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Index of Artists

Catalogue of Releases

Eric Bibb
Migration Blues

Migration Blues
SPCD 1395
Genre: Blues
Released: 31 March 2017
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“Whether you’re looking at a former sharecropper, hitchhiking from Clarksdale to Chicago in 1923, or an orphan from Aleppo, in a boat full of refugees in 2016 – it’s migration blues,” Eric says about his new release, Migration Blues.

Mainly composed of new tunes, Migration Blues also includes covers of Bob Dylan’s “Masters of War” and Woody Guthrie’s “This Land Is Your Land.” An arrangement of the traditional “Mornin’ Train,” closes the opus.

  1. Refugee Moan (3:06)
  2. Delta Getaway (2:37)
  3. Diego's Blues (3:42)
  4. Prayin' For Shore (4:03)
  5. Migration Blues (3:07)
  6. Four Years, No Rain (2:36)
  7. We Had To Move (3:09)
  8. Masters Of War (3:19)
  9. Brotherly Love (4:11)
  10. La Vie C'est Comme Un Oignon (2:38)
  11. With A Dolla' In My Pocket (3:51)
  12. This Land Is Your Land (3:16)
  13. Postcard From Booker (0:51)
  14. Blacktop (3:56)
  15. Mornin' Train (3:36)
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Reviews:

Living Blues Magazine
By Frank Matheis

This is perhaps the most relevant, far-reaching, consciousness-raising, emancipatory music made today, in any genre—a brilliant, compassionate and impassioned statement in these reactionary times.

(more)

Eric Bibb is on a roll. He’s made some great records among his 37 releases, and Migration Blues may be his masterpiece. The peaking golden-voiced singer/songwriter Bibb plays guitar, six-string banjo and contrabass guitar, and he again teamed up with virtuosic multi-instrumentalist Michael Jerome Browne (guitars, banjo, mandolin, triangles), himself one of the brilliant acoustic bluesmen of our time. Minimalist harmonica player, JJ Milteau, whose style prefers tastefully understated, languid nuances, again partners. This album is as close to perfect as it gets, starting with CD sleeve’s superb design, complete liner notes and beautiful cover photo. The full lyrics are provided, and in this case that’s the core of what Migration Blues offers—sensitive, eloquent instrumentation and poignant, meaningful lyrics. Anyone who knows Eric Bibb’s recent work, especially with Browne and Milteau, knows that this ensemble is musically refined and elegant. Bibb on his own is remarkable; put maestro Browne next to him, and they morph into the living embodiment of "The whole is greater than the sum of its parts." Milteau adds light dabs of color accentuation here and there, just where needed. Musically things are quintessential. Every note counts.

Given that musical flawlessness, the album would be superb if it ended here. But, it’s just getting started. Bibb has reached the lyrical and songwriting pinnacle: relevant, timely and socio-critical, inspiring original blues songs, done intelligently and intellectually, yet sensitively and accessible. No haughty preaching or in-your-face sanctimonious politics. Bibb gives us modern acoustic blues with something important to say, with lyrics worth printing, something to get you thinking. He achieves with Brotherly Love a timely follow up to Elvis Costello’s (What’s So Funny ’Bout) Peace Love and Understanding and on the same album boldly captures the desperation of a black man fleeing in Delta Getaway, the Strange Fruit of 2017. "Saw a man hangin’/ From a cypress tree / I seen the ones who done it / Now they comin’ after me. With a razor in my hand / I don’t wanna use / Got a song in my bones / Call it the blues."

Each of the songs here deals with migration, with brotherly love and the exact opposite. They expose the human condition in song, no different than Woody Guthrie and Bob Dylan did in their time. Not coincidentally, Bibb covers This Land Is Your Land and Masters of War. Bibb explains, "While pondering the current refugee crisis I found myself thinking about the Great Migration, which saw millions of African Americans leaving the brutal segregation and economic misery of the rural South for the industrial cities of the North. Making this connection is what inspired the new songs included here. Whether you’re looking at a former sharecropper, hitchhiking from Clarksdale to Chicago in 1923, or an orphan from Aleppo, in a boat full of refugees in 2016—it’s migration blues."

Bibb and his fellow songwriters, Milteau and Browne, have entered into the realm of the literary in the tradition of the blues vocabulary of writers like Amiri Baraka and James Baldwin. This is perhaps the most relevant, far-reaching, consciousness-raising, emancipatory music made today, in any genre—a brilliant, compassionate and impassioned statement in these reactionary times.

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Rory Block
Keepin' Outta Trouble: A Tribute To Bukka White

Keepin
SPCD 1393
Genre: Blues
Released: 18 November 2016
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Keepin' Outta Trouble is Rory Block’s sixth release in her “Mentor Series” that salutes the blues masters who’ve had a profound impact on her music. This time she pays tribute to Bukka White, one of the most influential country blues artists in history.

She brings the soul and meaning of Bukka White’s songs to life, as if heard for the first time since they were written and performed by the man, himself.

Rory Block is one of the most acclaimed acoustic blues artists. She has won five Blues Awards in the "Traditional Blues Female Artist" and "Acoustic Blues Album of the Year" categories.

  1. Keepin' Outta Trouble (4:05)
  2. Bukka's Day (4:25)
  3. Aberdeen Mississippi Blues (4:20)
  4. Fixin' To Die Blues (5:20)
  5. Panama Limited (4:18)
  6. Parchman Farm Blues (4:09)
  7. Spooky Rhythm (3:58)
  8. New Frisco Train (3:53)
  9. Gonna Be Some Walkin' Done (3:04)
  10. Back To Memphis (4:57)
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Reviews:

Making a Scene
By Richard Ludmerer
Block states that not only is she grateful to the musicians who created this music that she loves but also to those who traveled the back roads and documented this art form; people like John and Alan Lomax, and Harry Smith. This is the final chapter in her series. (more)

Rory Block hails from Princeton, NJ but spent a lot of her formative years as part of the Greenwich Village folk music scene. At the age of fourteen she was introduced to the music of the Mississippi Delta. She recorded for Elektra, RCA, Blue Goose and Chrysalis before signing with Rounder Records in 1981. Between 2003 and 2005 Block released three albums on Telarc Records including my favorite “From the Dust”. In 2008 Block signed with Stony Plain Records and started her “Mentor Series” saluting those blues masters whom have had “a profound impact on her music”.

Block has a total of twenty-one Blues Music Award nominations having won that award five times. This is Block’s 34th overall recording and sixth in her “Mentor Series”. This time she salutes “Bukka” White.

White was born Booker T. Washington “Bukka” White in November 1906 in Houston, Mississippi and named after the African-American educator and civil rights activist. White was a first cousin to B.B. King’s mother. He played slide on a Resonator guitar. White first recorded for Victor Records in 1930.

Block plays a Martin Signature OM-40 guitar named after her. All guitars and vocals heard are by Block who also adds percussion by slapping her guitar; she calls it “guitar bongos”. She also strikes various boxes with wooden spoons and salad forks. Block states that White inspired her to write new songs. Block opens the recording with two originals, the percussive title track “Keepin’ Outta Trouble” with the lyric “give the big man some room”, and “Bukka’s Day”.

Only then do we get to hear Block’s versions of White’s songs. “Aberdeen, Mississippi Blues” is the song John Fahey used to find and re-discover him. White became part of the 1960’s folk revival and died in 1977 at the age of 70 in Memphis.

“Fixin to Die Blues” written by White was recorded by Bob Dylan in 1963 and it appears on Dylan’s Columbia Records debut.

“Parchman Farm Blues” was written by White while he was serving time for assault at The Mississippi State Penitentiary and it appears in Harry Smith’s “Anthology of American Folk Music”.  Other songs of White’s covered by Block are “Panama, Ltd” and “New Frisco Train”.

Block’s other originals include “Gonna Be Some Walkin Done” inspired by the guitar part from Booker’s “Jitterbug Swing”; “Spooky Rhythm” and the closer “Back to Memphis”.

Block states that not only is she grateful to the musicians who created this music that she loves but also to those who traveled the back roads and documented this art form; people like John and Alan Lomax, and Harry Smith. This is the final chapter in her series. Who or what will inspire her next?

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MonkeyJunk
Time To Roll

Time To Roll
SPCD 1394
Genre: Blues
Released: 4 November 2016
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Time To Roll, MonkeyJunk’s fifth release, showcases deep grooves and soulful original material plus a cover of Albert King’s classic “The Hunter.”

The Ottawa-based trio are Canada’s most acclaimed blues/roots music band and are favourites of Elwood Blues (Dan Aykroyd); MonkeyJunk has received great support from the syndicated radio program The BluesMobile.

Their sound has been described as a “contemporary blend of swamp R&B, soul boogie and bedroom funk.”

  1. Best Kept Secret (4:31)
  2. Time To Roll (4:01)
  3. See The Sign (3:36)
  4. Blue Lights Go Down (4:27)
  5. Pray For Rain (5:13)
  6. The Hunter (3:35)
  7. Can't Call You Baby (5:39)
  8. Undertaker Blues (3:25)
  9. Gone (3:34)
  10. Fuzzy Poodle (3:09)
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Reviews:

Top 100 Canadian Blog
By Bob Mersereau
It would be easy to call Monkeyjunk one of Canada's very best blues bands, and while that isn't wrong, it's never quite felt right to me either. Instead, the group seems to be that, plus. (more)
It would be easy to call Monkeyjunk one of Canada's very best blues bands, and while that isn't wrong, it's never quite felt right to me either. Instead, the group seems to be that, plus. Monkeyjunk songs, and albums, always have that moment when you hear something different. Often it happens in the chorus or bridge, when instead of the usual change comes a better chord, that takes what was already a winning song to a new place.


Weary ballad Blue Lights Go Down has one of those smart changes into the chorus, which lifts up the mood. The first time through, Tony D puts on a smart, Santana-like solo, while on the second pass, Steve Mariner plays an Eastern-flavoured harmonica to end it off in a questioning way. Up next is Pray For Rain, which starts with some ringing, sitar-like guitar, before verses that remind me of those great Clapton parts on the Layla album.


Sharp-eared fans will also notice it's the first album (in their five) to include electric bass all the way through. In some ways, it puts them further in the blues roots, allowing them the full sound to explore a cover of Albert King's The Hunter, but it also meant building bigger tracks, giving them more room to explore their ideas, like on the soulful Can't Call You Baby. File them under originality. (less)

 
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Duke Robillard
Blues Full Circle

Blues Full Circle
SPCD 1392
Genre: Blues
Released: 9 September 2016
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Guests on Blues Full Circle include Jimmie Vaughan, Sugar Ray Norcia and Kelley Hunt.

“On Blues Full Circle, Duke Robillard slams out the blues like the all-time great he is, with impeccable support.” ~ Dick Shurman

  1. Lay a Little Lovin' on Me (3:15)
  2. Rain Keeps Falling (2:43)
  3. Mourning Dove (4:50)
  4. No More Tears (3:03)
  5. Last Night (feat. Sugar Ray Norcia) (2:58)
  6. Fool About My Money (3:39)
  7. The Mood Room (feat. Kelley Hunt) (2:57)
  8. I've Got a Feelin' That You're Foolin' (4:27)
  9. Shufflin' and Scufflin' (feat. Jimmie Vaughan) (6:31)
  10. Blues for Eddie Jones (3:46)
  11. You Used To Be Sugar (3:07)
  12. Worth Waitin' On (6:59)
  13. Come With Me Baby (3:22)
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Reviews:

Blues Blast Magazine
By John Mitchell
 

Whatever style he adopts Duke is a wonderful player, able to adapt across the spectrum of blues and jazz styles and this is another strong album from him. Recommended.

(more)

 

Duke Robillard spent over a year unable to play guitar following a serious shoulder injury and this album had to be delayed until further recording sessions had taken place once Duke had recovered. In terms of releases the gap was filled by the excellent The Acoustic Blues & Roots of Duke Robillard but this is the album that Duke planned to release. Tracks were recorded before and after Duke’s enforced lay-off but the personnel throughout is unchanged with Duke on guitar and vocals and his long-standing band in support: Bruce Bears on keys, Mark Teixeira on drums and Brad Hallen on bass. There are some guests who feature on one track each: Sugar Ray Norcia (vocals), Kelley Hunt (vocals/piano), Jimmie Vaughan (guitar), Sax Gordon Beadle (tenor/baritone sax) and Doug James (baritone sax). Duke wrote all the material apart from two covers and one shared writing credit with Jimmie.

The format here is small band blues with a selection of shuffles, slow and rocking blues, Duke’s guitar reflecting each song’s mood perfectly. He really is one of the masters of this sort of ensemble playing, possibly the best example being the extended "Shufflin’ And Scufflin’" which comes from an as yet unreleased session with Jimmie Vaughan, both guitarists getting plenty of space alongside Doug James’ bubbling baritone. Kelley Hunt wrote a tune dedicated to Duke’s recording studio "The Mood Room" and Duke invited her to revisit the song with his band, Kelley’s piano taking the lead on an upbeat tribute to the “hippest joint in town”. Sugar Ray Norcia is on vocals for a cover of Jimmy ‘Baby Face’ Lewis’ Last Night which is a stand-out cut with Ray’s suave vocal and Sax Gordon’s great sax work behind Duke’s swinging guitar.

Duke’s familiar deeper vocals are featured on the remaining tracks which include the amusingly cynical "Fool About My Money" on which the band adopts a New Orleans rhythm and the slow blues tribute to Guitar Slim, "Blues For Eddie Jones". "Lay A Little Lovin’ On Me" opens the album on a funky note courtesy of Bruce’s piano and Duke’s searing guitar fills before the rolling blues of "Rain Keeps Falling", Bruce’s piano again spot on for the tune and Duke bending the strings impressively. The pace drops for the slow blues of "Mourning Dove" but not the intensity of Duke’s playing and the swinging "No More Tears" harks back to Duke’s original incarnation of Roomful Of Blues, without the horns. Duke’s tough guitar and Bruce’s almost ragtime piano on "You Used To Be Sugar" is a winning (and swinging!) combination and "Come With Me Baby' closes the album with another trademark rolling blues.

Whatever style he adopts Duke is a wonderful player, able to adapt across the spectrum of blues and jazz styles and this is anot

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Ronnie Earl
Maxwell Street

Maxwell Street
SPCD 1391
Genre: Blues
Released: 9 September 2016
Call +1 (780) 468-6423 to purchase
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Ronnie Earl’s release Maxwell Street is named in honour of blues pianist and previous member of the Broadcasters David Maxwell and is a nod to Chicago’s Maxwell Street where blues musicians gathered to play outside for the Sunday market crowds.

It confirms Ronnie Earl’s status as one of the most soulful blues/soul/jazz guitarists working today.

  1. Mother Angel (5:37)
  2. Elegy For a Bluesman (5:40)
  3. In Memory of T-Bone (6:00)
  4. Kismet (6:18)
  5. Double Trouble (11:43)
  6. (I've Got To Use My) Imagination (4:19)
  7. Blues For David Maxwell (8:25)
  8. You Don't Know Me (8:03)
  9. BroJoe (4:57)
  10. As The Years Go Passing By (7:06)
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Reviews:

Blues Blast Magazine
By John Mitchell
 

"The whole album is a delight but the two openers find Ronnie at the very top of his game.This is an album that should be added to the collection of all Ronnie Earl fans and deserves to bring his playing to a new audience."

(more)
 

A new Ronnie Earl disc is always welcome and Maxwell Street is another stellar entry in Ronnie’s long discography. On 2015’s Father’s Day Ronnie worked with horns for the first time in many years but this time around it is the core of the Broadcasters that we hear: Ronnie on guitar, Dave Limina on keys, Lorne Entress on drums and Jim Mouradian on bass; sadly Jim passed away after the release of this album so this may be his last recording. As has been the case for several years now Diane Blue provides vocals (here on five cuts, the rest being instrumentals) and Nicholas Tabarias plays second guitar on some tracks. The title of the album references the late David Maxwell who played with The Broadcasters, as well as the one-time meeting place for blues musicians in Chicago. Ronnie wrote five songs here (one with Diane), there is one by Dave and four covers from a typically diverse range of sources.

The whole album is a delight but the two openers find Ronnie at the very top of his game: “Mother Angel” recalls mid to late 70’s Santana (think Borboletta) as Ronnie exchanges intricate guitar stylings with Nicholas all over a warm organ and percussion wash; Dave’s “Elegy For A Bluesman” features Dave’s piano and Ronnie digging hard into his most emotional playing as they develop this fine tribute to David Maxwell. Ronnie pays his own respects later on with “Blues For David Maxwell”, as well as paying tribute to another fallen giant “In Memory Of T-Bone”. Diane’s first vocal is on her co-write with Ronnie “Kismet”, a straight blues with Diane’s strong, almost gospel vocal suiting the semi-religious lyrics and some terrific blues guitar from Ronnie. Otis Rush’s “Double Trouble” has been recorded many times but this is a ‘luxury edition’ which takes its time (it is 11.42 minutes long!), Diane again excellent on the familiar lyrics, Dave’s organ and Ronnie’s anguished guitar centrepiece supported sympathetically by the rhythm section.

