Gary Moore - Live At Bush Hall 2007 - Sept. 22 2014

Llevado a cabo en el año 2007 en el Bush Hall (Salón Bush), un pintoresco lugar en en Londres con una capacidad para 400 personas, el álbum de Gary Moore - 'Live At Bush Hall 2007' - capta un concierto muy intimista promocional para el álbum "Close As You Get" que fué realizado en ese momento, (Mayo 25 2007).

Gary trabajó en conjunto con la estación de radio Planet Rock y las entradas fueron regaladas para un espectáculo íntimo en Londres en el Bush Hall. El concierto fué transmitido por Planet Rock.

Gary Moore gozó de una reputación de guitarrista virtuoso con su Gibson Les Paul personalizada y su Fender Stratocaster. El interpretó una gran variedad de géneros desde el Hard Rock y el Heavy Metal hasta el Blues Rock pasando por el Jazz Fusion y el Progresive Rock. Gran cantidad de colegas compartieron el escenario con él, colegas como George Harrison, Greg Lake y Albert King, por mencionar un ejemplo.

A pesar de lo comentado su mas consistente influencia musical fué el Blues de la Vieja Escuela.

Esa noche la banda ofreció una velada de regreso a lo básico y desnuda de todo lo sobrante musicalmente hablando, con Gary Moore en la guitarra y las vocales, Pete Rees en el bajo y Vic Martin en los teclados . Brian Downey, un camarada veterano de Thin Lizzy  y músico en el album "Close As You Get" nuevamente compartió con Moore en la batería.

La idea de una leyenda del Blues moderno de hoy tal como Gary Moore tocando en una habitación íntima sería el sueño hecho realidad de la mayoría de los fans y esta grabación en vivo y este disco en vivo les da a todos los que no pudieron estar allí la oportunidad de poseer y disfrutar de este singular y electrizante show.

Mientras que es verdad que "Live At Bush Hall 2007" carece de éxitos conocidos (la mayoría de estas canciones reproducidas eran de su -entonces- último album) y este disco puede, de entrada, atraer a mas fans incondicionales del guitarrista irlandés que aquellos que no están tan familiarizados con su vasto catálogo de trabajo. Los solos brillantes de Gary Moore y su gran pasión por la música hacen de este un album que es una recompensa escuchar para cualquier fan del Blues.

 

 "Gary Moore era un adolescente cuando un amigo le prestó el album de John Mayall "Beano". Un amigo que resultó ser...nadie, aún el último de todos esos camaradas adolescentes, podría haberse dado cuenta del impacto que un acto tan simple tendría en el resto de la vida de Moore. No solo en su beneficio sino en el movimiento del Blues moderno que nosotros conocemos hoy y en los incontables

fans que el conectó con el Blues en toda su carrera.

El Bush Hall en Londres donde este conjunto se efectuó alberga a poco más de 400 personas y como si esta intimidad no fuera suficiente, su acústica natural y no se diga los gloriosos candelabros de cristal y la decoración del periodo solo ayudaron a aumentar esta atmósfera  en la noche de este concierto."  Liz Barnes

Reseña y texto: SONIC ABUSE,
BC*blogcritics, get ready to Rock! 
y CD booklet

Traducción: Rock and Blues Zone

Para ver las imagenes ampliadas

dar click derecho en la imagen y seleccionar

"Abrir en nueva pestaña"

Muddy Waters - The Johnny Winter Sessions

Raven presents The Very best of The Johnny Winter Sesions 1976-1981 by the legendary MUDDY WATERS. Muddy is one of the undisputed gigants of the post-war Chicago electric blues scene. Born McKinley Morganfield, a product of the fertile Mississippi delta, he relocated to Chicago in 1943 where he began recording for the Chess brothers´ Aristocrat label. He scored hits with “I Can´t Be Satisfied”, “Honey Bee”, “Mannish Boy”, “Trouble No More”, and many other landmark blues songs.

By the mid-1970´s after a period of steady worldwide touring but little quality recording activity, his studio fortunes were resuscitated by one of his legions of disciples, guitarist Johnny Winter. Signed to Columbia subsidiary Blue Sky, Muddy recorded four hard-edged, timeless, back-to-basics albums with Winter that remain classics of the genre.

