Man » où l’on sent bien la patte du « maître . Perfectionniste, c’est le roi des coups de gueule .

En 2006 il entame une tournée en la commémoration de Jimi Hendrix, celui qui lui a fait découvrir le rock à la radio avec son Purple Haze. Il possède une collection de guitares dont une Fender
que le fabricant n’avait pas répertoriée.

Il joue également de la batterie, qu’il lui arrive de pratiquer sur scène.

From Wikipedia :

Walter Trout (born March 6, 1951, Ocean City, New Jersey, United States is an American blues guitarist, singer and songwriter.

Trout’s career began on the Jersey coast scene of the late 1960s and early 1970s. He then decided to relocate to Los Angeles where he became a sideman for Percy Mayfield and Deacon Jones. He also
worked in the bands of John Lee Hooker and Joe Tex.

In 1981 be became the guitarist for Canned Heat.[1] This led to an invitation to play in John Mayall’s Bluesbreakers where he shared the stage with fellow guitarist Coco Montoya. He left the
Bluesbreakers in 1989 and formed the ‘Walter Trout Band’ which developed a successful following in Europe.

In 1994 the official Walter Trout Fan Club for the Netherlands and Belgium was founded, followed in 1996 by the official International Fan Club who has members in 14 countries in Europe, America,
Asia and Australia. In 2006 the official International Fan club celebrated its tenth anniversary by giving fan club members an exclusive live CD recorded in Las Vegas, Nevada, which was the last
performance of the late bassist, Jimmy Trapp, who died in 2005.

In 1998 Trout released his self-titled US debut album and renamed his band ‘Walter Trout and the Free Radicals’ (later renamed ‘Walter Trout and the Radicals’ and currently simply ‘Walter
Trout’). Since that time Trout has been recording and touring in North America, Europe and India.

In 2002, he was featured on the Bo Diddley tribute album, Hey Bo Diddley – A Tribute!, performing the song « Road Runner » and many more guest appearances on other recordings.

The 2006 release Full Circle, meant that Trout realized his dream of creating an album with some of his most admired musicians, including John Mayall, Coco Montoya, and Joe Bonamassa, among

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septembre 30, 2010

Avalon Blues – A Tribute To The Music Of Mississippi John Hurt

Origine du Groupe : V.A

Style : Blues , Folk , Country , Alternative Rock

Sortie : 2001

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Avalon Blues est un album hommage à la musique de Mississippi John Hurt, le célèbre bluesman.

Ben Harper y interprète Sliding Delta à la guitare. Pour lui, sans Mississippi John Hurt, il n’aura jamais fait de musique, son influence est très importante chez Ben Harper.

Dans cet album on peut retrouver également Taj Mahal ou encore Beck.

par Les collaborations


Tracklist :

1. Frankie &  Albert – Chirs Smither

2. Avalon, My Home Town – Bruce Cockburn

3. Angels Laid Him Away – Lucinda Williams

4. Here Am I, Oh Lord, Send Me – Alvin Youngblood Hart

5. Candy Man – Steve & Justin Earle

6. Monday Morning Blues – Peter Case & Dave Alvin

7. Sliding Delta – Ben Harper

8. Chicken – Geoff Muldaur (with Jenni & Claire Muldaur)

9. Make Me A Pallet On Your Floor – Mark Selby

10. Stagolee – Beck

11. Since I’ve Laid My Burden Down – Victoria Williams

12. Pay Day – Bill Morrissey

13. My Creole Belle – Taj Mahal

14. Beulah Land – Gillian Welch

15. I’m Satisfied – John Hiatt



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septembre 28, 2010

Curtis Mayfield – Live in Germany (Full Concert)

Origine du Groupe : North America

Style : Soul , Funk , Blues

Sortie : 1990 (2001)

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From Wikipedia :

Curtis Lee Mayfield (June 3, 1942 – December 26, 1999) was an American  soul, rhythm and blues, and funk singer, songwriter, and record producer best known for his anthemic music with The
Impressions and composing the soundtrack to the blaxploitation film Super Fly. From these works and others, he is highly regarded as a pioneer of funk and of politically conscious
African-American music.[1][2]  He was also a multi-instrumentalist who played the guitar, bass, piano, saxophone, and drums.

Curtis Mayfield, né le (3 juin 1942 à Chicago et mort le 26 décembre 1999, était un chanteur, auteur et compositeur de soul, de funk, de rhythm and blues, principalement connu pour la bande
originale du film de blaxploitation Superfly.

Il fait tout d’abord partie du groupe The Impressions puis il se lance avec succès dans une carrière solo. Il devient probablement le premier de la nouvelle vague de chanteurs afro-américains à
introduire des commentaires à caractère social dans ses chansons. Cette musique engagée devient très populaire pendant cette période de difficultés sociales des années 1960 et 1970.

