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3 mars 2010 3 03 /03 /mars /2010 12:00
http://www.ljplus.ru/img3/l/e/lestp/wham.jpgNote :



Sortie : 1999
Style : Blues

Tracklist :
1. Memphis
2. Where There's A Will There's A Way
3. Wham!
4. I'll Keep You Happy
5. The Bounce
6. Baby What's Wrong
7. Down And Out
8. Satisfied
9. Susie Q
10. Why
11. Down In The Dumps
12. Rockin' Pneumonia And The Boogie Woogie Flu
13. Gee Baby
14. Chicken Pickin'
15. Oh, I Apologize
16. Say Something Nice To Me
17. From Me To You
18. Turn On Your Love Light
19. The Freeze
20. Farther On Up The Road
21. Cry, Cry, Cry
22. Save Your Money
23. Tension (Part 1)
24. Tension (Part 2)

Contains the Fraternity LP THE WHAM OF THE MEMPHIS MAN (1963) plus 13 rare singles and unreleased tracks.

At first glance, this might seem like nothing more than a retread of the classic The Wham of That Memphis Man, as the disc includes all 14 songs from that album. This is a quality upgrade/supplement to that record, though, adding 11 more tracks of 1963-1967 vintage from both rare singles and previously unreleased outtakes. This is hardly filler that only collectors will care about; it's good stuff, sometimes ace stuff, that's almost all on the same level of The Wham. "Oh, I Apologize," a cover of an obscure Barrett Strong track, is white soul singing on par with Mack's best vocal efforts, while "Cry, Cry, Cry" is a great instrumental version of a Bobby "Blue" Bland number; both of these cuts, unbelievably, were not released prior to this CD. The singles "Say Something Nice to Me" and "Save Your Money" (from 1964 and 1967) are more filet of white soul, and "Tension Pts. 1 & 2" (a 1966 single) another cool roadhouse instrumental. Some of the rare add-ons are less essential than others (like the instrumental reading of the Beatles' "From Me to You"), but taken together it's certainly the best Mack collection, enhanced by Bill Millar's informative liner notes. By the way, in one of those inexplicable occurrences bound to cause collectors to run around in circles, the song titled "Farther on Down the Road" on The Wham of That Memphis Man recording is here titled "Farther on up the Road" and listed as previously unreleased, although in fact it seems to be the same track as the one given a different title on the LP. (To cause further confusion, Mack definitely sings the lyric "Farther on up the road, " not "Farther on down the road, " as it was originally titled.) ~ Richie Unterberger

24 track compilation for the great American blues guitarist/ vocalist. Contains his entire 1964 debut record 'The Wham Of That Memphis Man', plus rare singles & unreleased cuts. Eight of the 24 included are previously unissued; 19 tunes are in stereo, the rest in mono. 1999 release.
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26 février 2010 5 26 /02 /février /2010 13:30
http://www.livedownloads.com/images/shows/050721_01.jpgThanks The Roots

Note : ++



Date Recorded: 04/26/2005
Special Guests: Phil Lesh, Buddy Guy, John Mayer, Keller Williams, Nelly McKay

Tracklisting: 1.) I'm A Man 1
2.) Stormy Monday 1 - 8.2 MB
3.) Rock Me Baby 1 - 5.1 MB
4.) Superstitious ~ Whole Lotta Love ~ Bass Drum Jam ~ Word Up 2 - 12 MB
5.) Lively Up Yourself - 11 MB
6.) Crosstown Traffic - 11 MB
Notes:   1f/ John Mayer, Buddy Guy and Phil Lesh
2f/ Keller Williams, Nelly Mckay

As soon as we got to the venue, I had doubts about it. The Theater at Madison Square Garden is not Roseland, and it's damn sure not The Wetlands. Even though the Jammys had been held in the room on one prior occasion, it just didn't seem like a comfortable fit. There's something about the concept of guys in tuxedos walking around the room selling cans of Budweiser for six dollars apiece to guys wearing homemade hemp pants that just doesn't sit right with me.