 

  Backed by Winter and the likes of Pinetop Perkins, James Cotton, Jimmy Rogers, Big Walter Horton and Jerry Portnoy,  Muddy just roars like a lion from go to whoal

This essential collection culls the best tracks from Hard Again, I´m Ready, King Bee and Muddy "Misissippi Waters" Live on one scintillating 77- minute CD. Highlights include incendiary versions of “Mannish Boy”, “I´m Ready”, “Hoochie Coochie Man”, “Rock Me” and the epical “The Blues Had A Baby And They Named It Rock´n´Roll”. “Great blues from one of the dominant voices of the genre” (Allmusic Guide). Fresh and incredibly powerful, these high energy recordings still kick ass 30 years on! With superb quality audio, color booklet and detailed notes. “Electric blues doesn´t get any better than this.”

Creatividad Rock And Blues Zone

Ten Years After - Ssssh. (1969)

Ten Years After is not a very well known band, and a lot of people have never even heard of them. They were part of the second British Blues invasion between 1966-1975. They had a very underrated front man, Alvin Lee, who is a very good guitarist. They did play Woodstock, and are in the movie playing their jam of I'm Coming Home, that's very good. These guys are a very good live band, and they're probably at their bast when they're on stage performing. This is a very talented, and very underrated band, so I hope you give them a listen, and I hope you like what you hear.

Overall this record is superb, and is a must have. I think it' probably TYA's best. Their other really good album is their s/t, which I'll probably review it pretty soon. If you like bluesy rock, and like a whole lotta guitar then this is the album for you. These guys are probably one of the most underrated bands, so if you ever want to start listening to a new band then try these guys out, chances are you'll love it.

If you want to read a review track by track from this album you can go here 

Review by sputnik*music

 And at last, this time around there was no doubt these guys were gonna be a major act. Good lads, they seem to have realized all of the mistakes they made on Stonedhenge, and this time you're in for a listen of your lifetime! No more stupid grooves or Leo Lyons solo spots. No more trippy quiet guitar sounds and no more muddy, ear-destructive production. What you are presented with is a gruff, rip-roaring, tearing-at-the-walls progressive blues album which boasts brilliant production - AT LAST!

I may be a little biased towards this album, but really, you must realise it was a grandiose effort for the boys. Ten Years After was a homemade album of four guys getting together to play a couple of covers; Undeadwas a live album made by the same boys; Stonedhenge was a first try, but a failure; and this, this is absolutely fantastic. Well, not absolutely. Ten Years After never made an album that was 'absolutely' fantastic. Forget about 'absolutely'. But this is definitely fantastic in the fantastic Ten Years After way.

 Where was I? Ah yes, Ssssh. The only real trouble with that album is an ungly cover and the fact that you never can remember how many 's' you have to write between the capital one and the 'h'.

Apart from that,

Apart from that, there are some great blues numbers, some great ballads and some great heavy rockers the likes of which were not to be found previously. The very album opener ('Bad Scene') is not just heavy - it's practically hardcore punk: a breathtaking speed and a gruff guitar tone that predicts the Ramones but also kinda outdates them. But there are also tricky changes in signature, a special jazzy middle-eight, Alvin's trademark solos, strange electronically encoded vocals and... well, you get my drift. There's everything that Stonedhengesorely lacked.

If you want to read more about this excellent review just click here please.

Review by ONLY SOLITAIRE

  THE BAND
Alvin Lee : vocals, guitar
Leo Lyons : bass
Ric Lee : drums
Chick Churchill : keyboards

1. Bad Scene(3:20)
2. Two Time Mama (2:05)
3. Stoned Woman (3:25)
4. Good Morning Little Schoolgirl Sonny Boy Williamson(6:34)
5. If You Should Love Me(5:25)
6. I Don't Know That You Don't Know My Name(1:50)
7. The Stomp(4:34)
8. I Woke Up This Morning(5:25)
Flac

 Not My Upload!
All Thanks Goes To The Original Uploader

The Roling Stones - Fuck Yer Ya-Ya's Out! (1997)

Fuck Yer Ya-Ya's Out! es un bootleg CD de 1997 de The Rolling Stones. El album es una transferencia de el Acetato de la Apple Records "Get Yer Ya-Ya's Out!" el cuál presenta diferencias respecto a la versión final, incluyendo un número de detalles extras que fueron editadas ó removidas. Este fué realizado por A Vinyl Gang Product.

