Warren Haynes / Warren Haynes Band - Live at the Moody Theater CD

Live at the Moody Theater CD music 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).

Live at the Moody Theater 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 .

Live at the Moody Theater buy CD music For his second solo album in a year -- not counting his excursion with Black Country Communion -- Joe Bonamassa, the hardest working blues-rock guitarist of the 21st century, strikes up a bit of a smoky Black Keys vibe, signaling that he's not quite as devoted to the past as he may initially seem. It's not the only trick he has up his sleeve, either. Appropriately enough for an album entitled Dust Bowl, Bonamassa kicks up some country dirt on this record, enlisting John Hiatt for a duet on the songwriter's "Tennessee Plates" and bringing Vince Gill in to play on the lazy shuffle "Sweet Rowena." These are accents to an album that otherwise sticks to Bonamassa's strong suit of blues in the vein of Cream, Stevie Ray, and Gary Moore, but it's just enough of a difference to give Dust Bowl a distinctive flavor and suggests that the guitarist's constant work is pushing him to synthesize his clear influences into something that is uniquely his own. ~ Stephen Thomas Erlewine Liner Note Author: Joe Bonamassa. Recording information: Ben's Studio, Nashville, TN; Black Rock Studios, Santorini, Greece; The Cave, Malibu, CA; The Village Recorder, Los Angeles, CA. Illustrator: Dennis Friel. Photographer: Kevin Shirley. Personnel: Joe Bonamassa (vocals, guitar); Rick Melick (keyboards); Tal Bergman (drums, percussion). Audio Mixer: Kevin Shirley.

Live at the Moody Theater songs 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.

Live at the Moody Theater buy CD music The Tedeschi Trucks Band is an 11-piece ensemble made up of guitarist-vocalist Susan Tedeschi's and guitarist Derek Trucks' individual bands. They made their debut with 2011's Grammy-winning Revelator, a sprawling collection that showcased funky R&B, gospel, blues, and scorching large band rock. Everybody's Talkin', a double disc, is a live offering from that supporting tour. Produced by Trucks, it includes live versions of some album tracks and six beautifully chosen covers; all its tunes are given extended, imaginatively arranged treatments. It's an unusual live record because its balance of sonic precision and stage-born kinetics is perfect -- this band transitions seamlessly between R&B, blues, rock, gospel, and jazz. These performances never succumb to mere jam band clichés. On disc one, "Midnight in Harlem" is introduced by a mini raga played as a slide solo by Trucks. The band enters gradually, and Tedeschi's soulful vocal carries them all the way in. (Tedeschi is revealed, song after song -- far beyond her solo records or even Revelator -- to be among the truly great singers in modern blues and rock; by turns graceful and grainy, her expression reaches the spiritual in execution.) At over 11 minutes, the interplay between guitarists, Mike Mattison's backing vocals, keyboards, and rhythm section are impeccable. Things get rowdier on "Learn How to Love," with nasty guitar work by Tedeschi, and a burning tenor sax solo by Kebbi Williams. The horn section really pops in "Bound for Glory"; the exchange between the Burbridge brothers on bass and keys, with drummers Tyler Greenwell and J.J. Johnson, adds a knotty improv bridge where deep funk and blues grind together. The disc closes with an astonishing reading of John Sebastian's "Darlin" Be Home Soon." With horns tastefully accenting and underscoring lead vocals, Trucks' slide solo stays melodically true, yet moves through the band's shimmering groove into the stratosphere (and he does this throughout this album, over and over again, helping to elevate not only the tune, but the sense of groove, space, and texture). Disc two contains only four cuts but they're all gems: Pearl Woods' "That Did It" (a Bobby "Blue" Bland vehicle) is a down and gritty strut, with excellent, in-the-grain guitar work by Tedeschi. Stevie Wonder's "Uptight" is a 15-minute soul rave-up with a beautiful jazz interlude and scat singing from Oteil Burbridge in its middle, followed by a wonderfully imagined slide solo by Trucks. It's followed by the deep, horn-driven, wah-wah funk of "Love Has Something Else to Say" before closing with a stirring read of Sam Cooke's "Wade in the Water." It's a spooky gospel-blues with gorgeous alternate lead vocals by Mark Rivers and Tedeschi. Everybody's Talkin' is what every live album should be: an accurate, exciting reflection of a band at its peak, playing full-throttle and providing plenty of surprises. ~ Thom Jurek Recording information: Farfield Theatre Company At The Klein, Bridgeport, CT (10/25/2011); The Danforth Music Hall, Toronto, ON (10/25/2011); The Warner Theatre, Washington, D.C. (10/25/2011); Farfield Theatre Company At The Klein, Bridgeport, CT (10/28/2011); The Danforth Music Hall, Toronto, ON (10/28/2011); The Warner Theatre, Washington, D.C. (10/28/2011); Farfield Theatre Company At The Klein, Bridgeport, CT (10/29/2011); The Danforth Music Hall, Toronto, ON (10/29/2011); The Warner Theatre, Washington, D.C. (10/29/2011). Photographer: C. Taylor Crothers. Personnel: Susan Tedeschi (vocals, guitar); Mike Mattison, Mark Rivers (vocals); Derek Trucks (guitar); Kebbi Williams (saxophone); Maurice Brown (trumpet); Kofi Burbridge (keyboards); J.J. Johnson , Tyler Greenwell (drums, percussion). Audio Mixer: Jim Scott .

