| | Eric Clapton Blues CD Eric Clapton Discography of CDs
 (4 Customer Reviews)
Contains 5 previously unreleased tracks.
Personnel: Eric Clapton (vocals, guitar, dobro); Albert Lee (guitar, background vocals); Duane Allman, Freddie King, Dave Mason, Ron Wood, George Terry (guitar); Dick Sims (piano, organ); Bobby Whitlock (piano); Gary Brooker (keyboards, background vocals); Chris Stainton (keyboards); Carl Radle, Dave Markee (bass); Jamie Oldaker, Jim Gordon, Henry Spinetti, Al Jackson (drums); Sergio Pastora (percussion); Yvonne Elliman, Marcy Levy (background vocals).
Recorded between 1970 and 1980. Includes liner notes by John McDermott.
Digitally remastered by Suha Gur (Universal Music Group Studios).
Personnel: Eric Clapton (vocals, guitar, dobro); Albert Lee (vocals, guitar); Gary Brooker (vocals, keyboards); Marcy Levy, Yvonne Elliman (vocals); Dave Mason, Duane Allman, Freddie King, George Terry, Ron Wood (guitar); Dick Sims (piano, organ); Bobby Whitlock (piano); Chris Stainton (keyboards); Henry Spinetti (drums, percussion); Jamie Oldaker, Al Jackson, Jr. (drums); Jim Gordon (bass drum); Sergio Pastora (percussion).
Audio Mixers: Suha Gur; Jay Mark; John Jansen; Jon Astley; Andy MacPherson; Philip Chapman; Steve Rinkoff; Bill Levenson.
Liner Note Author: John McDermott.
Recording information: Apollo Theatre, Glasgow, Scotland (09/02/1970-08/??/1980); Budokan Theatre, Tokyo, Japan (09/02/1970-08/??/1980); Compass Point Studios, Nassau, Bahamas (09/02/1970-08/??/1980); Criteria Studios, Miami, FL (09/02/1970-08/??/1980); Dynamic SOunds Studio, Kingston, Jamaica (09/02/1970-08/??/1980); Hammersmith Odeon, London, England (09/02/1970-08/??/1980); Long Beach Arena, Long Beach, CA (09/02/1970-08/??/1980); Olympci Sound Studios, London, England (09/02/1970-08/??/1980); Sear Sound Studios, New York, NY (09/02/1970-08/??/1980); Shangri-la Studios, Malibu, CA (09/02/1970-08/??/1980); Victoria Hall, Hanley, Staffordshire, England (09/02/1970-08/??/1980).
Photographers: John Bellissimo; Michael Putland; Laurens Van Houten; Ron Pownall.
Arrangers: Eric Clapton; Leadbelly; The Dominoes.
Eric Clapton earned a reputation as a blues guitarist early in his career, and while he frequently returned to the blues -- usually recording at least one blues tune per album -- he never recorded a full-fledged blues album until 1994's From the Cradle. It became one of the most popular records of his career. Not long afterward, MCA assembled a collection of Jimi Hendrix's blues recordings, and that compilation also proved quite successful. Those two releases provided the blueprint for Blues, Polygram's double-disc collection of blues highlights from Clapton's RSO recordings of the '70s. On each of those albums, Clapton dabbled in the blues, and all of those moments, along with five previously unreleased tracks (both live and studio cuts), are featured here. Given that it's a compilation spanning ten years, it's not entirely surprising that Blues lacks cohesion, but the quality of the songs and performances is better than the majority of his RSO albums. As a matter of fact, nearly every performance on this set offers proof that Clapton could still dazzle as a guitarist during the '70s, even if his life was plagued with personal problems that ultimately affected his recording career. Blues may not appeal to listeners who just want hits, but even serious fans who have most of the tunes here may find this a revelatory listening experience. ~ Stephen Thomas Erlewine
Prior to Eric Clapton's pop- and MTV-driven mid-'80s work, he spent the '70s and early '80s playing languid, singer-songwriter soft rock evocative of J.J. Cale and Don Edwards. But Clapton always kept one foot in the blues of his youth. BLUES brings this material together in one place and throughout, Slowhand taps into an inner spirituality that does these blues standards well.
