And the Fish-o-caster!
Goddess of The Blues!
Sister Rosetta Tharpe – Didn’t It Rain
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.”
“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…
Fleetwood Mac Peter Green – Black Magic Woman (Live Boston Tea Party) 1970
Published on Sep 18, 2011
Fleetwood Mac Live At The Boston Tea Party 1970
Ah yes, the Lord God and band. This is the original Black Magic Woman, as written by Peter Green and performed by the wealth of Blues awesomeness that was the original Fleetwood Mac. Some absolutely delicious guitar throughout by the prodigal genius of Danny Kirwan with a solo and counterpoint with Peter. Sublime to the maximum possible level of sublimity.
PETER GREEN – THE ROBERT JOHNSON SONGBOOK
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.
Joe Bonamassa “Just ‘Cos You Can Don’t Mean You Should” Redemption
Published on Sep 4, 2018
► FREE ALBUM DOWNLOAD – https://joeb.me/JBYouTube18
● Official Tickets ●
● Official Merchandise ●
A fabulous song about a problem that so many people share. So many…
TEXAS BURNING with Carolyn Wonderland: “I Live Alone With Someone”
Published on Jul 17, 2011
Guitar-goddess Carolyn Wonderland opens her set with a bluesy rocker that includes a searing guitar solo. Song was one of ten included “Texas Burning: A Lone Star Salute to Our Troops” HD concert special currently airing nationally on PBS. Includes introduction by Mattson Rainer of KNBT 92.1 FM.
Mistress of the Telecaster! And an absolutely killer voice to go with it. Goddess!
Joe Bonamassa – “Distant Lonesome Train” – Official Music Video
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 ●
● Official Merchandise ●
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?
Waylon Jennings RARE Outlaw Video…”Ramblin’ Man” (Full Length Song).wmv
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 : )
No Angels – Samantha Fish Live @ Friday Night Concert Series Cloverdale, CA 8-31-18
Published on Sep 1, 2018
Samantha Fish closed out the summer Friday Night Live concert series in Cloverdale, CA on 8-31-18 playing to a huge crowd that came from near and far. She brought her full Belle Of The West tour band which included Samantha (guitar/vocals), Phil Breen (keys), Rebecca Crenshaw (fiddle), Alex Massa (trumpet, mandolin and acoustic guitar), Chris Spies (sax, flute and percussion), Chris Alexander (bass) and Scott Graves (drums). Playing two packed sets, each a full concert in their own right – she blended blues, rock, soul, country and Americana roots styles as she masterfully played and sung her guts out. Happy to share this powerful and mind blowing concert captured up close and personal!
Samantha is my Goddess…
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!
Moreland & Arbuckle – “When the Lights Are Burning Low” (Free At Noon Concert)
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.
Anders Osborne – 5 Bullets
Published on Aug 10, 2015
Great one by Anders Osborne. Can’t believe no one tried to put it on YouTube till now…
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 : )
“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.
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 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.
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
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]
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 24th 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.
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!
“The Wreck of the Edmund Fitzgerald“ – Gordon Lightfoot (HD w/ Lyrics)
Published on Aug 23, 2010
Haven’t seen too many videos with a good quality version of this song, so I thought I’d put together a video with lyrics. Enjoy! Pictures are Copyrighted to their respected owners. Video made by me. [EDIT]: I apologize for a few of the words being wrong in the video, but I tried my best. I hope you all can enjoy it anyways!
Must be old classics day here at the Hauptquartier.
Which is great! Well, for me, anyway, cuz it just doesn’t get much better than Gordon Lightfoot belting out a stunner with all his passion burstin’ out.
Long Cool Woman in a Black Dress – The Hollies
Published on Sep 24, 2006
Long Cool Woman in a Black Dress” was a song by the rock and roll group, The Hollies, and released on February 1, 1972 as a single on the Parlophone Records label.
It was released soon after Allan Clarke, who was featured on lead guitar as well as lead vocal had left the group, from their album “Distant Light” (1970). As the group had just left EMI/Parlophone and signed with Polydor, they did not promote the song. However it became a No. 2 hit in the United States, their greatest ever singles success there. It was inspired and in the style of the rock and roll group Creedence Clearwater Revival, and on being reactivated by EMI in Britain a few months later, it reached No. 32.
The song is notable in that it features Clarke playing rhythm guitar, something he rarely did (Clarke came up with the song’s signature guitar rhythm that opens the song).