Acetato Apple del album de the Rolling Stones en vivo:

"Get Your Ya-Ya's Out".

Get Yer Ya-Ya´s Out! es el único album de the RSque fué cortado en Apple acetates. Aparentemente, los  estudios Apple ofrecían un servicio de corte de acetatos el cuál fué usado por otros marcas grabadoras. Hay otros ejemplos de acetatos Apple de bandas que no realizaron nada en Apple Records tales como Slade, The Zombies, The Who, Rolling Stones, Fairport Convention,...

APPLE solo imprimió estos acetatos por corta tiempo entre 1968-1970 – el mostrado al lado fué impreso en November de 1969 y no fué emitido con funda de album. Estos acetatos fueron distribuidos en fundas de papel normal.

 Este vinyl es tan raro, que fué difícil encontrar mucha información sobre el, lo que si es sabido es que este es una impresión de prueba de la primera mezcla de lo que luego llegaría a ser el "Get Your Ya-Yah's Out" album. Hay muchas diferencias entre esta mezcla y la que terminaría siendo realizada.

Not My Upload!

All Thanks Goes To The Original UPloader 

1. Jumpin' Jack Flash
2. Carol
3. Stray Cat Blues
4. Love in Vain
5. Midnight Rambler
6. Sympathy for the Devil
7. Live With Me
8. Little Queenie
9. Honky Tonk Woman
10. Street Fighting Man
11. Jumpin' Jack Flash
12. Satisfaction
13. Honky Tonk Women

Flac

1. Jumpin' Jack Flash 2. Carol 3. Stray Cat Blues 4. Love in Vain 5. Midnight Rambler 6. Sympathy for the Devil 7. Live With Me 8. Little Queenie 9. Honky Tonk Woman 10. Street Fighting Man 11. Jumpin' Jack Flash 12. Satisfaction 13. Honky Tonk Women

Read more at: http://dlflare.com/music/55681-the-rolling-stones-fuck-yer-ya-ya-s-out.html

Fuck Yer Ya-Ya's Out! is a 1997 bootleg CD by The Rolling Stones. The album is a transfer of the Apple Records acetate of Get Yer Ya-Ya's Out!, which features differences from the final version, including of a number of extra things that were edited out/removed. This was released by A Vinyl Gang Product.

Read more at: http://dlflare.com/music/55681-the-rolling-stones-fuck-yer-ya-ya-s-out.html

Fuck Yer Ya-Ya's Out! is a 1997 bootleg CD by The Rolling Stones. The album is a transfer of the Apple Records acetate of Get Yer Ya-Ya's Out!, which features differences from the final version, including of a number of extra things that were edited out/removed. This was released by A Vinyl Gang Product.

Read more at: http://dlflare.com/music/55681-the-rolling-stones-fuck-yer-ya-ya-s-out.html

Fuck Yer Ya-Ya's Out! is a 1997 bootleg CD by The Rolling Stones. The album is a transfer of the Apple Records acetate of Get Yer Ya-Ya's Out!, which features differences from the final version, including of a number of extra things that were edited out/removed. This was released by A Vinyl Gang Product.

Read more at: http://dlflare.com/music/55681-the-rolling-stones-fuck-yer-ya-ya-s-out.html

Vaughan Brothers - Family Style (1990)

Family Style is a blues-rock album by the Vaughan Brothers, released on September 25, 1990. The album features the brethren guitarists and vocalists, Jimmie and Stevie Ray Vaughan, in their only studio collaboration. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." Review by Wikipedia

This shot taken from NileRodgers.com

Este disco reúne por primer vez –en carácter igualitario- a los hermanos Vaughan: Jimmie y el gran Stevie Ray. A la postre, casi se constituiría en el testamento musical de Stevie Ray porque fue lanzado muy poco tiempo después de su trágica muerte en el accidente aéreo del 27 de Agosto de 1990. Compuesto de 10 canciones, si bien el estilo predominante es, cómo no, el blues y el rock’n’roll,  podemos encontrar una variedad de estilos que van desde el rockabilly hasta el funk –como en el tema Baboom/Mama Said- donde se nota claramente la influencia del productor ex Chic Nile Rodgers, co-autor también de un par de temas.