The first disc contains studio recordings that include tributes to many influences including Elmore James ("The Sky Is Crying") and Willie Dixon ("Meet Me [DRolling Stone (8/19/99, p.119) - 4 stars out of 5 - "...a credible overview is now easily attainable....this collection tells [Clapton's story] with insight and flair." Purchase Blues CD To buy, Click on price to add to cart | White Zombie Supersexy Swingin' Sounds CD (1996)
Blues
 $6.75   
Most of the songs on SUPERSEXY SWINGIN' SOUNDS are the same songs that first appeared on ASTRO-CREEP 2000, remixed by Charlie Clouser, John Fryer, The Dust Brothers, Mike "Hitman" Wilson, P.M. Dawn and The Damage Twins.
White Zombie: Rob Zombie (vocals); J (guitar); Sean Yseult (bass); John Tempesta (drums).
Additional personnel includes: Machine, Brian Tucker (programming); Dave Rockin' Duke.
Recorded in Paris, France; London, England; Rome, Italy.
Personnel: Rob Zombie (vocals); J (guitar); John Tempesta (drums).
Audio Remixers: Damage Twins; John Fryer; Mike "Hitman" Wilson; The Dust Brothers; Charles Clouser.
Photographer: Peter Gowland.
Unknown Contributor Role: Dave Rockin Duke.
With Supersexy Swingin' Sounds, White Zombie offer a collection of ten remixes of songs from Astro-Creep: 2000, plus a new mix of their cover of KC & the Sunshine Band's "I'm Your Boogie Man" (which was originally on the Crow: City of Angels soundtrack). Not quite as experimental or dance-oriented as they would like to be, White Zombie have always flirted with industrial and disco, but at their core they are a metal band. Granted, they're a metal band that reconfigures the kitschy pleasures of pop culture much in the vein of the Cramps and the B-52's. However, with Supersexy Swingin' Sounds the weaknesses in their approach become clear. Despite the presence of remixers like the Dust Brothers, P.M. Dawn, and Charlie Clouser (among several others), there simply isn't enough interesting original material to make the reconfigured versions compelling. Furthermore, the album artwork -- featuring pseudo-exotica design and an array of scantly clad or naked models, all dressed like '60s pinups -- seems like White Zombie are hopping on the bandwagon, instead of carving out new camp territory of their own. It's not a bad listen, but it is a surprisingly unengaging one. ~ Stephen Thomas Erlewine
With Supersexy Swingin' Sounds, White Zombie offer a collection of ten remix
| | Eric Clapton From The Cradle CD (1994)
Blues
$10.09  
Personnel: Eric Clapton (vocals, guitar); Andy Fairweather-Low (guitar); Jerry Portnoy (harmonica); Tim Sanders (tenor saxophone); Simon Clarke (baritone saxophone); Roddy Lorimer (trumpet); Chris Stainton (keyboards); Dave Bronze (bass); Jim Keltner (drums); Richie Hayward (percussion).
Recorded at Olympic Studios Barnes, London, England.
FROM THE CRADLE won the 1995 Grammy Award for Best Traditional Blues Album. It was also nominated for Album Of The Year.
Personnel: Eric Clapton (vocals, guitar, acoustic guitar); Andy Fairweather Low (guitar, acoustic guitar); Jerry Portnoy (harmonica); Tim Sanders (tenor saxophone, horns); Simon Clarke (baritone saxophone, horns); Roddy Lorimer (trumpet, horns); Kick Horns (horns); Chris Stainton (piano, keyboards); Dave Bronze (bass guitar); Jim Keltner (drums); Richard Hayward (percussion).
Audio Mixers: Alan Douglas; Russ Titelman.
Recording information: Olympic Studios, Barnes, London, England.
Photographers: Eric Clapton; Jack English.
Unknown Contributor Roles: Lee Dickson; Ravi Sharman.
Arranger: Kick Horns.