Gladys Knight scored a hit with “(I’ve Got To Use My) Imagination” which is probably the most upbeat tune here with Diane’s sultry vocal and Ronnie’s punchy lead lines and acts as something of a break from the more intense slower tunes that dominate the album. Ronnie’s instrumental “Brojoe” is also an upbeat tune, a driving shuffle with Ronnie playing some tough guitar and Dave taking a percolating organ solo. Eddy Arnold’s country ballad “You Know Me” has another excellent vocal performance by Diane underpinned by Dave’s piano and Ronnie’s brooding guitar which sits just behind the vocal when listening on headphones. Another blues classic, Deadric Malone’s “As The Years Go Passing By” closes the album with a final winning vocal/guitar combination.

As with most Ronnie Earl albums this one makes great late-night listening and probably features as much great guitar playing as any of his extensive discography. With the bonus of the excellent Broadcasters and Diane Blue’s vocals on half the tracks this is an album that should be added to the collection of all Ronnie Earl fans and deserves to bring his playing to a new audience.

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Various
40 Years of Stony Plain [3 CDs]

40 Years of Stony Plain [3 CDs]
SPCD 1400
Genre: Roots
Released: 3 June 2016
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2016 marks the 40th Anniversary of one of Canada's longest surviving independent record labels. Stony Plain Records has been recognized worldwide for it's consistent, high quality roots and blues releases.

This three volume set celebrates with some of the label's favourite tracks, including one full CD of rarities and previously unreleased music by artists like Eric Bibb, Maria Muldaur, Duke Robillard and Sam Chatmon. Stony Plain was named "2014 Record Label of the Year" by the Blues Foundation in Memphis. Add to that 6 Grammy nominations, 11 Juno Awards and dozens of Blues Awards and Maple Blues Awards.

Disc 1
  1. Colin Linden - No More Cheap Wine (4:43)
  2. Spirit Of The West - The Crawl (4:03)
  3. Corb Lund - I Wanna Be In The Cavalry (3:10)
  4. Doug Sahm - Louis Riel (3:50)
  5. Harry Manx & Kevin Breit - Do Not Stand At My Grave And Weep (5:29)
  6. Emmylou Harris - Where Will I Be (4:22)
  7. Guitar Heroes: James Burton, Albert Lee, Amos Garrett, David Wilcox - That's All Right (Mama) (5:18)
  8. New Guitar Summit - Flying Home (4:12)
  9. Rodney Crowell - Funky And The Farm-boy (4:06)
  10. Valdy & Gary Fjellgaard - VLT (2:30)
  11. Jr. Gone Wild - Poet's Highway (4:16)
  12. Tim Hus - Wild Rose Waltz (5:32)
  13. Ian Tyson - Cottonwood Canyon (3:19)
  14. Jennifer Warnes - Blue Mountains Of Mexico (3:16)
  15. Steve Earle - Rivers Of Babylon (3:02)
  16. Eric Bibb - Needed Time (feat. Taj Mahal, The Blind Boys of Alabama, Ruthie Foster) (6:28)
Disc 2
  1. Kenny 'Blues Boss' Wayne - Bankrupted Blues (3:09)
  2. Joe Louis Walker - Eyes Like A Cat (3:49)
  3. Rosco Gordon - Sit Right Here (4:38)
  4. Ronnie Earl & The Broadcasters - It Takes Time (4:55)
  5. Maria Muldaur - Soul Of A Man (feat. Taj Mahal) (2:52)
  6. Long John Baldry - Midnight Special (3:24)
  7. Paul Reddick - Mourning Dove (4:55)
  8. MonkeyJunk - Mother's Crying (4:36)
  9. Jay McShann - Goin' to Chicago (4:32)
  10. Jeff Healey - Hong Kong Blues (3:12)
  11. Billy Boy Arnold - Bad Luck Blues (3:16)
  12. Rory Block - Candy Man (3:42)
  13. Big Dave McLean - Atlanta Moan (4:12)
  14. Ruthie Foster - Keep Your Big Mouth Closed (3:15)
  15. Sonny Rhodes - Meet Me At The 10th Street Inn (3:18)
  16. Jim Byrnes - Wrapped Up, Tied Up (3:30)
  17. Amos Garrett - Lost Love (4:10)
  18. Ellen McIlwaine - All To You (4:01)
  19. King Biscuit Boy - Blue Light Boogie (5:00)
Disc 3
  1. Duke Robillard - Ain't Gonna Do It (3:31)
  2. Duke Robillard - Rehab (5:21)
  3. Eric Bibb - Shingle By Shingle (4:06)
  4. Eric Bibb - Wayfaring Stranger (6:19)
  5. Maria Muldaur - In My Girlish Days (2:28)
  6. Maria Muldaur - I Belong To The Band (4:30)
  7. David Wilcox - Uptown Bump (3:47)
  8. Sam Chatmon and His Barbeque Boys - I Hate That Train (feat. Colin Linden, Doc MacLean) (3:51)
  9. Sam Chatmon and His Barbeque Boys - All Night Long (feat. Colin Linden, Doc MacLean) (2:51)
  10. Bob Carpenter - Satan's Golden Chain (4:02)
  11. Bob Carpenter - Mister Blue (2:45)
  12. Walter 'Shakey' Horton with Hot Cottage - Shakey's Edmonton Blues (3:02)
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Reviews:

Jazz Weekly
By George W. Harris
This material cuts to the marrow of the bone, delivering the essence of what makes all of what’s being performed today seemed stale and over polished in comparison. (more)
Billed as “Canada’s Roots, Rock, Folk, Country and Blues Label,” Stony Plain celebrates 40 years of delivering some of the best down home sounds you’ll ever want on this 3 disc retrospective.
The width, breath and depth of this label is pretty impressive, as displayed here. The 3 discs are divided into “Singers, Songwriter…” Blues, R&B, Gospel, Swing, Jazz…” and “Rarities and Previously unreleased Material.” What binds them all together is an rhythmic earnestness that is simply irresistible.
The Singers/Songwriters entry ranges from Nashville/indie sounds by Colin Linden to traditional Irish by Corb Lund. Emmylou Harris sounds deliciously homey and some great rockabilly is delivered by Albert Lee. The Blues/R&B disc is brewing with the boogie as Jay McShann takes you to Kansas City, Amos Garrett makes the strings moan and Jeff Ealey picks and grins. Maria Muldaur, Taj Mahal and Long John Baldrytake you to a cozy back porch with some earthy folk blues. The Rarities feature Duke Rollibard strolling and hitting it 8 to the bar while David Wilcox picks and grin.
This material cuts to the marrow of the bone, delivering the essence of what makes all of what’s being performed today seemed stale and over polished in comparison. (less)

 
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Kenny 'Blues Boss' Wayne
Jumpin' & Boppin'

Jumpin
SPCD 1389
Genre: Blues
Released: 3 June 2016
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Living Blues Magazine named him the "Most Outstanding Musician (Keyboard)" for 2015.

Kenny ‘Blues Boss’ Wayne’s third CD for Stony Plain is firmly rooted in the joyful jump blues style of Louis Jordan and Amos Milburn. Special guest Duke Robillard is the perfect guitarist and Russell Jackson, BB King’s long-time bassist, locks in the rhythm section.

The zoot suited 'Blues Boss' will be touring Russia, South America, and Europe this year, in addition to playing various North American summer festivals.

  1. Blues Boss Shuffle (2:13)
  2. Bankrupted Blues (3:09)
  3. Jumpin' & Boppin' With Joy (2:27)
  4. Blues Stew (3:35)
  5. You Don't Know Me (5:38)
  6. Blackmail Blues (4:46)
  7. Look Out! There's A Train Coming (3:00)
  8. I Need Your Lovin' (2:59)
  9. Ciao, Ciao Baby (3:34)
  10. Back To Square One (5:18)
  11. I'm Comin' Home (3:31)
  12. Rock, Rock Little Girl (3:20)
  13. Boogie To Gloryland (2:11)
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Reviews:

Blues Blast Magazine
By Steve Jones

"Kenny "Blues Boss" Wayne flamboyantly jumps and bops through this fine new swing recording on Canada’s Stony Plain Records.

(more)
 

Kenny “Blues Boss” Wayne - Jumpin’ & Boppin’

Stony Plain Records

www.kennybluesboss.com

13 tracks/45 minutes

Born in Spokane, Washington, schooled and trained in New Orleans and now based in British Columbia, Kenny “Blues Boss” Wayne flamboyantly jumps and bops through this fine new swing recording on Canada’s Stony Plain Records. Featuring the great Duke Robillard on guitar along with Russell Jackson on bass, Charlie Jacobson on guitar, Joey DiMarco on drums, Sherman Ducette on harp, and Dave Babcock on sax, this is a fine ensemble of players backing this great keyboard player and vocalist.

This is Kenny’s third outing on Stony Plain and his tenth overall recording. He has self produced this one and the last and he’s done a fine job with both of them. Duke Robillard adds a lot with his guitar work and the talents of all the musicians really shine brightly.

The album opens with “Blues Boss Shuffle,” a sweet instrumental where everyone gets a chance to impress the listener. Wayne’s piano, Babcock’s sax and Robillard’s guitar offer up well done solos. “Bankrupted Blues” follows, a tune about losing jobs, cars and homes. It’s a sign of the times and the band gives us a great performance. Robillard has an extended solo that was cool. “Jumpin’ & Boppin’ With Joy” is a high energy cut with frantic vocal that Wayne does a good job with. Robillard comes in for a swinging solo then Wayne takes over on the keys. “Blues Stew” slows things down and offers a bit of a respite. Wayne paces things out nicely as he let’s the piano take the lead in this more thoughtful cut.

You Don’t Know Me,” the albums’ lone cover, is a fine slow blues with some great sax accompanying the vocals. This is very smooth and sultry stuff. “Blackmail Blues” is a swinging mid tempo piece with guitar, organ and piano up front leading the charge. Evenly paced, it’s an interesting number. The boys jump and jive with “Look Out! There’s A Train Coming.” Horns and keys trade licks and Robillard's smooth guitar gives this one a fantastic feel. “I Need Your Lovin’” continues in that vein with the organ laying out a groove and a nice piano solo and later guitar solo to spice things up. “Ciao, Ciao Baby” slows things down a tad as Wayne sways though this one nicely on vocals. The saxes and guitar add a nice dimension again; Robillard offers a prolonged solo that was quite nice.

Slow blues return with “Back To Square One.” Thoughtful piano and guitar work well together to open this one. Wayne comes in on vocals and struts his stuff and then Robillard offers another keenly smooth solo. Harp opens “I’m Comin’ Home” and the band lays it on in this jump cut. The harp blows sweetly for it’s solo and maintains a steady groove throughout. “Rock, Rock Little Girl” features some big boogie woogie piano, sax and guitar in this rocking number. Kenny testifies to us in this 50’s style rocking jump blues with a rocking guitar solo. The CD closes with “Boogie To Gloryland,” a keen instrumental that Wayne drives from the piano bench. It’s a whirlwind ride up and down the 88 keys as he does an impressive job on this boogie tune.

This is a fine jump blues album with some great new songs. Wayne, Robillard and friends do a dynamite job and offer up some outstanding work on this album. The interplay and balance is sublime and fun. I thoroughly enjoyed this CD!

Reviewer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

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Paul Reddick
Ride The One

Ride The One
SPCD 1388
Genre: Blues
Released: 20 May 2016
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Ride The One is a musical reference to the hypnotic grooves explored on Paul Reddick's new release. Deep rhythm, intense singing and harp playing combine with his distinctive blues poetry. As Reddick puts it, "Blues is a beautiful landscape."

  1. Shadows (4:57)
  2. Celebrate (4:12)
  3. Mourning Dove (4:57)
  4. Gotta Find A… (3:17)
  5. It Goes With You (4:18)
  6. Watersmooth (3:55)
  7. Diamonds (4:23)
  8. Living In Another World (3:57)
  9. I Tried To Tell You (4:13)
  10. Love And Never Know (4:47)
  11. Moon And Star (2:07)
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Reviews:

No Depression
By J.M. McSpadden III

Canadian Paul Reddick’s latest release, Ride the One, hits like a punch in the throat from the first note.  It is blues rock as a primal roar, as spooky as a condemned house, as visceral and chilling as a Stephen King novel.

(more)

Canadian Paul Reddick’s latest release, Ride the One, hits like a punch in the throat from the first note. It is blues rock as a primal roar, as spooky as a condemned house, as visceral and chilling as a Stephen King novel. Reddick’s voice howls on the lead track “Shadows,” decidedly sinister, and more frightening than Lon Chaney staring at a full moon. Coupled with a desperate aural assault on blues harp, the song is as close to a major cardiac event as you can get.

Reddick has a thing for repetition. I’m not talking Van Morrison meditation-style mantras. He isn’t waxing mystical, Reddick is jonesing bad. The thing is, I’m never really sure what he’s going on about, but damn if he doesn’t make you sit up and take notice. On “Shadows” Reddick growls and bellows like a rabid dog. The whole rhythm section churns and thunders along with him, and I am sure somewhere nearby are the four horseman, taking up the reins for their doomsday ride.

Reddick’s skills are impressive, and between his voice and his blues harp it is hard to tell which is more insistent on getting your attention. The pace continues on “Celebrate” as the drumming of Derek Downham drives the tune into a tribal frenzy, and if you told me that the band had walked on hot coals after cutting the track I would have no trouble believing you.

The third track, “Mourning Dove” is one of my favorites. In an album drenched in moody, foreboding atmospherics, this one came across as cinematic in scope. I could feel the dew dripping from the Spanish moss, haunting echoes coming from the bayou. It has the taut suspense of a classic film noir. 

“Gotta Find A” slows the pace a little, giving the listener a chance to come up for air. “It Goes With You” is fueled by a combination of Reddick’s harp and his manic wails, and the razor sharp guitars of Greg Cockerill and Steve Mariner. When Reddick sings, “All the love, it goes with you,” it is in an obsessive lover’s voice, the kind that earns a restraining order from the one who broke off the relationship.

“Diamonds” is another high point on an album that excels at painting pictures. Reddick doesn’t so much write clever lyrics as he writes simple verses that he injects with emotional excess. Repetition works to great effect on this number, a swampy rhythm set against an unyielding drumbeat. Over the backbeat Reddick keeps asking, “Wasn’t that a time? All those diamonds in the sky.”

As the song progresses, he throws out phrases that feel like clues to arcane prophecy:

Wasn’t that a time

all those diamonds in the sky

you held them

like an ancient book

you held them

 like an ancient book

all that said

in just a look

Reddick’s lyrical poetry gains its strength not through direct story telling but rather through what it leaves out, interacting with the listener by dredging up emotional connections to the moments in life for which we have no answers. Reddick has assembled a band that knows what he wants and delivers it in spades. The tightly focused ensemble playing is superb and builds the internal pressure in each song, simmering with implied threat and all too happy to boil over.

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Eric Bibb & North Country Far with Danny Thompson
The Happiest Man In The World

The Happiest Man In The World
SPCD 1390
Genre: Blues
Released: 6 May 2016
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The Happiest Man In The World is a tasty gumbo of new bluesy-country songs recorded in the English countryside.

This stellar acoustic band is made up of musicians who have known each other for years: Eric Bibb on vocals and guitars, Petri Hakala on mandolin and mandola and Olli Haavisto on dobro and weissenborn as well as other slide instruments. The band are joined by legendary upright bassist Danny Thompson (Alexis Korner, Pentangle, Donovan, John Martyn and more).

The exuberant, soulful sound at the heart of these songs makes The Happiest Man In The World a delicious treat.

  1. The Happiest Man In The World (3:08)
  2. Toolin' Down The Road (3:24)
  3. I'll Farm For You (3:51)
  4. Tossin' An' Turnin' (3:37)
  5. Creole Café (4:22)
  6. Born To Be Your Man (3:42)
  7. Prison Of Time (5:16)
  8. King Size Bed (2:38)
  9. On The Porch (4:18)
  10. 1912 Skiing Disaster (2:10)
  11. Tell Ol' Bill (4:28)
  12. Wish I Could Hold You Now (3:59)
  13. Blueberry Boy (3:10)
  14. You Really Got Me + King Size Bed (Bonus Instrumental Version) (4:32)
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Reviews:

Cashbox Magazine
By Iain Patience
Eric Bibb may have good reason to be the Happiest Man in the World, with top quality music seemingly pouring from the guy on a regular basis. (more)

Eric Bibb may have good reason to be the Happiest Man in the World, with top quality music seemingly pouring from the guy on a regular basis. This is his second release inside twelve months, following hot on the heels of the highly acclaimed Lead Belly’s Gold which featured French harp-man Jean Jacques Milteau and was released on the same label (Stony Plain in USA).

This time round, Bibb is joined by one of the finest double-bass players on the planet with England’s Danny Thompson thumping along rhythmically throughout. Thompson has played with almost everyone of note in the modern roots/folk music world from his days with Pentangle, through Richard Thompson (no relation) and Scotland’s late John Martyn.

The result, is pretty much as might be expected. An album of simply wonderful blues-tinged acoustic music featuring Bibb’s distinctive and mellow vocals alongside his fine fretwork on both guitar and banjo. All fourteen tracks are penned by Bibb himself here, and as usual with the man he sticks to tradition at its core while always moving the music forward with thoughtful lyrics and plangent melodies that linger.

