Derek & The Dominos - Layla and Other Assorted Love Songs CD

Layla and Other Assorted Love Songs 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 ...

Layla and Other Assorted Love Songs album for sale 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 .

Layla and Other Assorted Love Songs buy CD music When their hugely influential groups (Cream and Traffic, respectively) disbanded, Eric Clapton and Steve Winwood made rock history when they joined forces in the short-lived Blind Faith in the late 1960s. Forty years later these legends collaborated again, selling out a trio of dates at Madison Square Garden, the results of which are captured on this dynamic double-disc set. The set list includes material from the catalogs of Blind Faith, Traffic, Derek and the Dominos, and Clapton's solo oeuvre (including the J.J. Cale-penned classics "After Midnight" and "Cocaine"). Two Jimi Hendrix covers appropriately evoke the bygone `60s era, but the mode here is more laid-back and polished than fiery and psychedelic. That's not to say that Winwood and Clapton, who shine equally on these cuts, don't charm with their familiar skill and finesse. The result is 21 tracks-worth of classic rock pleasure. Recording information: 02/2008. Photographer: Danny Clinch. Personnel: Eric Clapton (vocals, guitar); Steve Winwood (vocals, guitar, keyboards); Chris Stainton (keyboards); Willie Weeks (bass instrument); Ian Thomas (drums). Audio Mixer: James Towler.

Layla and Other Assorted Love Songs songs Given his place in the pantheon of American rock music, Gregg Allman's solo career away from the Allman Brothers Band has been generally disappointing. Perhaps that's why it took nearly a decade between his previous album, 1997's Searching for Simplicity (its title alone indicates his frustrations) and 1988's over-produced yet underwhelming Just Before the Bullets Fly. A whopping 14 years later, Allman joins forces with roots producer to the stars T-Bone Burnett, hoping that some of the latter's mojo can rub off on a singer who is one of the great white soul and blues vocalists in rock music. For the most part it does, as the duo choose 11 relatively obscure covers from classic artists such as Bobby "Blue" Bland, Junior Wells, and B.B. King that have clearly influenced Allman's musical approach. The backing is organic but far from stripped-down with horns, multiple guitars, and even background vocalists supporting the singer's patented crusty growl. From the opening raw thump of the ominous Sleepy John Estes' "Floating Bridge" to a peppy yet intense take on Muddy Waters' "I Can't be Satisfied" and a fiery reworking of Magic Sam's "My Love Is Your Love," Allman sounds invested and inspired by this material and his musical surroundings. Veterans such as Dr. John (credited here with his real name, Mac Rebennack), Doyle Bramhall II, and Burnett's often used rhythm section of drummer Jay Bellerose and Dennis Crouch on bass keep a taut yet easygoing lock on the groove. That's particularly evident on the predominantly acoustic version of Skip James' "Devil Got My Woman." The horns that appear on five tunes never overpower the sound yet help propel Allman's soul-searing performance of Bland's "Blind Man." Ditto for Otis Rush's slow blues "Checking on My Baby," which brings the vocalist back to his "Stormy Monday"-styled beginnings. One original co-written with Allman Brothers Band guitarist Warren Haynes, "Just Another Rider," while not a terrible song, pales in comparison with the rest of the material and could have been saved for the next Brothers album, where it might make a better fit. Allman is credited with B-3 on the majority of the tunes, but his contributions are generally mixed so low as to be nearly inaudible. His organ can be heard on a low-down run-through of Amos Milburn's "Tears, Tears, Tears" that captures a sweet, jazzy noir West Coast blues. It adds up to Allman's best and surely most focused and cohesive solo release, and one where the template can hopefully be repeated in less time than it took this to appear. ~ Hal Horowitz Audio Mixer: Mike Piersante. Recording information: Village Recorder, Los Angeles, CA. Editors: Emile Kelman; Jason Wormer. Photographer: Danny Clinch.

