I’m a Bad Luck Woman – Nanda Moura – Mauro Samuel

Mauro Samuel
Published on Oct 20, 2018

A classic blues song by Memphis Minnie. My dear Nanda Moura on vocals.

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ooh, I’ve not heard Nanda before! She is super! Thank you, Mauro!

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973 – BB King Called This His Best Performance

David Hoffman
Published on Aug 6, 2013

This entire film is a must-see. Get it at www.createspace.com/204634. To reach me re my film, send me an email to [email protected] David Hoffman – filmmaker

Well, it sure is mighty fine… that’s for damn sure!

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Sister Rosetta Tharpe – Didn’t It Rain

LosGrollos
Published on Nov 10, 2013

Live Performance of Rosetta Tharpe with ‘Didn’t It Rain’ anno 1964 in Manchester, England as part of The British Tours of “The American Folk Blues Festival.”

You can buy the whole DVD with the British Tours 1963 to 1966 via www.allmusic.com/album/america… www.amazon.com/American-Folk-B…

“The Godmother of Rock and Roll! A true American pioneer and trailblazing legend.” – Joe Bonamassa

Can’t argue with that! This is Joe’s Video of the Week and I am exceptionally happy that it is! An incredible voice… and and incredible guitar player. You’ll see…

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PETER GREEN – THE ROBERT JOHNSON SONGBOOK

GeraldoNX4
Published on Jul 2, 2014

00:00 When You Got a Good Friend

02:47 32-20 Blues

05:42 Phonograph Blues

09:10 Last Fair Deal Gone Down

11:54 Stop Breakin’ Down Blues

15:12 Walkin’ Blues

18:19 Love in Vain Blues

23:07 Ramblin’ on My Mind

26:07 Stones in My Passway

29:04 Me and the Devil Blues

32:06 Honeymoon Blues

34:39 I Believe I’ll Dust My Broom

38:00 If I Had Possession over Judgment Day

41:41 Sweet Home Chicago

Peter Green — guitars, vocals, harmonica
Nigel Watson — guitars, vocals
Neil Murray — bass guitar
Roger Cotton — piano
Larry Tolfree — drums
Street Angels ’98 — backing vocals

Pure joy. No more, no less.

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Joe Bonamassa “Just ‘Cos You Can Don’t Mean You Should” Redemption

JoeBonamassaTV
Published on Sep 4, 2018

► FREE ALBUM DOWNLOAD – https://joeb.me/JBYouTube18

● Official Tickets ●
jbonamassa.com/tour-dates/

● Official Social Links ●
www.facebook.com/JoeBonamassa — twitter.com/jbonamassa

instagram.com/joebonamassa/ — www.pinterest.com/jbonamassa/

● Official Merchandise ●
shop.jbonamassa.com/

A fabulous song about a problem that so many people share. So many…

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Joe Bonamassa – “Distant Lonesome Train” – Official Music Video

JoeBonamassaTV
Published on Sep 23, 2016

Jam packed with filthy licks and driven be a mean, iron riff, Joe Bonamassa’s latest music video from his Blues of Desperation album is infused with the spirit of blues rock. Haunting, almost mystical imagery contrasts with the earthier, starkly realistic vision of the distant lonesome train. “Her spirit calls me / from the barren ground / On that distant lonesome train”. All aboard.

► FREE ALBUM DOWNLOAD – goo.gl/9oI018

● Official Tickets ●
jbonamassa.com/tour-dates/

● Official Social Links ●
www.facebook.com/JoeBonamassa — twitter.com/jbonamassa

instagram.com/joebonamassa/ — www.pinterest.com/jbonamassa/

● Official Merchandise ●
shop.jbonamassa.com/

Sweet, sweet goodness from the modern Master of the Blues. This guy is so good and he has so much energy… and, God, he sells guitar handled backscratchers. I mean … it just doesn’t get any better, ya know?

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Waylon Jennings RARE Outlaw Video…”Ramblin’ Man” (Full Length Song).wmv

Va HOSS
Published on Jan 26, 2013

Waylon performing on the “Cowboy Jack Clement Show” in 1975… More Waylon Videos here.. https://www.youtube.com/playlist?list…

Aaahh!! Chopped the end off in mid-note! That’s freakin’ rude, man. But gosh … it’s Waylon!