An absolute gem and a must-have album for lovers of Bibb and his refreshing style of acoustic roots/blues music.

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Eric Bibb & JJ Milteau
Lead Belly's Gold

Lead Belly
SPCD 1387
Genre: Blues
Released: 6 November 2015
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Lead Belly's Gold pays homage to Lead Belly via live and studio recordings featuring Blues troubadour Eric Bibb, harmonica master JJ Milteau and an acoustic band.

Eric Bibb is one of the highest profile international roots musicians, winning Acoustic Artist of the Year at the Blues Music Awards and having been nominated for a Grammy. He will be touring extensively to support this release.

  1. Grey Goose (5:30)
  2. When That Train Comes Along / Swing Low, Sweet Chariot (3:59)
  3. On A Monday (2:52)
  4. The House Of The Rising Sun (3:30)
  5. Midnight Special (3:58)
  6. Bring A Little Water, Sylvie (3:18)
  7. Where Did You Sleep Last Night (3:27)
  8. When I Get To Dallas (1:41)
  9. Pick A Bale Of Cotton (2:57)
  10. Goodnight, Irene (3:39)
  11. Rock Island Line (3:53)
  12. Bourgeois Blues (3:21)
  13. Chauffeur Blues (2:52)
  14. Stewball (3:29)
  15. Titanic (3:03)
  16. Swimmin' In A River Of Songs (3:23)
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Reviews:

No Depression
By Joe McSpadden
"The strength of Ledbetter’s work, and the prison-to-palace arc of his life, make Lead Belly’s Gold an extension of Bibb’s last effort, Blues People, if not a sequel to it. Ride this train, people, you won’t want to get off. " (more)

Eric Bibb is a devotee of pre-war blues and folk music. On his latest release, Lead Belly’s Gold, Bibb and brother-in-arms JJ Milteau mine the rich vein of Americana that is Huddie Ledbetter. We are all the better for the effort, and wiser for the reminder that roots music owes a deep debt to African-American artists.

I usually approach cover albums with a sense of apprehension. When it's been recorded by an artist I admire, I want to hear their work over that of their mentors. All too often, tribute albums mean more to the artist than the artist’s following. Worse yet, in some cases, these albums are contract fulfillment items. That is definitely not the case here. Bibb and company turn in a spirited and honest record that is important on several levels.

Coming on the heels of Bibb’s mountaintop testament to racial healing, Blues People, an album of covers might seem to be a letdown, or an example of an artist taking a breather. Nothing could be further from the truth. Instead Bibb returns with a batch of songs that seem more like an extension of his previous album than one might think. In fact, Lead Belly’s Gold could be seen as a sequel of sorts.

American roots music has been all the rage for decades, but never more so than in the wake of Joel and Ethan Coen’s quirky film O Brother, Where Art Thou? That film, and the score by T Bone Burnett exposed a hunger in audiences for something that felt organic and honest, and kicked off a fever for string band music.

Thank God for Eric Bibb and others walking the path of restoration. Artists like Bibb, Guy Davis, the Carolina Chocolate Drops, and the Ebony Hillbillies remind us that there is much more color in the rainbow of the great American Songbook than we often see in the headlines. Bibb and his compadres are restoring to us a more complete picture of our musical heritage, and the results are deeper and sweeter than the whitewashed hoedowns sold to suburban middle class kids. We are enriched as a result.

One of the first things an album of covers forces us to ask is the question of whether or not the artist is committed to the project. If the artist is truly committed to the project, then the next query has to do with audience. Is the artist playing to a memory in his head that no one else can see? Or is the artist able to come down from the mountain and deliver the vision?

The good news is that Bibb is fully immersed in this work, and there is no better evangelist to reach the next generation than the son of Leon Bibb. The album is full of gems that stay with the listener. In agricultural terms, this is a harvest in seed form. When one realizes that they are fed not from the ear of corn, but from the seed that produced the ear, then one can begin to grasp what Huddie Ledbetter means to contemporary music, and what prophets like Eric Bibb mean to a culture that is seeking its sense of self.

Roots music is, at its very core, diverse. The tag “Americana” is problematic at best. While at times it comes very close to hitting the motherlode of creativity, it can, in the next instant, drift perilously close to becoming its own parody. Eric Bibb is proof that Americana is about more than a hipster beard and a charge account at a vintage clothing store. His presence also reminds us that we have a shared history; that we are more alike than we are different, and that color and culture are not reasons to divide us but rather to cause us to rejoice.

Rooted firmly in the Village folk scene, and in the pre-war blues he loves so much, Bibb is able to integrate the works of Lead Belly and Seeger, Sonny Terry and Brownie McGhee, Sebastian and Dylan, Rev. Gary Davis and Woody Guthrie -- not to mention Dr. King -- all in to a patchwork quilt that defines us far better than the popular trend towards faux-retro expression.

Americana music, like films about the 1960s, risks skirting the real thing in order to celebrate a sugar-coated memory. Bibb brings a much needed dose of reality to our pink sunglasses view of the past. We need this more than we know. Lead Belly’s Gold, if given more than a cursory listen, takes the listener out of the instant fix of current trends, into a river of song as deep and wide as the Mississippi river.

Oddly enough, Bibb starts out by making us uncomfortable. “Grey Goose,” a traditional song, serves as metaphor for the struggles of Ledbetter, and for others who have faced a world designed to see them demeaned and diminished. The treatment of the Goose gets harsher verse by verse. The imagery is brutal. The Goose becomes a symbol of survival, and of victory, flying across the sea, as Ledbetter himself did. That the Goose is shot down and rises from the ashes to fly, not alone but with his goslings, is a resurrection story worth telling. That Bibb is one of Ledbetter’s goslings cannot be denied.

The second track on the album brings a message of hope and redemption. “When That Train Comes Along/Swing Low, Sweet Chariot” finds Bibb in familiar territory, seeking the light that we desperately need. Bibb is joined on the track by Big Daddy Wilson on harmony vocals, and his warm pipes provide reassurance that salvation is indeed at hand.

“On a Monday” tells the plight of a man whose troubles grow worse with each day of the week. “The House of the Rising Sun” becomes, in Bibb’s hands, a song of quiet resignation and regret. The tone of his voice, more so than the lyrics, portray a soul surrendered to his fate. With a song this well-known the trick is not to trivialize it, or send it up. Bibb’s interpretation is that of man communing with his own thoughts, unable to affect the outcome of his days.

“Midnight Special” is a real pleaser. Never one of my favorite songs, Bibb’s take on the train song won me over. The Cajun-flavored arrangement, with its accordion and harmonica duet, feels as though it could have been recorded on the gallery of a clapboard shack in James Lee Burke’s New Iberia. This track would be great on the soundtrack of a Dave Robicheaux film, if someone in Hollywood could ever find a way to do Burke’s creation justice.

There is so much to like here. The beauty of it all is the way Bibb breathes new life into songs that have been performed countless times. “Pick a Bale of Cotton,” with Big Daddy Wilson on hand, is a delight and rivals Sonny and Brownie’s version for sheer fun.

Bibb provides a couple of fine original numbers and another, “When I Get to Dallas,” co-written with JJ Milteau. The latter depicts Ledbetter making plans to send for his woman once he gets set up in Dallas. Perhaps the biggest surprise is another train song, “Rock Island Line.” Bibb and Milteau ride on the steady drumbeat of Larry Crockett. Bibb the conductor punches our ticket while Milteau blows like a steam engine on his harp, Crockett’s drum clicking like steel wheels along the rails. This is a party train and it’s clear the brakes are gone. Bibb gets us to the station but can’t quite bring it to a complete stop, pulling up in a cloud of steam and Pentecostal fervor. Milteau outdoes himself here, becoming the mighty furnace of the great engine, hauling everyone on board along with him.

“Bourgeois Blues” follows, and returns us to Earth. Ledbetter’s song exposes the hypocrisy of discrimination in Washington, D.C., the so-called capitol of representation. “Chauffeur Blues” is next and turns the tables in a “look who’s driving who now” fashion.

As usual, Bibb surrounds himself with first class talent. Milteau is nothing short of amazing. He is a harp player who knows when to step to the fore, and when to ease back. On Lead Belly’s Gold he is a primal force. Milteau has an uncanny knack for knowing when to howl, and when fade, when to lead and when to follow. His sensibilities complement Bibb’s passionate delivery and together the two men create a musical document that honors Lead Belly’s legacy, all the while moving it a little further on down the road.

The strength of Ledbetter’s work, and the prison-to-palace arc of his life, make Lead Belly’s Gold an extension of Bibb’s last effort, Blues People, if not a sequel to it. Ride this train, people, you won’t want to get off. 

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Colin Linden
Rich In Love

Rich In Love
SPCD 1386
Genre: Blues
Released: 25 September 2015
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“While the music on my new album covers a lot of influences, I still think of myself as a blues player, whatever I’m doing.” ~ Colin Linden

Rich in Love was produced, recorded and performed by Colin Linden (guitars, vocals, ukuleles and mandolins) and his band, affectionately known as The Rotting Matadors: John Dymond on bass and Gary Craig on drums. Special guests include multiple Blues Music Award-winner and six-time Grammy nominee Charlie Musselwhite on harmonica, legendary keyboardist Reese Wynans (Stevie Ray Vaughan), Amy Helm (Levon Helm, Ollabelle) on harmony vocals and organist Tim Lauer (Rodney Crowell, Keb’ Mo’, Allison Moorer, Lady Antebellum). The release sports a beautiful cover designed by Jim Sherraden of Nashville’s famed Hatch Show Print.

Linden, a long-time Nashville resident, and the two members of his band have been playing together for over 25 years, and it shows on Rich in Love, which sparkles with their seamless musicianship and collective talents. Colin Linden’s singing is fresh, emotional and engaging. The songs transport the listener through lustful encounters, remorse-laden retrospectives and forlorn longing, while the music takes influences from blues, country rock and roots. And then there is the playing, where every guitar pluck, bass note, subtle drum sweep or organ solo from this consummate musician and his band adds to the stories. It is a truly captivating package, a polished roots diamond, a treasure to reflect on and restore the soul.

  1. Knob & Tube (3:14)
  2. I Need Water (3:54)
  3. Delia Come For Me (5:00)
  4. The Hurt (6:05)
  5. Everybody Ought To Be Loved (3:39)
  6. Rich In Love (5:02)
  7. Date With The Stars (3:49)
  8. And Then You Begin (3:25)
  9. No More Cheap Wine (4:42)
  10. Luck Of A Fool (4:03)
  11. I Made A Promise (4:49)
  12. Paybacks Are Hell (3:38)
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Reviews:

Living Blues
By Frank Matheis

"This album is packed with on great song after the next. In short, this album just makes you happy."

(more)

When you disperse white light through a prism you get the full color spectrum because that light contains a collection of component colors-the rainbow. Likewise, when listening to Colin Liden's new album Rich In Love you get the entire audible spectrum of American roots music. Some will hear early roch 'n' roll, some will call it blue, others will say it's Americana with a bluesy twang. Arguing which is best or stronger is like debating which color is prettiest. Surely you will inherently hear what you like-roots and blues by one of North America's best-kept musical secrets, the Canadian singer-songwriter and guitarist extraordinaire, Colin Linden. The multiple Juno Award winner, leader of the Rodeo Kings and brilliant producer and sideman, is also a superlative string virtuoso of immaculate taste and skill. He has played with T Bone Burnett, Leon Redbone, Rhiannon Giddens, Bob Dylan, Bruce Cockburn, Emmlou Harris, Robert Plant, and Alison Krauss. His critically acclaimed solo projects like Big Mouth, Southern Jumbo and From the Waters have always been steeped deeply in the blues.

Rich In Love is a real gem that may take weeks before you can get it out of your CD player. This album is produced, recorded and performed by the Rotting Matadors, with Colin Linden on guitar, ukulele, mandolin, and vocals-and he is masterful on all. The rhythm section consists of John Dymond on bass, and Gary Craig on drums. Harmonica ace Charlie Musselwhite join them on The Hurt and Rich in Love. Reese Wynans guests on keyboards. Amy Helm, daughter of Levon Helm and a lovely singer on her own right, recently with Ollabelle, backs up on harmony.

Notably, the interesting lyrics, the perfect instrumentation, musical diversity, and brilliant songwriting of Rich in Love would be enough to make this a keeper, but Linden manages to acheive what most singer-songwriters only dream of-it comes from the heart and you feel it in your soul, and the music instantly grabs you in a deep way. He means what he sings and the listener can make and immediate connection. The disc is simply a wonderful, rare gem.

These fiery 12 songs, consistently even fit, like worn-in shoes. In Delia Come For Me a falsely accused man pleads to his love, followed by The Hurt where he declares, "I want to see the word, hear the hurt, I want to know the hurt before I believe a word" Charlie Musslewhite adds an exclamation point, followed by Linden's lashing, emotive lead guitar. Everybody Ought to Be Loved is a sensitive, tender song about the ultimate truism. The title track starts off with a 1950s surf guitar vibe before it shifts into a sad moan as Musselwhite accentuates Linden's singing: "My baby used to cry, cry, cry as she she lay sleeping." When Linden sings "Nobody but you, there's never been nobody but you," it will twang your inner vibe. That's what good music can do. The album is packed with one great song after the next. In short, this album just makes you happy.

 

- Frank Matheis

 

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Duke Robillard
The Acoustic Blues & Roots of Duke Robillard

The Acoustic Blues & Roots of Duke Robillard
SPCD 1383
Genre: Blues
Released: 25 September 2015
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The Acoustic Blues & Roots Of Duke Robillard presents Robillard’s love of vintage blues, jazz and swing, with a selection of vocal and instrumental cuts.

This is his very first acoustic album in a career that spans over five decades. Robillard has worked with Bob Dylan, Tom Waits, Roomful Of Blues, Fabulous Thunderbirds and dozens of blues legends. He has been nominated for two Grammy Awards and has won “Blues Guitarist Of The Year” four times at the Blues Awards.

Special guests include Maria Muldaur, Jay McShann and Mary Flower.

  1. My Old Kentucky Home (1:25)
  2. Big Bill Blues (3:35)
  3. I Miss My Baby in My Arms (3:15)
  4. Jimmie's Texas Blues (3:08)
  5. Backyard Paradise (2:39)
  6. Evangeline (feat. Sunny Crownover) (3:01)
  7. Left Handed (3:06)
  8. I'd Rather Drink Muddy Water (3:25)
  9. I'm Gonna Buy Me a Dog (To Take the Place of You) (5:15)
  10. Nashville Blues (3:07)
  11. Saint Louis Blues (5:07)
  12. What Is It That Tastes Like Gravy? (3:04)
  13. Someday Baby (3:17)
  14. Let's Turn Back the Years (2:37)
  15. Take a Little Walk with Me (7:04)
  16. Santa Claus Blues (feat. Maria Muldaur) (2:50)
  17. Profoundly Blue (feat. Jay McShann) (3:46)
  18. Ukulele Swing (0:46)
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Reviews:

Elmore Magazine
By Tom Clarke
"Subtlety and excitement all wrapped together here, folks, in one of the best overall blues albums of the year." (more)

Founder of the swinging Roomful Of Blues, a rocking Pleasure King and a high-flying Fabulous Thunderbird for a spell. A jazz man, a front porch pickin’ blues man and one-time guitarist for Dylan. A string band, jug band, ragtime, delta, Louisiana, Appalachian folk and Jimmie Rodgers-country aficionado. A backwards traveler, but forward thinker. A writer and singer with distinct style, and a studio owner and in-demand producer. Did I miss anything? Duke Robillard may wear a handsome, if nondescript, lid lounging on the cover of The Acoustic Blues & Roots of…, but he almost literally wears a hundred hats—all of them damn well. It’s hard to believe any one man can be as prolific as this Rhode Island Duke of the blues.

Robillard marks over a half-century of life-dedication with an album that focuses on some of his initial inspirations– extraordinarily well, I might add. The acoustic settings relegate the proceedings to a theme, and it begins with a solo tenor banjo take on Stephen Foster’s timeless “My Old Kentucky Home.” Big Bill Broonzy’s “Big Bill Blues” brings to life a man drowning on a barstool right before Duke’s own “I Miss My Baby in My Arms” captures the depression of the Great Depression in perfect character. He makes the gleaming roots of Robbie Robertson’s Band classic “Evangeline”—featuring the excellent singer Sunny Crownover—flow naturally into the witty, Chicago-style blues of “Left Handed”—with super harp by former Muddy Waters band member Jerry Portnoy. Then, in short order, it’s a Delmore Brothers tune with some “grass on its ass,” and a Sleepy John Estes by the side of the rails. The diversity never gets old. Well, actually, it does, and that’s the point. Duke plays with amazing dexterity and sings with authority and class, getting right to the emotion of every song. Subtlety and excitement all wrapped together here, folks, in one of the best overall blues albums of the year.

- Tom Clarke

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MonkeyJunk
Moon Turn Red

Moon Turn Red
SPCD 1382
Genre: Blues
Released: 25 September 2015
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Moon Turn Red is MonkeyJunk's fourth release showcasing deep grooves and soulful original material.
The Ottawa based trio are Canada's most acclaimed blues/roots music band. They are Juno Award winners and have taken home top honours four times at the Maple Blues Awards. MonkeyJunk's touring schedule regularly includes dates in Europe and major festivals across North America.
Guests include David Wilcox in a remake of his hit "Hot Hot Papa" and Gordie Johnson of Big Sugar fame.

