George Thorogood & The Destroyers / George Thorogood - dd 2120 South Michigan Ave. CD

dd 2120 South Michigan Ave. songs 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 notes by Harris Cohen. Personnel: Joe Bonamassa (vocals, guitar); Jon Paris (harmonica); Benny harrison (Hammond B-3 organ); Eric Czar (electric bass); Kenny Kramme (drums).

dd 2120 South Michigan Ave. buy CD music By the time SKIN DEEP was released in 2008, Buddy Guy was in his early 70s. The thing is, there are only a few tell-tale signs that Guy has aged any since his blistering work from the 1960s and `70s, and these signs-which include the slick, contemporary production, and the veteran-performer trend of having a parade of guest artists on the album-- are largely superficial. In truth, Guy still plays and sings like the urban blues monster he remains. From the slinky, sexy opener, "Best Damn Fool," to the blues history lesson of "Who's Gonna Fill Those Shoes," to the slow-burn closer "I Found Happiness," Guy doesn't seem to have mellowed with age. In fact, he wails and shreds here with as much passion as ever. Eric Clapton, Derek Trucks, Susan Tedeschi, and Robert Randolph all lend a hand, but Buddy is in charge here, much the way he has always been. Recording information: Blackbird Studios, Nashville, TN. Photographer: Christian Lantry. Personnel: Buddy Guy (vocals); Eric Clapton (vocals, guitar); Tom Hambridge (vocals, drums, tambourine, hand claps, percussion, background vocals); Susan Tedeschi (vocals); David Grissom (guitar, acoustic guitar, electric guitar); Quinn Sullivan (guitar); Derek Trucks (slide guitar); Nathan Williams (accordion); Lannie McMIllian, Kirk Smothers (tenor saxophone); James L. Spake (baritone saxophone); Mark Franklin (trumpet); Reese Wynans (keyboards); Willie Weeks (bass guitar); Richie Hayward (drums); Wendy Moten, Bekka Bramlett (hand claps, background vocals); Bonnie Bramlett (background vocals). Audio Mixers: Ducky Carlisle; Ryan Hewitt; Tom Hambridge.

dd 2120 South Michigan Ave. 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 .

dd 2120 South Michigan Ave. album for sale Another year, another Gary Moore blues-rock album nearly interchangeable with the last. That's no problem for fans or even newcomers, because despite the surface similarities between releases, Moore never seems to be going through the motions for the sake of further bulking up his already substantial catalog. His tough guitar lines remain biting yet classy, and his underappreciated voice is strong and convincing on originals and covers that nail all of the blues-rock bases without sounding rote. While there are no surprises here, Bad for You Baby is far from a disappointment. Moore continues a string of rugged, post-hard rock, power blues that he has carved his niche in since 1990's Still Got the Blues. He applies his throaty vocals and feral guitar to a pair of Muddy Waters tunes to impressive effect. No one will mistake his versions of Waters' "Walking Through the Park" or "Someday Baby" for the classic Chess era nuggets they are. Yet Moore's rocked up attack hits the mark for being relatively faithful to their melodies even as he wields his power blues sledgehammer. Moore boogies through J.B. Lenoir's "Mojo Boogie" like he invented the style, and even if his husky vocals will never be mistaken for Lenoir's reedy, high pitched singing, he tears into the tune with enough energy to shake up anything in the Johnny Winter songbook. Guitar shredders will thrill to the hot fret acrobatics of the double-time "Down the Line," and those who thought Led Zeppelin's first album was their finest hour should chow down on the hard rocking Jimmy Page-isms of "Umbrella Man." Moore writes one for the ladies on the sweet ballad "Holding On," which won't win any awards for lyrical complexity but boasts a lovely melody and Otis Taylor's daughter, Cassie, on backing vocals. Cassie returns with her dad (plucking nearly inaudible banjo) for the swamped up "Preacher Man Blues" that features some surprisingly effective harp from Moore, the only time he plays it on this disc. Al Kooper's slow, yearning "I Love You More Than You'll Ever Know" from the New Yorker's Blood, Sweat & Tears stint is given an extended, nearly 11-minute treatment that's as compelling as BS&T's. Those hoping for Moore to expand his horizons will need to wait a little longer, but for existing followers and especially those new to his gutsy approach, Bad for You Baby more than fills the bill. ~ Hal Horowitz Audio Remasterer: Sean Magee. Personnel: Gary Moore (vocals, guitar, harmonica); Vic Martin (keyboards); Pete Rees (bass guitar); Sam Kelly (drums). Audio Mixers: Greg Jackman; Gary Moore.