It has definitely been way, way too long.

Dig the master : )

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Carolyn Wonderland and Bonnie Raitt – “Ain’t Nobody’s Fault But Mine” from Road To Austin film

Road To Austin
Published on Dec 6, 2015

Carolyn Wonderland delivers an epic rendition of the classic Blind Willie Johnson song “Ain’t Nobody’s Fault But Mine.” Carolyn and Bonnie trade guitar licks in front of an all-star band led by Stephen Bruton and featuring the late Ian McLagan on keyboards. This is one of 37 once-in-a-lifetime performances from the film Road To Austin. To purchase a DVD copy of the film go to www.rtafilm.com

Whoa two of the hottest ladies out there … together!

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Moreland & Arbuckle – “When the Lights Are Burning Low” (Free At Noon Concert)

WXPN
Published on Sep 22, 2016

Moreland & Arbuckle performs “When the Lights Are Burning Low” live at WXPN’s Free at Noon on May 6, 2016. Get a recap and check out photos from this concert on The Key: thekey.xpn.org/2016/05/06/fan-…

Hard rockin’ Blues.

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Anders Osborne – 5 Bullets

RockNRoll44317
Published on Aug 10, 2015

Great one by Anders Osborne. Can’t believe no one tried to put it on YouTube till now…

Fantastic!

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Pick Your Poison

Selwyn Birchwood – Topic
Published on May 18, 2017

Provided to YouTube by The state51 Conspiracy

Pick Your Poison · Selwyn Birchwood

Pick Your Poison ℗ 2017 Alligator Records & Artist Management, Inc.
Released on: 2017-05-19

Mixer: Blaise Barton
Producer: Selwyn Birchwood
Composer: Selwyn Birchwood
Lyricist: Selwyn Birchwood
Music Publisher: Selwyn Birchwood Music

Auto-generated by YouTube.

Simply spectacular : )

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“Hard Pill To Swallow” from Journeys To The Heart Of The Blues by Joe Louis Walker, Bruce Katz & Giles Robson. Released: 2018. Track 11 of 12.

Grammy-winnng singer/guitarist Joe Louis Walker, keyboard wizard Bruce Katz and UK harp ace Giles Robson join forces for a spellbinding journey through a treasure trove of rare and classic blues brought to vibrant new life.

“Walker blends melodic deftness and deep feeling with sheer passion and defiant authenticity.” – Living Blues
“Katz’s piano playing is nothing short of breathtaking” – Living Blues
“Robson is a phenomenal talent…a harp master at the top of his game” – Blues Revue

Joe Louis Walker: Guitars and Vocals
Bruce Katz: Piano
Giles Robson: Harmonica

Produced by Joe Louis Walker, Bruce Katz and Giles Robson
Associate Producer: Scott Petito
Recorded, Mixed and Mastered by Scott Petito at NRS Recording Studio, Catskill, NY, January 2018
Photos by Mickey Deneher
Packaging Design by Kevin Niemiec

Booking: Blue Mountain Artists, [email protected]
Management: Bluesifyin’ Productions, [email protected]
Joe Louis Walker endorses Dunlop guitar strings and other products, Zemaitis Guitars, Rozeo Guitars, Babicz Guitars, Quilter Amplifiers, Red Plate Amplifiers and Hohner Harmonicas.

Bruce Katz endorses Hammond Organs.

Giles Robson endorses and plays Hohner Special 20 Harmonicas exclusively.

Joe Louis Walker would like to thank: The Walker Generation Family—my wife Robin Poritzky-Walker, my daughters Berniece Walker and Lena Walker, and most of all, my grandsons Germaine and Corey. Joe also thanks Pat Morgan, Blue Mountain Artists, Alligator Records, V2/Munich Records, the composers, The Buddy Holly Educational Foundation and blues fans everywhere.

Bruce Katz would like to thank: Victoria Read, Liz, Zach and Amelia Hollcraft, Legare Robertson and Founding Music and Steve Nixon and freejazzlessons.com.