Vinyl Now Available! This release is now available on vinyl from your favourite record store or online from amazon.ca.

  1. Light It Up (3:39) Vinyl Side 1, track 1
  2. You (3:49) Vinyl Side 1, track 2
  3. Show Me Yours (4:10) Vinyl Side 1, track 3
  4. Hot Hot Papa (feat. David Wilcox) (4:41) Vinyl Side 1, track 4
  5. Love Attack (4:32) Vinyl Side 1, track 5
  6. Live Another Day (5:02) Vinyl Side 2, track 1
  7. Learn How To Love (5:08) Vinyl Side 2, track 2
  8. Lucky One (3:01) Note: not on vinyl, but included with download card provided
  9. Travelin' Light (4:26) Vinyl Side 2, track 3
  10. Meet Me At Midnight (4:51) Vinyl Side 2, track 4
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Reviews:

Gonzo Online
By John Kereiff

"Their passion, conviction and dedication to their music makes itself known in every lick, beat, lyric and solo. Great song writing and intuitive musicianship make this one hell of an album, one of the greats of 2015 in any genre."

(more)

Oh BABY!  This Ottawa-based trio’s fourth long player is a scorching selection of rockin’ blues tunes ready to take on the world.  If you’re into stuff like David Wilcox, Big Sugar,  JJ Grey & Mofro and Black Keys, Monkeyjunk is singing your songs and I can guarantee that this is the way you want to hear ‘em!   

“With each record we make, we feel we’re pushing more boundaries” says singer/ baritone guitarist/ harmonica and organ player Steve Marriner. “We explored grooves we’ve never hit on before, and experimented with new sounds.”  That much is evident as they kick the door open with Light it Up, a party anthem if there ever was one.  It is this continued forward motion that makes each Monkeyjunk release even better than the last, and the biggest reason Moon Turn Red the best one of all- so far.

Some really cool grooves over the course of these 10 songs, from the reggae vibe of Love Attack to the aforementioned Light It Up and Hot, Hot Papa (a Wilcox original, David plays guitar and sings on this one), to soulful love songs in Learn How To Love and Meet Me At Midnight that will really put some lead in your pencil. The diversity of grooves and vibes had me thinking of Big Sugar primarily, so it was not a huge surprise to learn from the press kit that Gordie Johnson is buddies with lead guitarist Tony D. “Gordie and I both come out of the blues- we’ve known each other for over 25 years” says Tony.  “It was serendipitous that he happened to be touring in the vicinity (when we were recording).  After all these years, we finally got a chance to work together!”

Moon Turn Red is grimy in all the right places, a collection of songs that make you want to move- either get up on the dance floor, or just jump in the car and go.   It’s an outstanding addition to an already impressive body of work, and an example of musical camaraderie.  Their passion, conviction and dedication to their music makes itself known in every lick, beat, lyric and solo.  Great song writing and intuitive musicianship make this one hell of an album, on of the greats of 2015 in any genre.

ESSENTIALS:  Light It Up, Love Attack, Learn How To Love

- See more at: http://www.gonzoonline.ca/music/music-news/882-the-record-box-for-sunday-sept13th-2015.html#sthash.xmRBDi47.dpuf

Oh BABY!  This Ottawa-based trio’s fourth long player is a scorching selection of rockin’ blues tunes ready to take on the world.  If you’re into stuff like David Wilcox, Big Sugar,  JJ Grey & Mofro and Black Keys, Monkeyjunk is singing your songs and I can guarantee that this is the way you want to hear ‘em!   

“With each record we make, we feel we’re pushing more boundaries” says singer/ baritone guitarist/ harmonica and organ player Steve Marriner. “We explored grooves we’ve never hit on before, and experimented with new sounds.”  That much is evident as they kick the door open with Light it Up, a party anthem if there ever was one.  It is this continued forward motion that makes each Monkeyjunk release even better than the last, and the biggest reason Moon Turn Red the best one of all- so far.

Some really cool grooves over the course of these 10 songs, from the reggae vibe of Love Attack to the aforementioned Light It Up and Hot, Hot Papa (a Wilcox original, David plays guita

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Ronnie Earl
Father's Day

Father
SPCD 1385
Genre: Blues
Released: 17 July 2015
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Order the 180g vinyl (with mp3 download card) from Ronnie directly (and ask for it to be signed!), your favourite local record store, or amazon.com.

Voted by The Blues Foundation as "Blues Guitarist of the Year" in 2014, guitar master Ronnie Earl and his band return with an even stronger package of music. Added to the spellbinding intensity and soulfulness of Earl's guitar, is the presence of a horn section for the first time in decades, adding another dimension to his sound. Stony Plain also plans to release the album as a vinyl LP late 2015.

The 13 tracks on Father’s Day also feature two special guest vocalists throughout: Diane Blue, whose previous work with Earl created a sensation; and Chicago-based Michael Ledbetter, best known as lead singer of the Nick Moss band. Ledbetter is also a distant relative of the iconic Huddie William “Leadbelly” Ledbetter, whose 12-string blues style has influenced generations of blues, folk and rock musicians.

  1. It Takes Time (5:00)
  2. Higher Love (4:28)
  3. Right Place Wrong Time (7:46)
  4. What Have I Done Wrong (4:47)
  5. Giving Up (6:09)
  6. Every Night About This Time (4:37)
  7. Father's Day (8:13)
  8. I Need You So Bad (4:39)
  9. I'll Take Care Of You (9:05)
  10. Follow Your Heart (4:08)
  11. Moanin' (6:24)
  12. All Your Love (7:20)
  13. Precious Lord (6:33)
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Reviews:

Living Blues Magazine Oct/Nov Issue
By Melanie Young

"Deeply felt and beautifully executed, Ronne Earl and The Broadcasters' 'Father's Day' is an album to savor"

(more)

Ronnie Earl's latest release pays homage to his father, the late Akos Horvath, with whom Earl reconciled before his passing. It also serves as a tribute to the Massachusetts-based guitarist's musical forebears. On Father's Day, songs by artists such as Otis Rush, Magic Sam, B.B King, Fats Domino and others mingle with three originals, and all are given lush, loving treatment.

The Broadcasters-drummer Lorne Entress, keyboardist Dave Limina and bassist Jim Mouradian-are bolstered by a fine horn section. Together they weave a rich tapestry of sound the conjures images of a smoky, congenial nightclub; you can almost hear clinking glasses and murmured conversation between notes. Earl's soloing on Rush's Right Place, Wrong Time, Van McCoy's Giving Up and Magic Sam's All Your Love thrum with deep-seated urgency, matched by Michael Ledbetter's strong, clear baritone. The rich-voiced Diane Blue delivers similar intensity on another Magic Sam song What Have I Done Wrong? and on Brook Benton's I'll Take Care Of You. The musicians take their time with Bobby Timmons' instrumental Moanin', fleshing it out with cool deliberation.

Written by Earl and Ledbetter, the title track unfolds slowly and willfully, emphasizing its message of forgiveness and reconciliation ("Can you replace the anger? Can you replace the fear?/ Do you know that family is so dear?"). A sweet reverent version of Thomas A. Dorsey's Precious Lord, sung by Blue, provides the session's benediction.

There is a sense throughout of reveling in the present moment-as a reminder, perhaps, that it's all too fleeting. Deeply felt and beautifully executed, Ronnie Earl and the Broadcasters' Father's Day is an album to savor.

 

- Melanie Young

 

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Jeff Healey
The Best Of the Stony Plain Years: Vintage Jazz, Swing and Blues

The Best Of the Stony Plain Years: Vintage Jazz, Swing and Blues
SPCD 1380
Genre: Jazz
Released: 17 July 2015
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Stony Plain Records has been releasing outstanding roots and blues music since 1976. This series dips into the vaults and helps celebrate some of the label’s most acclaimed artists.
Stony Plain was honoured to release Jeff Healey’s (1966-2008) four vintage jazz/swing projects, plus a DVD with his beloved Jazz Wizards.
This music was his first love allowing him to play guitar and trumpet in addition to having a career as one of the worlds most acclaimed and innovative electric blues and rock musicians.
  1. Three Little Words (4:24)
  2. The Wild Cat (2:35)
  3. Star Dust (4:52)
  4. The Sheik of Araby (5:11)
  5. Guitar Duet Stomp (3:37)
  6. Sing You Sinners (5:05)
  7. I Would Do Anything For You (4:28)
  8. Pardon My Southern Accent (3:46)
  9. Some Of These Days (2:47)
  10. My Honey's Lovin' Arms (5:02)
  11. Hong Kong Blues (3:13)
  12. Sweet Georgia Brown (8:32)
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Reviews:

Reflections In Blue
By Bill Wilson
"This is one of the finest pieces of classic jazz and blues that I have ever heard. It has a timeless quality about it and could just as easily have been released in the 20s or 30s except for the recording quality which is exceptional" (more)
 Jeff Healey, known for his work as a musician and an actor, was one of those performers with the golden touch.  Taken from us with cancer, at the age of 41, he had a passion for guitar, old-time jazz, trumpet and clarinet.  He appeared in the movie, "Road House" with Patrick Swayze, made a total of 10 albums and opened a club under his own name on 2002.  Stony Plain Records has released a compilation of his work on their label titled The Best of the Stony Plain Years, which featured some of his greatest work on the label.  A humble and fun-loving man, his desire was to raise his family and play the music he loved, something he did with incredible attention to detail and passion.  Healey was a serious record collector and musical historian who had amassed 30,000 78s from the 20s and 30s.  The Best of the Stony Plain Years...Vintage Jazz, Swing and Blues features 11 cuts from his four albums on the label as well as "Sweet Georgia Brown", previously released on a promotional- only CD sampler that features Chris Barber on trombone.  This is one of the finest pieces of classic jazz and blues that I have ever heard.  It has a timeless quality about it and could just as easily have been released in the 20s or 30s except for the recording quality which is exceptional.  From the opening notes of  "Three Little Words" to the end of "Sweet Georgia Brown" there is not one tune on the entire disc that is not superb.  Fans of jazz and blues alike will find themselves itching to hit the dance floor.  This is another one of those releases I would purchase several copies of to give as gifts.  Not normally at a loss for words, this album is one of those things that is so good that I find it hard to find words to do it justice.  Do yourself a favor and don't let this one slip through your fingers.  Jeff Healey was a man with many talents.  The Best of the Stony Plain Years is a good place to start if you are not familiar with his work but, as good as it is, it just barely scratches the surface.  That said, it is perhaps the best of his work that I have heard.  Needless to say, it comes highly recommended.  -- Bill Wilson (less)

 
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Ian Tyson
Carnero Vaquero

Carnero Vaquero
SPCD 1384
Genre: Country
Released: 26 May 2015
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It’s another world, the West. It’s not the city, it’s not the Internet, it’s not your office, your house, or your new clothes.

It’s hard weather, horses, cattle, space and sky.

There’s time in the West — time for stories, legends, myths and songs.

And it’s Ian Tyson’s world.

And now, with Carnero Vaquero, Tyson’s 13th album in the Stony Plain catalogue, the legendary singer and songwriter brings his world to yours. Ten memorable songs with tunes you can remember, stories that resonate, and a resolute, strong voice.

  • The album title: "Carnero" is the Spanish word for ram, and "Vaquero" is Spanish for cowboy, and, indeed, the cowboy tradition in the south-western United States.
  • Now 81, Tyson is the preeminent western singer in North America. He continues to tour across Canada and the U.S. and still manages the Tyson Ranch south of Calgary.
  • Key tracks: Colorado Horses, Darcy Farrow, The Flood, Cottonwood Canyon.
  • Recorded (mostly live off the floor) at the Stone House on the Tyson Ranch.
  • 10 songs ranging from the traditional ("Doney Girl") to co-writes with Calgary’s Kris Demeanor. Five new Tyson songs, a tuneful remake of "Darcy Farrow" (originally recorded in the early ‘60s Ian & Sylvia days). "Wolves No Longer Sing" is written with Tom Russell — the pair co-wrote "Navajo Rug," one of Tyson’s biggest hits.
  • The distinctive Tyson voice has recovered from the accident that damaged it in 2007.
  1. Doney Gal (3:35)
  2. Colorado Horses (3:18)
  3. Will James (4:11)
  4. Jughound Ronnie (3:43)
  5. Darcy Farrow (3:02)
  6. The Flood (3:04)
  7. Shawnie (5:45)
  8. Chantell (3:32)
  9. Wolves No Longer Sing (3:36)
  10. Cottonwood Canyon (3:22)
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Reviews:

CASHBOX
By David Bowling

"Carnero Vaquerois Spanish for ram and cowboy. It sets the tone for his stories of the Canadian west. Rotating between original compositions and covers, he presents a laid back album of authentic and soulful tunes."

(more)

 

At the age of 81 most people are quietly retired, sitting in an easy chair, sipping margaritas, or some other beverage. Not so with folk icon Ian Tyson who continues to play around 40 concerts a year, manages his cattle ranch south of Calgary, and is about to release his 17th album.

Tyson’s career began in 1959 as a part of the folk duo Ian & Tyson, which were an important part of the 1960’s folk revival movement. They moved to Nashville in the early 1970s and experimented with a primitive folk/rock sound. Since their break-up in 1975, Tyson has gravitated back to his native Canada and has settled into a country/folk niche with an emphasis on country and western stories and music.

The title of his new album, Carnero Vaquero, is Spanish for ram and cowboy. It sets the tone for his stories of the Canadian west. Rotating between original compositions and covers, he presents a laid back album of authentic and soulful tunes.

He includes a bright remake of the early 1960’s Ian & Sylvia song, “Darcy Farrow.” The imagery of “Wolves No Longer Sing” transports the listener to a different place and time. “Doney Gal” is an old traditional folk song that he updates to his western style.

He adds a number of new compositions to the mix. “Will James,” “Cottonwood Canyon,” and “Jughound Ronnie” all represents the thoughts and feelings of a man approaching the winter of his life.

Tyson’s voice has a world weary feel, which suits his music well. It has miraculously recovered from when it was severely damaged in an accident in 2007. The album was recorded in an old stone building on his ranch and has a simple quality that is timeless.

Ian Tyson keeps rolling along producing a brand of music that has resonated for a half century. Carnero Vaquero is the latest chapter in his stellar career.

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Guitar Heroes: James Burton, Albert Lee, Amos Garrett, David Wilcox
Guitar Heroes

Guitar Heroes
SPCD 1381
Genre: Blues
Released: 5 May 2015
Call +1 (780) 468-6423 to purchase
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Also available on 180g vinyl, with digital download card. Get the LP at:
amazon.ca
amazon.com

Four Telecaster Masters — James Burton, Albert Lee, Amos Garrett and David Wilcox — shake up the rock and roll universe on this historic release, a recording from July 12, 2013 when these Guitar Heroes performed together at the Vancouver Island MusicFest.

Rooted in blues and rockabilly influences, these four legends have shaped, and changed the sound of popular music since the mid-1950s.

The musicianship, good taste, camaraderie, respect and experience on stage that night made guitar history.

  1. That's All Right (Mama) (5:18)
  2. Susie Q (5:26)
  3. Sleep Walk (4:13)
  4. Leave My Woman Alone (7:39)
  5. You're The One (7:57)
  6. Comin' Home Baby (4:32)
  7. Flip, Flop & Fly (4:32)
  8. Only The Young (6:15)
  9. Polk Salad Annie (5:44)
  10. Bad Apple (6:29)
  11. Country Boy (5:54)
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Reviews:

Living Blues
By Robert H. Cataliotti
"Their playing is technically dazzling, but tasteful restraint, flawless execution and dynamic interplay rule the day." (more)

The title Guitar Heroes seems to imply this II-song set would boast superstars dueling with epic solos and flashy, six-stringed pyrotechnics, but the four heroes who display their talents here have built their reputations as musicians' musicians, known for their exquisite work as distinctive sidemen.  James Burton (Dale Hawkins, Ricky Nelson, Elvis Presley), Albert Lee (Eric Clapton, Emmylou Harris, Everly Brothers), Amos Garrett (Paul Butterfield, Marie Muldaur, Bonnie Raitt) and David Wilcox (Great Speckled Bird, Ian Tyson, Marie Muldaur) possess prodigious chops, but they are not about flash and drama.  Their playing is technically dazzling, but tasteful restraint, flawless execution and dynamic interplay rule the day.

The "day" is very much the operative word here because this is a recording of a one-off performance at the July 2013 Vancouver Island Music Festival that brought the four guitarists together, backed by Lee's regular touring band with just one rehearsal the previous afternoon.  These guys are such seasoned veterans that they clearly have nothing to prove, and egos were checked at the door.  It is easy to tell that once they started playing they let their fingers do the talking, and each musician is totally engaged in having his say and digging how his fellow pickers respond.