Taken from: http://en.wikipedia.org/wiki/Long_Coo…
Hey, folks, this old fave, which I haven’t heard in ages, is Joe Bonamassa’s video of the week! And since it’s a rockin’ classic goodun I am happy that it is! Joe has good taste. Gosh, we all know that.
I’m glad he jogs my memory. Because it needs joggin’ more and more these days.
Zager And Evans – In The Year 2525 (1969)
Published on Mar 30, 2015
Original Promo Video
One of the best songs in the history of songs… at least in my book and my brother’s, too.
Many folks don’t know this, but Denny Zager makes guitars, quite possibly the best ones in the world. I plan to get one as soon as I am able. They are so easy to play that even folks with MS can play them! How cool is that? If you use this link you could win one! zagerguitar.com/giveaways/zager-guitar-giveaway
Scrapper Blackwell – Nobody Knows You When You’re Down and Out
Published on Jan 1, 2012
Scrapper Blackwell – Nobody Knows You When You’re Down and Out
A truth among truths. Trust me. I know.
FLEETWOOD MAC : Got A Good Mind To Give Up Living.
Published on Jan 24, 2010
Performed at The Fillmore West, January 4th 1970.
As do I, Peter Green OBE, on a daily basis.
A classic by the the Lord God of Blues guitar and his lovely pure band.
Released: 2018. Track 1 of 10.
Packs the punch of a heavyweight champion as Tinsley reclaims his place with the giants of blues-rock guitar. From searing licks to psychedelic riffing, Tinsley and his axe are front and center on a riveting collection of heart-pounding rockers, raucous R&B and devastating blues. “Fiery controlled intensity…soulful, gritty, hard-edged blues rock” – Living Blues
Produced by Tinsley Ellis and Kevin McKendree
Recorded and mixed by Kevin McKendree at The Rock House, Franklin, TN
Assistant Engineer: Yates McKendree
Mastered by Jim Demain at Yes Master Studios, Nashville, TN
Packaging Design by Kevin Niemiec
Photos by Flournoy Holmes
Special thanks to Michael Rothschild, Jack Randall, Barron Ruth and Larry Leake
Tinsley Ellis: Guitars and Vocals
Kevin McKendree: Organs, Pianos, Baritone Guitar On “Nothing But Fine”
Steve Mackey: Bass
Lynn Williams: Drums and Percussion
In memory of William Tinsley Ellis, Sr.
Tinsley is always wonderful and never fails to thrill us Blues fans.
Black Oak Arkansas – Jim Dandy – [original STEREO]
MusicMike’s “Flashback Favorites”
Published on Aug 8, 2012
Black Oak Arkansas Was Originally Formed In 1965 And Were Known Then As “The Knowbody Else”. In 1970, They Changed Their Name To Black Oak Arkansas After Signing With ATCO Records. Their “Southern Fried Rock” Style Reached The Height Of It’s Popularity During The 1970’s With The Release Of 10 Charting Albums. In Late 1973, The Band Released Their 5th LP Titled “High On The Hog” Which Included “Jim Dandy” And Featured The Raspy Voices Of Both “Jim “Dandy” Mangrum And Ruby Starr. “Jim Dandy Was A Remake Of An Original 1957 Hit By LaVerne Baker. It Did Well For The Band, Reaching #23 On The Billboard “Hot 100” In Late 1973 And Into Early 1974.Introduction By Top 40 Hit Radio “I-100” From Daytona Beach, Florida
Another Joe Bonamassa suggestion! Whee!
Different vid of the mighty Arkansans, though, cuz Joe’s pick only had the left channel. Strange. Freaked me out, started checkin’ my rig ‘n’ shit…
Link to Joes store… Shop.JBonamassa.com/
If you could help me it’d be incredible… PayPalMe/IgnatiusFMakarevich
Weirdness is rulin’ tonight.
PETER GREEN FLEETWOOD MAC Live in Boston MA 1970 (Volume 3)
Published on Oct 19, 2011
“Jumping at Shadows” (Bennett)
“Sandy Mary” (Green)
“If You Let Me Love You” (B. B. King)
“Loving Kind” (Kirwan)
“Coming Your Way” (Kirwan)
“Madison Blues” (James)
“Got to Move” (James)
“The Sun Is Shining” (James)
“Oh Baby” (James)
“Tiger” (Ollie Jones)
“Great Balls of Fire” (Jack Hammer, Otis Blackwell)
“Tutti Frutti” (Joe Lubin, Penniman, Dorothy LaBostrie)
“On We Jam” (Green, Kirwan, Spencer, John McVie, Mick Fleetwood)
Well, what can one say when the Lord God’s band plays?