Giles Robson would like to thank: his daughter Alderney and son Marlowe for bringing him such joy and love, his parents Pat and Peter and brother Raife for years of unwavering support, help and love, Chris Boog at V2/Munich Records for green lighting the project and his subsequent support and his staff for their hard work on the project’s behalf, and Bruce Iglauer and his staff at Alligator Records for taking it on stateside. Also thanks to the artists who composed the songs on the record and blues harp greats Little Walter, Sonny Boy Williamson and Walter Horton for their life-enhancing creativity and artistry.

walkerkatzrobson.com
joelouiswalker.com
brucekatzband.com
gilesrobson.com
munichrecords.com
scottpetitoproductions.com

LINER NOTES

In January 2018 I excitedly touched down in a freezing New York City, having flown in from London. I was in the United States to record an album of purely acoustic blues with two incredible American musicians—legendary singer and guitarist Joe Louis Walker and virtuoso piano genius Bruce Katz.

Blues music has thrived and survived for well over a hundred and twenty years, and currently boasts countless festivals around the world. But these days, much of what is considered blues is something quite distant from the music’s roots—a loud and proud classic rock-infused sound originally forged by iconic artists like the Rolling Stones, Jimi Hendrix, Gary Moore and Eric Clapton and carried on these days by guitar heroes like Joe Bonamassa, Walter Trout and Kenny Wayne Shepherd.

This album was intended to head in completely the opposite direction. It was to be a celebration of the dynamics, grooves, lyrics and, above all, the feeling of unadulterated traditional blues. Blues played intimately and at a low volume and with the wonderful space that is created when drums and bass are taken out of the equation.

But why did I want to make this album? After my years of leading The Dirty Aces, a British blues-rock band, I had returned to basic traditional-style electric blues in 2016. The resulting album, For Those Who Need The Blues, and the unexpected, incredible audience response that followed, reminded me of the awesome power and emotional impact of pure blues.

It was at the Amstelveen Blues Festival in the Netherlands in December of 2016 that I met the great Joe Louis Walker, whose set was after mine. Joe invited me to sit in on a couple numbers and then we talked music for hours after the show, and about perhaps working together in the future. I was amazed by Joe’s razor sharp musical memory and his extensive blues knowledge, all coupled with the incredible power he wielded on stage. He is a guitar virtuoso with tremendous feeling and an incomparable singer. I came away from my meeting with Joe with my head buzzing with a germ of an idea for a recording project.

A blues musician spends a lot of time in planes, trains and automobiles, and in cheap hotels. This gives him a lot of listening time. I found I was being drawn to acoustic albums by bluesmen who usually recorded with bands, like Sonny Boy Williamson, Junior Wells and Muddy Waters. Freed from having to be loud and heard above a band, these artists displayed an incredible amount of soulful, goosebump-inducing subtlety and sensitivity. These stripped-down performances also put a stronger emphasis on the lyrics—the plain-speaking, truth-telling, experienced, tough, ironic and humorous lyrics that are among the blues’ greatest achievements.

The more I listened to these albums the more I yearned to create something similar. I realized that Joe Louis Walker was the perfect musician I needed to do this record justice. I reached out to Joe and after a few phone calls and emails he was committed to the project.

Joe had the great idea to fill out the sound by including his friend, pianist Bruce Katz. Bruce is well known to blues fans as a long term member of Ronnie Earl & The Broadcasters and also for his work with Gregg Allman, Delbert McClinton, John Hammond and Big Mama Thornton, as well as for his own solo career. Like Joe, Bruce is one of the most incredible musicians I’ve ever encountered. He manages to combine near-perfect execution with down home funk and feeling. He can range from classical to jazz to blues at a drop of a hat, and is a master of all. It was Bruce who suggested Scott Petito’s wonderful NRS Studio in Woodstock, NY. Scott is a recording wizard with an impressive client list including the likes of Mercury Rev, John Scofield, John Medeski, Rory Block and Levon Helm.