Layla and Other Assorted Love Songs album for sale George Harrison had two periods of great commercial success, separated by 15 years and two record labels. This extended gap is the chief reason there hasn't been a career-spanning Harrison collection until 2009's LET IT ROLL: SONGS BY GEORGE HARRISON, the first-ever disc to gather songs from George's stints at both Apple and Dark Horse, and only his third-ever hits collection (following 1976's Beatles-heavy THE BEST OF GEORGE HARRISON and THE BEST OF DARK HORSE, released in 1989 in the afterglow of CLOUD NINE's comeback success). LET IT ROLL balances these two periods, swapping any Beatles-era song ("Something," "Here Comes the Sun," "While My Guitar Gently Weeps") for a live version from THE CONCERT FOR BANGLADESH, then mixing it all up chronologically, so the set starts with the pristine bounce of "Got My Mind Set on You" before giving way to "Give Me Love (Give Me Peace on Earth)." If anything jars, it's the sounds of the times, as Jeff Lynne's clean, manicured arrangements don't necessarily fit with Phil Spector's lush, magisterial productions, but that's a minor quibble about a useful compilation that consolidates all of Harrison's signature tunes on one very enjoyable disc. Audio Remasterers: Ray Staff; Giles Martin. Liner Note Author: Warren Zanes. Photographers: Gered Mankowitz; Chris Cuffaro; Henry Grossman; Barry Feinstein.

Layla and Other Assorted Love Songs CD music Warren Haynes has been almost ubiquitous since he joined the Allman Brothers Band, and formed Gov't Mule with Allen Woody and Matt Abts. He's played and collaborated with everyone from the Grateful Dead and Bob Dylan to Little Milton and Taj Mahal. Fans might be surprised to learn that Southern soul was an early love. But they shouldn't be. Man in Motion is Haynes' first conscious effort and to fully indulge his love for this music, and his first solo record with backing musicians since 1993. Co-produced with Gordie Johnson, Man in Motion boasts a stellar cast: George Porter, Jr. on bass, Ivan Neville on organ, clavinet, and backing vocals, Ian McLagan on Wurlitzer and piano, drummer Raymond Weber, tenor saxophonist Ron Holloway, and backing vocalist Ruthie Foster. Two surprises do occur on the title track that opens this set: how much Haynes has grown as a songwriter and as a singer. (He may argue, but it sounds like he's been influenced by Gregg Allman's phrasing and delivery; here he moves toward the groove in his lyrics, he doesn't try to shout them above it.) The track is tight; rhythmically pulsed lines in the verses give way to fills and swells by the band that resolve in the choruses. They funk it greasy à la the MG's, backed by a horn section (courtesy of the Grooveline Horns). Haynes lets his guitar talk, too, adding an edgy, raw heat in his solo to close it. The blues are evident in everything Haynes plays here, and he plays plenty. On "River's Gonna Rise," a gospel vamp leads into an easy, dark-tinged funkiness. Haynes' singing is as emotive as it is tough; he lets his guitar engage freely with both keyboardists, trading fills. Foster and Neville are excellent backing foils. This is only the beginning of the many delights here. Check the nasty, tightrope-walking Meters-like funk on "Sick of My Shadow"; the blues-drenched strut in "On a Real Lonely Night" (with its killer keyboard interplay); the soaring emotion of Holloway's sax dueling for dominance with Haynes' vocal on "In Your Wildest Dreams" and "A Friend to You"; and Haynes' greasy urgency in the Wilson Pickett-flavored "Take a Bullet." Man in Motion's lone cover, a reading of William Bell's and Booker T. Jones' ballad, "Everyday Will Be a Holiday," showcases Haynes' voice and guitar as the foundations of a deeply emotional palette the band paints upon. Man in Motion is a record that adds a new subtitle to Haynes' musical portrait: that of a soul man. ~ Thom Jurek Recording information: Pedernales Studios, Spicewood, TX; Top Hat Recording, Austin, TX. Photographer: Stewart O'Shields. Personnel: Warren Haynes (vocals, guitar); Ron Holloway (tenor saxophone); Ian McLagan (piano, Wurlitzer organ); Ivan Neville (Clavinet, organ, background vocals); Raymond Weber (drums); Ruthie Foster (background vocals); Grooveline Horns, Fernando Zastillo, Reggie Watkins, Carlos Sosa. Audio Mixers: Gordie Johnson; Warren Haynes.