| | Southern Soul Duets CD
This disc collects 11 of the grittiest Southern soul duets, including "Lover's Holiday" by Peggy Scott & Jo Jo Benson, "Just Keep on Loving Me" by Johnnie Taylor & Carla Thomas, "Please Don't Let Our Good Thing End" by Z.Z. Hill & Dorothy Moore, and "Ain't Nothin' Like the Lovin' We Got" by Shirley Scott & Bobby Womack. ~ Keith Farley
P.Scott&J.Benson,J.Clay&W.Bell W.Clayton&P.Brown,D.Lasalle+++ Southern Soul Duets Music Southern Soul Duets Review
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Purchase Southern Soul Duets CD To buy, Click on price to add to cart | Who Tommy CDs (1969) Hybrid; Bonus Tracks; SACD Hybrid; Remastered; Deluxe Edition
Southern Soul Duets album
 $19.59   
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
This is a Super Audio CD playable only on Super Audio CD players.
The definitive rock opera, TOMMY liberated ...
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| | Keb' Mo' CD (1994)
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The first solo release by contemporary blues-based artist Keb Mo' mixes a reverence for traditional country blues with more streamlined elements of commercial pop. Despite a convincing "down-home" approach of gravel-textured vocals and superior slide work and finger-picking skills, Keb Mo' avoids the pose of a hard line revivalist. Instead, he chooses to employ his fluency in the Delta tradition as a palette on which to blend ...
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After having become known as "that one band with the vibraphone," Aloha continues to throw tons of other toys into the fray on their sophomore LP, including piano, synthesizers, and extra percussion. The ten songs on Sugar are somewhat of a new direction for the band. This is seen partially in the lack of the free jazz that so enveloped the last full-length, That's Your Fire. Much of Sugar contains a more '70s pop/rock feel, ...
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With his take-no-prisoners slide guitar style derived from Elmore James and a primal, driving approach to the blues, J.B. Hutto was a fixture in the Chicago clubs in the 1950s and 1960s, where he was often paired with the similar-sounding Hound Dog Taylor. This set, which was recorded at Mother Blues on Wells Street in Chicago's Old Town section on December 17, 1966 (the final seven tracks come from a second session held on December 19 and 20, 1972, at Sound Studios), is typical of Hutto's barn-burning style, with ragged, explosive slide runs curling around his raw, nearly incomprehensible vocals (not that the Hawk's meaning was ever unclear), and the end effect is bit like having a bulldozer blast through your head. Among the highlights here are the opener, "Evening Train," "Hawk's Rock" (an instrumental that is about as subtle as Hutto ever got), the monster "Hip Shakin'" (the version here was used on his album Hawk Squat), "Precious Stone," and ...
| | Pat The White Reviver CD (2008) (Import) Import
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Patrick Leblanc (Pat The White) is an award winning artist from the Gaspé region of Québec.Pat`s album "Reviver" was awarded the Montreal Blues Society's "Lyblues Album of the year" on September 16, 2007.From Soundopinion.caPat The White Band have blown people away with their chemistry at many a festival, and the same elements that have made them a success live are at work on this album. Named after their lead singer/guitarist, Pat Leblanc, the group is a jam band. They’re from Quebec, but their influences seem mostly to be from the spirited U.S. South.Six of the nine songs on Reviver are originals, but, to hear them, I would have guessed they were written in the 60s or 70s. As is the case with a lot of music from that era, the line between blues and rock is often drawn thinly. Pat The White’s own “More Bad News” makes blues as fun and catchy as does the Fabulous Thunderbirds’ “Tuff Enuff.” “Kiss From Your Sister” is a great jam, with Pat’s guitar up front, but every member (a bassist, another guitarist, a drummer, and an organist) gets into it and gives noteworthy performances. It’s such a strong song and performance that it almost overshadows the Allman Brothers Band classic, “Whipping Post,” which Pat The White Band treat with utmost respect and enthusiasm. The cover song highlight, and possibly the entire album highlight, is the band’s spin on Deadric Malone’s “Ain’t That Loving You.” This is a hard rocking, old blues-influenced version. Pat trades vocal lines with Bob Walsh, who energetically channels B.B. King. In the jam parts, keys and guitar notes each have solo time, before engaging in a rising conversation.Although band interaction, technical skill, and virtuosity are key in any successful jam, there need to be memorable songs to make a memorable album. In addition to a never-ending supply of riffs, licks, and grooves, the band also offers variety in tone and tempo to keep interest. Things are slowed down on “Promised Land,” drawing attention to Pat’s vocals, which are punctuated by guitar flourishes á la Carlos Santana. The band lets loose and jams, only to return to the vocal part, and then repeat the process. The acoustic “Looking Out The Window” also has a memorable vocal performance, although some might say that Pat oversings ...
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