No es el típico disco a los que nos tenía acostumbrado Stevie Ray, pletórico de guitarras y solos flamígeros –aunque los hay, claro-; toma un par de escuchadas acostumbrarse, pero es una excelente pieza de música para no dejar de mover la patita. Review by El Gramófono

1. Hard To Be (4:43)
2. White Boots (3:50)
3. D/FW (2:52)
4. Good Texan (4:22)
5. Hillbillies From Outerspace (3:42)
6. Long Way From Home (3:15)
7. Tick Tock (4:57)
8. Telephone Song (3:28 )
9. Baboom /Mama Said (4:29)
10. Brothers (5:05)
Flac

Not My Upload!
All Thnxs To The Original Uploader

Eric Clapton - Give Me Strength The `74/`75 Recordings (2013)

El fértil año que señaló el espectacular resurgimiento creativo de Eric Clapton será celebrado el 25 de Noviembre de este 2013 con la publicación de Super Lujo de Give Me Strength: The ‘74/’75 Recordings.

Esta colección ejemplar presenta no menos de 29 pistas extras (12 de ellas inéditas), del extraordinario periodo entre Abril de 1974 y Junio de 1975, en el cuál E.C. recuperó y mejoró su estatus como uno de los guitarristas y cantautores más legendarios del rock.

Give Me Strength alberga versiones ampliadas y remasterizadas de sus aclamados albumes de estudio de la época de: 461 Ocean Boulevard and There’s One In Every Crowd, el subsiguiente set en vivo E.C. Was Here (ahora ambos remezclados y expandidos en un doble CD), y un disco que contiene la completa y legendaria sesión de Freddie King Criteria Studios Session.

 

Un sexto disco, Blu Ray agrega una nuevamente disponible mezcla 5.1 Surround Sound de 461 Ocean Boulevard y la mezcla cuadrafónica original de las dos realizaciones de estudio y del album en vivo.

 461 Ocean Boulevard, lanzado en el verano de 1974 y nombrado así por la mansión frente a la playa de Miami donde la banda vivió durante las grabaciones, marcó el regreso de Clapton después de una ausencia de tres años, y emfáticamente anunció su rehabilitación personal y creativa. Previewed by su interpretación personalizada a la canción de Bob Marley I Shot The Sheriff, la cuál alcanzó el lugar número 1 en la lista Billboard Hot 100 el 14 de Septiembre de 1974, el album mantuvo su posición, lidereando la lista Billboard por catorce semanas, y continuando con la venta de cuatro millones de copias en los Estados Unidos solamente. La nueva edición contiene tomas descartadas de sesión y versiones no realizadas (inéditas) de Getting Acquainted y las importantes del album Please Be With Me and Give Me Strength.

Ampliar  imagen: dar click derecho en ella y seleccionar "Abrir en una nueva ventana".

There’s One In Every Crowd, grabado en Kingston, Jamaica en el reconocido estudio de reggae Dynamic Sounds, fué creado en un descanso de la gira triunfal que siguió al asombroso éxito de 461. Esta edición restaurada ofrece el sencillo Knockin’ On Heaven’s Door (original de Bob Dylan) en una versión que Clapton grabó en estilo reggae, realizada en 1975 y que no está incluída en ningún album y una selección de tomas de sesión descartadas y pistas inéditas.

Ampliar imagen: dar click derecho en ella y seleccionar "Abrir en una nueva ventana".

En 1975 la banda hizo una gira mundial, esa gira sería conmemorada por el album doble E.C. Was Here, el cuál fué grabado en: Long Beach Arena, California (Julio 20 de 1974), Hammersmith Odeon, Londres (Diciembre 4 de 1974), Nassau Coliseum, Uniondale Nueva York (Junio 28 de 1975) y Providence Civic Center, Rhode Island (Junio 25 de 1975), y ahora ampliado a través de dos CD´s  con numerosos extras no pubicados tales como versiones de Layla, Crossroads y Little Wing.  

Portada Frontal del album doble E.C. Was Here.

Portada Trasera del album doble E.C. Was Here.