The set is made up of classic tunes drawn largely from 1950s rock 'n' roll. R&B and rockabilly, including: The Arthur Crudup, Presley-covered That's All Right (Mama); Big Joe Turner's Flip, Flop and Fly; Ray Charles' Leave My Woman Alone; Hawkins' Susie Q and Jimmy Rogers' You're the One. With the extensive track records that these guitarists boast, working grooves like these come as second nature, and the liner notes' delineation of the sequence of soloists enables the listener to recognize each player's distinctive tone and style and follow this contribution to the interplay.  The fluid four-way dialogue on the Charles number is particularly captivating.  Garrett gets the lone solo performance, and he delivers a sting-bending, searing take on Santo and Johnny's classic 1959 instrumental Sleep Walk. The heroes also apply their talents to three tunes from the 1960s: a mellow saunter through Rick Nelson's Only the Young; the Southern fried, funky blues of Tony Joe White's Polk Salad Annie and a smoldering Latin jam on Comin' Home Baby from Herbie Mann's classic LP At the Village Gate. Two originals round out the set, a Wilcox blues Bad Apple and Lee's iconic Country Boy. The vocals that are handled by Lee, Wilcox and keyboardist Jon Greathouse (who also contributes strong, inventive solos on piano and organ) are solid and workmanlike -these guys are usually backing up singers- but they are not really the point. The focus on Guitar Heroes is on guitar picking at its finest. - Robert H. Cataliotti

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Eric Bibb
Blues People

Blues People
SPCD 1379
Genre: Blues
Released: 4 November 2014
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The concept of 'Blues People' came to Eric Bibb when he was at the Blues Foundation Awards in Memphis. It inspired him to create a collection of songs about change and hope in collaboration with friends like Taj Mahal, The Blind Boys Of Alabama, Ruthie Foster, Michael Jerome Browne, Harrison Kennedy and many others.

  1. Silver Spoon (4:21)
  2. Driftin' Door To Door (3:25)
  3. God's Mojo (4:14)
  4. Turner Station (3:54)
  5. Pink Dream Cadillac (2:38)
  6. Chocolate Man (4:01) feat. Guy Davis
  7. Rosewood (5:01)
  8. I Heard The Angels Singin' (3:45) feat. J.J. Milteau, The Blind Boys Of Alabama
  9. Dream Catchers (4:17) feat. Harrison Kennedy, Ruthie Foster
  10. Chain Reaction (3:23) feat. Glen Scott
  11. Needed Time (6:29) feat. Taj Mahal, The Blind Boys of Alabama, Ruthie Foster
  12. Out Walkin' (2:19)
  13. Remember The Ones (3:35) feat. Linda Tillery
  14. Home (4:33) feat. Andre De Lange
  15. Where Do We Go (4:01) feat. Leyla McCalla
  16. Turner Station (Acoustic Version) (3:20) DIGITAL ONLY
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Reviews:

Gonzo Online
By John The Rock Doctor Kereiff
"
An award winning roots artist, Eric Bibb has just released one of the bluest albums of the year, and perhaps of his career. A collection of originals, collaborations and covers, Blues People is about as soulful as music can get. - See more at: http://gonzoonline.ca/music/music-news/809-the-record-box-for-sunday-november-16th-2014.html#sthash.qwjjcoBn.dpuf
An award winning roots artist, Eric Bibb has just released one of the bluest albums of the year, and perhaps of his career. A collection of originals, collaborations and covers, Blues People is about as soulful as music can get." (more)

An award winning roots artist, Eric Bibb has just released one of the bluest albums of the year, and perhaps of his career. A collection of originals, collaborations and covers, Blues People is about as soulful as music can get.

"In the introduction to his classic book Blues People, Amiri Baraka (who published it as LeRoi Jones) wrote 'The path the slave took to citizenship is what I want to look at" writes Bibb in the liner notes. "That same path, along with its continuation, provided much inspiration for this album called Blues People. This record is also a tribute to the tribe of blues troubadours that I'm grateful to be a member of and it features the talents of several friends and heroes of mine." So yeah- this is pretty deep stuff.

The heroes and friends Eric speaks of includeTaj Mahal, Guy Davis, The Blind Boys of Alabama and Ruthie Foster. An acoustic record, Blues People is as deep and rich as the history that informs it. "My intention with these songs was to focus on some of the history of African Americans, the original blues people, as a reminder of what we've been through and where the music is coming from" he says. That's the darkness you feel in these songs, the spirit that draws you deeper into the album itself. As an old white guy I may never fully understand these experiences he sings about over these 15 cuts, but I can sure feel it.

Blues People is the kind of album you can put on and get on with your day, but if you're anything like me you'll find that sooner rather than later, whatever you've been focusing on will dribble to a stop as you turn your full attention of this album and willingly let it draw you in. I simply can't imagine an album in any genre more perfect than this.

essentials: God's Mojo, Silver Spoon (featuring Popa Chubby), Needed Time (featuring Taj Mahal, The Blind Boys of Alabama & Ruthie Foster)

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Billy Boy Arnold
The Blues Soul Of Billy Boy Arnold

The Blues Soul Of Billy Boy Arnold
SPCD 1378
Genre: Blues
Released: 21 October 2014
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Billy Boy Arnold is one of the last of the legendary Chicago Blues harmonica players. In addition to his solo releases, he recorded with Bo Diddley in the Fifties and has been covered by David Bowie, The Yardbirds and The Blasters. Produced by Duke Robillard and backed by stellar musicians, plus the Roomful Of Blues horns, this release showcases a brilliant artist still in his prime.

Billy Boy was inducted into the Blues Hall of Fame in 2013.

  1. Coal Man (2:53)
  2. I'd Rather Drink Muddy Water (3:59)
  3. You Give Me Nothing To Go On (3:36)
  4. 99 Lbs. (3:05)
  5. A Mother's Prayer (3:09)
  6. St. James Infirmary (4:33)
  7. Don't Set Me Free (3:01)
  8. What's on the Menu Mama (6:13)
  9. Worried Dream (7:35)
  10. Nadine (Is It You?) (3:24)
  11. Work Song (4:27)
  12. Dance For Me Baby (3:48)
  13. Ain't That Just Like a Woman (4:15)
  14. Keep On Rubbing (6:05)
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Reviews:

Gonzo
By John "The Rock Doctor" Kereiff
"This is a salt of the earth collection of tunes guaranteed to show you a good time." (more)

Talk about classic blues!  The latest record for this legendary Chicago born harp player is a collection of originals, early R&B songs, blues/ jazz standards plus some 60's & 70's rare soul gems.  The Chicago skyline on the front cover with a seemingly giant Marine Band harp floating overhead says it all.

There's so much going on here it's hard to know where to begin. Billy Boy's voice, sounding lived in as it should at the age of 79, is like a smoother version of Sonny Boy Williamson. Billy’s harmonica playing, while expressive, isn't crazy-wild, but it suits the tunes perfectly.  The backing band, which includes the Roomful Of Blues horn section and producer Duke Robillard on guitar, grooves with enthusiastic precision, giving Arnold the perfect platform to express himself from.

"The chance to work with Billy Boy on this project was something I jumped on without a moment's thought" say Robillard.  "Billy wanted to record an album full of songs that he had always loved, in a few different genres", all of which have his unmistakable stamp.  This album rock, swings and grooves, sounding much like the past that is reflected by the songs themselves.  As a producer Robillard is an expert without peer at capturing that vibe, and Billy Boy Arnold is one of the few blues maestros still alive capable of expressing that musical history that he witnessed first hand and was an essential part of.

If you want the story of Billy Boy Arnold's life and career, you only need go as far as Robillard's essay on the inside of the front cover.  It makes for a good read as you start getting into the album, leading to a deeper, more satisfying listening experience- and for music geeks like me, that's what it's all about.   This is a salt of the earth collection of tunes guaranteed to show you a good time.

ESSENTIAL:  Ain't That Just Like A Woman, Coal Man, Dance For Me Baby

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Rory Block
Hard Luck Child: A Tribute To Skip James

Hard Luck Child: A Tribute To Skip James
SPCD 1373
Genre: Blues
Released: 21 October 2014
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"Blues is not meant to be for one human being alone, but for the soul of humankind." - Rory Block.

On her fifth release in the acclaimed 'Mentor Series' on Stony Plain, Rory pays tribute to Skip James, one of the most important country blues artists in history. Rory actively tours internationally and each new release is a high profile occasion in the blues community.

  1. Nehemiah James (5:31)
  2. Special Rider Blues (5:00)
  3. Cypress Grove Blues (4:29)
  4. If You Haven't Any Hay, Get On Down The Road (4:21)
  5. Little Cow And Calf Is Gonna Die Blues (5:18)
  6. Devil Got My Woman (4:45)
  7. Jesus Is A Mighty Good Leader (4:06)
  8. Hard Time Killing Floor Blues (4:15)
  9. I'm So Glad (3:20)
  10. Hard Luck Child (4:30)
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Reviews:

Don & Sheryl's Blues Blog
By Sheryl and Don Crow

"Rory Block continues to solidify her place in the blues pantheon as she brings a brilliant tribute to Skip James, “Hard Luck Child.”"

(more)

Rory Block is not only one of the most talented blueswomen on the planet, but she shares a connection no one else can lay claim to.  As a young girl eager to absorb everything she could about blues guitar, she had the good fortune to mentor with some of the Delta masters.  Her latest installment of this series is dedicated to Skip James, and is entitled “Hard Luck Child.”

 

Over the course of these ten songs, Rory gives us a glimpse thru her own stylings of the incredible talents of James.  She leads off with an original composition, “Nehemiah James,” which serves as a mythical biography of sorts, showing how, back in James’ day, the lines between life and death and blues and gospel were blurred, to say the least.  Rory sings that a young “Nehemiah Curtis James” was called upon by the Holy Spirit to “preach the blues.”

 

Rory’s take on “Cypress Grove Blues” shows the melancholy side of James’ personality, which appeared in varying degrees on many of his songs.  Lyrics such as “I’d rather be six feet in my grave” and “you gotta reap what you sow” show his predilection for the stark differences between life and death.  Then, with a cut such as “Little Cow And Calf Is Gonna Die Blues,” he deals with the same subject, yet this one follows a livelier, jazzy progression, further attesting James’ talents.

 

James always kept an ear to his gospel roots, and Rory shows this side of him thru “Jesus Is A Mighty Good Leader” and “I’m So Glad,” layering her guitar and vocal parts to give these a full band sound.

Our favorite was easy.  Skip James was as expressive on piano as he was on guitar.  Rory’s expertise allowed her to play Skip’s piano leads on her guitar.  As such, “If You Haven’t Any Hay, Get On Down The Road” turns into a good-natured, jazzy affair punctuated by Rory’s playful yelps, scat-singing, and deft slide runs.

 

Rory Block continues to solidify her place in the blues pantheon as she brings a brilliant tribute to Skip James, “Hard Luck Child.”  She faithfully captures his ebullient and eclectic spirit thru the eyes and ears of a woman fortunate enough to have known and mentored with him!  Until next time…Sheryl and Don Crow, The Nashville Blues Society. (less)

 
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Duke Robillard
Calling All Blues

Calling All Blues
SPCD 1374
Genre: Blues
Released: 23 September 2014
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Signed Limited Edition 180g Vinyl, with digital download card, available from:
amazon.com

Recorded fresh off the heals of touring as the guitarist with Bob Dylan's band, Duke Robillard's new CD, "Calling All Blues," is a collection of mostly new blues material by one of the genre's best and most creative artists. Robillard is joined by the horn section from Roomful Of Blues, the band he founded in 1967, on four songs.

A signed, limited edition (of 1000), run of this release on 180 gram vinyl (with free 320kbps mp3 download) will be available in October from your favourite music stores.

  1. Down In Mexico (3:41)
  2. I'm Gonna Quit My Baby (3:08)
  3. Svengali (4:04)
  4. Blues Beyond The Call Of Duty (4:47)
  5. Emphasis On Memphis (4:00)
  6. Confusion Blues (3:03)
  7. Motor Trouble (3:37)
  8. Nasty Guitar (4:20)
  9. Temptation (5:48)
  10. She's So Fine (3:00)
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Reviews:

Midwest Record
By Chris Spector
Chuggling, churning, wild and woolly, this set of mostly originals sounds like they were found laying in wait along the other end of highway 61 for the right interpreter.  As always, the Duke delivers royally. (more)

When the new Duke Robillard record comes to town, it’s always a good idea to stop what you’re doing and check it out.  Throwing away more ideas than most players come up with in a career, Robillard indulges his Stax/Malaco southern blues show band fantasies and they arrive as much more than a busman’s holiday.  Chuggling, churning, wild and woolly, this set of mostly originals sounds like they were found laying in wait along the other end of highway 61 for the right interpreter.  As always, the Duke delivers royally.  Well done.

Chris Spector

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MonkeyJunk
Tiger In Your Tank (2014 Reissue)

Tiger In Your Tank (2014 Reissue)
SPCD 1377
Genre: Blues
Released: 29 July 2014
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A reissue, with bonus tracks, of MonkeyJunk's first album (2009) previously available on their own Beefy label. Tiger In Your Tank kick started the group's acclaimed international career winning a Blues Award in Memphis as 'Best Artist Debut' and the Canadian Indie Award for 'Blues Album Of The Year'. The album has been remastered and includes two tracks recorded especially for this reissue. The Ottawa based trio are Canada's most acclaimed blues/roots music band. MonkeyJunk's touring schedule regularly includes dates in Europe and major festivals across North America.
  1. I Wanna Put A Tiger In Your Tank (3:08)
  2. Small Time Evil (3:27)
  3. Give Me Time (4:10)
  4. If You Were Mine (3:45)
  5. When Push Comes To Shove (6:07)
  6. Beefy (5:05)
  7. Pay The Cost (4:26)
  8. Boogie Man (5:57)
  9. Leave The Rest To You (4:15)
  10. Blues For Anna (3:37)
  11. Gutsy (5:18)
  12. Lucky One (3:09) (Bonus Track)
  13. Pueblo (4:15) (Bonus Track)
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Ronnie Earl
Good News

Good News
SPCD 1372
Genre: Blues
Released: 17 June 2014
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Ronnie Earl, along with The Broadcasters his band of over 25 years, presents ''Good News,'' a mostly instrumental album of spellbinding intensity and deep soul that will satisfy his growing legion of fans who await each new release.

  1. I Met Her On That Train (4:44)
  2. Change Is Gonna Come (6:02)
  3. Time To Remember (6:10)
  4. In The Wee Hours (10:53)
  5. Good News (3:33)
  6. Six String Blessing (9:24)
  7. Marje's Melody (6:45)
  8. Blues For Henry (7:16)
  9. Puddin' Pie (4:08)
  10. Runnin' In Peace (5:59)
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Reviews:

Elmore
By Brian Cady
"With Good News, Ronnie Earl again demonstrates the musical mastery that continues to garner him both awards and accolades." (more)

For over 25 years, guitarist Ronnie Earl and The Broadcasters have consistently released heartfelt guitar-driven blues, and Good News ably continues that tradition. Released on the heels of his third Best Guitarist Award win at The Blues Music Awards,  Good News features a now-11 year old iteration of The Broadcasters that includes Dave Limina on keys, drummer Lorne Entress and bassist Jim Mouradian.

Good News is a nod to Sam Cooke’s Ain’t That Good News release of 50 years ago; fittingly, Earl’s album includes a soulful cover of “Change Is Gonna Come” which features vocalist Diane Blue. The counterpoint of Earl’s emotive soloing and Dave Limina’s inspired B3 behind the vocals make this one of the more memorable interpretations of this classic.

Showing Earl’s great diversity, “I Met Her On That Train” is a rockabilly swing in the vein of “Mystery Train” – definitely a departure from Earl’s normally blues-based stylings.  Also included is a beautiful version of “Time To Remember” –originally released on his 1993 album Still River. This version features a slower, more relaxed groove that allows the sparse yet fluid guitar lines to interplay beautifully with the keyboards. The Limina-penned title track has a Gospel groove that really lets Earl stretch out musically. The most powerful track on the album is “Running In Peace” – a heartfelt, slow blues tribute to the Boston Marathon bombing victims.

With Good News, Ronnie Earl again demonstrates the musical mastery that continues to garner him both awards and accolades.

-Brian Cady

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Long John Baldry
Long John Baldry - The Best Of The Stony Plain Years

Long John Baldry - The Best Of The Stony Plain Years
SPCD 1376
Genre: Blues
Released: 17 May 2014
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British Blues pioneer Long John Baldry (1941 - 2005) recorded for Stony Plain from 1991 up until his death. It was an honour to release five of his albums and to work with him on many additional projects and tours.
  1. Good Morning Blues (3:48)
  2. I'm Shakin' (3:48)
  3. Easy Street (3:49)
  4. Midnight Special (3:22)
  5. Gallows Pole (2:44)
  6. Midnight Hour Blues (3:58)
  7. Dimples (3:58)
  8. Insane Asylum (5:24)
  9. Midnight In New Orleans (3:23)
  10. Black Girl (3:01)
  11. Time's Gettin' Tougher Than Tough (6:53)
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Joe Louis Walker
Joe Louis Walker - The Best Of The Stony Plain Years

Joe Louis Walker - The Best Of The Stony Plain Years
SPCD 1375
Genre: Blues
Released: 17 May 2014
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Stony Plain was honoured to release three highly acclaimed Joe Louis Walker albums, including Between A Rock And The Blues which won the Blues Foundation’s "Blues Album Of The Year" Award in 2010.
  1. Eyes Like A Cat (3:48)
  2. Highview (6:50)
  3. Hustlin' (5:14)
  4. Black Widow Spider (4:54)
  5. I'm Tide (3:53)
  6. Sugar Mama (6:25)
  7. Slow Down GTO (6:10)
  8. Ain't That Cold (5:50)
  9. You're Gonna Make Me Cry (8:07)
  10. Send You Back (4:17)
  11. Witness (6:10)
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Kenny 'Blues Boss' Wayne
Rollin' With The Blues Boss

Rollin
SPCD 1371
Genre: Blues
Released: 22 April 2014
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With special guests Eric Bibb and Diuna Greenleaf, Kenny hammers out rockin' boogie woogie, deeply felt blues, and puts a fresh coat of paint on good old-fashioned roots rock and roll. A multiple award winner, he is a monster pianist, and soulful singer, who captures the essence of old school blues and boogie while sounding totally fresh and contempory.