My doubt was reinforced, as I said, as soon as we got there. The first thing I heard was one of the security guards, who all were wearing those phony old Hollywood bellhop uniforms like you see in Disney World, making an announcement to the good folks on line. The announcement was, and I assure you I'm not making this up, "Ok guys, now you know, you can't bring anything inside." No you can't bring food, or drinks, or drugs. You can't bring anything inside. I was glad I got to bring in my notebook, after the announcement, I wasn't sure if paper was a banned substance.

Following the notification that nothing was allowed, a small battalion of guards began making their way through the crowd with handheld metal detectors, screening people at random. After getting my phone, palm pilot, keys, wallet, and change out of my pockets, I was of course not wanded down. As we finally entered the theatre, I found myself wondering what all the security was about. Then I realized it made perfect sense considering the unspeakably violent crowd that is usually attracted by acts like The Grateful Dead, Mavis Staples and of course, Huey Lewis.

Anyway, we got inside and headed down to the general admission floor section. It didn't take long to make the executive decision that we would do everything in our power to obtain some type of seat for the majority of the five hour event. We walked up to the "tapers section" a.k.a. the first row of seats beyond the standing room only section, and sat down. Apparently, the deal was that if you asked if you could sit there, the usher would tell you no and kick you out, but if you just sat down, as we did, no one would bother you. So there we sat, watching people getting thrown out of the section that we shouldn't have been sitting in and waited for the show to begin.

At eight o'clock sharp, the music began with the appearance of "washboard man." Washboard man, who actually turned out to be the drummer of the North Mississippi All-Stars, was joined almost immediately on stage by North Mississippi, with Chris Myers from Umphrey's McGee on drums. They played one song in this configuration and then Myers left. Washboard man took to the drums and Mavis Staples, of The Staples Singers, joined the band on voice.

Mavis was awesome. She sang "Freedom Highway" and the whole room marched along with her down that road. This marked the first great moment of the 2005 Jammy Awards. It was followed by a slight disappointment. The disappointment was not Buddy Guy who joined North Mississippi next . . . that was actually pretty great. The disappointment was that Mavis left after only one song. My experience with Jammy's past has always been that artists would pair up and jam together for a while. I've never seen a collaboration last for just one tune. Bummer.

Buddy Guy
Photo: Adam Foley

As I mentioned, Buddy Guy, the blues legend and recent inductee to the Rock and Roll Hall of Fame, took the stage next. Whoa! Buddy's guitar was so raw I felt like it might cut me in half. What an incredible tone. It really tears through the bullshit and declares that this guy is the real deal. They played the Muddy Waters tune, "Got My Mojo Workin" and then, DAMN IT, Buddy Guy left the stage after just one song. It was the second time in as many songs that I wanted to see more of what was going on and it was abruptly cut short. I hoped that wasn't the new format of the show. It proved not to be.

At this point, there was a quick break in the action while producer Peter Shapiro welcomed us to the show and said he was glad that they pulled the event off with no sponsors. I'm sure the good folks at American Spirit, D'Addario, Evans, Planet Waves, Linden Travel, Red Hook, Palm Pictures, A View Of You, eMusic, Techistry and the rest of the show's sponsors which I found on the Jammys website under the heading "Sponsors," were happy to hear him say that. Anyway, he then invited Phil Lesh, the Grateful Dead's bassist and host of the show, to the stage. Phil said hi, and announced the next musical performance.

Yonder Mountain String Band with Bruce Hornsby and Vince Herman, did absolutely nothing for me. It was one of only two sections of the evening that I didn't enjoy; the other, which I'll get to, was actually one step worse because not only did I not enjoy it, I found it actively irritating. I'd like to blame my dissatisfaction with Yonder/Hornsby/ Herman on the fact that the sound was terrible, complete with a constant buzz, a few gunshot-like pops, and a keyboard that was completely inaudible for an entire half of the set. But honestly, I think the lack of energy following two great high intensity performances was more to blame than anything. Onwards.

Up next was the beginning of the award show side of the Jammys. Okay, lets be honest people, up next was the beginning of the self-serving bullshit side of the Jammys that no one on earth cares about other than the people giving out the awards and the people getting them. Am I just cynical? I think not. Case in point: Phil Lesh who gave out the first award, held up the award at one point and said "This is cool, I've never seen one of these." Phil has won at least three of the awards to date, getting at least one at each of the past three Jammy Awards. EVEN THE PEOPLE WINNING THESE THINGS DON'T CARE!! But I digress, the awards are part of the show and I'll report on them accordingly. The first award was for best song. Umphrey's McGee won for their tune, "In The Kitchen."

