A fixture on the southwestern Pennsylvania circuit, Tim Woods has been singing and playing acoustic and electric guitar for over 25 years. Showcasing his distinctive style, in which he plays and picks using his thumb, Tim's prowess is his ability to play both lead and rhythm while interchanging chords and licks...
Music was paramount in New Orleans, a town where they liked jazz with their blues. Regular blues musicians like Richard ‘Rabbit’ Brown got on disc when the record companies came to town. In general bluesmen and women came from out of town for their sessions, Texans like Lillian Glinn, Will Day, Oscar Woods and Blind Willie Johnson or Mississippians Bo Carter, the Mississippi Sheiks and Walter Jacobs, or out-of-towners like Little Brother Montgomery. New Orleans also saw the first recordings by fascinating Cajun musicians like Amédé Ardoin, Dewey Segura, Lawrence Walker and Cléoma Falcon, who put down their version of 12-bar blues.
Nancy Wilson's not the first name in bluesy jazz (check out Dinah Washington and Joe Williams for that), but she usually can enliven the form with her sophisticated and sultry style. That's made clear on her rendition of "Stormy Monday Blues," where she eschews blues clichés in favor of a husky airiness, at once referencing a lowdown mood and infusing it with a sense of buoyancy. This split is nicely essayed on Capitol's Blues and Jazz Sessions, as half the tracks ooze with Wilson's cocktail blues tone and the other find the jazz-pop chanteuse in a summery and swinging mood. Ranging from the big band blues of "I've Got Your Number" to the lilting bossa nova "Wave," Wilson handles all the varying dynamics and musical settings with aplomb. Featuring cuts from her '60s prime with the likes of Cannonball Adderley, Oliver Nelson, George Shearing, Gerald Wilson, and a host of top sidemen, this best-of disc offers a fine, off-the-beaten-path overview of Wilson's Capitol heyday.
Etta James followed her two deeply jazzy mid-'90s albums of torch songs with Love's Been Rough on Me, a flirtation with Nashville writers. On Life, Love & the Blues, she returns to her blues and soul repertoire, enlivening even the hoariest of tunes ("Spoonful," a gender-flopped "Hoochie Coochie Gal") with her growl. The tinges of funk underpinning "Born Under a Bad Sign" are given full room to stretch on a cover of Sly Stone's "If You Want Me to Stay," and James nearly swipes "The Love You Save May Be Your Own," one of Joe Tex's great preaching ballads, from the master.
The mid-to-late Sixties was a strange and difficult time for many Blues men - most were without contracts, forgotten and under-appreciated. Then the Blues boom happened (particularly in the UK) and many had their careers kick-started all over again. Freddie King was no exception. His last album had been for Federal in 1964, but with a new lease of life on the mighty Atlantic label, he produced two much revered LPs in rapid succession. The first was "Freddie King Is A Blues Master" released in 1969 on SD 9004 - and then this peach - "My Feeling For The Blues" on Cotillion SD 9016 released in early 1970.
Albert King doesn't require much of an introduction, he was one of the 'Three Kings of the Blues' and arguably next to B.B. he was perhaps the most popular of the many genuine blues guitarists to have been adopted by the rock world during the mid-1960s. Albert began playing in the late 40s and made his first recordings in 1953 and it is these early sessions that are the focus of this outstanding collection from Jasmine. Includes tracks "Blues At Sunrise", his fine version of Tampa Red's "Little Boy Blue" and his hit song "Don't Throw Your Love On Me So Strong" plus many other superb tracks. Albert King influenced many artists including Mick Taylor, Eric Clapton, Mike Bloomfield and Stevie Ray Vaughan. This then is Albert King's first tentative steps towards global popularity compiled in chronological order and with fully detailed liner notes.
2002 box-set featuring the Cranberries first four studio albums. Each album has been digitally remastered and features bonus tracks. Four standard jewel cases housed in a slipcase.
The 16-tracks on this compilation are from Roy Buchanan's trio of mid-1970s titles: A Street Called Straight (1976), Loading Zone (1977), and You're Not Alone (1978). After a less than personally (or professionally) satisfying stint earlier in the decade with Polydor Records, Buchanan teamed up with Atlantic, who helped him get out of his pending contract with the former…