September 6, 2013 - It Rock And Roll
 

Day: September 6, 2013

LILittle G Weevil is a completely self-taught guitarist, specializing in the old-time string and country blues sounds of the pre-WWII masters.  He started his first band in his European home land in 1998, garnering enough successes to move to Memphis in 2004.  He was a resident of the Beale Street scene for some time, busking in that vibrant district.  He moved to Georgia in 2009, but made a hugely-triumphant return to the Bluff City for this year’s IBC, winning the whole thing in the Solo/Duo category, as well as the Best Solo Guitarist overall.  He has turned that success into the release of “Moving,” his debut for the Vizztone label.  There are eleven originals and one scintillating cover that show his prowess as a traditional bluesman, picker, and storyteller.
The set is predominantly Little G and his guitars, but there are a few “band cuts” that utilize Bruce Nazzaro on harp, Danny Vinson on rhythm guitar, Dustin Sergeant on bass, and Adam Goodhue on drums.  However, no amps were used, making this a truly acoustic set.

mp3 320 kbps | 99 MB | UL | CL | TB

vaValerie Carter’s first full-length solo album continued her musical involvement with Lowell George and the members of Little Feat, which had begun three years earlier when she was a member of the band Howdy Moon. “Just a Stone’s Throw Away” also featured a stellar cast of other musicians, including Jackson Browne, Linda Ronstadt, and John Hall. The album is at once funky and folksy, blending a variety of styles, from the haunting acoustic sounds of “Face of Appalachia” to the jazzy blues of “Back to Blue Some More.” “Ooh Child” was featured very effectively at the end of the 1979 teen rebellion movie Over the Edge, while the title song is another great representation of the writing talents of Barbara Keith, an overlooked 1970s singer/songwriter whose self-titled 1972 album is worth seeking out.

mp3 320 kbps | 77 MB | UL | CL | TB

docIt’s been a while since we’ve come across a record label has the feel of being a trademark of quality in that it’s a fair bet that if they release a disc then it’ll be well worth exploring. Elektra, Stiff, SST, Bloodshot have all had their moments in the sun when this was true of them. This Is American Music (or TIAM), a labour of love for some Americana fans in the deep south has in the three years it’s been running built a solid reputation with releases from Glossary, The District Attorneys, Great Peacock and Hurray For The Riff Raff. They’ve a slew of new releases hammering to be heard including Bonnie Whitmore, Have Gun Will Travel and this offering, as fine a slice of dusty deadbeat songs as we’ve heard in a while.
Based in Kentucky, Doc Feldman is a local veteran of several bands and Sundowning At the Station is his solo debut following the demise of his last band Good Saints. We say solo but he’s assembled a studio crew called the LD50 (go look it up) consisting of James Jackson Toth (AKA Wooden Wand), David Chapman and Jeremiah Floyd and produced a minor masterpiece of reproaches and recriminations. With Feldman at the helm proclaiming like a soiled preacher the band offer a muted support sounding like a wounded Crazy Horse (on Alive For Now) or lost in a sea of fuzz (Battle Hymn), overall there’s a sense of numbness, of howling at the moon, railing against life’s calamities.

mp3 320 kbps | 96 MB | UL | CL | TB

BLTracks;

1. Monday, Please Don’t Come
2. Under The Same Moon
3. Prehistoric Woman
4. Thank God, I’m Glad I Didn’t Marry That Man
5. Can’t Change The Way I Feel About You
6. Midweek City Sidewalk Blues
7. It Sure Ain’t Georgia
8. Honeyman
9. It Was Always You
10. Hopin’ For Better Days
11. Don’t Have To Fool With The Blues
12. We’re Still Rockin’

mp3 320 kbps | 90 MB | UL  | CL | TB

51dUt9Ak17LImpeccably put together by precocious teen siblings – Kitty, Daisy and Lewis – this compilation gleefully rummages through the 1940s and 50s with such joy that both aficionados and those who wouldn’t know boogie-woogie from rockabilly should be equally entertained. The high number of novelties – notably Louis Jordan’s School Days and the Western Melody Makers’ Who Put the Turtle in Myrtle’s Girdle – heightens the impression that the trio were rocking to this stuff in the cot. But that innocence is balanced by rude sauce and sass: Rufus Thomas’s Bear Cat, a hiss-spit riposte to Hound Dog, or the Swallows’ It Ain’t the Meat, a glorious celebration of the female body, whatever its shape. The siblings’ own cover of a 1940s song, called Ooo Wee, is so authentic that only the demotic London accent gives its modernity away.

mp3 VBR~223 kbps | 121 MB | UL | CL | TB

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