Y el contenido de este boxset continúa con las históricas sesiones en Criteria Studios, donde 461 Ocean Boulevard fué hecho, en el verano del ´74 con el héroe de Clapton Freddie King, para el album de King, Burglar. Cuatro canciones de estas sesiones aparecen aqui, incluyendo una gloriosa Gambling Woman Blues de 22 minutos. Rara vez en la historia del rock ha un artista redefinido y aumentado su obra creativa del mismo modo que Eric Clapton lo hizo durante la temporada 1974-75.  Give Me Strength: The ‘74/’75 Recordings salutes this watershed era to stunning effect. Reseña CIRCLEKJ´S BLOG Traducción  RBZ

05 AUGUST 1974


CRITERIA RECORDING STUDIOS

1755 Northeast 149th Street, Miami, Florida


Session for Freddie King

A sugerencia de Eric, Freddie King firmó un contrato de un nuevo disco con Robert Stigwood para su sello RSO. Este era un gran sello con Eric Clapton y los Bee Gees siendo ellos los actos más éxitosos. Aunque el 99% de su primer album para el sello, "Burglar", fué grabado en los estudios Chipping Norton de Mike Vernon en Oxforshire, RSO sugirió que una pista debería presentar a Eric, lo cuál ayudaría a las ventas. Como la parte principal del album fué grabada en Julio, Eric fué incapáz de participar ya que estaba de gira. Una sesión fué arreglada para el 5 de Agosto en Miami en un descanso del enorme tour estadounidense de Eric. Cuatro números fueron grabados, aunque solo "Sugar Sweet" fué realizado en el primer album de Freddie en RSO, "Burglar". Las tres restantes fueron eventualmente realizadas postumamente en Freddie King (1934 – 1976) en 1976 y el maravilloso box set de Bear Family Records, ‘Texas Flyer 1974 – 1976’ realizado en 2010. También cabe destacar que una versión alternativa de ‘Sugar Sweet’ también se encuentra en estos dos últimos lanzamientos.

.

Eric Clapton: “Freddie King taught me just about everything I needed to know, when and when not to make a stand, when and when not to show your hand, and most important of all, how to make love to a guitar.” ("Freddie King me enseñó casi todo lo que necesitaba saber, cuando y cuando no pararte, cuando y cuando no mostrar tu mano, y lo más importante de todo, como hacerle el amor a una guitarra." 

 

                                                                                            

 

Flac

Not My Upload!

All Thnxs To The Original Uploader

Session for Freddie King,

anécdota extracto del libro:  

Eric Clapton Day By Day -The Early Years1963/1982- de 

Marc Roberty

link.

Las sesiones de Freddie King con Eric Clapton en los Criteria Studios estuvieron también disponibles en el bootleg:

"Freddie King Studio Session With Eric Clapton Miami 05/08/1974"

The Beatles - The White Album [The Beatles] (1968)

The Beatles or "The White album" as it became better known was released on 22nd November, 1968 on the fifth anniversary of their second album, With The Beatles. A total of 34 new tracks were released in 1968 and 30 were contained on this one double-LP.

  The White Album, is the ninth studio album by  The Beatles. A double album, its plain white sleeve has no graphics or text other than the band's name embossed (and, on the early LP and CD releases, a serial number).

  Following the recording of their single "Lady Madonna" in February, the Beatles flew to Rishikesh, India for several weeks of meditation with Maharishi Mahesh Yogi during which they enjoyed a prolific period of song writing. Recording began at Abbey Road on 30th May and studio work occupied most of their time until the final session in mid October.

 The colourful artwork that had adorned Sgt. Pepper's Lonely Hearts Club Band and Magical Mystery Tour albums was absent here. The double wallet merely had words The BEATLES embossed on the front cover. Early copies also had a individual number stamped on the front. Inside the package along with the two discs wrapped in black inner sleeves were four individual photographs of the guys and a folded poster containing a photo-collage with the lyrics to the songs on the reverse.

 The Beatles was the group's first album to appear on the Apple label. The change from Parlophone to Apple had first taken place with the release of the "Hey Jude" single in August, 1968.