For years, fans craved an all-blues album from Eric Clapton; he waited until 1994 to deliver From the Cradle. The album manages to re-create the ambience of postwar electric blues, right down to the bottomless thump of the rhythm section. If it wasn't for Clapton's labored vocals, everything would be perfect. As long as he plays his guitar, he can't fail -- his solos are white-hot and evocative, original and captivating. When he sings, Clapton loses that sense of originality, choosing to mimic the vocals of the original recordings. At times, his overemotive singing is painful; he doesn't have the strength to pull off Howlin' Wolf's growl or the confidence to replicate Muddy Waters' assured phrasing. Yet, whenever he plays, it's easier to forget his vocal shortcomings. Even with its faults, From the Cradle is one of Clapton's finest moments. ~ Stephen Thomas Erlewine
Some 30 years after cu
| | Eric Clapton Riding With The King CD (2000)
Blues
$10.15
Live Recording
Personnel: Eric Clapton, B.B. King (vocals, guitar); Doyle Bramhall II (guitar, background vocals); Andy Fairweather-Low, Jimmie Vaughan (guitar); Joe Sample (piano, Wurlitzer piano); Tim Carmon (organ); Nathan East (bass); Steve Gadd (drums); Paul Waller (programming); Susannah Melvoin, Wendy Melvoin (background vocals).
RIDING WITH THE KING won the 2001 Grammy Award for Best Traditional Blues Album.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Eric Clapton (vocals, guitar); B.B. King (vocals, guitar); Doyle Bramhall II, Jimmie Vaughan, Andy Fairweather Low (guitar); Joe Sample (piano, Fender Rhodes piano, Wurlitzer organ); Steve Gadd (drums); Paul Waller (drum programming); Susannah Melvoin, Wendy Melvoin (background vocals).
Audio Mixer: Mick Guzauski.
Authors: Craig Anderson ; David Dieckmann; Spencer Chrislu.
Photographers: Robert Sebree; Don Paulsen.
The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton's respect for his elder, it nearly works the other way around. The set list includes lots of King specialties -- "Ten Long Years," "Three O'Clock Blues," "Days of Old," "When My Heart Beats Like a Hammer" -- as well as standards like "Hold on I'm Coming" and "Come Rain or Come Shine," with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent. The real danger is that Clapton will defer too much; though he can be inspired b
| | Santana Supernatural CD (1999)
Blues
$14.35
Eric Clapton,Lauryn Hill,Wycle Jean,Dave Matthews,Eagle Eye
Personnel: Carlos Santana (vocals, guitar, congas, percussion); Everlast (vocals, guitar); Dave Matthews, Rob Thomas, Lauryn Hill, Cee-Lo, The Product G&B, Fher, Eagle Eye Cherry (vocals); Eric Clapton, Francis Dunnery, Al Anderson, Sergio Vallin, JB Eckl (guitar); Danny Wolinski (flute, saxophone); KC Porter (accordion, programming, background vocals); Mic Gillette, Jose Abel Figueroa (trumpet, trombone); Marvin McFadden, Javier Melendez, William Ortiz (trumpet); Jeff Cressman, Steve Turre, Ramon Flores (trombone); Alex Gonzales (drums, background vocals); Billy Johnson, Carter Beauford, Horatio Hernandez, Rodney Holmes, Greg Bissonette, Jimmy Keegan (drums); Karl Perazzo (congas, timbales, percussion, background vocals); Raul Rekow (congas).
Producers include: Carlos Santana, Steve Harris, Wyclef Jean, Jerry "Wonder" Duplessis, KC Porter.
Engineers include: Steve Fontano, Glenn Kolotkin, Mike Couzi.
SUPERNATURAL won the 2000 Grammy Award for Album Of The Year and for Best Rock Album. "Smooth" won the 2000 Grammy Award for Song Of The Year, Best Pop Collaboration With Vocals and for Record Of The Year. "The Calling" won the 2000 Grammy Award for Best Rock Instrumental Performance. "Maria Maria" won the 2000 Grammy Award for Best Pop Performance By A Duo Or Group With Vocal. "El Farol" won the 2000 Grammy Award for Best Pop Instrumental Performance. "Put Your Lights On" won the 2000 Grammy Award for Best Rock Performance By A Duo Or Group With Vocal. "Love Of My Life" was nominated for the 2000 Grammy Award for Best Pop Collaboration With Vocals. "El Farol" was nominated for the 2000 Grammy Award for Best Instrumental Composition.
"Corazon Espinado" won the 2000 Latin Grammy Award for Record Of The Year and SUPERNATRUAL won Best Rock Performance by a Duo or Group with Vocal. "El Farol" won the 2000 Latin Grammy Award for Best Pop Instrumental Performance.