Pigheaded Les Claypool, Mike Gordon and Phil Lesh
held a bass summit at the Jammys.
Dean Budnick, editor of the Relix-owned website Jambands.com, took the podium next and announced that it was time to hand out the lifetime achievement award. A hush fell over the crowd. The recipient of the Lifetime Achievement Award for 2005 had been kept a big secret. All the press for the show would run down the line-up and then add the as yet to be announced Lifetime Achievement award winner. In the past, the announcement was made early, and for at least the past two Jammy's, the winner headlined the show. It was odd that they were not telling anyone who it was this time around. As he was in town the night of the awards, there had been much speculation that Bob Dylan was going to receive the award, and they were keeping it a secret at his request so as not to hurt ticket sales of his shows at the Beacon. Alas, this was not to be. The top secret recipient of the Lifetime Achievement Award was . . . Buddy Guy. What? Buddy Guy? But he's been on the ads for this show for months, and they all said "plus the as yet to be announced Lifetime Achievement Award winner." It was simultaneously pleasing since Buddy surely deserves the award, and would more than likely now play a little bit more for us, but also disappointing because the audience was promised a surprise and wasn't given one.

In my mind, one of two things happened. Either, the Jammys were trying to secure a big name to accept the award, like Dylan, and it fell apart at the last minute so they just gave it to Guy, or they had this planned all along and just screwed over the fans in an attempt to sell out the room, which, if that was the plan, did not work. I would bet it was the former, since the Jammys seem to be fairly fan friendly, but it seems like we'll never know the truth behind the move.

Anyway, Buddy graciously accepted his award and made a great speech about how guys like Muddy Waters, Jimmy Reed and T-Bone Walker really deserved the award and he considered it theirs as well as his. Then he strapped on his guitar and kicked off what to me was the highlight of the show; a jam session featuring Guy and John Mayer on guitar, ?uestlove of The Roots on drums, and Phil Lesh on bass.

The quartet played as if they'd been in the same band for years and ripped through the blues classics "Hoochie Coochie Man", "Stormy Monday" and "Rock Me Baby". The biggest surprise was when Guy and Mayer started battling on guitar, and Mayer held his own with the legend! Who the hell knew that guy could do anything other than the fluff pop he's known for? Apparently, Buddy Guy did. At one point he said Mayer was "the kind of guy who could keep the blues alive." I was impressed and clearly had been underestimating John's ability.

It was also a cool little bonus to see John Mayer jamming with ?uestlove; a collaboration that hadn't to my knowledge actually existed in real life, but had occurred during a comedy sketch on the Chapelle's Show.

Two more awards came next. The Duo won the Best New Groove Award and Phish won the Best Tour award. As Mike Gordon was accepting Phish's award, I began to ponder the fact that the line-up of the show had been announced a month and a half before the fan-based internet voting for the awards concluded, yet so far everyone who had won an award, had been on the show. As the night progressed, there were only two awards which were won by artists not performing at the event, and one of those was won by Jerry Garcia. In case you didn't know, he's dead . . . but I'm sure he was grateful.

The suspicions I was harboring and will not say out loud here, were increased when Keller Williams, who was at the event, beat out Widespread Panic, who were not. When Keller Williams plays in New York, he plays in a club the holds roughly 1,000 people. The last time Panic were in town they sold about 40,000 tickets when they sold out Madison Square Garden for two consecutive nights. 40,000 fans vs. 1,000 fans, and the little guy wins. Seems a little too David and Goliath to be believable, but what do I know?

Now, I'm almost 2,000 words into this review, and I've actually only covered the first hour of what was to be a five hour concert! I think I have to pick up the pace a little. Let's get a few of the performances out of the way, chronology be damned!

