| | Brooks / Green Live CD Brooks / Green Discography of CDs
This album was recorded live from the nite club stage. Ray and Sonny tried to do the blues in the vain of the 50's and 60's sound. Live Music | Category | Blues Albums | | Label | CD Baby | | CD Universe Part number | 7605323 | | Catalog number | 163966 | | Discs | 1 | | Release Date | Dec 25, 2007 |
Brooks / Green Live Songs | 1. | Who's Makeing Love |
| 2. | I'll Take Care of You |
| 3. | If You Love Me Like You Say |
| 4. | That's the Way Love Is/Aint Nothing You Can |
| 5. | I Worry About You |
| 6. | Disco Lady |
| 7. | I Found Ah Love |
| 8. | The Love I Lost - Ray Brooks |
| 9. | Blues At Sunrise - Ray Brooks |
| 10. | Never Found a Girl - Ray Brooks |
| 11. | Just My Imagination - Ray Brooks |
| 12. | You Done Me Wrong - Ray Brooks |
| 13. | Home At Last - Ray Brooks |
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Live Review
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Purchase Live CD To buy, Click on price to add to cart | George Thorogood The Dirty Dozen CD (2009)
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After more than a decade of recording for other labels, George Thorogood & the Destroyers moved back to EMI/Capitol for the release of 2009's ...
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| | Gary Moore Bad For You Baby CD (2008)
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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 ...
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Headliner Elvin Bishop's folksy, good-old-boy charm is as much a part of this upbeat live set as the music, thanks to generous doses ...
| | Violin, Sing The Blues For Me: African-American Fiddlers 1926-1949 CD (1999)
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As Marshall Wyatt's thorough liner notes explain in the accompanying 32-page booklet, the violin had a more prominent role in early blues than has often been supposed. Violins were far more apt to be played than guitars in the 19th century, and even when the blues began to be recorded in the 1920s, violins were still often used, although they weren't as apt to be featured on disc as the guitar and other instruments were. This 24-track compilation (with only one cut dating from after 1935) includes some fairly recognizable blues names like Peg Leg Howell, Howard Armstrong, Cow Cow Davenport, the Mississippi Sheiks, the Memphis Jug Band, Charley Patton (accompanying Henry Sims), and Big Joe Williams (a 1935 version of his signature tune "Baby Please Don't Go"), although many of the performers are far more obscure. The material tends toward the more good-timey and folky side of the rural blues tradition; the violins can get into a hoedown kick, as on Peg Leg Howell's "Beaver Slide Rag," or get into a rapid ragtime mode, as on Louie Bluie & Ted Bogan's "Ted's Stomp." Because of the chronological span and wide roster of artists represented, it's a good overview of violin-informed early blues, a subgenre that hasn't gotten a whole of attention. And check out Frank Stokes' "Right Now Blues" to get your head spun around when you hear a lyric that was repeated in Chuck Berry's classic "Reelin' ...
| | Leon Thomas Blues And The Soulful Truth CD (1972)
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The late Leon Thomas was a vocalist who has proven to be influential among jazz and blues saxophonists, guitarists, and pianists, who've admitted their debt to his innovation. However, though there are many jazz and blues vocalists who have benefited from his style as well, he is seldom acknowledged for his highly original -- and idiosyncratic -- contribution to them. One can only speculate as to why, though Thomas' full-throated style which employed everything from yodels and Joe Turner-ish growls and shouts may have been too wide for anyone to grasp in its entirety without overtly sounding as if they were aping him. At the time of this reissue (2001), the only other Leon Thomas titles available under his own leadership were a European best-of collection and the inferior live album (badly edited), Sunrise on Gold Mountain. Blues and the Soulful Truth is among the artist's most enduring performances, either as a leader or sideman. There is his trademark, otherworldly modal improvisation on Gabor Szabo's exotica classic "Gypsy Queen," the deep, greasy gutbucket, funky blues of "Let's Go Down to Lucy" and "L-O-V-E," and the traditional tune "C.C. Rider" -- though Thomas' arrangement is anything but -- among a lengthy, eight-song set. Perhaps the most revealing examples of his singularity is his ability to interpret a song like John Lee Hooker's "Boom, Boom" as funky, jazzed-out, angular R&B -- enabled mightily by the saxophone stylings of Pee Wee Ellis and the criminally under-appreciated pianism of Neal Creque and the wild violin of John Blair -- after coming out of a pop-oriented soul tune such as "Love Each Other," written with a groove prevalent among commercial jazz and R&B recordings of the time, both sounding sincere, authentic, ...
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| | Backstage With Torrey Hall CD (2008)
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BACKSTAGE WITH TORREY HALL“He's a man with a musical soul!”, exclaims world renowned entertainment icon Tony Sandler, in remarks about Torrey Hall.We think you’ll agree with that accolade from Sandler, after listening to Hall’s artistry at the piano.When he was yet but two months old, Torrey’s mother took him to a classical symphony concert, remarking later that "whenever the orchestra played a series of melancholy chords of rich color, the small child would begin sobbing as if his little heart were breaking." Other audience members also took notice of it and later concurred with his mother that indeed, the baby boy was a musician at heart.Trained as a classical artist by the nation's best pedagogues and pianists, Mr. Hall began playing piano in public at age four. His early teachers quickly noticed his witty improvisations in jazz chording, rhythms, and progressions, using simple tunes and melodies, which they encouraged.Over the years, Torrey has performed throughout the United States in recitals, concerts, and other music venues. He has appeared at theaters, jazz clubs, colleges, universities, and religious institutions including churches and synagogues. He has performed on radio and television, and has played for prominent dignitaries and heads of state in Washington, DC and Israel. In 1992 he performed for prime minister Yitzhak Shamir in Jerusalem, an internationally televised event.While many artists cling to one music genre, Torrey seems as much at ease with classical or sacred / ethnic repertoire as he is playing jazz standards and Broadway show tunes. Noting his height at 6'2" tall, one of Juilliard’s elite pianist alumni / clinicians Dr. David Kaiserman, said that when Torrey plays, “he should be able to shake the foundations of a building.” You’ll sense that keyboard power in this newly released CD from Torrey. Songs like CLIMB EVERY MOUNTAIN give a glimpse of it. Yet his ...
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Live music CDs
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