Santana: Carlos Santana (vocals, gui
| | Joe Bonamassa Blues Deluxe CD (2003)
Blues
$13.89 
Personnel: Joe Bonamassa (vocals, guitar); Jon Paris (harmonica); Benny harrison (Hammond B-3 organ); Eric Czar (electric bass); Kenny Kramme (drums).
Recorded at Unique Studios, New York, New York. Includes liner notes by Harris Cohen.
As the electric guitar ace Joe Bonamassa was so strongly inspired by blues and blues-oriented six-stringers (i.e., Clapton, Johnny Winter), many of his fans would politely pester him about doing a disc of blues standards. Originally done as a lark, the results of such a session were deemed by Bonamassa good enough to be released--hence, BLUES DELUXE, on which he covers some lesser-known songs and includes three originals. Of course, his fierce, scorching guitar is center stage. If axe-men such as Peter Green, Rory Gallagher, and Buddy Guy are your cup of tea, this DELUXE item is a necessity.
Joe Bonamassa's first solo release in 2000, A New Day Yesterday, paid homage to classic '70s blues/hard rock. Three years later, with the release of Blues Deluxe, the young guitarist is doing the same with the roots of the blues. Eight of the 12 tracks are covers: B.B. King's "You Upset Me Baby," John Lee Hooker's "Burning Hell," Buddy Guy's "Man of Many Words," Elmore James' "Wild About You Baby," T-Bone Walker's "Long Distance Blues," Freddie King's "Pack It Up," Albert Collins' "Left Overs," and Robert Johnson's "Walking Blues." The problem with about half of the disc is the difficulty of covering this type of material without being able to add much to it. At this relatively early stage in Bonamassa's discography, it may have been a better idea if he would have mixed 70 percent originals with a few covers instead of vice versa. It's obvious Bonamassa has devoured this material, but his take on "Burning Hell," for instance, doesn't come close to matching the strength and realism of the original. The album's strong points are the three originals -- "Woke Up Dreaming," "I Don't Live Anywhere," "Mumbling Word" -- and the Jeff Beck Group's
| | Touch-Tone Terrorists Appetite For Disruption CD (2000)
Blues
$13.05
APPETITE FOR DISRUPTION is a spoken word comedy CD.
| | Clarence "Frogman" Henry Ain't Got No Home: The Best Of Clarence Frogman Henry CD (1994)
Blues
$6.59
Scoring an unexpected novelty hit with the title track in 1956, Henry disappeared from the charts for four years before roaring back with two smashes in the early '60s, "(I Don't Know Why) But I Do" and "You Always Hurt The One You Love." Actually, Clarence recorded a fair number of singles for Chess' Argo subsidiary between 1956 and 1964 in the relaxed New Orleans R&B styles of his big hits. Ain't Got No Home includes 18 of these sides, most of which were previously unavailable on U.S. album. Henry developed slightly over the course of his career, adding beefier horn sections that occasionally reached back to the spirit of Dixieland. Crescent City legends like saxophonist Lee Allen and pianists Allen Toussaint and Paul Gayton crop up on these sessions; when Henry traveled to Memphis for a session, he was backed by the all-star band of Bill Justis (guitar), Boots Randolph (sax), and Floyd Cramer (piano). A bit more eccentric and unpredictable than Fats Domino, not as contemporary or inventive as, say, Lee Dorsey, Henry's vocals were consistently warm and humorous, his recordings always polished. That said, the hits remain the standouts on this collection. The rest is pleasant and fun, but don't vary much from the prototype or cause exceptional interest. A couple tracks worth noting are "I Love You, Yes I Do," an R&B ballad subsequently covered by several acts during the 1960s, and the 1964 single "Long Lost and Worried," written by a young Dr. John. The informative booklet includes a neat photo of Clarence with the Beatles, ironic considering that the British Invasion made types like Clarence an anachronism. ~ Richie Unterberger
| | Homesick James & Snooky Pryor CD (1998) (Import) United Kingdom
Blues
$15.95
Includes 3 bonus tracks.
Personnel: Homesick James Williamson (vocals, guitar); Snooky Pryor (vocals, guitar, harp).
Audio Remixer: Alex Munkas.
Liner Note Author: Sam Burckhardt.
Recording information: Heinz Studios, Vienna, Austria.