Ryan Adams was the first and only act of the night not to be involved in a major collaboration. He and his band, the Cardinals, played two songs and then invited Phil Lesh to join them on a mini-Dead jam of "Wharf Rat/Bird Song". The Dead thing was interesting, the rest kinda wasn't. Oh and Adams has a new look . . . Junkie. Interestingly enough as I write this, about a month later, it was just announced that Ryan Adams would be touring as part of Phil Lesh and Friends in the coming months. I guess they hit it off.

The Roots' ?uestlove and Keller Williams
jam on "Whole Lotta Love."
Keller Williams and ?uestlove did some really interesting stuff together which was quite enjoyable, until Nellie McKay joined them and provided the one moment of the entire night that I just couldn't stomach. I went to the men's room. Taking a leak proved to be much more enjoyable than listening to the next big thing absolutely butcher a Dylan song and then babble on for a few other nails on the chalkboard tunes.

Travis Tritt and the Disco Biscuits doing what Phil Lesh described as "Electronic Country" wasn't nearly as awkward as it sounds. In fact, it was pretty cool, and Travis came off great. It was no weirder than the 2004 Jammys collaboration between the Biscuits and old school rapper, Slick Rick.

Patti Smith would have been great if she showed up, as she was supposed to, but she didn't, so she wasn't.

Burning Spear and Sinead O'Connor
sing about "Marcus Garvey."

Sinead O'Conner who didn't show up the first time I was supposed to see her, which was coincidentally the same day I did see Patti Smith for the first time, performed twice. Once with Huey Lewis, Mavis Staples and Umphrey's McGee which was really pleasurable - they did things like "The Weight" and "I'll Take You There" - and once later in the night with Burning Spear, Medeski Martin and Wood, and the Anti-Balas Horns which was kinda pleasurable, but way too long. The Sinead/Burning Spear thing consisted of not one, not two, but five different reggae songs, before everyone on stage along with Luther Dickenson, Les Claypool, ?uestlove and a few others, tore into the Hendrix classic "Crosstown Traffic."

Everyone's favorite pope hating skinhead did provide the most awkward moment of the night when she asked Burning Spear to begin the song "Jah No Dead" again because they were in "the wrong key". Sounded to me like he was just singing and she was just being way too full of herself. But again, what do I know?

Now, while "Crosstown Traffic" was actually the finale of the show, it wasn't the highlight. If that distinction doesn't go to the Buddy Guy/Phil Lesh/?uestlove/John Mayer jam from earlier in the night, it definitely goes to the jam between The Duo, with Mike Gordon of Phish, who were joined by Phil Lesh, Les Claypool, Gabby La La for Claypool's tune "D's Diner." If you know anything about this genre of music, you know that seeing a three way bass off between Phil Lesh, Les Claypool and Mike Gordon, is a once in a lifetime experience. It lived up to it's potential and more or less stole the show.

That's it for the music.

The other moment that I found interesting was when Headcount won the Community Service Award. Since Headcount, like many leftist organizations, failed to swing the 2004 presidential election even after giving it all their stoned little minds could muster, the "we changed the world" speech stayed in the guy's pocket and the "Headcount wasn't about the election" speech came out. He actually said that! "Headcount wasn't about the election." I have just one question for Headcount guy: Your sole purpose was registering people to VOTE and when the election ended you all but disappeared. What the hell did you think it was about? Fuckin' hippies.

Well that's about it. The show overall was fantastic, and I had a ball. The only thing I have left to mention, is an idea I had for next year's Jammy Awards. I got the idea when I noticed that one of the two guys in front of me was wearing a Woodstock jacket and the other was wearing a Slayer jacket. What the show really needs is a little metal to shake things up. Just about every other genre from Rap to Bluegrass is accounted for. How about next year you guys have the ultimate unexpected collaboration and put some Death Metal band . . . say, Morbid Angel on stage with a gospel group like the Blind Boys of Alabama! It would be incredible. You could bill it as a God vs. The Devil, then rig it so God wins, and finally - this is the kicker - give God the lifetime achievement award!! It would be the biggest thing in the history of music! Plus, it would be interesting to see who he thanked, since most people that win these corny-ass awards tend to thank him first and foremost.

But then again, what do I know?

