Doyle Bramhall, II - Welcome CD

Welcome album for sale 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. Recorded at Unique Studios, New York, New York. Includes liner ...

Welcome CD music All tracks have been digitally mastered using HDCD technology. "Trouble Is..." was nominated for the 1999 Grammy Award for Best Rock Instrumental Performance. After releasing a debut that drew raves from people such as James Brown and B.B. King, Kenny Wayne Shepherd followed it up with an album that demonstrates how much musical growth this childhood prodigy has experienced in two years. On TROUBLE IS..., Shepherd's playing still reflects the huge influence of the late Stevie Ray Vaughan (particularly on the instrumental title track that finds him joined by Double Trouble and Reese Winans), but new singer Noah Hurt also colors everything with a growl reminiscent of Paul Rodgers. Moving slightly away from the country-blues of LEDBETTER HEIGHTS, Shepherd's strong rhythmic touch shines on everything from juke-joint exercises ("[Long] Gone" with James Cotton) to the transformation of Dylan's "Everything's Broken" into a roadhouse rave-up. Although this Shreveport native's guitar lends itself to more up-tempo material (check out "Chase The Rainbow"), slower songs are where the 20-year old digs deep into the heart of the blues. The pure emotion found in "Blue On Black" and "I Found Love (When I Found You)" shows that Shepherd can carry on the legacy of the blues for many years to come. Live Recording Recorded at The Plant Recording Studio and Studio D, Sausalito, California; Dogma Studio, New York, New York. Kenny Wayne Shepherd Band: Kenny Wayne Shepherd (vocals, guitar); Noah Hunt (vocals); Joe Nadeau (guitar); Jimmy Wallace (keyboards); Robby Emerson (bass); Sam Bryant (drums). Personnel: Kenny Wayne Shepherd (vocals, guitar); Noah Hunt (vocals); James Cotton (harmonica); Jay Blakesberg (piano); Jimmy Wallace, Reese Wynans (keyboards); Sam Bryant (drums, cymbals); Chris Layton (drums); Stephanie Spruitt, Patricia Hodges (background vocals). Audio Mixers: Joe Chiccarelli; Tom Lord-Alge. Recording information: Dogma Studio, NY, NY; Plant Recording Studio, Sausalito, CA. Photographer: Mark Seliger. Unknown Contributor Roles: Jimmy Wallace; Joe Nadeau; Sam Bryant; Noah Hunt; Robby Emerson; Kenny Wayne Shepherd. Arrangers: Jerry Harrison; Kenny Wayne Shepherd; Bill Pfordresher. Additional personnel: James Cotton (harmonica); Reese Wynans (keyboards); Tommy Shannon (bass); Chris Layton (drums); Stephanie Spruitt, Patricia Hodges (background vocals).

Welcome buy CD music Recorded over the course of several nights during a 2007 stint at Ronnie Scott's legendary London venue, Jeff Beck can be heard here unleashing a torrent of six-string fury. Revisiting some of his classic albums for such songs as "Beck's Bolero" and "Led Boots," he easily matches the energy of the original cuts despite the difference in decades, and he brings his interpretive powers fully to the fore when delivering his version of the Beatles' "A Day in the Life." Personnel: Jeff Beck (guitar); Alan Branch (recorder); Jason Rebello (keyboards); Tal Wilkenfeld (bass guitar); Vinnie Colaiuta (drum). Audio Mixer: Alan Branch.

Welcome songs Blues-rock guitarist Joe Bonamassa gets up to his usual tricks on THE BALLAD OF JOHN HENRY, dabbling in a variety of genres, but injecting them all with a serious dose of guitar heroics. Like his musical forefather Stevie Ray Vaughan, Bonamassa is both soulful and a shredder, and he brings those qualities to tracks like Tom Waits's "Jockey Full of Bourbon," Ike & Tina Turner's "Funkier Than a Mosquito's Tweeter," and a handful of rock and blues-fused originals. Bonamassa has a progressive sensibility, but that never keeps him, on any of BALLAD's 12 tracks, from rocking like no one's business. Liner Note Author: Joe Bonamassa. Recording information: The Document Room, Malibu, CA. Illustrator: Dennis Friel. Photographer: Rob Shanahan. Arranger: Lee Thornburg. Personnel: Joe Bonamassa (vocals, guitar); David Woodford (saxophone); Lee Thornburg (brass); Rick Melick (keyboards, background vocals); Bogie Bowles, Anton Fig (drums). Audio Mixer: Kevin Shirley.