Photographers: Hannes Folterbauer; Homesick James Williamson.
| | Screwed Up Inc.: Underground Houston Vol. 2 CD (2003)
Blues
$10.19
Performers include: Lil' Troy, Meance Clan, Choice, Southern Players, 4 Deep, Money Black, Rebel, The Screwhouse Records Freestyle Kings.
This is an example of the Southern Rap "screwed" mix style.
This is an example of the Southern Rap "screwed" mix style.
| | Lowell Fulson Complete Kent Recordings 1964-1968 CDs (2002) Box Set
Blues
$60.19
Personnel: Larry Green, Rene Hall, Arthur Adams (guitar); George "Harmonica" Smith (harmonica); Bobby Harman, Melvin Moore (trumpet); Maxwell Street Jimmy Davis (piano); Chuck Thomas (drums).
| | Homesick James & Snooky Pryor Big Bear Sessions, The CDs (2005) (Import) Sweden
Blues
$19.59
Personnel includes: Homesick James (vocals, guitar); Snooky Taylor (vocals, harmonica).
Compilation producers: Neil Slaven, Roger Dopson.
Includes liner notes by Neil Slaven.
This is part of Big Bear Productions "Blues Heritage" series.
This double-CD set of Homesick James and Snooky Prior is remarkable in that it is the first time the entire collection of these sessions has been assembled. There are 39 cuts over two discs. Included are three complete albums and cuts from two different compilations. James did one of these records himself, Home Sweet Homesick James, but Shake Your Boogie and the self-titled duet album were with Prior. The album with Prior is the most satisfying here because of the rawness of the backing band and the loose spooked-out groove of the proceedings -- more like Junior Kimbrough and R.L. Burnside than Muddy Waters. The version of "Crossroads" sounds like an entirely different song yet loses none of its power because of its hypnotic boogie. The earliest solo slide guitar material by James, like his version of Sonny Boy Williamson's "Lonesome Train," also has the repetitive groove goin' on, but the guitar playing is so phenomenal it's distracting. The material from Shake Your Boogie is a straight-up good-time blues record; it's funky, greasy, and vulgar in all the best ways. The sound of the recording is also very warm and immediate. He and Prior just get to it, burning up one blues classic after another. Again, James' slide playing is intense as hell; he's always on the beat, and letting the bottleneck ring against Snooky's harp. Even on the more laid-back tunes such as "Bottle Up and Go," the energy just crackles in the mix. The mix of originals to covers is about even, but it hardly matters since these cats make every tune their own. Once more, what these archival recordings prove is that Big Bear was a far more important label than originally thought, and they captured late performances by some of the absolute masters of the genre. This is essential. ~ Thom Jurek
| | Ray Charles Unreleased CD (2006)
Blues
$6.99
Offering a glimpse of Ray Charles in his formative years, the Night Train label's UNRELEASED presents alternate versions of some of the R&B legend's earliest recordings (1949-'54). At this stage in his career, Charles had yet to find his signature voice and was performing in a style that directly referenced the smooth crooning and gentle piano playing of Nat "King" Cole (see the jazzy, delicate numbers "I'm Glad for Your Sake" and "I Wonder Who's Kissing Her Now"). Given the fluctuating sound quality and many false starts and incomplete takes, this is a disc for Charles completists, but definitely an intriguing one.
If you are a true Ray Charles freak, you'll want Ray Charles: Unreleased. No doubt. When Charles was still "Ray Charles Robinson" recording for Jack Lauderdale's Down Beat Records (later changed to Swing Time). While it is well known that later in his career, when Charles did multiple takes, he would play them in exactly the same way, it's not so on these unreleased sides. The versions of "Honey Honey" here, (one is a false start and the other is an unknown take), is slower than the released version. Other tracks -- there are 19 in all -- "Sittin' on Top of the World," is also slower, gauzier. It's all like that, slippery, raw, immediate, and all Charles at the beginning of his ride, digging deep into blues and jazz; the gospel would come later. This is of real interest for collectors, despite the slim liner note fare. ~ Thom Jurek
| | Moody Blues Question of Balance CD (1970) (Import) Bonus Tracks; Germany; SACD Hybrid; United Kingdom
Blues
$17.55
Additional Tracks
The Moody Blues: Justin Hayward, Graeme Edge, John Lodge, Mike Pinder, Ray Thomas.
