September 18, 2013 - It Rock And Roll
 

Day: September 18, 2013

rTracks;

01. Police Dog Blues
02. F.D.R In Trinidad
03. If Walls Could Talk
04. Tamp ’em Up Solid
05. Ax Sweet Mama
06. Billy The Kid
07. Vigilante Man
08. How Can A Poor Man Stand Such Times And Live
09. Tattler
10. Comin’ In On A Wing And A Prayer
11. Alimony
12. Teardrops Will Fall
13. I’m A Pilgrim

Band:

Ry Cooder: guitar and vocals
Russ Titelman: bass
Jim Keltner: drums
Milt Holland: percussion
Gene Mumford: vocals
Bobby King: vocals
Cliff Givens: vocals

mp3 320 kbps | 137 MB | UL | TB

joNever one to be filed under “easy listening” Johnny Dowd’s latest album is a blistering power trio fuelled blast. Do The Gargon features Dowd on guitar and vocals along with Michael Stark on keyboards and Willie B. on drums and bass pedals. The twelve songs all relate to Gargon, in Dowd’s words “Who the hell is Gargon? All I can say is: look around, look in the mirror, look at me. He is the beast within who got his feelings hurt (boo hoo). The recurring theme of my new record is an incident in my (or was it Gargon’s?) past. A young boy is abandoned at a filling station in 1953. Did this happen? Is it a memory, a dream, or a lie he told himself to justify all the nonsense that followed?”
Gargon is like a rock’n’roll Zelig as he (or Dowd) propels the band through ZZ Top styled blues burners, ersatz disco, dance crazes, funk and guitar heroics. Dowd’s unique vocal delivery unites the songs sounding robotic at times as he forensically dissects moments in Gargon’s life.

mp3 VBR~243 kbps | 95 MB | UL | TB | CL

sadAs previously reported, the band hit up a Toronto recording studio with Gary Louris to work on their follow-up to 2010’s Darker Circles, but the set was actually produced by singer-guitarist Dallas Good, who ensured the band took their time to explore their Internal Sounds.
“There was a conscious effort to deliver a finished product that wouldn’t suffer from a deadline or budget,” Good explained in a statement, adding, “We recorded this record over a span of a year, in session for 20 plus days. By the end, we’d spent every dime we had and used up every favour. There is usually a sense of immediacy to our records, maybe because we make a lot of them. I didn’t want that this time.”
A track listing has not yet been offered up, but the album apparently hones the Sadies’ knack for psychedelia, as well as their country and western chops, and features a guest appearance from Buffy Sainte-Marie on closer “We Are Circling.”

m4a 256 kbps | 68 MB | UL | TB | CL

ch

Through the 1970s, Chance Martin had the sort of connections in Nashville that most aspiring rhinestone cowboys would kill for. He was Johnny Cash’s most trusted stagehand, a drinking buddy of Tanya Tucker, and he served as a sound engineer for director Robert Altman’s Oscar-nominated Music City masterpiece. And when, toward the end of the decade, Chance decided to make the leap from being an assistant to the stars to becoming one himself, he had no less a Nashville legend than “Cowboy” Jack Clement behind the boards. There was just one thing holding Chance back from certain country-music celebrity: The music he made sounded like absolutely nothing else coming out of Nashville at the time, or anywhere else in America for that matter.
Even by the standards of lost cult classics, Chance’s 1981 debut album, In Search, was so overlooked when it was released that it may as well have never existed. (And, according to Wikipedia, it still doesn’t). Recorded piecemeal over a span of five years in a kitted-out home studio-cum-clubhouse located above Martins’ parents’ garage, the album was initially issued through a private-press run that barely cracked triple digits. But In Search defies the romantic, outsider-art associations that so often get attached to amateur DIY recording projects, whether it’s that of unassuming innocents naively chasing pop-star aspirations (see: The Shaggs), or day-jobbers living out their rock ‘n’ roll fantasies on a blue-collar budget (see: Guided by Voices). In Search, by contrast, is a master-class in the art of Going For It, proffering a high-concept, cinematically scaled hodgepodge of loverman soul, outlaw country, blaxpoitation funk, arena-rock pyrotechnics, and Zappa-esque meta-prog that sounds just as confounding and bizarre today as it no doubt did to the few who got to hear it 32 years ago.
On first approach, you could be forgiven for thinking this was all a big elaborate ruse, like some salvaged mid-90s Ween album released under a pseudonym. (Indeed, Chocolate and Cheese chestnuts like “Take Me Away” and “Voodoo Lady” would sound right at home here.) As a singer, Chance makes for a good auctioneer, with a lower-register sing-speak that frequently degenerates into the sort of improvised, self-aggrandizing spiel Jon Spencer would no doubt appreciate; when hitched to the rolling and tumbling rhythms of “High Test” and the “Peter Gunn” pastiche “Sunn of Gunn”, Chance comes off less as bandleader than the booze-blitzed conductor of a runaway train that’s perilously close to careening off the rails. And even when Chance cedes lead vocals to some guest female singers, his peculiar presence is still felt: the smooth, knickers-shedding soul ballad “Love by Chance” works as both a heartfelt ode to serendipitous romance, and a cheeky jingle for his own imaginary brand of aphrodisiac perfume.
But while Chance is fond of joking, this album is no joke. As In Search plays out, it becomes increasingly clear that the record’s scatterbrained eclecticism and frantic energy is less a product of eccentricity-for-eccentricity’s sake than a manifestation of the very real anxieties fuelling this endeavor. For all the musical bravado on display here (the climactic guitar solos on “Angel” and “Drema” are practically “Comfortably Numb”-worthy), Chance’s lyrics continually suggest his failure is certain (“everyone tells me I’m a loser”; “I’m on the outside looking in”; “the buzzards flying high over me”), and that this record amounts to a knowing act of career suicide, if not the prelude to a real one. (In this light, the “give you all the love that I can” hook of “Mr. Freedom Man” seems less the command of a horny superhero than the delusional fantasy of an insecure Clark Kent.)
In Search hits its delirious peak with “Dead Medley,” a shot of southern-rock funk that ruminates on the deaths of Jimi Hendrix, Buddy Holly, and Hank Williams while extrapolating liberal quotes from The Doors’ “When the Music’s Over” to emphasize the do-or-die stakes at play here; in Chance’s hands, Jim Morrison’s “cancel my subscription to the resurrection” becomes “cancel my subscription to the Rolling Stone,” as if he were already resigned to his wholesale rejection by the rock establishment. In Search’s swift slip into oblivion didn’t exactly ruin Chance– he continues to record today under the alias of Alamo Jones and, for the past eight years, he and Clement have hosted a popular country-music radio show on Sirius XM. But now that his most painstaking, singular musical achievement has been rescued from history’s dustbin, Chance is in a much better position to answer a question he asks himself deep into In Search: “Have you ever felt like a loser until you win”?