Tracklist :

– Superfly

– It’s Allright

– Gypsy Woman

– Freddy is Dead

– Pusherman

– Billy Jack

– People Get Ready

– Move on up

– To be invisible

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septembre 23, 2010

Holly Golightly & The Brokeoffs – Dirt Don’t Hurt

Origine du Groupe : U.K

Style : Folk , Country , Blues

Sortie : 2008

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Holly Golightly has enough experience not to draw from it. She released her first solo album in 1995, after spending a few years in Thee Headcoatees; since then, she has kept up a steady pace of
new material, at least one of these per year: singles comps, odd and ends packages, live shows, and (oh yeah) traditional albums. That rate of production often seems crucial to the palatability
of her new old-timey music, preventing her from overthinking her songs or her performances while keeping everything loose and tossed off. As a result, she sounds a lot less manicured and a lot
more convincing than upstarts like Langhorne Slim or Scott H. Biram.

In fact, writing on her web site, she sounds almost apologetic explaining that it took five days to record Dirt Don’t Hurt, her second collaboration with the Brokeoffs. Their previous effort, You
Can’t Buy a Gun When You’re Crying (which, you have to admit, is useful advice), was wrapped up in four days. And while she does admit « it may seem a little over-produced to some! » Golightly
hasn’t gone all Dave Fridmann on us: That extra day doesn’t ruin the antique luster of her songs, but just focuses the collection considerably. It’s still a heartily ramshackle affair, with pots
and pans for percussion, rudimentary banjo picking, and what sound like first take on every track. The album’s clattery rawness is its chief appeal.

Some explanation may be required: The Brokeoffs isn’t a real backing band, as the pluralized name might suggest. Instead, it’s just some dude named Lawyer Dave, who has been playing upright bass
for Golightly for about a decade now. He provides the clatter, even sings in a cough on menacing opener « Bottom Below ». Their sandpaper and satin voices blend nicely on the country lament « Up Off
the Floor » and they imbue « Indeed You Do » and « Slow Road » with a folksy eeriness that lurches and claws at the recriminating lyrics. The slapdash « Gettin’ High for Jesus » puts the pot in
pots-and-pans. A Holly/Lawyer original, it could be a cover of some late-60s hippie novelty hit by, say, Country Joe & the Fish.

At times Dirt Don’t Hurt gets away from them: The clamor becomes grating (the demonstrative metal smacks that kick off (« Three Times Under »), the murder-and-mayhem storytelling sounds like
dress-up (« My 45 »), and the duo risk the sort of preciousness that sinks some of their sepia-toned peers (the clucks and bocks on « Cluck Old Hen »). But more often than not, they make virtues of
these shortcomings, as on the closer « I Wanna Hug Ya, Kiss Ya, Squeeze Ya ». This Claudia Swann cover ought to sound unbearably saccharine, but thanks to the rumbling electric guitar and Holly and
Lawyer’s Mickey & Sylvia vocal trade-offs, it’s the album’s highlight– the reconciliation after all the bickering– underscoring how well the duo play old songs as if they wrote them and
write new songs that sound decades old.

by Stephen M. Deusner


Tracklist :

01.Bottom Below

02.Up Off The Floor

03.Burn Your Fun

04.Slow Road

05.My .45

06.Cluck Old Hen

07.Indeed You Do

08.Gettin’ High For Jesus

09.Three Times Under

10.Accuse Me

11.Boat’s Up The River

12.For All This


14.Hug You, Kiss You, Squeeze You



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septembre 12, 2010

Harry Belafonte – Sings the Blues

Origine du Groupe : North America

Style : Jazz , Soul , Blues

Sortie : 1958

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From Wikipedia :

Belafonte Sings the Blues is an album by Harry Belafonte, released by RCA Victor (LPM-1972) in 1958. It was recorded in New York on January 29 (with Alan Greene as leader) and March 29 (with Bob
Corman as leader), and in Hollywood  on June 5 and 7 (with Dennis Farnon as leader).

Tracklist :

   1. « A Fool for You » (Ray Charles)

   2. « Losing Hand » (Charles Calhoun (Jesse Stone)

   3. « One For My Baby » (Johnny Mercer, Harold Arlen)

   4. « In the Evenin’ Mama » (C. C. Carter)

   5. « Hallelujah I Love Her So » (Ray Charles)

   6. « The Way That I Feel » (Fred Brooks)

   7. « Cotton Fields » (C. C. Carter)

   8. « God Bless the Child » (Billie Holliday. Arthur Herzog Jr.)