Engineers: Derek Varnals, Adrian Martins, Robin Thompson.
Includes liner notes by John Reed.
All tracks have been digitally remastered.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
The Moody Blues: Justin Hayward (vocals, guitar); John Lodge (vocals, bass instrument); Ray Thomas (flute, harmonica); Mike Pinder (keyboards); Graeme Edge (drums, percussion).
The Moody Blues' first real attempt at a harder rock sound still has some psychedelic elements, but they're achieved with an overall leaner studio sound. The group was trying to take stock of itself at this time, and came up with some surprisingly strong, lean numbers (Michael Pinder's Mellotron is surprisingly restrained until the final number, "The Balance"), which also embraced politics for the first time ("Question" seemed to display the dislocation that a lot of younger listeners were feeling during Vietnam). The surprisingly jagged opening track, "Question," recorded several months earlier, became a popular concert number as well as a number two (or number one, depending upon whose chart one looks at) single. Graeme Edge's "Don't You Feel Small" and Justin Hayward's "It's Up to You" both had a great beat, but the real highlight here is John Lodge's "Tortoise and the Hare," a fast-paced number that the band used to rip through in concert with some searing guitar solos by Hayward. Ray Thomas' "And the Tide Rushes In" (written in the wake of a fight with his wife) is one of the prettiest psychedelic songs ever written, a sweetly languid piece with some gorgeous shimmering instrumental effects. The 1997 remastered edition brings out the guitar sound with amazing force and clarity, and the notes tell a lot about the turmoil the band was starting to feel after three years of whirlwind success. The only loss is the absence of the lyrics included in earlier editions. ~ Bruce Eder
The beautifully remastered version of the Moody Blues's 1970 back-to-basics album (translation: they cut way back on the overdubs) strips away the original aural murk at last, and includes informative liner-note interviews with the band about the recording process. Standout tracks include the classic sort-of protest song "Question" and "It's Up to You," one of singer/guitarist Justin Hayward's most authoritatively wistful riff-rockers.
There is a clear attempt to pare back the lush excesses of their earlier work in favor of a leaner rock sound, as heard on cuts like John Lodge's pell-mell "The Tortoise and the Hare." Still, one of the album's standouts is Ray Thomas's "And the Tide Rushes In," a lovely psychedelic ballad of the sort that moved the Who's Pete Townshend to remark that the Moody Blues' albums were so gorgeously produced that listening to them was like "being in church." A QUESTION OF BALANCE is a fine album, and a clear preparation for its successor EVERY GOOD BOY DESERVES FAVOUR, one of the band's finest moments.
A beautifully remastered version of the Moodies' 1970 back-to-basics album (translation: they cut way back on the overdubs) with the original aural murk stripped away at last, and informative liner-note interviews with the band about the recording process. Standout tracks include the classic sort-of protest song "Question" and "It's Up to You," one of singer/guitarist Justin Hayward's most authoritatively wistful riff-rockers. The prettiest track is Ray Thomas's "And the Tide Rushes In," a psychedelic ballad of the sort that moved the Who's Pete Townshend to remark that the Moody Blues' albums were so gorgeously produced that listening to them was like "being in church."
| | Travis & The James Gang Maria A Woman Like You CD (2008)
Blues
$12.65
“Maria...A Woman Like You” is the latest release from Travis & The James Gang. The twelve original songs written and performed by Travis Turner are full of strong emotions. Lost or unreturned love is the main theme, although sometimes with an unexpected Rockabilly beat. Other songs are sweet with Spanish guitar, harmonica, steel guitar, marimbas, drums, bass, piano and the occasional surprise sound. A little Marty Robbins flavor on some of the selections from these Tennessee boys will almost bring a tear to any eye. Then hold on for some tongue-in-cheek Rockabilly with songs such as “Little Senorita” and “Little Latin Lupe”! And you gotta hear SaxManDan’s screaming sax on “South of the Border Blues!! This CD is different from any you’ve ever heard. Recorded in the Mountains of Tennessee by musicians with years of experience, it’s just different in a nice, refreshing way. Buy it today! It’ll be a treat for you and may keep those old Tennessee pickers out of trouble!! Thanks!!
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