Dubbed by Rolling Stones magazine as one of the most influential albums in musical history, the Beatles’ “White Album” embodies the band possibly at its finest. The album itself was originally titled “The Beatles”. Nonetheless, it eventually became known as the “White Album” due to its iconic white cover artwork of the album along with the continual use of the term “The White Album” by media. In contrast to its predecessor, “Sgt. Pepper”, and every other previous album they had released the “White Album” was specially recorded for stereo. The Beatles themselves were in the studio to approve the stereo mixes causing the album to be considered a landmark in the band’s history.

 

 CD 1
1. Back In The U.S.S.R.
2. Dear Pudence
3. Glass Onion
4. Ob-La-Di Ob-La-Da
5. Wild Honey Pie
6. The Continuing Story Of Bungalow Bill
7. While My Guitar Gently Weeps
8. Happiness Is A Warm Gun
9. Martha My Dear
10. I’m So Tired
11. Blackbird
12. Piggies
13. Rocky Raccoon
14. Don’t Pass Me By
15. Why Don’t We Do It In The Road?
16. I Will
17. Julia


CD 2
1. Birthday
2. Yer Blues
3. Mother Nature’s Son
4. Everybody’s Got Something To Hide Except Me And My Monkey
5. Sexy Sadie
6. Helter Skelter
7. Long, Long, Long
8. Revolution 1
9. Honey Pie
10. Savoy Truffle
11. Cry Baby Cry
12. Revolution 9
13. Good Night

B.B. King - Live In Japan (1971) (1999 Release)

Recorded in 1971, but unreleased in the U.S. until 1999, B.B. King's Live in Japan deserves high marks for exuberance alone. Had Live in Cook County Jail not just jumped into the charts, this live album might have been released long ago. The recording opens with a swelling of enthusiastic cheers, as King launches into an uptempo "Every Day I Have the Blues." There are plenty of other classics here as well, including "How Blue Can You Get?", "Sweet Sixteen," and "The Thrill Is Gone" (which elicits another round of cheering from the opening notes). Live in Japan may not have the long-standing reputation of Cook County Jail or Live at the Regal, but it's an excellent album, with a decidedly different feel from these two classics. King's obvious enthusiasm for his music and for his audience is infectious, and you can hear the sheer joy of it in every note. And, for those who don't really feel that they need additional versions of well-known songs, let it be mentioned that Live in Japan contains King's only live rendition of "Hummingbird," not to mention a couple of unique jams ("Japanese Boogie," "Jamming at Sankei Hall," and "Hikari #88"). -Amazon.com

 It took 28 years, but in 1999 Live in Japan finally became available in the U.S. Recorded at Sankei Hall in Tokyo on March 4 and 7, 1971, Live in Japan was originally released as a two-LP set in Japan. At the time, King's superb Live in Cook County Jail was a respectable seller for ABC, and the label also planned to release In London -- so ABC felt that because a fair amount of live King albums were coming out in the U.S., it was best to release the Sankei Hall recording only in Japan. But many of King's American fans wanted it anyway, and collectors went out of their way to find imported copies of the double LP. Parts of Live in Japan did come out on various U.S. releases, but it was not released in its entirety in the U.S until this 1999 reissue. Backed by many of the same players heard on Live in Cook County Jail, King is in excellent form on spirited, gutsy performances of "The Thrill Is Gone" and "Sweet Sixteen" as well as Sonny Boy Williamson's "Eyesight to the Blind," Leon Russell's "Hummingbird," and Peter Chatman's "Every Day I Have the Blues." The instrumentals "Japanese Boogie" and "Jamming at Sankei Hall" give the band a chance to let loose and improvise, and "Lucille" (King's name for his guitar) gets in some passionate, inspired solos. Although Live at the Regal and Live in Cook County Jail are King's most essential live albums, Live in Japan is a fine CD that his fans will definitely want. -ALLMUSIC 


01. Every Day I Have The Blues (02:10)
02. How Blue Can You Get? (05:17)
03. Eyesight To The Blind (04:03)
04. Niji Baby (06:27)
05. You're Still My Woman (05:56)
06. Chains And Things (05:41)
07. Sweet Sixteen (06:00)
08. Hummingbird (04:08)
09. Darlin' You Know I Love You (04:26)
10. Japanese Boogie (09:17)
11. Jamming At Sankei Hall (09:35)
12. The Thrill Is Gone (05:36)
13. Hikari #88 (07:57)
 Flac 

Not My Upload!
All Thanxs To The Original Uploader

John Mayall - A Banquet In Blues (1978)