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5 février 2010 5 05 /02 /février /2010 11:15
Comment commencer cette chronique sans sonner comme une ancienne combattante ? Le blues est entré dans ma vie - et voilà, c’est foutu - un jour où je me suis dit qu’il fallait que j’arrête d’écouter tout ce qui me tomber sous la main dans n’importe quel ordre, et qu’il fallait que j’essaye de comprendre un peu comment est né les formes de musique que j’écoutais alors, et toujours aujourd’hui, comme une morte de faim. J’ai donc posé à mes parents la question qui leur faisait le plus peur, je ne veux pas parler de “Comment on fait les bébés ?”, mais “Papa, comment il est né le roquène raulle ?”. Le blues ma fille, va écouter le blues… Bon, ça s’est pas vraiment passé comme ça, en fait j’ai demandé à Google.

Bref, j’ai donc commencé à écouter du blues, en lisant quelques pages d’histoire pour comprendre un peu. C’est là que je suis tombé sur l’histoire de Robert Johnson, que je vous avais narré très tôt après avoir créé ce blog. Le blues est donc né, un peu schématiquement, dans les champs de coton des États esclavagistes des États-Unis (plus précisément du delta du Mississippi), dérivé du gospel et des “chants de travail”, où il s’agit à l’époque pour les travailleurs noirs de chanter leur tristesse, leurs coups durs, leurs histoires de cul, en s’accompagnant d’une guitare acoustique, d’un harmonica, d’un piano…

Au début j’ai trouvé ça super-chiant, répétitif… Des vieux mecs qui jouaient avec d’autres vieux mecs… Ça me semblait aussi obscur et emmerdant que le jazz (que je connaissais pas non plus à l’époque), et si vous n’avez jamais écouté de blues, ça risque de vous donner la même impression (même si grâce au net, et peut-être grâce - hu hu - à moi, vous avez peut-être l’”"”"expérience musicale”"”" suffisante pour l’apprécier).

Et puis comme assez souvent, c’est par les images que j’ai réussi à l’apprécier. Vous vous en doutez, c’était un documentaire sur monsieur B.B. King, La Route de Memphis (2003) de Richard Pearce, produit par Martin Scorsese. Alors je pourrais vous parler du ‘pouvoir de l’image’, mais je dirais simplement que pouvoir mettre un visage, des couleurs, des mimiques sur cette musique, pouvoir recréer dans sa tête l’ambiance d’un concert de blues à Memphis, c’est primordial. C’est comme le gospel, on ne peut pas complètement l’apprécier sur disque sans être entré dans une église où il est chanté, il faut ressentir le truc. En l’occurrence, ce DVD m’a ouvert les chakras blues, et ils ne se sont pas refermés depuis.

B.B. King est un des génies du genre, grâce notamment à son jeu de guitare particulier, reconnaissable entre tous sans qu’on sache trop pourquoi, il caresse ses cordes avec un toucher qui lui appartient, avec une fluidité dingue dans ses gestes, ce truc en plus qui fait qu’il est devenu très vite une référence. Il enchaîne les tubes dans les années 1950, cimente sa réputation live dans les années 1960, fait la première partie des Rolling Stones en 1969… Il a enregistré de la musique sans discontinuer depuis 1947, avec au moins 200 singles, des dizaines d’albums, ce qui nous amène à One Kind Favor, son 24ème album studio.

Ce disque est différent de la majorité des albums studio de B.B. (prononcez : bibi, les initiales de Blues Boy) en ce qu’il contient un concept : c’est un album neo-roots pour dire ça pompeusement, un album qui revient à un blues “pur” (j’ai toujours peur d’utiliser ce terme, pour n’importe quoi d’ailleurs), sans expérimentations, sans une ribambelle de guest-stars… Ce sont des chansons qui n’ont jamais été enregistrés, bref, c’est du neuf. B.B. ne tombe pas non plus dans les travers du type de 82 balais qui sentirait qu’il n’en a plus pour très longtemps et voudrait faire un album de rédemption, d’hommages ou de jenesaisquoi. Non, B.B. est d’une autre trempe et il continue de façonner un blues de la plus haute qualité qui soit. Dans ma chronique précédente, j’émettais l’hypothèse d’un conflit de générations pour expliquer mon aversion pour certains textes. Ce conflit devrait être bien plus flagrant pour un disque qui commence par une chanson intitulé “See That My Grave Is Kept Clean”. Et pourtant.