dd 2120 South Michigan Ave. CD music George Thorogood (Vocals/Guitar)/George Thorogood & the Destroyers: George Thorogood (guitars); Billy Blough (bass instrument); Buddy Leach, Jim Suhler, Jeff Simon. On his 2006 outing, THE HARD STUFF, veteran singer/guitarist George Thorogood leads the Destroyers through a set of typically rough-and-tumble blues-rock. Mixing revved-up originals (the tough-as-nails title track and the humorous "I Didn't Know") with well-chosen covers that range from old-fashioned rock & roll (Fats Domino's "Hello Josephine") to understated lovelorn blues (Jimmy Reed's "Little Rain Falling"), the bar-band hero also settles into a chiming version of Bob Dylan's "Drifter's Escape," which reveals a subtler side of the famously "Bad to the Bone" performer. Although Thorogood lacks some of his youthful ferocity, he still knows what works, ensuring that his loyal fans will be wholly entertained. Personnel: George Thorogood (vocals, guitar); Jim Suhler (guitar); Rick Steff (accordion, piano); Buddy Leach (saxophone); Jeff Simon (drums); Tom Hambridge (percussion, background vocals). Audio Mixer: John Hampton. Liner Note Author: Steve Morse. Recording information: Ardent Studios, Memphis, TN; Castle Oaks Studios; Glenwood Place Studios. Photographer: Chris Cuffaro.

dd 2120 South Michigan Ave. buy CD music "If at first you succeed, do it again," seems to be Austin blues/R&B guitarist Jimmie Vaughan's motto, as he returns to the well that provided a hit for him only a year before this second volume's release. Since it took nearly nine years between albums before this, it's obvious that both the acceptance of the last set, and its concept, were something that resonated with him enough to bring the same band back for another batch of covers of cool obscurities from the past. Recording in mono -- oddly not noted on the sleeve notes -- and live in the studio provides a batch of hot-wired, energized performances that do justice to songs that were likely originally recorded under similar circumstances five or six decades ago. Only the most obsessive of blues fans will recognize some of the artists such as Jivin' Gene, Teddy Humphries, and Annie Laurie who first recorded these minor gems, let alone the songs themselves. Vaughan digs deep to unearth seldom heard, let alone covered, tracks associated with better-known figures like Ray Charles, Jimmy Liggins, and Hank Williams, Sr. He also revives another Jimmy Reed cover, "I'm a Love You," something he has been obsessed with after recording two albums of the bluesman's material riding shotgun to Omar Kent Dykes. Once again, Lou Ann Barton jumps on board to add her distinctive Southern voice in duet settings and even gets her picture on the cover, even though she only contributes to three tracks, one less than last time. A two-man horn section of saxists Doug James and Greg Piccolo, both ex-Roomful of Blues, brings the jump blues titles into full swing. Vaughan keeps his typically clipped solos sharp and punchy, using his instrument to punctuate rather than drive the attack. It sounds as loose and animated as studio sessions can be, with seemingly no overdubs to rob the music of its natural spontaneity. Liner notes explaining how Vaughan came in contact with, and was influenced by, these relatively lost gems would have gone a long way to help newcomers appreciate his motivation. Regardless, this remains a terrific, crackling listen and a great party album that sounds as rollicking in 2011 as it would have 50 years earlier. ~ Hal Horowitz Audio Mixer: Jared Tuten. Recording information: Top Hat Studios, Austin, TX. Photographer: Todd V. Wolfson.