mp3 VBR~275 kbps | 115 MB | UL | CL | TB

TOMPowerhouse Records is proud to present Tom Principato’s 12th studio album: ”Robert Johnson Told Me So” Joe Wells drums, Tommy Lepson keyboards & harmony vocals, Steve Wolf bass, and Josh Howell Congas, percussion, harmony vocals and harmonica, w/ guest appearances by Jim Brock drums, Willie Weeks, bass, Chuck Leavell organ + piano, Shacara Rogers, Rochelle Rice & Imani-Grace Cooper from ”Afro Blue” vocal group, and 2 horn sections with Chris Watling baritone sax, Pete BarenBregge, & John De Salme tenor sax, Justine Miller & Graham Breedlove trumpet, and Antonio Orta alto sax. The title cut refers to Robert Johnson, who was a legendary Mississippi delta blues musician in the 1930’s whose music and life are surrounded by much legend and folklore. He sang songs about women and drinking, dealing with the Devil, riding the blinds (trains), standing at the crossroads, Hellhounds plaguing his life and stones that blocked his passway. This was all done with a single acoustic guitar played with a ”bottleneck slide”, and impassioned singing about all of the aforementioned demons that haunted his life–the life of a ”drifter”. Those of us who have heard his music know that Robert’s vocal articulation at first listen is not always clear and understandable–it is for this reason that I joke that it took a lot of time before I came to undersatnd exactly what it is that Robert Johnson was trying to tell me! ”Catch a train goin’ down the track I don’t care if I never come back. If the goin’ gets tough then it’s time to go Robert Johnson told me so”.

mp3 320 kbps | 120 MB | UL | CL | TB

daveThe “Mississippi meets Chicago” blues partnership of Dave Riley and Bob Corritore  is now in its 8th year. This is their 3rd CD together.
Dave Riley grew up in Hattiesburg, Mississippi before moving to the West Side of Chicago. He worked down South in later years, and was a close associate of Frank Frost, Sam Carr and John Weston.
Bob Corritore is a Chicago born and bred harmonica player.  He won the 2012 Living Blues Award for Best Harmonica Player. Bob’s Harmonica Blues CD won a 2011 Blues Music Award, he is a recipient of  the Blues Foundation’s Keeping The Blues Alive Award and performed on a Grammy-nominated album.

mp3 320 kbps | 102 MB | UL | TB | CL

HOTTracks:

01. Serpent Of Dreams
02. I’ll Let You Know Before I Leave
03. How Long Blues
04. More Than My Old Guitar
05. Deep Ellum Blues
06. Things That Might Have Been
07. Barbeque King
08. I Know You Rider
09. Preaching On The Old Campground
10. Sugaree
11. Bar Room Crystal Ball
12. Walkin’ Blues
13. Keep Your Lamps Trimmed And Burning
14. 99 Year Blues
15. Ice Age
16. Hit Single #1
17. Ak-47

mp3 320 kbps | 281 MB | UL | TB

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