Over three days of rehearsal and five days of recording, mixing and mastering, the three of us became very much an organic unit. We picked songs, both obscure and classic, by the likes of Sonny Boy Williamson, Blind Willie McTell, Big Maceo, Roosevelt Sykes and Son Bonds—but we played and recorded them very much our own way.

As I’ve gotten older, my love for blues music has only gotten stronger. My life experiences have caught up with the meanings of the lyrics and the healing feeling of this timeless music. The album title reflects the fact that we felt that each song we chose took us on journeys, both lyrically and musically, to the heart of blues music. We invite you to take those journeys with us.

–Giles Robson

Giles Robson has been described by Blues Revue Magazine as “A phenomenal talent…a harp maestro at the top of his game.”

Mighty and masterful Blues from a most excellent group of players.

Dig it!

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A uniquely talented musical spitfire, Lindsay is a jazz-trained drummer and a classically-trained vocalist, writing and performing raw R&B, blues and old-school rock ‘n’ roll songs with punk rock fervor. Tough As Love explodes with Beaver’s volcanic singing, deeply soulful delivery and powerful chops on seven original songs and a handful of vintage roots gems. A refreshing slap across the face of roots music.

All songs by Lindsay Beaver, SOCAN admin. by Eyeball Music, BMI, except as shown

Lindsay Beaver: Vocals and Drums
Brad Stivers: Guitar, Vocal (5)
Josh Williams: Bass

with
Marcia Ball: Piano (2,4)
Reo Casey: Guitar—right channel; first solo (7)
Laura Chavez: Guitar—right channel; second solo (12)
Matt Farrell: Piano (9,10,11)
Sax Gordon: Tenor and Baritone Saxes (3)
Dennis Gruenling: Harmonica (1,6)
Eve Monsees: Guitar—right channel; second solo (8)
Josh Williams: Reo Casey and Brad Stivers, Background Vocals (8,10)

Produced by Lindsay Beaver
Associate Producers: Bruce Iglauer and Stuart Sullivan
Recorded and mixed by Stuart Sullivan at Wire Recording, Austin, TX 
Mastered by Collin Jordan and Bruce Iglauer at The Boiler Room, Chicago, IL
Photos by Barbara Frigiere
Packaging design by Kevin Niemiec

Lindsay would like to thank: My mom and dad, Laurie and Brian Beaver, Annie Frosst, Brad Stivers, Josh Williams, Laura Chavez, Reo Casey, Eve Monsees, Dennis Gruenling, Sax Gordon, Matt Farrell, Marcia Ball, Jimmie Vaughan, Robin Vaughan, Lisa Pancratz, Bruce Iglauer, Mike Keller, Scott Nelson, Cesar Crespo, Leslie Hagins, Zach Ernst and all the staff at Antone’s, John Scholes, Doug Cox, Cam Hayden, Holger Peterson, Rosy Rosenblatt, Gary Pott and Morrow Scott-Brown. To all those who contributed to the crowd funding for the demo, a BIG thank you: Tom Hyslop, Dave Brennan, Brian Carpy, PJ Bell, Michael Gasser, Colin Cameron, John Scott, Lena Kim, Dave Sampson, Ian Campbell, Steve Kolar, Rhys Williams, Lori Portnoy, Ward Wylie, Ian Royce, Rod Peterson and Alan Moulding.
Booking: [email protected]

www.lindsaybeaver.com
www.facebook.com/lindsaybeaverdrummer/
www.instagram.com/lindsaybeaverofficial

LINER NOTES

The blues and its musical children—R&B, soul and rock ‘n’ roll—have become a true international language. In spite of that, I never expected to choose a female singing drummer from Halifax, Nova Scotia in easternmost Canada to be the newest member of the Alligator Records family. But when I heard Lindsay Beaver, I knew she was a talent that just couldn’t be denied.

Lindsay delivers blues, R&B and old school rock ‘n’ roll in a voice brimming with attitude and soulfulness. She’s described her music as “punk blues” but that’s too narrow a term. She comes at every song with urgent intensity, soul-baring emotion, a distinct swagger and a take-no-prisoners confidence. And she does so while standing (not sitting) behind her drum kit, driving each tune with her tough, less-is-more playing.