  1. Leavin' In The Morning (3:23)
  2. You Bring The Jungle Out Of Me (3:48)
  3. Hootenanny Boogie-Woogie (4:00)
  4. Roadrunner (3:18)
  5. Baby, It Ain't You (feat. Diunna Greenleaf) (4:27)
  6. I Can't Believe It (3:25)
  7. Two Sides (feat. Eric Bibb) (3:05)
  8. Slow Down (3:45)
  9. Ogopogo Boogie (3:00)
  10. Keep On Rockin' (2:59)
  11. Out Like A Bullet (2:35)
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Reviews:

Living Blues
By David Whiteis
"a roots-rich celebration infused with a powerful spirit of adventurism" (more)

Along with upstate New York's Don "Papadon" Washington, Kenny "Blues Boss" Wayne is one of the few younger-generation keboardists dedicated to keeping the art of unadorned acoustic blues piano alive, relevant, and contemporary.  Like Washington, though, he's also proficient on Hammond organ and other amplified instruments, and when he's not pounding out updated versions of vintage era boogie and barrelhouse themes, he's perfectly capable of insinuating himself into a tightly wound ensemble and firing off juke-rocking, modern-sounding blues.  His voice, while not necessarily the most emotionally expressive, is more than adequate for the tasks he usually sets it to.

Occasionally, as in the faux rave-up Hootenanny Boogie-Woogie, he sounds a bit self-conscious in his efforts to claim his place in the vaunted rent party/after-hours keyboard tradition, but for the most part he delivers a satisfying blend of good-time entertainment and deep-hearted blues expression.  Roadrunner, a pop-rock tinged ode to the footloose lifestyle of the hard-traveling bluesman, appropriately balances exhilaration and driven obsessiveness; the modernist soul ballad Baby, It Ain't You, featuring Diunna Greenleaf on guest vocals, is shot full with both regret and wounded righteousness; Two Sides, a jivey, semi-novelty romp with a strong New Orleans tinge, finds Eric Bibb contributing a tubular-toned acoustic guitar solo along with some well-honed vocal harmonies alongside Wayne; Out Like a Bullet, the set's closer, is a piano workout that kicks into a torrid, window-rattling boogie-woogie cadence early on and never lets up.  It's the perfect finisher for a roots-rich celebration infused with a powerful spirit of adventurism and forward-looking imagination.

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Eric Bibb
Jericho Road

Jericho Road
SPCD 1370
Genre: Blues/World
Released: 5 November 2013
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Jericho Road reflects the many musical influences that have informed Eric Bibb’s writing throughout his career: World music sounds, blues, folk and soul all find their way into the songs.

Eric gives a whole new meaning to the blues of the 21st Century, proving that the genre remains as lively and relevant as ever.

  1. Drinkin' Gourd (3:04)
  2. Freedom Train (3:25)
  3. Let The Mothers Step Up (3:32)
  4. Have A Heart (4:30)
  5. The Right Thing (4:10)
  6. Death Row Blues (3:45)
  7. Can't Please Everybody (4:36)
  8. The Lord's Work (3:30)
  9. With My Maker I Am One (4:37)
  10. They Know (4:06)
  11. She Got Mine (2:31)
  12. Good Like You (4:24)
  13. One Day At A Time (12:28) (includes bonus tracks: Now & Nanibali)
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Reviews:

Living Blues Magazine #228 Dec 2013
By Melanie Young
"Eric Bibb's Jericho Road is an ultimately uplifiting journey" (more)

Freedom is the unifying theme on Jericho Road, Eric Bibb's latest release. Whether it is from earthly troubles or found in heavenly peace, the Finland-based singer-songwriter's new collection gives elegant voice to the heart's yearning for liberation.

A subdued cover of folk song Drinkin' Gourd sets the tone for the album, with world music accents from producer Glen Scott's djembe and Ale Moller's clarino.  The lush production suffuses even the more rousing tracks, such as the hand-clapping gospel of Can't Pease Everybody, The Lord's Work and the With My Maker I Am One, with the quiet grace.  Freedom Train gently rolls along to the sound of the children's laughter, while Let the Mothers Step Up declares "it's time to let the women lead" us to a better world.  Have a Heart asks the listener to consider the plight of the immigrant; Ruthie Foster is among the guest vocalists.  The Right Thing observes that "The ghost of slavery still haunts the nation," manifesting itself in today's dire poverty; the prisoner's lament Death Row Blues could be a sad postscript of the same story.

She Got Mine and Good Like You celebrate love, the latter featuring a roll call of musicians past and present and cooing guest vocals from baby Oscar Bibb.  Immediately following album closer One Day at a Time are two hidden bonus tracks: the soft jazz of Now and the haunting Nanibali, preformed by West African griot Solo Cissokho on kora.

Full of tranquil beauty, Eric Bibb's Jericho Road is an ultimately uplifting journey, ideal listening for Sunday morning - or every morning.

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MonkeyJunk
All Frequencies

All Frequencies
SPCD 1366
Genre: Blues
Released: 24 September 2013
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"The Sultans of Swamp" - William Shatner

For their second Stony Plain release enjoy catchier choruses, shorter instrumental breaks and a "heavier" sound.

  1. You Make A Mess (3:13)
  2. Right From Wrong (3:35)
  3. Why Are People Like That? (3:57)
  4. Je Nah Say Kwah (2:52)
  5. Sirens In The Night (3:53)
  6. Yearnin' For Yesterday (3:30)
  7. Once Had Wings (5:16)
  8. What I Got To Give (4:20)
  9. Say What? (4:01)
  10. Swank (7:13)
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Reviews:

Elmore
By Mark Uricheck

"Canadian garage/soul trio Monkeyjunk has a sound that falls somewhere indiscriminately between the slop-barrage of Thickfreakness-era Black Keys and the sinuous R&B of the Ohio Players’ Honey....Set apart from the current pack of Hill Country-inspired blues trios by its knack for freewheelin’ soul, Monkeyjunk is an exciting name in an often stagnant niche scene."

(more)
Canadian garage/soul trio Monkeyjunk has a sound that falls somewhere indiscriminately between the slop-barrage of Thickfreakness-era Black Keys and the sinuous R&B of the Ohio Players’ Honey. On All Frequencies, the band delivers an analog blast of blues-based groove that’s slightly heavier than that of your garden variety, bass-free Americana power trio. Here, Monkeyjunk takes the muscle of Detroit, the soul of Memphis and the howling hunger of Clarksdale, MS, on a fast train through down-home heartland expression. Tracks like "You Make a Mess" are highlighted by vocalist Steve Marriner’s blazing, Charles Walker-esque deliveries and a ragged sense of funk. "Why Are People Like That?" is a hypnotic, midtempo harmonica attack with a touch of detuned guitar sludge, while "Sirens in the Night" is a call-and-response R.L. Burnside stomp. "Once Had Wings" is where the laid-back British blues of Bad Company meets the anguished chants of Bukka White. The band’s songwriting acumen is sharp, as witnessed on "Say What?," a hip, 1960s mod-edged dancer with snappy backing vocals. Equally as refreshing is "Je Nah Say Kwah," where the Muscle Shoals sound is interpreted with sweetened Funkadelic-like shades—the spirit moves through this one. Set apart from the current pack of Hill Country-inspired blues trios by its knack for freewheelin’ soul, Monkeyjunk is an exciting name in an often stagnant niche scene. (less)

 
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Tim Hus
Western Star

Western Star
SPCD 1365
Genre: Roots
Released: 10 September 2013
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Western Star drives Tim Hus' career forward with the momentum of a fully loaded tractor trailer. With the passing of his friend and mentor Stompin' Tom Connors, Tim proudly carries on the tradition of writing songs about working Canadians and Canada's rich history. With his Canadiana travelin' band, Tim Hus brings his music to small town community halls, major international festivals, and every truck stop in between.

  1. Western Star (3:15)
  2. Master Caster (3:41)
  3. Pheasant Huntin' Day (3:42)
  4. Church of Country Music (3:52)
  5. Halifax Blues (3:36)
  6. Forgotten Sailor (4:32)
  7. Inside Passage (3:51)
  8. Hardcore Apple Picker (2:45)
  9. Marietta Miner (2:45)
  10. Madawaska River (3:18)
  11. Short Go Shuffle (3:20)
  12. Wild Rose Waltz (5:33)
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Reviews:

Penguin Eggs #60 Winter
By Barry Hammond

"There doesn't seem to be any limit on where Hus may wind up in the history books."

(more)

  Western Star is the sixth disc for Tim Hus and his third for Stony Plain Records.  These last ones (including Hockeytown and Bush Pilot Buckaroo) have pretty well enshrined him (along with Corb Lund and Stompin' Tom Connors) as one of the giants of Canadian country.  He seems to crank out song after song with effortless skill.  This disc has some new classics: Chruch of Country Music, where "we believe in George Jones," has got to be one of the best but there are many others on this disc, particularly incuding Halifax Blues, Hardcore Apple Picker, and Wild Rose Waltz, where his eye for Canadiana detail and a great turn of phrase combine to make an instant standard.

  Obviously other musicians are also taking note.  This disc has the best backing lineup yet.  From producer Harry Stinson on through studio whiz Kenny Vaughn, Tim Graves (nephew of Uncle Josh Graves, the original Dobro player for Lester Flatt and Earl Scruggs), Fats Kaplan, Billy MacInnis, Riley Tubbs, Wanda Vick, and Chris Scruggs - it's top-flight talent all the way.  There doesn't seem to be any limit on where Hus may wind up in the history books."

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Rory Block
Avalon: A Tribute To Mississippi John Hurt

Avalon: A Tribute To Mississippi John Hurt
SPCD 1369
Genre: Blues
Released: 4 June 2013
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On her fourth release in the acclaimed 'Mentor Series' on Stony Plain, Rory pays tribute to Mississippi John Hurt, one of the most important country blues artists in history. Rory actively tours internationally and each new release is a high profile occasion in the blues community.

  1. Everybody Loves John (5:22)
  2. Avalon (5:14)
  3. Candy Man (3:41)
  4. Frankie & Albert (5:57)
  5. Got The Blues Can't Be Satisfied (3:58)
  6. Louis Collins (4:16)
  7. Richland Woman Blues (4:43)
  8. Spike Driver Blues (4:15)
  9. Stagolee (4:00)
  10. Make Me A Pallet On Your Floor (4:42)
  11. Pay Day (4:39)
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Reviews:

Guitar Girl Magazine
By Drew Amendola
"Block has a remarkable talent for re-imagining blues classics" (more)

New Jersey native Rory Block is often hailed as one of the highly regarded blues musicians of her generation. At the age of 15, Block set off on a cross-country hitchhiking road trip to the West Coast (via the South). Along the way she learned more than a few lessons in playing the blues. Her travels took her to meet many of blues' founding fathers. As a performer, she played as many as 250 shows a year during the late 1970s and early 1980s, recording 22 albums and receiving four W.C. Handy Awards. 

Block has a remarkable talent for re-imagining blues classics and has released four tribute albums, dedicated to influential blues mentors in her musical development. Her latest, Avalon: A Tribute to Mississippi John Hurt, features ten celebrated Hurt songs as well as a Block original (Everybody Loves John). Produced by Block and Rob Davis, the album features rich, delectable acoustic guitar tones, with skillful fingerpicking and slinky slide work (courtesy of a 14mm deep well socket), and Block’s instantly recognizable, muscular vocals. 

For the uninitiated, Block’s voice is at once ethereal and guttural, a dichotomous delight that never grows tiring. At its times of seeming fragility, her voice coyly belies a barely-contained ferocitya simmering intensity Block lets boil over in just the right amounts at just the right times.

Block chose to record her newest album without excess polish or studio finagling: “One of the things I have endeavored to capture in this tribute series is a return to a more earthy, natural approach,” Block explains. “We don’t love the old recordings because they are crackle-free, or fancy, or have clever formats.... This is part of what I love. So instead of sweeping the tracks clean of all noise, sanitizing, bleaching, disinfecting and straining the music, Rob and I feel compelled to let it be real.”

And real it is; the sound is close and personal, as if she’s singing directly to us, while her guitar is wonderfully huge (I commend her choice to fearlessly mix the guitars so prominently). Hurt's lyrics are familiar friends to Block, as if penned by her own hand. And she successfully channels him while seducing the listener with titillating narratives of love, betrayal, revenge, and murder.

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Amos Garrett
Jazzblues (Amos Garrett Jazz Trio)

Jazzblues (Amos Garrett Jazz Trio)
SPCD 1368
Genre: Blues/Jazz
Released: 4 June 2013
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In addition to recording blues and roots music solo albums for Stony Plain, Amos has been leading his Jazz Trio for several years. The band's motto is "bringing blues back to jazz." The Trio's debut album reminds us all that blues was once a major part of the jazz world.
  1. Freddie Freeloader (3:52)
  2. Misterioso (6:25)
  3. Blue Monk (3:51)
  4. Cocktails for Two (6:25)
  5. Little Sunflower (10:19)
  6. Bob Erlendson Medley: Forty One/Ronnie's Gone (7:37)
  7. All Blues (7:15)
  8. Skylark (4:07) feat. Roberta Donnay
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Reviews:

Penguin Eggs
By Eric Thom

"Exquisite interplay for those who love emotional expression and delectable tone."

(more)
Amos Garrett Jazz Trio
 
Jazz Blues (Stony Plain)
 
Subtlety. Nuance. Refinement. Descriptors like these might seem a million miles away from Amos Garrett’s humble beginnings as a member of the Dirty Shames, following a course as member of a folk jug band prior to accepting an invitation to join the Tysons’ Great Speckled Bird. All of this predates a substantial career, making his distinctive mark on some of the best music of an entire generation. Still, this album comes as an even more welcome surprise, even though it shouldn’t. 
Amos Garrett has long been a textbook case of smart playing, making the most of space around his notes, and for his ability to consistently find the sweet spot. Yet Jazz Blues goes beyond this to become a celebration of his instrument as it embraces an entire category of influences and some of Garrett’s most treasured music. Joining him in these live, cross-Canada recordings are fingerstyle guitarist Keith Smith and Greg Carroll and/or John Hyde on bass. 
The trio format breathes life into jazz compositions by Miles Davis, Freddie Hubbard, Thelonious Monk and, despite the fact that are predominantly horn pieces, the sheer artistry of the Garrett/Smith combination transforms each excursion into music that is as beautiful as it is uplifting and hypnotic. With a mission of bringing the blues back into jazz, the intuition between both guitar players is substantial and the results attain a gentle, dreamlike quality. 
Garrett calls it, upon completing the disc highlight—Freddie Hubbard’s 10-plus minute Little Sunflower, noting, “That’s the shit right there”—and he’s dead right. Sam Coslow’s Cocktails For Two may suffer a Garrett vocal treatment (never his strongest suit) yet the man updates it with the hint of humour the ’34 hit deserves. Exquisite interplay for those who love emotional expression and delectable tone.
– By Eric Thom

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Ian Tyson
All The Good 'Uns Vol. 2 (Greatest Hits)

All The Good
SPCD 1367
Genre: Country
Released: 21 May 2013
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Vol. 2 is Ian's second "Best Of" collection and includes 19 songs from 1999 to 2012.
  1. Land Of Shining Mountains (3:10)
  2. Brahmas And Mustangs (3:35)
  3. This Is My Sky (3:31)
  4. Smuggler's Cove (3:50)
  5. Lost Herd (4:17)
  6. Elko Blues - The Roan Mare (3:45)
  7. La Primera (5:21)
  8. Jerry Ambler (4:00)
  9. Bob Fudge (5:01)
  10. Little High Plains Town (4:05)
  11. Blaino's Song (4:18)
  12. Yellowhead To Yellowstone (6:01)
  13. Fiddler Must Be Paid (3:45)
  14. Ross Knox (2:45)
  15. Song In A Dream (3:05)
  16. Charles Goodnight's Grave (3:30)
  17. Road To Las Cruces (4:12)
  18. Love Without End (3:47)
  19. Somewhere Over The Rainbow (3:39)
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Reviews:

Elmore Magazine
By Robert Myers

"This is unforgettable songwriting."