Live at the Moody Theater songs Gov't Mule's live New Year's Eve shows are the high point of the year for fans: they usually last for four hours-plus, and include loads of guests who help to create some inspiring musical moments. Two early Mule live releases were also recorded on NYE -- Live at Roseland Ballroom (1995) and Live with a Little Help from Our Friends, recorded at Atlanta's Roxy in 1998 -- released twice, in two-disc and four-disc versions. The triple-disc Mulennium was recorded December 31, 1999, also at the Roxy, but has remained in the can until now. In its way, it is the definitive document of the original Gov't Mule power trio: guitarist/vocalist Warren Haynes, bassist Allen Woody (this was his last NYE show with the band, he died eight months later), and drummer Matt Abts. Disc one covers the concert up to midnight. It includes seven Mule originals, among them are truly burning versions of "Bad Little Doggie," "Life Before Insanity," and "Blind Man in the Dark." But this is a preliminary: after midnight comes the first surprise: a stellar -- and fitting -- cover of King Crimson's "21st Century Schizoid Man" followed by the Who's "We're Not Gonna Take It" and Led Zep's "Dazed and Confused." Disc two begins with a six-song blues set with legend Little Milton on vocals; highlights here are "When the Blue Come Knockin'," "I Can't Quit You Baby," and "It Hurts Me Too." Before the disc closes, however, newly minted Black Crowes' guitarist Audley Freed joins the band in covering Alice Cooper's "Is It My Body" and Jimi Hendrix's "The Power of Soul." Freed remains for pretty much the rest of the show. The final disc in the package is highlighted by killer readings of the Beatles' "Helter Skelter," the Black Crowes' "Sometimes Salvation," and Humble Pie's "Thirty Days in the Hole," which morphs into "I Don't Need No Doctor." Guitarist Johnny Mosier and pedal steel player Mark Van Allen (the latter two are members of Blueground Undergrass) join Mule and Freed on the encores: Tony Joe White's "Out of the Rain," Bob Dylan's "I Shall Be Released," and Lynyrd Skynyrd's "Simple Man" close the show. Ultimately, Mulennium is a truly special Gov't Mule gig. Though it was never meant to be released, the remixed sound is full and present, and it showcases the band at its raw, hot, improvisationally spontaneous best. ~ Thom Jurek Recording information: Roxy Theatre, Atlanta, GA (12/31/1999).