Diane Blue’s debut album on Regina Royale Records features blues royalty: The masterful blues guitarist, Ronnie Earl, and Boston’s Queen of the Blues, Ms. Toni Lynn Washington singing along with Ms. Blue on a few tracks. Ms. Blue performs vocals and harmonica in this soulful collection of original and cover tunes, paying homage to Nina Simone, Koko Taylor, Dinah Washington, and Aretha Franklin. Her ensemble includes drummer Lorne Entress and pianist/Hammond B3 organist Dave Limina (both of Ronnie Earl’s “Broadcasters”), along with Boston’s Bobby Gus on guitar, Johnny “Blue Horn” Moriconi on trumpet. Scott Shetler does double duty on saxophone and horn arrangements.
Rum Bar Records today we bring you the title track off the upcoming new album from Mono In Stereo. It’s a modern day anthem for a Generation growing older by the day looking back to younger days. Shit happens, but it’s like Tom Petty said..beats the hell out of the alternative. So you may as well Rock out and have a little bit of fun along the way. This is one of those tunes were you can practice your best Pete Townshend swing, so wind it up and swing like a crazy Man and have fun with Mono In Stereo and remember it’s only rock ‘n’ roll but we like it…..
11 covers of songs by several of Johan Asherton’s favorite songwriters, including Gene Clark, Gram Parsons, Bob Dylan, Townes Van Zandt, David Blue, Tim Hardin, and Jackson C. Frank among others.The album features contributions by Stephane Dambry (dobro, banjo, mandolin), Sarah Smith (fiddle), Eleonore Chomant (vocals) and Laurent Pardo (bass, cello).
Street Dogs is a testament to how a veteran band can remain vibrant, relevant and continue to progress. The folk/jazz infused “Angels Don’t Sing The Blues”, the flowing “Poorhouse of Positive Thinking”, the boogie blues of “Street Dogs for Breakfast” and the epic New Orleans inspired “Cease Fire”, with it’s Radiohead-like interlude, have a swing and a swagger the runs through much of the album. Panic’s rock and blues roots shine brightly on renditions Alan Price’s “Sell Sell”, Murray McLauchlan’s “Honky Red” and Willie Dixon’s “Taildragger”, made famous by Howlin’ Wolf.
This is Eastbound Jesus’ third studio recording and follows on from last year’s excellent live album; all this as well as a hard touring schedule since their inception in 2010. Their sound hasn’t changed a great deal in that time, nor did it need to, but there has been a ‘hardening off’ or perhaps a maturation in their hugely pleasurable take on a powerful alt. country sound that has elements of bluegrass and other roots strains. To a degree I am reminded of the Old Crow Medicine Show, not in terms of their sound but because there is an exuberance and life to their music that few other bands possess. Certainly there are other areas of similarity, such as their virtuosity, although that fiery commitment is what stands out, almost as if the two bands are interchangeable, dependant on whether they want to play alt. country or a strain of the older traditional acoustic music that the Old Crows play.
While that label really is rather ill fitting, the career-spanning retrospective ‘Alone and Unreal: The Best of the Clientele’ serves as a potent reminder of just how discreetly revelatory the group’s primary method of operation has always been. Generally, the music collected here expands upon the moodier, more ethereal side of ’60s psych-pop greats (The Beatles, The Kinks, The Zombies, Love, etc.). By honing in on the arcane aspects of their unimpeachable influences, The Clientele arrived at a sound that remains deeply comforting in its familiarity yet continuously engrossing because of its manifold mysteries. Though it could be argued that this hypnotic band was in some ways the product of a post-slowcore/shoegaze era, their output retains a kind of purity because it was largely undiluted by indie norms of the ’90s and 2000s.
Jeff Otis Brown is an American singer, guitarist and songwriter who hails from Ocean County, New Jersey. His influences are deeply based in the roots of American music and his writings draw heavily from country, rock and blues which provide the background for his rootsy, “Jersey” sound.
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