(more)

Ian Tyson

All the Good 'Uns Vol. 2 (Stony Plain)

Some of the finer things, like good wine, whiskey and cigars, get better with age. Ian Tyson is living proof that the same can be true of singer/songwriters. All the Good 'Uns Vol. 2, volume two of his greatest hits collection, makes clear that Ol' Eon is an international treasure. Tyson, who has been doing this for more than 50 years, has become the finest interpreter and creator of traditional American cowboy music.

Tyson is blessed with the best voice to emerge from the '60s folk boom. Warm and smooth, everything he sings sounds authentic. Seven years ago, tragedy nearly struck when his voice was very badly damaged. The golden throat became rough and sinewy. Six tracks here reflect the "new" voice, which remains compelling and convincing; take note of "Fiddler Must Be Paid," an achingly beautiful song about lost love that is as timeless as its theme. "La Primera," in particular is another standout. Who but Ol' Eon could write a song told from the point of view of the mustangs brought over by the Spanish explorers? This is unforgettable songwriting.

Buy this album (and the companion first volume, released years ago), sit back with a glass of aged whiskey and a fine Cohiba cigar, then listen and be thankful that Tyson has crafted such a priceless legacy.

-Robert Myers

 

 

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Duke Robillard
Independently Blue

Independently Blue
SPCD 1364
Genre: Blues
Released: 9 April 2013
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For over four decades, Duke Robillard has been one of the most respected blues and roots music guitarists working today. This release shows endless creativity in bringing new ideas to blues forms. Fellow New England guitar hero Monster Mike Welch is an important contributor providing Duke with a daredevil foil on all tracks.
  1. I Wouldn't-a Done That (4:04)
  2. Below Zero (3:53)
  3. Stapled To The Chicken's Back (4:08)
  4. Patrol Wagon Blues (5:24)
  5. Laurene (2:52)
  6. Moongate (5:56)
  7. I'm Still Laughing (3:25)
  8. Strollin With Lowell And BB (3:46)
  9. You Won't Ever (3:19)
  10. This Man, This Monster (5:05)
  11. Groovin' Slow (5:54)
  12. If This Is Love (4:48)
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Reviews:

about.com
By Reverend Keith A. Gordon

Grade A+  "More entertaining than just about any blues album you'll hear this year."

(more)

Duke Robillard Band – Independently Blue

Guitarist Duke Robillard is the "Old Faithful" of the blues these days, a jack of all trades and an undeniable master of them all. He releases a new album nearly every year like clockwork, recorded, presumably, when he's not off touring or in the studio producing another artist's new CD. Really, Duke is a serious workaholic, or maybe he's just hopelessly bitten by the muse of the blues, but either way a new Robillard album is a thing of pure joy, and Independently Blue is no exception.

The follow-up to Low Down and Tore Up, the guitarist's 2011 covers album, Independently Blue offers up mostly new material, penned either by Robillard or his former Roomful of Blues bandmate Al Basile, with a pair of songs written by guest guitarist "Monster" Mike Welch. The resulting slate of songs is a blues lover's smorgasbord of styles and sounds, beginning with the album's opening "I Wouldn't-a Done That." With Robillard's gruff vocals and subtle fretwork, Bruce Bear's tinkling piano, and a shuffling beat, the song is a delightful throwback to the Chicago blues of the 1950s.

The rest of Independently Blue romps across a varied blues landscape, from Welch's rocking instrumental "Stapled To The Chicken's Back," which pits the two talented fretburners against each other above a reckless groove, to the 1920s-era New Orleans blues-jazz vamp "Patrol Wagon Blues," which features Bears' piano and Doug Woolverton's period-perfect trumpet sounding Red Allen's spry original. The swinging "Laurene" gives off an energetic rockabilly vibe while Robillard's original instrumental "Strollin With Lowell and B.B." does an impressive job of capturing the spirit of both R&B legend Lowell Fulsom and the great guitarist B.B. King.

In the hands of a less talented musician, bandleader, and arranger, the wide swath of material displayed on Independently Blue would come out of the oven a tasteless mess of notes. Robillard is a traditionalist, however, a skilled instrumental stylist with a deep knowledge of, and respect for the history of the blues. As such, the performances throughout Independently Blue are inspired, wired, and more entertaining than just about any blues album you'll hear this year. Grade: A+ (Stony Plain Records, released April 9, 2013)

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Ronnie Earl
Just For Today

Just For Today
SPCD 1363
Genre: Blues
Released: 9 April 2013
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An almost all-instrumental blues guitar release by one of the most acclaimed guitarists of our time. With The Broadcasters, his band of over 25 years, Ronnie's latest 'live' release shows him to be one of the most soulful blues/soul/jazz guitarists working today. He plays with spellbinding intensity and deep soul and has a legion of fans that await each new release. Ronnie is a two-time Blues Award winner as Guitarist Of The Year.
  1. The Big Train (5:26)
  2. Blues For Celie (9:32)
  3. Miracle (4:37)
  4. Heart Of Glass (6:58)
  5. Rush Hour (3:08)
  6. Vernice’s Boogie (3:32)
  7. Blues For Hubert Sumlin (8:31)
  8. Equinox (8:12)
  9. Ain’t Nobody’s Business (9:09)
  10. Robert Nighthawk Stomp (3:52)
  11. Jukein’ (4:45)
  12. I’d Rather Go Blind (6:08)
  13. Pastorale (6:06)
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Reviews:

The Blues PowR Blog
By Mike Rick
"May just be the best instrumental blues album we've heard" (more)

Guitar Week continues: Ronnie Earl & the Broadcasters' Just for Today more like one for the ages

We've had several instrumental blues albums cross our desk in recent weeks, including the latest releases from both guitarists Tinsley Ellis (Get Up!, Heartfixer Music) and Ronnie Earl (Just for Today, Stony Plain Records). As much as we enjoyed listening to the former, we have to say that Earl's recording may just be the best instrumental blues album we've heard. And not as in just this year. Possibly ever.

Starting on the swinging shuffle of "The Big Train" that's guaranteed to make you want to jump aboard, the band - the same one with which Earl has played for the past 13 of the Broadcasters' 25-year history - move to a slow, patient (as in nine-and-a-half-minutes) "Blues for Celie" that couldn't be more beautiful, with some of the most soulful and inspired guitar playing we've heard beginning right around the 6:45 mark, also accompanied by some fine organ from Dave Limina. Jim Mouradian (bass) and Lorne Entress (drums) round out the quartet.

Recorded live at three different venues in Earl's home state of Massachusetts, the album - released this week - captures sounds from the guitarist that stretch from B.B. King and Buddy Guy to Stevie Ray Vaughan (as on the slow blues of "Heart of Glass"), Nick Moss, and Jeff Beck (check out "Miracle"), not to mention the superb tributes to a few who came before him in the lively "Robert Nighthawk Stomp," the Chicago blues stylings of an Otis Rush-inspired "Rush Hour," and an eight-and-a-half minute "Blues for Hubert Sumlin" that's pure joy, as blistering at times as it can be subdued, but always deep, and full of notes that hang longer than even the most die-hard Pittsburgh Pirates fan.

Throw in a terrific piano boogie in "Vernice's Boogie," soulful and unique covers of standards such as "Ain't Nobody's Business," John Coltrane's "Equinox," and Etta James' "I'd Rather Go Blind" - the album's sole vocal track, featuring Diane Blue's heartfelt singing - and other originals that include a gritty but vibrant "Jukein'" and the peaceful closer "Pastorale" that, between its shades of "Little Wing" and Earl wishing the audience a happy spring at its end, could easily serve as the official song of the blossoming of the coming season - and you've got an album that, for having so few words, shows a truly remarkable amount of character.

Despite its title, Just for Today is destined to become a classic, capturing Earl and his Broadcasters sounding better than they - and many others - ever have.
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Amos Garrett
The Christmas Song - Single [Digital Only]

The Christmas Song - Single [Digital Only]
SPDD 0007
Genre: Jazz
Released: 18 December 2012

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  1. The Christmas Song (5:21) Amos Garrett Jazz Trio
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Eric Bibb & Habib Koité
Brothers In Bamako

Brothers In Bamako
SPCD 1362
Genre: World/Blues
Released: 6 November 2012
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On the pathways between Memphis & Mali’s capital, Bamako, is the musical crossroad of Habib Koité and Eric Bibb. Uniting two soulful histories into a never-before heard guitar sound that is passionate and ebullient.

Growing up in Mali, West Africa, Koité is heir to an ancestral knowledge set to song that places him among the most influential voices of contemporary Africa.

Bibb’s lineage in the traditional blues sound has produced an earthy mix of folk and gospel dating back to the work songs of the deep south.

Forging a bridge across the Atlantic, Bibb and Koité are two talents too exhilarating to ignore with this collaboration.

  1. On My Way To Bamako (3:15)
  2. L.A. (5:38)
  3. Touma Ni Kelen/Needed Time (4:41)
  4. Tombouctou (4:03)
  5. We Don't Care (4:01)
  6. Send Us Brighter Days (3:58)
  7. Nani Le (2:32)
  8. Khafolé (4:19)
  9. With My Maker I Am One (4:26)
  10. Foro Bana (5:25)
  11. Mami Wata (1:36)
  12. Blowin' In The Wind (4:46)
  13. Goin' Down The Road Feelin' Bad (4:01)
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Reviews:

Living Blues
By Stephen A. King
Brothers In Bamako is worthy of a Grammy nomination. (more)

 

LIVING BLUES – FEBRUARY, 2013

 

CD REVIEWS

 

HABIB KOITÉ AND ERIC BIBB

Brothers in Bamako

Stony Plain Records - SPCD 1362

On his highly successful Deeper in the Well (2012), songwriter and multi-instrumentalist Eric Bibb found musical inspiration down south in the bayous and Cajun country of Louisiana. On his latest release, Brothers in Bamako, Bibb turned east to Africa and combined forces with noted Malian musician Habib Koité. According to the disc’s liner notes, Bibb and Koité met a decade ago during the recording of Mali to Memphis. The two developed a friendship and Bibb recently decided to travel to Bamako, the capital of Mali, to record 13 songs with his new musical partner. The results are impressive. Brothers in Bamako is worthy of a Grammy nomination.

Brothers in Bamako is a real partnership. Bibb and Koité contribute individual songs and collaborate on four songs including Touma Ni Kelen/Needed Time and Tombouctou. Koité and Bibb stretch out on a variety of stringed instruments, including acoustic and electric guitars, banjos, and an assortment of ukuleles. They are accompanied by Mamadou Kone on percussion with cameo appearances by Kafoune (backing vocals) and Olli Haavisto (pedal steel guitar). This partnership has created music that truly transcends any individual influence, whether it be blues, folk, gospel, or West African/Malian.

Brothers in Bamako begins with a travel tale, the lilting On My Way to Bamako. Calling Koité a “good friend” and a “great musician,” Bibb sings of his impending visit: “It’s my first trip to West Africa / But I’m pretty sure / In some kinda way / It’s gonna feel like comin’ home.” The song really feels like the two are at home, and it previews the disc’s beautiful musical synchronicity. Listen to every track, especially On My Way to Bamako, Touma Ni Kelen/Needed Time, Nani Le, Foro Bana, and Mami Wata, and hear the two musicians weaving their individual musical parts together in the spirit of genuine collaboration. Because Koité and Bibb play essentially the same instruments, it is difficult to determine who is playing what on Brothers in Bamako, but perhaps this is by design.  Brothers in Bamako is not about separation, but interdependence and unification. The four songs the two wrote and composed together find Koité and Bibb trading verses (one sung in English, the other in French, the official language of Mali). Bibb and Koité also wrap their voices around each other, and when these moments appear, especially on Khafolé, it’s as if the two are singing with one voice.

Beyond the exquisite musical interplay that permeates every track, Bibb and Koité are social critics, casting a skeptical eye on a seemingly unfair and unjust world. Given the recent eruption of violence in Mali, it’s not surprising to find Send Us Brighter Days, a cautiously optimistic song that calls for “brighter days” and “blues skies” to heal a world “so sad.” Socio-political commentary can also be found in With My Maker I Am One and We Don’t Care. The latter comments about the disconnect between labor and consumption: “We want the gold / As long as we don’t have to mine it / Don’t care who suffers / Or who’s behind it.” Other songs, including Khafolé, do not include English translations, but it is safe to assume that the lyrics are not throwaways—the words have some story to tell. Similar to Deeper in the Well, Bibb includes a Dylan song and this time it’s Blowin’ in the Wind. Commenting on both human rights and war, Blowin’ in the Wind is a perfect choice.

This cross-cultural experiment could have been a disaster, but it wasn’t. In the disc’s liner notes, Etienne Bours traces the intriguing musical similarities between Bibb and Koité and makes an argument for why Brothers in Bamako sounds so right: “What could be more natural than for this Malian and African American to join the rhythms of their guitars and voices in some transatlantic blues?” Brothers in Bamako’s “transatlantic blues” sounds natural and it sounds right. Although divided by geography and culture, Bibb and Koité share a beautiful brotherhood of sounds and words.

—Stephen A. King

 

 

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Maria Muldaur
....First Came Memphis Minnie

....First Came Memphis Minnie
SPCD 1358
Genre: Blues
Released: 9 October 2012
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Maria Muldaur has produced this tribute album to her blues hero Memphis Minnie. The CD includes several previously released tracks by Maria with Alvin Youngblood Hart, Del Rey, Roy Rogers and Steve James. In addition, new recordings by Rory Block, Ruthie Foster and Bonnie Raitt were done for this project. Classic tracks by Koko Taylor and Phoebe Snow are also included.

Memphis Minnie was one of the most influential and pioneering blues musicians and guitarists of all time. Recording for over forty years, she was one of the first blues artists to take up the electric guitar in 1942. She took her unique country blues sound into electric urban blues, paving the way for Muddy Waters, Bo Diddley, and countless others.

  1. Me And My Chauffeur Blues (3:12) (Maria Muldaur/Roy Rogers/Roly Salley)
  2. Ain't Nothin' In Ramblin' (3:42) (Bonnie Raitt/Steve Freund)
  3. I'm Goin' Back Home (2:56) (Maria Muldaur/Alvin Youngblood Hart)
  4. I'm Sailin' (3:44) (Maria Muldaur/Del Rey/Steve James/Roly Salley)
  5. When You Love Me (3:20) (Rory Block)
  6. Long As I Can See You Smile (2:46) (Maria Muldaur/Del Rey/Steve James)
  7. Lookin' The World Over (2:47) (Maria Muldaur/Del Rey)
  8. In My Girlish Days (4:47) (Phoebe Snow/David Bromberg)
  9. She Put Me Outdoors (3:03) (Maria Muldaur/Alvin Youngblood Hart/Dave Earl)
  10. Keep Your Big Mouth Closed (3:13) (Ruthie Foster/Steve Freund/Tanya Richardson/Samantha Banks)
  11. Tricks Ain't Walkin' (4:33) (Maria Muldaur/Del Rey/Dave Earl)
  12. Crazy Cryin' Blues (3:05) (Maria Muldaur/Del Rey/Steve James)
  13. Black Rat Swing (5:08) (Koko Taylor/Bob Margolin/Criss Johnson/John Kattke/Jimmy Sutton/Willie Hayes)
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Reviews:

The Country Blues
Best Album of 2012 (more)

First Came Memphis Minnie
Maria Muldaur & Special Guests
Stony Plain Records, Canada
2012

This tribute compilation to Memphis Minnie is, in some ways, a form of musical emancipation of all women. The blues are undeniably a very male dominated genre. A case can be made that the great pioneer female blues singers never received their rightful place in the blues annals as bestowed on their male peers. Bessie Smith, Ma Rainey, Sippie Wallace, Victoria Spivey, Lucille Bogan, Albert Hunter, Sister Rosetta Tharpe, Big Mama Thornton, Big Maybelle, and even Billie Holiday, were well acknowledged but not always respected and honored in the same way their male compatriots received acclaim – some of whom were exalted and venerated to great, sometimes exaggerated heights. A case can be made that in blues radio, print and performance, the female singers unfairly took a diminished, minor role. In several decades of interviewing blues musicians and reading blues biographies, this writer cannot think of a single instance when a male blues musician has cited one of the great female singers as a major influence on their musical development. No wonder that it has been the mission of today’s leading blues women to give recognition and awareness to the women who proceeded them – because these trailblazing classic women should be listened to. The women rightly insist on some respect and honor for their musical inspirations. In 2003, they already paid tribute to Sister Rosetta Tharpe on “Shout, Sister, Shout” and now it’s time for the tribute of the musician who has been championed by Maria Muldaur for so many years, someone she has loved since 1963, the one she most often quotes as a major source of inspiration and the musician she has covered most often. Maria Muldaur called out some of her female blues compatriots to take matters into their own capable hands, and voila, here is a fine tribute done with love and admiration.

Let’s start by overcoming the likely objections: A fair number of the tunes included on “First Came Memphis Minnie” were previously released. Indeed, all eight tracks featuring Maria Muldaur came from her previously-released Grammy-nominated albums. Only three of the songs on this album are new recordings by Rory Block, Ruthie Foster and Bonnie Raitt. “First Came Memphis Minnie” also features two classic songs from Koko Taylor and Phoebe Snow. Koko’s track comes from her CD, “Old School”, released in 2007; and Phoebe’s from “It Looks Like Snow”, released in 1976.