Though Mayall's 70's material majorly suffers next to his 60's output, "A banquet in blues" is one of his better 70's outings and probably the best from Mayall's Rick Vito days. The brisk opening shouter "Sunshine" features a bright and tasty Blue Mitchell trumpet solo and also has John McVie on bass, effective in the up stairs tumbler sound. Rick here is on vocals (presumably in with the shouting verse sections) and on rhythm guitar (which you can hear thinly in the background of the grumble). In fact, Rick is on every track on the album in one way or another except one, which is the horn & piano led bland mid temp track "Lady" so it's probably just as well he's not on that one. "You can't put me down" is a fast shuffle with a slight disco feel, Rick plays lead guitar and also does (background?) vocals on this one. Rick also lends vocals to the album's best track, the closing "Fantasyland", at 14 minutes, the beginning and end are flute led with more chanting verses (so I'd imagine he's singing in those parts) and then the middle section is suspenseful swirling, fiddle scratching and guitar strumming meanderings which also includes a quiet but effective bass solo by one time Peter Green sidekick Alex Dimochowski. Rick plays rhythm guitar on the dragging skipper "I got somebody" (which mainly features a bass/drums chug) and funk laden track "Turn me loose" (which also has disco possibilities but that side is not as evident on the cupped horn sections which are nicely placed on this one) and Vito also is listed as guitar for the dated sounding but nonetheless enjoyable "Seven days too long" (which is almost pop/rock as the blues hides behind that shield here) and the hard to take serious "Table top girl" (a somewhat pulsing track). It's doubtful anyone would ever recommend you get any 70's Mayall releases before anything else he's done but when the time comes when you do wish to listen to some, this would probably be your best bet from the pack.
Taken From and All Thanxs To Fleetwod Mac.Net

1 Sunshine 5:31
2 You Can't Put Me Down 3:24
3 I Got Somebody 4:02
4 Turn Me Loose 2:42
5 Seven Days Too Long 5:16
6 Table Top Girl 3:57
7 Lady 3:38
8 Fantasyland 14:13
 Flac 

Not MY Upload!
All Thanxs To The Original Uploader

Gary Moore - After The War (1989)

After the War is an album by Irish rock guitarist Gary Moore, released in 1989. -Wikipedia

Gary Moore's 1989 release, After the War features a return to the metal guitar riffing of his 80's records ("Speak for Yourself" and "Running From The Storm"), while continuing to explore more conventional pop dynamics with mixed results - it works great on "Ready to Love." Also, after dedicating his last album to fallen childhood friend and musical partner in crime, Philip Lynott, Moore finally honored him in song with the moving "Blood of Emeralds." As it turned out, this would be Gary Moore's last hard rock album before becoming a "born-again" bluesman.
- ALLMUSIC 

However, there are some hints of what was to come as well with the bluesy "The Messiah Will Come Again," which heralds Moore's new birth as a blues guitarist. Ozzy Osbourne makes a guest appearance on lead vocals in the tongue and cheek track "Led Clones" which takes a pot shot at bands like Kingdom Come and Great White, who while having platinum albums at thetime, were obviously borrowing their entire sound and image from Led Zeppelin. Ozzy also does some background vocals on "Speak for Yourself." Gary once again pays tribute to his childhood friend and musical brother, Philip Lynott in the emotional song "Blood of Emeralds". Overall, this album is so far superior to the pop leanings of his last album "Wild Frontiers" it's literally like comparing apples and onions. Once tastes sweet, the other just stinks. - No Life ´til Metal

This ended up being the final ‘rock’ album Gary released, and at least it was a good one to go out on. It has plenty of great songs on it, and proved he still had the knack from writing and recording such material.
"After The War" was actually written to use Phil Lynott as he had for an earlier hit, "Out In The Fields". Lynott had died not long before this. The song "Led Clones", which had Ozzy Osbourne on vocals, was written in protest against the number of bands coming out and writing songs with almost identical riffs to Led Zeppelin (Kingdom Come – you know he meant you!). So, the album has great songs, and also lyrics that touched on issues of the day.
It’s a great shame (to me) that Gary stopped doing rock after this album. In fact, he even went as far as to distance himself from it in future years. Still – he left us with some great tunes. 
Rating : This album was a pearler, and contains the best of Gary Moore as singer, songwriter and guitarist. 4/5. - rateyourmusic