Franchement, même moi ça m’étonne. Il y a une espèce d’empathie naturelle pour les chanteurs de blues qui s’installent dès que la musique retentit. Sans doute est-ce le fait de m’être intéressée à l’histoire des bluesmen, peut-être que j’ai déjà toutes les caractéristiques de la grand-mère, j’en sais rien… Toujours est-il que je pourrais écouter du blues pendant des mois sans jamais avoir l’impression de répétition que j’avais au tout départ. Et ce One Kind Favor ne déroge en rien à la règle.

C’est un disque absolument classe, parfait de bout en bout, sans surprises si ce n’est le niveau de qualité que B.B. et ses musiciens atteignent avec une facilité déconcertante. À peu près à chaque piste je soupire en souriant et pensant “mais qu’est-ce que c’est bon”. C’est B.B. King… que voulez-vous que je vous dise.

Si vous ne connaissez pas bien le blues, je ne peux que vous conseiller la série de DVD produite par Martin Scorsese qui est génialissime. Commencez par exemple par Feel Like Going Home où vous découvrirez Son House, Muddy Waters et John Lee Hooker. Après ça, ma foi.. vous devriez avoir toutes les clés pour devenir addict au blues.

by Mlle Eddie 


B. B. King discography


Note :

Tracklist :

- 1. See That My Grave Is Kept Clean (Lemon Jefferson)
- 2. I Get So Weary (T-Bone Walker)
- 3. Get These Blues Off Me (Lee Vida Walker)
- 4. How Many More Years (Chester Burnett)
- 5. Waiting For Your Call (Oscar Lollie)
- 6. My Love Is Down (Lonnie Johnson)
- 7. The World Is Gone Wrong (Mississippi Sheiks)
- 8. Blues Before Sunrise (John Lee Hooker)
- 9. Midnight Blues (John Willie « Shifty » Henry)
- 10. Backwater Blues (Big Bill Broonzy)
- 11. Sitting On Top Of The World (Walter Vinson And Lonnie Chatmon)
- 12. Tomorrow Night (Lonnie Johnson)


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23 octobre 2009 5 23 /10 /octobre /2009 19:00
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14 septembre 2009 1 14 /09 /septembre /2009 12:30

BLACK CAT BONES were a blues-prog rock group from London founded in the late '60s by Paul Kossoff and Simon Kirke (drums) both who would leave after recording this album and form the band “Free”. BLACK CAT BONES also had the talents of Rod Price (lead guitar) who also would later go on to play in Foghat. “Barbed Wire Sandwich” was released originally on Decca’s progressive label NOVA and represents a wonderfully blues driven progressive rock album. Considering there are 3 guitarists on the album this recording is bubbling over with 6 stringed contributions. Vocals are strong with Rod Price’s convincing deep accents and warm guttural soul. The album is actually very reminiscent of CREAM's "Disraeli Gears" with driving guitar bass and drum interplay and that certain rawness. Overall album is superbly crafted with some great songs and instrumentation. This band is the pre-Leaf Hound. A blues-rock band with progressive elements. In the first line-up was Paul Kossoff and Simon Kirke before they made Free, but they don’t play on the album. Great solos from Rod Price (later Savoy Brown), but the vocalist is fantastic too (Brian Short). The second title is a great slow blues, and there’s two ballads: "Feelin’ Good", "Four Women", but maybe the best song is the last Good Lookin’ Woman. Unfortunately they split after this album. The Brooks brothers found Leaf Hound with the vocalist of Brunning Sunflower Blues Band, Peter French (later Atomic Rooster).