That means, if you already own the albums from which Maria took these reissues, you may just want to get the new tracks from i-Tunes and not pay for the whole new CD.

On the other hand, chances are that most people do not have all or most of these songs, so this compilation becomes a convenience. That having been said, the fact that this “loving tribute” is heavy on reissues is far surpassed by the many wonderful aspects of the album.

Maria Muldaur said of her idol, “At a time when women were ‘kept in their place,’ both personally and professionally, Memphis Minnie was tough, independent, outspoken, and played a mean guitar! But, she was more than just a guitar hero of early country blues. She ably adapted to newer trends and modernized her style, which helped account for her years of popularity. Memphis Minnie was one of the few figures to make the successful transition from the rural, acoustic guitar-dominated blues of the 1920s to the urban nightclub styles of the ’30s, ’40s and ’50s. She was tough, determined, talented, and courageous enough to defy and overcome all the racial, social, economic, and gender barriers that existed in her time, forging the life she envisioned for herself on nothing but her own terms!”

That may well be an overly romanticized description of Minnie’s life and career as some sort of feminist icon, which certainly was not the whole picture, as Minnie (whose birth name was Lizzie Douglas) did not walk an easy road as some sort of superwoman heroine. While she was a successful blues artist in her time, she nonetheless had a hard life that included running away from home as a 13 year old kid and making her way on bawdry Beale Street in Memphis in the turbulent year of 1900, which was, at the time, one of the wildest black entertainment districts in the USA. Besides playing guitar and singing on the street corners, she slipped into prostitution. She was married three times. All indicators are that she fared a bit better in her musical career than most women of her time (or most blues musicians, period) she nonetheless lived a tough life that was not free of exploitation and abuse. Unquestionably, Memphis Minnie was a gutsy woman, a bit wild and headstrong, with all her raw sensuality and sexy juke joint teasing. Mostly, she was a powerful singer and songwriter, an incredible guitarist and a huge influence on all women in the blues who followed her footsteps. She was also a pioneer as one of the first women to bring the electric guitar into her performances.

This album showcases not just some of the great songs written or performed by Memphis Minnie, it brings these songs to life with passion and truehearted love for this great singer. The protagonists honor their lascivious and headstrong heroine with graceful versions of the original. Maria Muldaur’s ardent eight covers are exquisitely performed with sheer devotion. Her love for Memphis Minnie comes through unencumbered, as perhaps Minnie’s greatest fan and advocate. The set of Minnie’s songs as performed by Maria Muldaur is backed by some of the finest instrumentalists in the acoustic blues: Alvin Youngblood Hart, Del Rey, and Steve James on guitar and slide guitar; Dave Earl and Steve James on mandolin

Bonnie Raitt has only one song on this album, “Ain’t Nothin’ but Rambling” which will drive Bonnie’s large fan base wild. Steve Freund accompanies her on acoustic guitar with tasteful subtlety as she takes you back to Bonnie’s early days as an acoustic country blues singer, and this wonderful cover alone make it worth to buy the album. Rory Block showcases her refined skills, mimicking Memphis Minnie’s sexy charm, on “I’m going back home” which she sings in her sultry, captivating way, accompanying herself superbly on guitar. The late Phoebe Snow’s version of “In my Girlish Ways” , backed by David Bromberg, reminds us what a wonderful blues singer we lost. Her captivating rendition of the famed song, so often performed by Maria Muldaur, is sung in her trademark sweet and angelic voice, perfectly and pointedly. Ruthie Foster’s version of “Keep Your Big Mouth Closed”, also with Steve Freund on acoustic guitar is simply wonderful, a testament to Ruthie’s status as one of today’s most important blues women.

The late Koko Taylor, one of the true heir to Minnie’s legacy closes the album with “Black Rat Swing” backed by a full electric blues band featuring Muddy Water’s guitarist Steady Rollin’ Bob Margolin on guitar.

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Ian Tyson
Raven Singer

Raven Singer
SPCD 1361
Genre: Country
Released: 29 May 2012
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The legendary Canadian songwriter returns at the age of 78, with 10 remarkable songs. From the part-travelogue "Under African Skies" to "Blueberry Susan" that offers a tribute to many of the musicians that touched Tyson, this collection of songs is Tyson rediscovering himself and his "new voice."

The album's Dali-esque cover is by Calgary teacher Paul Rasporich; it depicts a raven's skull. The title of the CD followed a sweat lodge ceremony at the Nakoda First Nation, near Banff Alberta, when Tyson's name - Ka-ree-a-hiatha (Raven that Sings) - was chosen.

  1. Charles Goodnight's Grave (3:31)
  2. The Circle Is Through (3:38)
  3. Rio Colorado (3:08)
  4. Under African Skies (3:38)
  5. Song In A Dream (3:05)
  6. Blueberry Susan (Listen to mp3 clip) (3:51)
    * free full length download *
  7. Back To Baja (2:32)
  8. Saddle Bronc Girl (3:02)
  9. Winterkill (4:31)
  10. The Yellow Dress (3:10)
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Reviews:

FAME
By Mark S. Tucker
Tyson is as much an elder statesman of folk music north of the Montana line as Bob Dylan is south of it. (more)

Unbelievably, Ian Tyson, is running up fast on 80 years of age, but he sure as hell doesn't look it in the liner shot for Raven Singer, nor is the guy exactly slowing down. In the last dozen years, he issued four CDs, a 2-DVD concert, an autobiography, collaborated on a book about he and Sylvia, and made an award winning music documentary for Canada's Bravo! TV channel…and all that, of course, doesn't even begin to cover the toughest job and his first love: training horses in the southern Albertan ranch country. The second toughest gig, long-time fans well know, was recovering from severe throat damage after trying to make up for a failing sound system in 2006 (while he was in his 70s!!!), the incident which occasioned that now familiar gravelly hoarse sprechestimme style, which audiences have taken to with ardor.

This CD, then, follows expectedly in the new groove but shows that Tyson is as much an elder statesman of folk music north of the Montana line as Bob Dylan is south of it. In his homeland, Ian's considered an unshakeable icon, and, as he's become accustomed to this new mode of expression, the stories in his songs have become more poignant, crossing the border between Dylan and Cohen. The abundant imagery is always of open skies and lands tread by working class men and women, people of the earth who get far more out of life than those locked away in gated communities and penthouse suites. That special grace, however, does not exempt them from travail, and Tyson's not shy about his admonitions to watch one's step, not fall afoul of the many heartbreaks lying in wait for the heedless.

Ian Tyson is, if anything, travelling ever further back in time, digging deep to locate the taproots. More than once, I was reminded of the soul of the famed Bristol Sessions with The Carter Family and Jimmie Rodgers, the 1927 Tennessee recordings Johnny Cash named as "the most important event in the history of country music." There's that same salt of the earth quality in Raven, Tyson settling into an ambience too often lost as the modern strains of the new country mode compete with rock and roll. In a basic quartet ensemble, with four guests sitting in on various tracks, Sam Bush among 'em, he and the band manage to wring the most possible out of the form, avoiding excess and too-dialed-back a simplicity simultaneously, reflecting the point at which the still struggling genre was on a first name basis with folk music. Tyson may be going on his 80s, but he hasn't forgotten his 20s. Not at all.

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Rory Block
I Belong To The Band: A Tribute To Rev. Gary Davis

I Belong To The Band: A Tribute To Rev. Gary Davis
SPCD 1359
Genre: Blues
Released: 29 May 2012
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  1. Samson & Delilah (4:20)
  2. Goin' To Sit Down On The Banks Of The River (4:02)
  3. Let Us Get Together Right Down Here (4:00)
  4. I Belong To The Band (4:06)
  5. Lord, I Feel Just Like Goin' On (4:02)
  6. Lo, I Be With You Always (4:49)
  7. Pure Religion (5:07)
  8. Twelve Gates To The City (Listen to mp3 clip) (4:02)
    * free full length download *
  9. Great Change Since I've Been Born (4:31)
  10. I Am The Light Of This World (5:20)
  11. Death Don't Have No Mercy (5:06)
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Reviews:

Nashville Blues Society
By Sheryl and Don Crow
Rev. Gary Davis took predominantly spiritual music and played it in a country-blues style, successfully melding the secular with "the Devil's music." Rory Block has shown us the deep respect she has for his music, and the difficulty that went along with mastering his styles and techniques. "I Belong To The Band" is one of her crowning achievements! (more)
Rory Block, considered to be the foremost female authority on playing pre-WWII country blues, has just released her latest CD in her "mentor series," tributes to those from whom she learned first-hand, as well as those who influenced her style. This one is entitled "I Belong To The Band," and features Rory on lead vocal and all guitars in tribute to the Rev. Gary Davis.

While living in New York in 1964, Rory and Stefan Grossman would take the long subway ride into the Bronx to take guitar lessons with Rev. Davis, one-on-one, in his home. Rory learned her lessons well, as can be heard on her authentic interpretations of Rev. Davis' many classic tunes.

For those unfamiliar with Rev. Davis' music, he was a brilliant guitarist who employed dazzling finger-picking and slide techniques, with unique syncopations within the melody lines. In the liner notes, Rory laments her difficulty in getting the finger picks to stay in place, finally opting for the use of duct tape to keep them on, at the painful expense of her first layer of skin!

However, she plays these songs with unbridled passion and emotion. Listen as she runs thru the changes of "Samson And Delilah" with ease. The title cut finds Rory on slide and the gospel-infused backing voices lending the "Hallelujah" chorus. She becomes a modern-day Biblical storyteller in "Great Changes Since I Been Born," and "Twelve Gates To The City." The set closes with the chilling "Death Don't Have No Mercy," and the poignant lyrics that remind us "when Death comes to your house, it won't stay long," but "someone in your family will be gone."

Rev. Gary Davis took predominantly spiritual music and played it in a country-blues style, successfully melding the secular with "the Devil's music." Rory Block has shown us the deep respect she has for his music, and the difficulty that went along with mastering his styles and techniques. "I Belong To The Band" is one of her crowning achievements!

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Eric Bibb
Deeper In The Well

Deeper In The Well
SPCD 1360
Genre: Blues
Released: 27 March 2012
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Eric Bibb's Deeper in the Well is a unique combination of traditional and contemporary Louisiana music. Acclaimed folk blues singer/songwriter/guitarist Eric Bibb is backed by an all-star Louisiana band including multi-instrumentalist Dirk Powell, fiddler Cedric Watson, drummer Danny Devillier and harmonica player Grant Dermody. Special guests include Michael Jerome Browne, Jerry Douglas and Christine Balfa.

Eric Bibb is one of the highest profile roots musicians, having been nominated for multiple Blues Music Awards and a Grammy. He will be touring extensively throughout 2012.

Download the video to lead track Bayou Belle.

  1. Bayou Belle (Listen to mp3 clip) (4:13)
    * free full length download *
  2. Could Be You, Could Be Me (2:39)
  3. Dig A Little Deeper In The Well (4:07)
  4. Money In Your Pocket (4:16)
  5. Boll Weevil (3:26)
  6. Sinner Man (4:53)
  7. In My Time (3:48)
  8. Music (3:40)
  9. Movin' Up (2:54)
  10. No Further (3:41)
  11. Every Wind In The River (4:38)
  12. Sittin' In A Hotel Room (2:49)
  13. The Times They Are A Changin' (5:44)
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Reviews:

About.com Best Blues Albums of 2012
By Reverend Keith A. Gordon

 "Bibb has delivered another gem"

(more)
With Deeper In The Well, Eric Bibb has delivered a pleasant and entertaining collection of material that cuts across artificial boundaries of style or genre. This is Americana music, period, in all of its eclectic glory and all that it encompasses – blues, folk, and country sounds that have their roots in the big cities and the rural back roads of the country. Whether he's bringing his immense musical talents to bear on intelligent original songs, interpreting traditional material, or even tackling a scribe as daunting as Dylan, Bibb never fails to amaze. An underrated singer, songwriter, and guitarist with one foot in the blues and the other in a world of music, Bibb has delivered another gem with Deeper In The Well. (less)

 
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Long John Baldry
Live In Berlin 1992 [Digital Only EP]

Live In Berlin 1992 [Digital Only EP]
SPDD 0006
Genre: Blues
Released: 5 December 2011

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Recorded live at the Franz Club in Berlin on October 29th 1992, this digital-only EP collects the opening 3 songs from a magical night of music.

Long John Baldry, on vocals and 12-string guitar, is joined by Papa John King on guitar and Butch Coulter on harmonica.

The show was presented by BID and broadcast live on Radio 4U. The broadcast was produced by: Volker Duespohl and enginneered by: Axel Mueller. The recordings executive producers were Christian Thiel & Holger Petersen.

  1. Introduction (0:39)
  2. Good Morning Blues (4:23)
  3. As Long As I Feel The Spirit (3:28)
  4. Introduction of Band & to Black Girl (1:37)
  5. Black Girl (3:32)
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SELECT * FROM tbl_Reviews WHERE id_Album=1615 ORDER BY -review_date
SELECT * FROM tbl_Reviews WHERE id_Album=1615 ORDER BY -review_date
SELECT Description FROM tbl_Albums WHERE id_Album=1612
SELECT * FROM tbl_Tracks WHERE id_Album=1612 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1612 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT * FROM tbl_Reviews WHERE id_Album=1612 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1612
SELECT Description FROM tbl_Albums WHERE id_Album=1607
SELECT * FROM tbl_Tracks WHERE id_Album=1607 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1607 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT * FROM tbl_Reviews WHERE id_Album=1607 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1607
SELECT Description FROM tbl_Albums WHERE id_Album=1606
SELECT * FROM tbl_Tracks WHERE id_Album=1606 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1606 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT * FROM tbl_Reviews WHERE id_Album=1606 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1606
SELECT Description FROM tbl_Albums WHERE id_Album=1605
SELECT * FROM tbl_Tracks WHERE id_Album=1605 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1605 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT * FROM tbl_Reviews WHERE id_Album=1605 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1605
SELECT Description FROM tbl_Albums WHERE id_Album=1598
SELECT * FROM tbl_Tracks WHERE id_Album=1598 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1598 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT * FROM tbl_Reviews WHERE id_Album=1598 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1598
SELECT Description FROM tbl_Albums WHERE id_Album=1599
SELECT * FROM tbl_Tracks WHERE id_Album=1599 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1599 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT * FROM tbl_Reviews WHERE id_Album=1599 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1599
SELECT Description FROM tbl_Albums WHERE id_Album=1604
SELECT * FROM tbl_Tracks WHERE id_Album=1604 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1604 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT * FROM tbl_Reviews WHERE id_Album=1604 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1604
SELECT Description FROM tbl_Albums WHERE id_Album=1594
SELECT * FROM tbl_Tracks WHERE id_Album=1594 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1594 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT * FROM tbl_Reviews WHERE id_Album=1594 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1594
SELECT Description FROM tbl_Albums WHERE id_Album=1593
SELECT * FROM tbl_Tracks WHERE id_Album=1593 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1593 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT * FROM tbl_Reviews WHERE id_Album=1593 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1593
SELECT * FROM tbl_Tracks WHERE id_Album=1592 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1592 ORDER BY -review_date
SELECT * FROM tbl_Reviews WHERE id_Album=1592 ORDER BY -review_date
SELECT Description FROM tbl_Albums WHERE id_Album=1588
SELECT * FROM tbl_Tracks WHERE id_Album=1588 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1588 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT * FROM tbl_Reviews WHERE id_Album=1588 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1588
SELECT Description FROM tbl_Albums WHERE id_Album=1587
SELECT * FROM tbl_Tracks WHERE id_Album=1587 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1587 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT * FROM tbl_Reviews WHERE id_Album=1587 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1587
SELECT Description FROM tbl_Albums WHERE id_Album=1579
SELECT * FROM tbl_Tracks WHERE id_Album=1579 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1579 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1579
SELECT * FROM tbl_Reviews WHERE id_Album=1579 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1579
SELECT Description FROM tbl_Albums WHERE id_Album=1580
SELECT * FROM tbl_Tracks WHERE id_Album=1580 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1580 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT * FROM tbl_Reviews WHERE id_Album=1580 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1580
SELECT Description FROM tbl_Albums WHERE id_Album=1570
SELECT * FROM tbl_Tracks WHERE id_Album=1570 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1570 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT * FROM tbl_Reviews WHERE id_Album=1570 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1570
SELECT Description FROM tbl_Albums WHERE id_Album=1571
SELECT * FROM tbl_Tracks WHERE id_Album=1571 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1571 ORDER BY -review_date
SELECT * FROM tbl_Reviews WHERE id_Album=1571 ORDER BY -review_date
SELECT Description FROM tbl_Albums WHERE id_Album=1566
SELECT * FROM tbl_Tracks WHERE id_Album=1566 ORDER BY disc_Number, track_Number
SELECT * FROM tbl_Reviews WHERE id_Album=1566 ORDER BY -review_date
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT tbl_Albums.*, tbl_Artists.FirstName, tbl_Artists.GroupName FROM tbl_Albums INNER JOIN tbl_Artists ON tbl_Albums.id_Artist = tbl_Artists.id_Artist WHERE tbl_Albums.id_Album=1566
SELECT * FROM tbl_Reviews WHERE id_Album=1566 ORDER BY -review_date
.