Savor every note.
Jerry Garcia Acoustic Band – Ragged But Right (Full Album)
Published on Mar 26, 2014
1. Ragged But Right (00:30)
2. Short Life Of Trouble (04:55)
3. I Ain’t Never (08:44)
4. Trouble In Mind (12:43)
5. Drifting With The Tide (18:21)
6. Band Introductions (21:50)
7. Deep Elem Blues (23:37)
8. Rose Lee McFall (30:36)
9. Two Soldiers (33:58)
10. If I Lose (38:36)
11. Bright Morning Star (41:25)
12. Goodnight Irene (43:57)
13. It’s A Long, Long Way (To The Top Of The World) (51:15)
14. Drifting To Far From The Shore (55:08)
15. Turtle Dove (1:00:40)
Ragged but Right is the second live album by the Jerry Garcia Acoustic Band. It was recorded in October and December 1987 at the Lunt-Fontanne Theatre in New York City, the Wiltern Theatre in Los Angeles, and the Warfield Theater in San Francisco. It was released on November 16, 2010, twenty-two years after the band’s first album, Almost Acoustic.
Garcia on guitar and vocals, David Nelson of the New Riders of the Purple Sage on guitar and vocals, and Sandy Rothman on mandolin, dobro, banjo, and vocals — plus long-time Garcia collaborator John Kahn on acoustic bass, Kenny Kosek on fiddle, and David Kemper on snare drum.
Oh, dear Lord, my heart’s a-swingin’ and my Soul’s a-smilin.’
I miss this stuff so bad…
David Grisman Quintet – 10.23.77 – Santa Cruz, CA
Published on Apr 9, 2014
01 Opus 12 00:00
02 Japan 03:20
03 Dawg Patch 06:58
04 Pneumonia 10:54
05 Cedar Hill 17:57
06 Swing 51 22:01
07 Band Introductions 27:14
08 Minor Swing 29:48
09 Barkley’s Bug 33:52
10 Spain 37:09
11 Blue Midnight 44:22
12 Move 48:03
13 Thailand 52:34
14 Dawg’s Bull 01:05:05
15 Limehouse Blues 01:08:07
Oh the diversity! Oh the talent! Oh the Joy!
Down to seeds and stems again blues – Commander Cody and his Lost Planet Airmen
Published on Oct 28, 2010
Commander Cody and his Lost Planet Airmen……………………………………Down to seeds and stems again blues
Yep. This song has always been in the soundtrack of my life. Mostly the seeds and stems part. But the general feel… oh yeah.
This just in!
Guitar Player magazine
A Young Eric Clapton Delivers the Goods for Aretha Franklin in 1967
22-year-old Eric Clapton delivers the goods on an Aretha Franklin classic.
dfanelli 8 hours ago
In December 1967, while he was still a member of Cream, 22-year-old British guitar phenom Eric Clapton was brought into a recording studio in the U.S. and asked to add a guitar part to Franklin’s powerful “Good to Me As I Am to You.”
It represents Clapton’s first official American recording session as a “famous guest guitarist” lending his skills—and, to some degree, his name—to someone else’s recording. That’s Clapton’s guitar—we assume it’s a Gibson of some sort—in the left speaker; note that you might have to turn it up a bit for the full effect.
“Good to Me As I Am to You” was released January 1968 on Franklin’s Lady Soul album. Other musicians on the track include Spooner Oldham (organ), Tommy Cogbill (bass) and Roger Hawkins (drums). Enjoy!
Aretha Franklin – Good to Me as I Am to You
Trip Hop Universe
Published on Mar 27, 2012
Aretha Franklin – Good to Me as I Am to You album: lady soul (1968)
Who knew?! The awesomeness knows no bounds…
Not a one.
Joe South – Coming Down All Alone (brilliant song!)
Published on Jun 14, 2016At last one of Joe South’s best songs has been uploaded on Youtube. The song is the opening track on his 1972 album ”A Look Inside”. (I didn’t have access to the original vinyl album or CD release when I uploaded the song, but I hope this sounds OK anyway.)
An insight into the aftermath of addiction and the tragedy thtat rips lives apart. Very powerful. Joe was such a brilliant man. He moved upstairs way too soon.