Note :
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28 mai 2009 4 28 /05 /mai /2009 18:34

North Mississippi All-Stars -LIVE-

REVIEW ALLMUSIC (by Steve Leggett)
The North Mississippi Allstars have stripped things down a bit for Hernando, their fifth studio album and the first for the group's recently launched label Songs of the South, merging their usual Southern folk blues sound with elements of metal and even a touch of swing, all of it done with the lean efficiency of a maturing power trio. Led by Luther Dickinson's soaring slide guitar work and anchored by a thundering rhythm section of brother Cody Dickinson on drums and Chris Chew on bass, NMA on Hernando are no less than an obvious continuation of the late-'60s blues-rock tradition of Cream and the Jimi Hendrix Experience, with a little bit of AC/DC strut thrown in, and while the result isn't perhaps their best album, it isn't far off the mark, either. Recorded and produced by the legendary Jim Dickinson (father of Luther and Cody) at his Zebra Ranch Studio in Coldwater, MS, just a stone's throw up Highway 51 from the band's hometown of Hernando (hence the title), the sound is crisp and thundering, but still retains the ragged looseness that is a NMA trademark and is also one of its biggest strengths. This is blues-rock done Mississippi style, and if NMA swaps out a little of its hometown R.L. Burnside/Otha Turner leanings for the Led Zeppelin side of the equation, it isn't a drastic shift, and songs like "Keep the Devil Down" and "Eaglebird" (which features Cody Dickinson on electric washboard of all things and carries a co-writing credit for Kid Rock's bass player Aaron Julison) would fit seamlessly into any of NMA's live sets from the past ten years. Other highlights include the energetic skip-a-long "Mizzip," "Come Go with Me" (with a guest vocal from James Mathus), and a startling version of Champion Jack Dupree's "I'd Love to Be a Hippie" (sung by bassist Chew and featuring piano from East Memphis Slim) that is easily the most striking track on Hernando. Cut after cut veers off in interesting ways, and Luther Dickinson's guitar leads are always dangerously reckless and thrilling, echoing early Hendrix at times. The only thing missing on Hernando is that North Mississippi fife and drum tradition that NMA have so wonderfully updated for the rock era on past albums. It's understandable that the band might want to move on from that approach a little (and truthfully, it stills hovers here intangibly in the background), but they have always done it so well that Hernando seems strangely incomplete and unfinished without it.

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17 mai 2009 7 17 /05 /mai /2009 21:29

"Le traitement que Little Axe inflige au blues procède toujours de la même démarche. Toutes ces combinaisons musicales que j'ai pu faire tout au long de ces années, j'essaye de les incorporer, mais en leur donnant une importance variable. Chaque disque met en exergue un genre particulier. Ici, c'est le gospel blues alors que, par exemple, le premier album était plus axé dub blues et le second davantage soul blues...", explique Skip.

Little Axe is the stage name of Skip McDonald (born Bernard Alexander, 1949, Dayton, Ohio) an American blues musician. McDonald played jazz, doo-wop, and gospel when young, and moved to New York as a teenager with his band of friends, called The Entertainers.

Axe joined the group Wood Brass & Steel in 1973 with bassist Doug Wimbish and drummer Harold Sargent; the group recorded two albums before their 1979 breakup . Axe then became one of the members of the house band for Sugarhill Records and appeared as guitarist on many early rap albums, including The Message by Grandmaster Flash and The Furious Five.

After leaving Sugarhill, McDonald, Wimbish, and drummer Keith LeBlanc began working with Adrian Sherwood, and eventually formed the trio into the group Tackhead (fronted by Gary Clail and, later, Bernard Fowler).

In the 1990s McDonald took the name Little Axe and began recording blues albums, continuing to appear as a guest act on other artists' albums as well. His most recent albums have been released on Real World Records.Alan Glen is featured on harmonica on the albums.

In 2009 collaborated with Mali musician Daby Toure to produce a record Call My Name


Discographie :

  • The Wolf that House Built (Okeh/Epic, 1994)
  • Slow Fuse (Wired Records, 1996) 
  • Hard Grind (Fat Possum, 2002)
  • Champagne & Grits (Real World, 2004)
  • Stone Cold Ohio (Real World, 2006)
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1 mars 2009 7 01 /03 /mars /2009 13:19

Black Keys - Rubber factory

The Black Keys est un groupe de blues rock américain originaire d'Akron dans l'état de l'Ohio. Le groupe est composé de deux membres, le chanteur et guitariste Dan Auerbach et le batteur Patrick Carney.