Reviews taken from Wikipedia, ALLMUSIC, No Life ´til Metal and rateyourmusic

Tracklist:

Dunluce (Part 1)	1:18
After The War	4:17
Speak For Yourself	3:43
Livin' On Dreams	4:15
Led Clones	6:09
The Messiah Will Come Again	7:32
Running From The Storm	4:46
This Thing Called Love	3:23
Ready For Love	5:43
Blood Of Emeralds	8:19
Dunluce (Part 2)

Flac
   
Not My Upload!
All Thanxs To The Original Uploader
 

ZZ Top - Live From 1st Annual La Grange Fest (2011)

The Backyard (El Patio Trasero) es un reubicado foro en donde tuvo lugar un evento con dos grandes exponentes del buen Rock (Rhytm and Blues-Southern Rock): ZZ Top y Lynyrd Skynyrd. El evento fué llamado First Annual Le Grange Fest por ser el primero de (esperemos) una serie muy larga de estos conciertos.

Rock and Blues Zone

There was all kinds of stuff goin’ on this weekend in Austin – the amazing Texas Book Festival, the always-popular Austin Film Fest, the Austin Record Convention and the nicer-if-it’s-a-nice day Gypsy Festival showcasing the city’s food trailers. So what was our big event of the weekend? The so-called “First Annual La Grange Fest,” featuring ZZ Top and Lynyrd Skynyrd.
Austin has a semi-new outdoor venue called the Backyard – kind of new, because they closed the old one and rebuilt a new one in a different location in the hills west of the city. It holds about 7,500 people and although I don’t think they had that kind of attendance Saturday night it sure seemed that way.

Taken from and Many Thanxs To: 30 Days Out blog

01. Intro
02. Got Me Under Pressure
03. Jesus Just Left Chicago
04. Waiting For The Bus
05. Band Intro > I’m Bad, I’m Nationwide
06. Future Blues
07. Cheap Sunglasses
08. Brown Sugar > Hey Joe (Jimi Hendrix cover)
09. Party On The Radio
10. Just Got Paid
11. Give Me All Your Loving
12. Sharp Dressed Man
13. Legs
 Encore:
14. La Grange
15. Tush

Flac

Not My Upload!
All Thanxs To The Original Uploader

Jo Harman - Dirt On My Tongue (2013)

Continuando con algo de música suave y exquisita aqui les comparto algo para no dejar pasar, Jo Harman una hembra con mucho talento, no, no hablo de sus atributos físicos, que si los tiene claro, pero lo que ocupa ahora es sus atributos artísticos, en este caso su voz y calidad interpretativa, nada mas que decir que: tremendísimos, si no denle una escuchadita y opinen por favor, pero neta que no la dejen pasar porque yo creo que se enfila a las grandes líneas de la escena del Blues internacional…

 Jo Harman es una cantante-compositora que incursiona en estilos como el Blues, el Rock, el Soul, el Country, el Gospel y otras sensibles raices musicales. Aunque con muchos años perseverando en la escena del Blues de Inglaterra, la carrera musical de Jo Harman despegó de manera súbita y meteórica coincidiendo con el lanzamiento de su primer album -DIRT ON MY TONGUE- probablemente debido a la calidad del mismo, llegando a ser considerado por algunas personas el mejor album del 2013, particularmente, yo lo consideraría si no el mejor, uno de los mejores del 2013. Ya en este recién terminado año 2014, Jo Harman fué elegida como la Vocalista Femenina del Año por parte de los British Blues Awards…

 01 I Shall Not Be Moved (4:07)
02 Worthy of Love (3:28)
03 (This Is My) Amnesty (4:46)
04 Heartstring (3:25)
05 I Don't Live Here Anymore (4:37)
06 Sweet Man Moses (5:46)
07 Underneath the River (4:29)
08 Fragile (5:58)
09 Cold Heart (5:08)
10 Better Woman (6:56)
11 What You Did for Me (4:18)
12 Sweet Man Moses (Radio Edit) (Bonus Track) (4:31)
13 Sideways (Bonus Track) (4:28)

Flac

Not My Upload!
All Thanxs To The Original Uploader