Welcome CD music Revelator is the debut studio album from the 11-piece Tedeschi-Trucks Band, who already have a reputation as a wildly exciting live jam group. That said, the record that Susan Tedeschi and husband Derek Trucks have recorded proves something beyond their well-founded reputation as a live unit: that they can write, perform, and produce great songs that capture the authentic, emotional fire and original arrangements that so many modern blues and roots recordings lack. The duo forged their two individual solo bands (Trucks remains with the Allman Brothers Band) and added some other players. Oteil and Kofi Burbridge and Mike Mattison, as well as drummers Tyler Greenwell and J.J. Johnson are on board, as well as backing vocalists and a horn section. Produced by Trucks and Jim Scott, these 12 songs seamlessly meld blues, rock, Southern soul, gospel, and funk traditions into a heady, seductive, spine-slipping stew. The record also showcases Tedeschi as one of the finest vocal stylists in roots music, and Trucks, has become the only true heir of Duane Allman's bell-like slide guitar tone, his taste and restraint. More than this, Revelator offers proof that this pair and their bandmates are serious songwriters as well as players--anyone remember the original Little Feat? It's like that, but with a woman up front. While the single, "Midnight in Harlem," highlights the softer,side of the band with Tedeschi's soulful croon and Trucks' swooning slide, it's the harder numbers that fill out the story. The sexy opener "Come See About Me," the bluesy, gospelized "Don't Let Me Slide" (one of two cuts written by Trucks and Tedeschi with Jayhawk Gary Louris), the second-line funk-blues of "Bound for Glory" with its punchy horns; all of these offer evidence of the real depth that this band abundantly possesses. There's the skittering, slow-tempo guitar and B-3 soul-blues of "Simple Things," and the New Orleans-style horns introducing "Until You Remember," which can distract the listener for a moment from experiencing these songs for what they are-- until Tedeschi opens her mouth and lets the lyrics come up from her belly and drip from her lips and Trucks matches her emotion in his solo-- love songs; the likes of which we haven't heard since Delaney & Bonnie. The Eastern modal tinge in Trucks' playing and tablas dustinguishes "These Walls," tempered by the quiet conviction in the grain of Tedeschi's vocal would have made for a better single. The nasty, funky, Hendrixian droning blues of "Learn How to Love" is textured by Kofi's funky clavinet and Wurlitzer. Speaking of funk, Tedeschi takes her own smoking guitar break in "Love Has Something Else to Say," a slamming, break-ridden funk tune that quakes. It combines hard Southern Stax-styled rhythm, soul, blues, and nasty-ass rock. Revelator is a roots record that sets a modern standard even as it draws its inspiration from the past. It's got everything a listener could want: grit, groove, raw, spiritual emotion, and expert-level musical truth. ~ Thom Jurek Recording information: Plyrz Studios; Rong-Tai Studio; Studio P, Sausalito, CA; Swamp Raga Studios, Jacksonville, FL. Photographers: James Minchin; Jessica Shouse. Personnel: J.J. Johnson (drums). Audio Mixer: Jim Scott .

Welcome buy CD music The cassette version only of ARC ANGELS on DGC [2064 24465] was reissued on November 4, 1997. Tommy Shannon and Chris Layton were formerly part of Stevie Ray Vaughn's backing band, Double Trouble. There are one-hit wonders throughout the history of music, but very few one-album wonders like the Arc Angels. After the death of blues-rock guitar hero Stevie Ray Vaughan, fellow singing guitarists, Texans, and Vaughan devotees Doyle Bramhall II and Charlie Sexton formed the quartet with Vaughan's rhythm section of bassist Tommy Shannon and drummer Chris Layton. Their 1992 debut release would also be their swan song, but the self-titled album would prove to be one of the best rock/pop/blues recordings of the decade as well. The opening "Living in a Dream" is the only tune Sexton and Bramhall II co-composed, and is perhaps the closest that the Arc Angels come to re-creating Vaughan's signature sound. "Paradise Cafe" is one of a handful of tracks Sexton co-wrote with pop composer Tonio K., but he and Bramhall II engage in some ZZ Top-like call-and-response vocals, and Bramhall II's Vaughan dedication, "Sent by Angels," features some of the album's most impassioned singing. Funky tunes like "Sweet Nadine," "Good Time," and "Carry Me On" lighten the mood, and Shannon, Layton, and guest keyboardist Ian McLagan play brilliantly throughout in setting up the singing guitarists. The spirit of Vaughan permeates the recording, from the production of Little Steven to the liner notes ("Dedicated to our friend, Stevie Ray Vaughan. We miss you"), yet never sounds forced, purposeful, or contrived. Alas, the final two songs -- the rocking "Shape I'm In" and epic "Too Many Ways to Fall" -- sport titles that point toward the Arc Angels being a Vaughan-like comet rather than a future veteran group. Sexton's solo recording career had started as a teenager; Bramhall II and his father Doyle Bramhall were friends of Vaughan's (the elder Bramhall even composing and co-composing tunes with the guitar giant). But the two frontmen who complemented each other so well nonetheless couldn't blend their egos as easily. Arc Angels stands as testimony that a band needn't have a long career to have a lasting legacy. ~ Bill Meredith Arc Angels: Doyle Bramhall II, Charlie Sexton (vocals, guitars); Tommy Shannon (bass, background vocals); Chris Layton (drums, background vocals). Personnel: Doyle Bramhall II, Charlie Sexton (vocals, guitar); Ian McLagan (keyboards); Chris Layton (drums, background vocals); Tommy Shannon (background vocals). Recording information: 1992.