So how did this young woman from up north attract the attention one of the world’s premier roots music labels? By the combination of her indisputable talent and her utter determination to be heard, as well as by her all-encompassing musical vision. What other Alligator artist would name her life-changing inspirations as Billie Holiday, Queens of the Stone Age, Nick Curran, The Ramones, Little Richard, Amy Winehouse and Sam Cooke? As she says, “I really like music that has drive and passion. It’s not genre specific.”

Lindsay Beaver grew up in a working-class home in Halifax, surrounded by music. Her parents listened to everything. “I sang soul music my whole life,” she says. At age 11, she discovered Tupac Shakur and fell in love with hip hop. At 14, she heard Jimi Hendrix and then, in her words, “everything changed.” She bought a guitar and learned to play. But her musical direction was sealed at the age of 17. “It was the first Billie Holiday record I got. I heard her sing ‘Don’t Explain.’ It was a very heavy moment. Billie led me to lots of other jazz, and jazz led me to blues.”

After high school, Lindsay received a scholarship to train as a classical soprano. At the same time, she put together a small jazz band featuring her vocals. “My drummer didn’t want to keep bringing his drums over to my house for rehearsal,” she recalls. So my dad scraped together enough money to buy a drum set to keep in the house. As soon as I sat down at that set, I got it.” If Lindsay has a multitude of vocal inspirations, she has one key drumming inspiration—the immortal Earl Palmer, who recorded with everyone from Little Richard and Fats Domino to Frank Sinatra, the Beach Boys, Ray Charles and Elvis Costello. “He was the perfect drummer. He understood how to play for the song.”

At the age of 19, Lindsay first experienced Canadian blues icons the Garrett Mason Trio performing at a local club. “I’d been learning music my whole life, but the concept of making music my career hadn’t yet occurred to me. The first Garrett show I saw, the crowd was lined up down the street. Once we got in, people were everywhere and his trio was on fire. I thought then, ‘I want to do that—have a band, actually be a real musician.’ I went to the Sunday blues jam for the first time that weekend. But I didn’t tell any of the blues guys about my singing. I figured that if I told them that I sang, nobody would take me seriously as a drummer. So I did my jazz gigs in town singing and then would go to the blues jam as a drummer.”

With the encouragement of her drum teacher, Lindsay applied to music school in Toronto to study jazz drumming. “I barely got in. All I could do was shuffle really well. I wasn’t good enough for a scholarship; I’d only been playing for a year when I applied.” While studying drumming she played and sang in local bands, but quickly realized she had her own musical statement to make. At the age of 24, she founded the 24^th Street Wailers, leading the band from behind the drum kit and singing her own originals as well as carefully-chosen covers. She explains, “When I first started out with the band, I couldn’t find a singer I liked and I couldn’t find a drummer I liked, so I decided to do both.” She and the band began making a name for themselves in Toronto and across Canada. Over the course of the next few years, the band cut five albums, three produced by Lindsay, even winning a nomination for a Juno Award (the Canadian Grammy).

Soon she attracted the attention of Texas guitar legend Jimmie Vaughan. “I opened for him in a small town in Ontario. He really dug the band and we got to be friends. After that, when he would come to Canada he’d invite us to his shows. He told me about how much I’d like the Austin music scene and I came down to check it out and kept coming back.” She began sitting in around town, and finally moved to Austin in 2018. She’s definitely established her reputation there, as witnessed by the terrific Austin musicians who chose to appear on the album, including fiery guitarist Brad Stivers and rock-solid bassman Josh Williams (both now in her touring band), plus pianists Marcia Ball and Matt Farrell and guitar ace Eve Monsees.

Lindsay Beaver has already played across the U.S. and Canada and toured Europe multiple times. Now she’s ready for the next giant step in her career–her first album under her own name. It’s proof that no matter where she comes from and how unlikely her story, she can deliver a song with so much honesty, passion and soul that her impact is undeniable.

–Bruce Iglauer
President and Founder, Alligator Records

I think that’s the most extensive set of notes I’ve seen from Alligator, but my mind is almost gone, so maybe not.

She sure packs a wallop, doesn’t she?! Good gracious! And she’s good!

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