“Games People Play” – Joe South – 1969
Published on Feb 24, 2007
Make sure to visit www.joesouth.com
There is also a wikipedia.org page on “The Games People Play” that has some great info on the song. The lyrics below are from that site: http://en.wikipedia.org/wiki/Games_Pe…)
“Games People Play” is a song written, composed and performed by singer/song-writer Joe South. In 1968, the song was released on Joe’s debut album: Introspect. It won the Grammy Award for Song of the Year in 1970. The song has been covered by Jerry Lee Lewis, Tesla, The Georgia Satellites, Big Tom and The Mainliners, Bill Haley and His Comets, The Tremeloes, Johnny Johnson & the Bandwagon, Ike and Tina Turner, Dreadzone, Hank Williams Jr., Inner Circle as well as others. It was also mentioned in the Brian Wilson song “Games Two Can Play” from his unreleased album Adult Child.
Noteably, in Singapore circa 1969, an instrumental version showed-up on a single by The White Crane Orchestra. The reggae band Inner Circle also released a cover version which was quite popular in Europe for a while in the mid-90s. In 2006, it was covered by Jools Holland on his album Moving Out to the Country with guest vocalist Marc Almond. The Scottish singer, Dick Gaughan, covered it on his album A Different Kind of Love Song.
Whoa–the games people play now.
Every night and every day now.
Never meanin’ what they say now.
Never sayin’ what they mean.
While they wile away the hours
in their ivory towers,
’till they’re covered-up with flowers
in the back of a black limousine.
La, da, da da, da-da da;
La, da, da da, da-da de…
talkin’ ’bout you-n-me
and the games people play–now.
Whoa we make one another cry,
break a heart then we say goodbye;
cross our hearts and we hope to die
that the other was to blame.
But neither one will ever give-in,
so we gaze at an eight-by-ten
thinkin’ ’bout the things that might have been
and it’s a dirty rotten shame.
People walkin’-up to ya,
singin’ glory hallelujah
‘n’ they’re tryin’ ta sock it to ya,
in the name of the Lord.
They’re gonna teach you how to meditate,
read your horoscope, cheat your fate.
And furthermore to Hell with hate
Come-on and get-on board.
Look-around tell me what you see.
What’s a-happenin’ to you and me?
God grant me the serenity to jus’ remember who I am.
’cause you’ve given-up your sanity
for your pride and your vanity,
turn your back on humanity;
Oh and you don’t give a da da da da da.
[Chorus x 3]
I loved it then… I love it even more now. Still 100% true and relevant.
I have never heard anything by the late Joe South that I didn’t like. Rest In Peace, Sir.
A brilliant singer/songwriter and guitarist, who was so terribly underrated. He did great session work, too, check the credits on Chain of Fools by Aretha.
Released: 2018. Track 2 of 13.
Six original songs imbued with the spirit of the blues’ greatest traditions and seven vibrant takes on classic tunes by Elmore James, Muddy Waters, Son House and more. From front porch acoustic finger-picking to swaggering Chicago shuffles and dark, swampy blues, Curtis and Alan play with the joy of kids in a candy store, delighting in the rich, captivating legacy of the blues.
Curtis Salgado’s earth-shaking vocals and forceful harmonica playing have been devastating audiences around the world for over 30 years. Alan Hager’s guitar expertise has been wowing fellow musicians from his hometown of Portland, Oregon and beyond for decades. Hager has been jamming with Salgado since 2003, and joined his band full-time in 2015. “Alan is the best player in the business, unlike anybody else,” Salgado says.
Together, the two blues fans and friends took time out of their busy touring schedule to record Rough Cut, a stripped-down album featuring a potent mix of newly written, timeless originals and carefully chosen blues covers. “We did it for the love of the music,” says Salgado. “This is where our hearts are. These are deep songs that we love to play.”
With Curtis’ inspired singing and world-class harmonica playing and Alan’s spellbinding guitar, Rough Cut is the album Salgado and Hager have always wanted to make together—soulful, sparse, haunting—a blues lover’s dream come true. The music is a moving exploration of the joyful, emotionally uplifting power of passionately played and soulfully sung acoustic blues, the music Hager calls “American Classical.” “This type of music moves us the most,” says Salgado. “You believe it when you hear it.”