Les Black Keys sont souvent comparés avec le groupe The White Stripes parce que tous deux sont des duos influencés par le blues rock ayant émergés à quelques mois d'intervalle. Pourtant, le son des Black Keys est beaucoup plus enraciné dans le blues traditionnel et moins pop rock que celui des White Stripes.

Le groupe a sorti son premier album The Big Come Up en 2002 sur le label indépendant Alive Records, label spécialisé en musique underground, fondé par le français Patrick Boissel. En 2003, ils rejoignent le label de blues Fat Possum Records basé dans l'état du Mississippi et rencontrent le succès mondial avec l'album Thickfreakness.

The Black Keys rendent un hommage appuyé au défunt guitariste Junior Kimbrough qu'ils considèrent comme leur principale source d'inspiration. Ils ont d'ailleurs réarrangé nombre de ses morceaux, Do the rump sur The Big come up ou encore Everywhere I go sur Thickfreakness. En 2006, ils lui ont même consacré un mini album, Chulahoma, comprenant 6 reprises de haut vol du légendaire guitariste de blues et y apportant leur touche personnelle.

  • The Big Come Up - CD/LP (2002) Alive Records
  • Thickfreakness - CD/LP (2003) Fat Possum Records
  • Rubber Factory - CD/LP (2004) Fat Possum Records
  • Chulahoma, The Songs Of Junior Kimbrough - CD/EP (2004) Fat Possum Records
  • The Magic Potion - CD/LP (2006) Nonesuch Records
  • Attack & Release - CD/LP (2008) Nonesuch Records
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11 janvier 2009 7 11 /01 /janvier /2009 12:19

Le duo new-yorkais se joue des genres et les fusionne, inventant une fascinante machine blues, funk et prog.

Basé à New York, Map of Africa est le groupe de Harvey Bassett, légendaire DJ house sous le nom de DJ Harvey qui se met ici au rock, et du producteur Thomas Bullock, moitié du duo Rub “N” Tug. Ensemble, ils ont déjà à leur actif une poignée de maxis sortis sur leur label new-yorkais Whatever We Want Records : en éditions archilimitées, ces premiers maxis se vendent à prix d’or sur le net. Heureusement, leur premier album est un peu plus trouvable : il est sorti en vinyle et en CD, c’est-à-dire un peu à l’ancienne, comme à l’époque où les disques sortaient dans tous les formats et où les vinyles ne s’étalaient pas sur quatre faces d’un double album mais seulement deux, dont chacune était bourrée à craquer de morceaux.

C’est bien le cas ici, où l’on a l’impression que Map of Africa a fait plus que composer un disque : il a conçu un objet et produit un album comme dans les années 80, en réfléchissant en termes de faces, de milieu d’album et de conclusion en bout de face B. Surtout, ils ont composé un disque comme on en a rarement entendu cette année : immédiat et frais, bourré de chansons enthousiasmantes qui tirent un peu partout et font bien revivre, au fond, cet esprit “baléarique” qui animait les sets de Harvey, c’est-à-dire un esprit un peu libertaire et hédoniste, sans œillères, capable d’enchaîner un morceau de rock planant avec une tournerie funk et une ritournelle techno bien chaloupée. Un éclectisme bien tenu, donc, qui habite l’album (...)  

Joseph Ghosn

Discographie :

- Map Of Africa - Map Of Africa (2007)

DOWNLOAD : Map Of Africa - Map Of Africa (2007)
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15 février 2008 5 15 /02 /février /2008 12:41
The-Love-Bandits.jpgEN BREF : les Love Bandits sont un ensemble d’inspiration rurale, créé en 2005, très influencé par la première moitié des années cinquante à Chicago. En pratique, le groupe emploie quatre personnes : un chanteur-batteur qui joue debout, un guitariste qui joue par terre, un bassiste souvent de profil et un harmoniciste (très gentil). Toutes les chansons des Love Bandits sont écrites à la main. Les choeurs sont soulignés en rouge. Les déplacements du groupe s’effectuent au moyen d’un corbillard jaune réaménagé en camion à pizzas. LE PROJET : justifier l’achat de plusieurs magnétophones très coûteux.

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