   9. « Mary Ann » (Ray Charles)

  10. « Sinner’s Prayer » (Lowell Fulson)

  11. « Fare Thee Well » (Fred Brooks)

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septembre 12, 2010

The Mannish Boys – Shake For Me

Note :

Origine du Groupe : North America

Style : Blues Soul , Blues Rock , Delta Blues

Sortie : 2010

The fifth album from the all-star blues collective, The Mannish Boys, once again reaches the high standards we have come to expect from Randy Chortkoff’s California-based Delta Groove and Eclecto
Groove labels, indeed he formed Delta Groove as a vehicle to put out music by The Mannish Boys – whilst keeping to the pure roots values of the music, performed by a group of musicians in the top
division of the blues.

The core of the band on “Shake For Me” comprises Finis Tasby, Bobby Jones, Kirk Fletcher, Frank Goldwasser and  Chortkoff himself, with a new rhythm section in the shape of Willie J.
Campbell (bass) and Jimi Bott (drums). The guest list here is truly mouthwatering, most from the Delta Groove roster, and, deep breath required, are . . . Rod Piazza, Johnny Dyer, Mitch Kashmar,
Lynwood Slim, Arthur Adams, Kid Ramos, Nick Curran, Mike Zito, Fred Kaplan, Rob Rio, Andy Kaulkin, and European representation in the shape of The Backbones frontman, singer and harmonica player,
Pieter ‘Big Pete’ van der Pluijm . . . phew!

The music itself, over a generous 16 tracks, is a joy from the opening guitar salvo from Nick Curran on “Too Tired” to the closing “Way Down South”, a song from the late Lester Butler of The Red
Devils, admirably covered by Big Pete. Most of the vocals are taken by the ‘elder statesmen’ Finis Tasby and Bobby Jones, with Johnny Dyer pitching in as well.

As mentioned, the album gets off to a rollicking start with a rousing “Too Tired”, highlighting Finis Tasby’s great voice and the sparkling guitar work of Nick Curran. Fast-rising Mike Zito
shares the vocals and guitar duties on a medley of “Mona” and “Willie And The Hand Jive” leading into a sublime take on Lowell Fulson’s classic “Reconsider Baby” – with just a great feel and
groove, and another Tasby vocal and Fred Kaplan’s tinkling ivories.

Two personal favourites feature just duos – the Jimmy Oden / Otis Spann tune “Half Ain’t Been Told”, with just Bobby Jones impassioned vocal and the piano of Rob Rio, emulating the Otis Spann
lines; and the kick-ass “Number 9 Train”, with some plain dirty downhome guitar tones from Frank Goldwasser, who takes the vocal, and Jimi Bott’s driving drums – superb stuff indeed. West Coast
harmonica legend Rod Piazza is on top form on a classy “Last Night”, one of the best known Little Walter songs.

The horns of David ‘Woody’ Woodford and Lee Thornburg swing on Ray Charles “Hey Now”, another sterling Bobby Jones vocal here and more piano magic from Fred Kaplan and killer guitar solo from
Kirk Fletcher. Nick Curran and Fletcher tear it up on the swinging instrumental “The Bullet”, with the two guitarists sharing the solos with Kaplan, and it’s driven along by the top notch rhythm
section of Willie J. Campbell and Jimi Bott.

The pace is taken down on the long, rambling slow blues, penned by Randy Chortkoff, and featuring his own harmonica and some dynamite chromatic work from Lynwood Slim; Arthur Adams dominates his
own “Raunchy”, taking the lead vocal and two guitar solos on this funky blues, leading into the Muddy Waters classic “Champagne & Reefer” – another harmonica ace, Mitch Kashmar, impressing
here, with Johnny Dyer sound authentically Muddy-like on the vocal.

This cracking release ends in fine style with Holland’s own Pieter ‘Big Pete’ van der Pluijm doffing his cap to his hero Lester Butler on “Way Down South” – his big voice and harmonica ably
assisted by Kid Ramos’s customary brilliant guitar and Andy Kaulkin’s piano. Hopefully we’ll hear more of him on the next album!

As ever with Delta Groove / Eclecto Groove releases, this fairly burst out of the speakers – a beautiful sounding album as ever, with Jeff Scott Fleenor handling production duties on his own for
the first time, well done to him! I would love to see this project hit our shores, come on festival promoters, get to it for next year!




