| | Jimmy "Duck" Holmes Gonna Get Old Someday CD Jimmy "Duck" Holmes Discography of CDs
On his third album, and his first for Fat Possum imprint Big Legal Mess, Jimmy "Duck" Holmes goes deeper into the Bentonia, Mississippi, blues sound that Skip James pioneered and Holmes inherited. His odd tunings, use of open strings, and mournful wail recall the classic James sound to a degree, but Holmes injects enough of his own personality (and a contemporary sense of urgency) to underline the fact that his blues are not a thing of the past. GONNA GET OLD SOMEDAY makes it clear that Holmes is one of the most vital blues artists of the 21st century.Living Blues (p.43) - "There is not a weak performance to be found on the disc....GONNA GET OLD SOMEDAY is a strong signal that Mississippi country blues is alive and well in the 21st century." Gonna Get Old Someday Music Jimmy "Duck" Holmes Gonna Get Old Someday Songs | 1. | What's The Matter Now |
| 2. | Leave In The Morning |
| 3. | Devil Blues |
| 4. | Buddy Brown |
| 5. | Shaggy Hound |
| 6. | Done Broke Down |
| 7. | Could Have Been Married |
| 8. | Shade Tree |
| 9. | Gonna Get Old Someday |
| 10. | Cool Water |
| 11. | Hurry, Hurry |
| 12. | Hard Times |
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Purchase Gonna Get Old Someday CD To buy, Click on price to add to cart | Little Milton Think Of Me CD (2005)
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New Orleans musician Chris Thomas King lost both a home and a recording studio when Hurricane Katrina had landfall at the close of summer in 2005, and it's hardly startling that his album Rise takes Katrina and the devastating aftermath of the storm as a central theme. The result is a tremendously elegiac outing, and even when King goes up-tempo, as he does on a cover of Joni Mitchell's "Big Yellow Taxi," the song itself is all about incalculable loss and the incredible indifference of contemporary America to its own personal history. Things are drowning and washing away in song after song on Rise, and King isn't afraid to name names. In "Faith," the song's narrator clings to a rooftop as bodies float by and he realizes that President Bush is in a plane over New Orleans in the same instant, and it is a powerful moment that literally defines the notion of differing perspectives. Does he really care, the narrator wonders. Rise deals with loss, death and the hope for rebirth in mostly hushed tones, and while many still think of King as primarily a blues artist, the album is really closer to a kind of pop gospel outing, only stripped of much of the certainty and joy that gospel usually conveys. Rise is King's personal revaluation of America, and the truths he ...
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"Raw" is an overused and sometimes misapplied term of admiration, especially in the realm of the blues, where it is all too often used as a euphemism for "incompetent and off-key." In the case of Louisiana Red's Back to the Black Bayou, however, it's the only apt descriptor, and it's fully justified as a term of praise: his sound is ragged-edged and fiery, though its center is utterly solid and his delivery is unfailingly powerful. Having lived in Germany since the early '80s, he went ...
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This five-disc box collects as many complete concerts by Irish blues-rock guitarist Gary Moore, recorded in 1990, 1995, 1997, 1999, and 2001 at the Montreux Jazz Festival. Some might call this too much material, especially given the number of songs that recur (four versions of "All Your Love," three each of "Oh Pretty Woman," "Too Tired," and "You Don't Love Me," and two each of "The Blues Is Alright," "Further on Up the Road," "Need Your Love So Bad," "Parisienne Walkways," "Since I Met You Baby," "Still Got the Blues," "Stop Messing Around," and "Walking by Myself"), but there is in fact substantial variation from disc to disc. The obvious outlier is the 1990 disc, on which Moore is joined for four superlative songs by legendary Texas guitarist Albert Collins. But the 1997 concert finds Moore moving from straight Chicago-style blues to an alternative metal roar, the guitar cranked up ferociously loud and backed by a mix of live instruments, ...
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