Wonderfully wonderful. Oh my, yes,
Kenny Chesney – While He Still Knows Who I Am – An Alzheimer’s Tribute
Published on Jul 1, 2012
In November 2011, my father was diagnosed with Alzheimer’s. From that day forward, I was determined he would not forget me … or I him. Kenny Chesney’s While He Still Knows Who I Am is exactly where I am right now, unscripted. A tribute to all who are living with and dealing with Alzheimer’s disease.
Oh Lord, more tears for another beautiful song. All the same feelings. My dad… I think he was catching it but he rejected me for the last three years so I spent that time in anguish wondering why and then a broken hip took him from us. Oh God I just want to die. Maybe then I could ask him… why.
JAY ALLEN – BLANK STARES
Published on Apr 12, 2017
Get “Blank Stares”, now available on iTunes: https://goo.gl/x3Oznd
***ALL PROCEEDS GO TO ABE’S GARDEN***
My name is Jay Allen. I’m a country music artist and songwriter signed to Sony/ATV in Nashville, TN.
My mom has early onset Alzheimer’s, and at the age of only 52, she’s now showing signs of stage 6. It’s something that has affected my family deeply, something that we can’t escape, and it brings me to my knees most days.
I grew up in small town rural Iowa with mom(Sherry), dad(Joe), and my two baby sisters(Cassie and Amber). We didn’t have a lot, but our parents always seemed to find a way, sometimes working 2-3 jobs each to make sure we had enough. Looking back, it was a humbling childhood, but what I think affected me most was my mother’s affection and selflessness towards all of us. She always put her children first, no matter what the sacrifice. If we wanted some stupid toy for Christmas, she would work the overtime or pick up an extra shift. She didn’t care what it took, she just wanted us to be happy.
When I was in middle school, I remember asking my mom what she would change to make her life better if she could go back in time.
Her response was, “I wouldn’t change a thing. I was made to be a good mom. I live for you kids.”
Now that I’m older, I hold onto those words as I watch this horrible disease steal away a beautiful woman. Sometimes I want to yell at God when I hear her stumble through a simple sentence, or when I look at her and feel like she’s not even there anymore. It makes me so mad, and it kills me that I can’t fix it. But then there are the moments of hope, when dad brings her to visit Nashville and we dance all night at The Sutler…or when she grins and taps her foot to the live music…or when I wrap my arms around her, and she takes a deep breath and says, “I’ve missed you, Jay.”
Her words, the good memories, and the moments of joy – that’s what I hold onto.
As a songwriter and up-and-coming artist, I feel that I have an obligation to be a positive role-model, and to also give back by utilizing the gifts that God has blessed me with. In realizing the importance of this, I finally found the courage to write a song about my experience, called “Blank Stares”. My vision is that this song will raise awareness, bring hope to those affected, and most importantly, become a weapon in the fight against Alzheimer’s.
So please, download your copy of “Blank Stares” today, share, and dream with me. Music is powerful. Let’s do something with it.
With all my heart,
Written by Jay Allen and Jason Nix
Music produced by Jason Nix
Video produced by Steve Freeman
© Sony/ATV Music Publishing
I need to listen to this again. Maybe a couple more times. It sounded great, but I didn’t really hear it as I was crying my eyes out.
For over a decade my life was devoted to full time for my aunt who was taken by this incredibly awful disease. Incredibly awful doesn’t adequately describe how frightening it is … especially for the person who has it. I did it 24/7 and gave up working. It was for love, it taught me so much about what love is and it was I think also to give some some atonement for my disgusting neglect of my mom as a teen and early twenties self-centered asshole. Mom was taken by Multiple Sclerosis starting when I was ten years old and I cry myself to sleep every night asking her forgiveness. We had her home till we physically couldn’t and lucked out into the only good nursing home in the state for her last ten years and I hardly ever visited. I was and am a sack of shit. It’s one of the reasons I long for death … it’s simply what I deserve. She was a beautiful mommy and so devoted to us it took your breath away. She even turned me on to Forteana.
Oh God help us all.
Joe Bonamassa Live Official – Lonesome Whistle Blues
Published on Jul 31, 2018
► FREE ALBUM DOWNLOAD – https://joeb.me/JBYouTube18
● Official Tickets ●
● Official Merchandise ●
Ooh, baby, this one’s got raw, biting POWER!
Whoo! Dig it!
Tony Sarno “Walkin’ Blues” (Official Audio)
Published on Jun 7, 2014
Tony Sarno “Blue Shadows” (Official Audio)
Tony Sarno (and the Screamin Blue Demons). From the album “It’s a Blues Thing” available on iTunes here: http://georiot.co/2eYW – also available at Amazon MP3, Google Play and other digital sites.