Tracklist :

01. Too Tired

02. Mona/Willie and the Hand Jive

03. Reconsider Baby

04. Educated Ways

05. Half Ain’t Been Told

06. Number 9 Train

07. Last Night

08. Hey Now

09. You Can’t Be Beat

10. Black Nights

11. The Bullet

12. Those Worries

13. Raunchy

14. Champagne & Reefer

15. You’ve Got Bad Intentions

16. Way Down South

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septembre 9, 2010

Eric Sardinas – Eric Sardinas And Big Motor

Note :

Origine du Groupe : North America

Style : Rock , Blues

Sortie : 2008

Eric Sardinas is a bit of an enigma. The long-haired, tattooed guitarslinger would seem more at home cranking out scorched-earth heavy metal rather than playing in the energetic blues-rock style
that he’s perfected. One might expect Sardinas to strap on an oddly-shaped B.C. Rich Warlock, or even a Dean Dimebag tribute guitar instead of the custom-made Dobro resonator guitars that he
prefers. No matter your expectations, you can always depend on Eric Sardinas to surprise and entertain.

Learning The Blues At 78rpm

Sardinas discovered the Delta blues at the unbelievably young age of six, when he first picked up a guitar. Spinning ancient 78s, he developed his unique style of playing listening to Charley
Patton, Son House, and Robert Johnson before moving on to modern-era blues guitarists like Muddy Waters, Elmore James, and Otis Rush. Throw in a dash of British blues-rock, hard rock, and more
than a little Jimi Hendrix and Stevie Ray Vaughan influence, and you’ll have the unique, electrifying, exhilarating sound of Eric Sardinas.

Street Corner Blues

After a bit of wandering, Sardinas landed in Los Angeles in 1990. At first he survived much like his early country-blues idols, performing with an acoustic guitar on the street corner for spare
change. He later put together a band, the Eric Sardinas Project (ESP), honing his sound by performing 300 nights a year for nearly six years. The band’s hard work paid off, earning ESP a gig
touring with Johnny Winter. Sardinas and crew recorded their debut, Treat Me Right, in 1999 for the respected jazz/blues label Evidence. Sardinas subsequently released albums in 2001 and 2003,
and has since performed with bluesmen like Hubert Sumlin and David « Honeyboy » Edwards.

With his fourth album, the generically-titled Eric Sardinas and Big Motor, the enigmatic guitarist manages to turn the humble Dobro into a true musical weapon of mass destruction. Although Delta
blues players would often use acoustic resonator guitars to play louder, and be heard above the juke-joint crowd, Sardinas wields his electrified Dobro as a samurai sword, slashing-and-crashing
through these songs like some screaming bird of prey swooping down on dinner.

Eric Sardinas And Big Motor

With Eric Sardinas and Big Motor, Sardinas further refines his trademark sonic fury, mixing in bits and pieces of 1960s-styled British blooze-rock, John Lee-inspired boogie, Southern soul, old
school Delta blues, even a bit of twangy, country-tinged blues (think early-1970s Johnny Winter). Bass guitarist Levell Price and drummer Patrick Caccia provide a locomotive beat behind Sardinas’
six-string pyrotechnics; together, the trio raises a lot of joyful noise for three guys.

The album-opening « All I Need » is a 120mph raver, built upon an unrelenting rhythm, embroidered with taut, barbed-wire fretwork. The infectious, melodic « Ride » hides its pop overtones beneath a
soaring guitar line, a Gospel-tinged chorus, and a Hendrix heartbeat…kind of reminds me of Clapton-era Delaney & Bonnie. The up-tempo « Gone To Memphis » is a soulful, uplifting tune with
some finely-engraved Dobro work and warm vocal harmonies.

Lest listeners think that Sardinas has gone soft, the rollicking boogie-based « It’s Nothing New » turns the amp up a notch, and by the time that ES and Big Motor kick into the juke-joint stomp
« Just Like That, » you’ll be turning over chairs and dancing on the table. Sardinas’ showcases some nasty, menacing slide-playing here as the band bashes-and-crashes behind his switchblade
fretwork. A relatively straight-forward cover of the Elvis gem « Burning Love » displays Sardinas’ playful side, while a cover of Tony Joe White’s « As The Crow Flies » offers up a true 180-proof
Delta gumbo with a soulful vocal turn and imaginative six-string solos.

The Reverend’s Bottom Line

Sardinas has too often been dismissed as a mere Stevie Ray clone or Hendrix acolyte, both comparisons sadly missing the mark. As shown by Eric Sardinas and Big Motor, there’s a lot more going on
here than meets the eye (or ear). There are many shades and textures to the songs here, and if Sardinas primarily mines nuggets of musical gold from an overworked blues-rock idiom, he’s done so
in his own unique style. Falling firmly on the harder-rocking side of the blues-rock equation, Eric Sardinas nevertheless plays a Dobro like nobody’s business, and the songs here showcase an
artist still having fun and exploring the limits of his talents and the music. (Favored Nations Records)




Tracklist :

   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

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