In September of 1979, John Hammond went into Vanguard Records' 23rd Street Studio in New York with the Nighthawks – Jimmy Thackeray, guitar; Mark Wenner, harmonica; Jan Zukowski, bass; Pete Ragusa, drums – and cut this record, one of his best (and which might've sold better with maybe some better cover art)…..
Remastered collection of John Hammond's early electric guitar work on Vanguard Records, with Charlie Musselwhite, members of The Band, Mike Bloomfield, Duane Allman, Spooner Oldham and others. Robbie Robertson, Levon Helm, and Garth Hudson can be heard on tracks from the two '60s Vanguard releases.
Somehow the grandfather of British blues still had the fire in his belly to record a strong album almost 40 years after he began his storied career. Buddy Whittington acquits himself well as the latest in a long line of hotshot guitarists for this multi-instrumentalist, who still does his best work on harmonica. He still admires long-dead bluesman J.B. Lenoir, including "Voodoo Music" here. A lot of credit for this strong outing goes to R.S. Field, lyricist and sometime producer for Webb Wilder. "Long Story Short" would pass for a Wilder tune were it not for Mayall's distinctive voice.
The debut album by John Foxx And The Maths will be released by Metamatic Records on 21st March, 2011. Interplay is a collaboration between John Foxx and electronic composer and synthesizer collector, Benge (Ben Edwards). He's best known for his 2008 album, Twenty Systems which was described by Brian Eno as 'a brilliant contribution to the archaeology of electronic music.' The album will initially be available as a Deluxe Digipack limited to 1500 copies, designed by Jonathan Barnbrook whose previous work includes David Bowie's Heathen and Reality albums. Moody and atmospheric, but also full of songs that are actually more pop than avant garde, Interplay pulls various strands of electronic music together from early 80s electro to 70s Krautrock, even flashes of Cabaret Voltaire and Foxx s first band, Ultravox!
1999 album from Britain's godfather of blues rock. 13 tracks, including 'White Line Fever' and 'Bad Dream Catcher'. Features guest appearances from John Lee Hooker, Ernie Watts and Coco Montoya.
Road Dogs is a studio recording by British Bluesman John Mayall with the Bluesbreakers. With 71 minutes of Mayall's sturdy blues rock, the album's 15 tracks cover a wide variety of ground, from the slow, deliberate pace of 'Road Dogs' to the shuffle of 'Burned Bridges' to the laid back 'Beyond Control'.
After releasing and touring the intense This Year's Model, Elvis Costello quickly returned to the studio with the Attractions to record his third album, Armed Forces. In contrast to the stripped-down pop and rock of his first two albums, Armed Forces boasted a detailed and textured pop production, but it was hardly lavish. However, the more spacious arrangements – complete with ringing pianos, echoing reverb, layered guitars, and harmonies – accent Costello's melodies, making the record more accessible than his first two albums. Perversely, while the sound of Costello's music was becoming more open and welcoming, his songs became more insular and paranoid, even though he cloaked his emotions well…
John Mayall, 69 years of age at the time of this recording, is at the very least irrepressible. He and his many versions of the Bluesbreakers have hit the road every year for decades, and the five years leading up to the release of Stories offer a flurry of activity that hasn't been seen from him since the 1970s. The Bluesbreakers lineup here has been with him since Spinning Coin, and includes Joe Yuele on drums, guitarist Buddy Whittington, Hank Van Sickle on bass, and Tom Canning on keyboards. Like the young hip-hop kids who self reference ubiquitously, Mayall writes more songs about blues music or playing the blues than virtually any musician in history, and Stories seems to be a series of narrative songs that are, for the most part, about various blues giants of the past, such as a reminiscence about seeing Little Walter in "Southside Story" or a paean to Leadbelly in "Oh, Leadbelly," various blues myths such as "I Thought I Heard the Devil" and "The Witching Hour," or exhortations for young people to take up the blues mantle ("Kids Got the Blues").