Copyright: 1995 Icehouse Records.
“It’s a Blues Thing” is Tony’s debut album, recorded in seven days in May 1995 in Memphis, TN. Featuring the rock-solid rhythm section of Keith Christopher on bass and Gregg Morrow on drums with Paul Provost and Greg Reding on Hammond B3. Produced by Mark Maynard and Tony Sarno and engineered and mixed by Rusty McFarland. Hard-Rocking Blues and molten guitar directly from the home of the Blues.
Tony Sarno is an American singer and guitarist who has recorded numerous critically-acclaimed Rock and Blues albums. Tony has toured the United States, Canada, Europe, Australia, Argentina, and Mexico with his band or as guitarist with David Clayton Thomas’ Blood Sweat and Tears, Dee Archer and Peter Tork. He has dozens of published songs and pieces written for TV and other broadcasts. Tony produced international releases Thunderhawks, Tony Sarno, Silent night, and co-produced Dee Archer’s Sooner or later and Tony Sarno & the screamin’ blue demons “It’s a blues thing”. He produces background music for CBS Sports and music for Big Fish Audio. He has shared numerous concert bills with B.B. King, as well as bills with Stevie Ray Vaughan, Hall & Oates, Johnny Winter, and Little Feat. Tony has recorded for CBS/Holland, Icehouse/Priority, Marconi, and Bandwidth Records. His music appeared in the Craig Brewer film Poor & Hungry, and on the Masters of Blues CD compilation with Albert King, Buddy Guy, and the Allman Brothers Band.
Tony! My cuz!
Damn it has been so long since Ive seen him… since I was a kid, for Gods sake! It was torture last year when Tony had a private party at the Capitol in Port Chester and I couldnt go as I was still taking care of Clare and there was no one to help at night. Maybe this year, as shes in Heaven now…
This track was also downloaded from the wonderful folks at Alligator Records, the best Indie Blues label in the world.
Elvin has been around for a long time now and I must say he never fails to deliver Big Fun. I can’t for the life of me remember any tune that wasn’t!
Elvin and his Big Fun Trio-mates (Willy Jordan on cajon and vocals, Bob Welsh on guitar and piano) serve up a fresh new helping of their good ‘n’ greasy blues and R&B, highlighted by the title track, a comic State of the Union address as only the blues and Southern Rock legend can deliver. Album includes four additional new originals, Big Fun Trio takes on Elvin’s Right Now Is The Hour, Jackie Wilson’s (Your Love Keeps Lifting Me) Higher & Higher, Ann Peebles’ I Can’t Stand The Rain and more. “Deceptively loose but always tight…the raspy chuckle in Bishop’s singing and the sharp sting of his guitar are forceful and fresh, enduring and fun.” –Fresh Air, NPR
Ram Jam – Black Betty
Published on May 5, 2017
Music video by Ram Jam performing Black Betty. (C) 1977 Epic Records, a division of Sony Music Entertainment http://vevo.ly/sEP0WP
Ooh, love, love, love!
You can blame the amazing Joe Bonamassa for this as I love it and he just sent it to us in his newsletter as the video of the week. Newsletter title this week — Ram Jam’s Infectious Version of Black Betty – Watch Now! Good taste Joe has! He said, “Originally Done By The Late and Great Leadbelly. You Could Not Get Any More Seventies Than This. An All Time Classic Song.” True dat!
Right you are, Sir and Thank you, Joe, I love this song so much.
Leadbelly’s is also posted on here, just search, eh.
Peter Green’s Fleetwood Mac – The Green Manalishi (With The Two Prong Crown)
Published on Oct 24, 2009
One of my favourite Fleetwood Mac songs, enjoy 🙂
Peter would vehemently disapprove of the video title of “Peter Green’s…” as he did ever since some record company suit came up with it. But, being as it will likely always stick, we shall move on.
One of my faves, too. This song came in as the move into more complex music was starting, it is meaningful … the green manalishi is money and this is about the evils of same.
Mr. Green is a good man… very philanthropic in his heart and he tried as best as he could. I wonder if he still does good stuff in his retirement?
A classic… dig it.
Thin Lizzy – Whiskey In The Jar
Published on Mar 16, 2013
Supporting Kiss & Motley Crue Allphones Area, Sydney 9th March 2013
A most excellent rendition of one of my all-time favorite songs.
Dig it. Crank it.